There are three conditions which often look alike Yet differ completely, flourish in the same hedgerow: Attachment to self and to things and to persons, detachment From self and from things and from persons; and, growing between them, indifference, ... .
No one can become really educated without having pursued some study in which he took no interest- for it is a part of education to learn to interest ourselves in subjects for which we have no aptitude.
The greatness of literature cannot be determined solely by literary standards though we must remember that whether it is literature or not can be determined only by literary standards.
Because I know that time is always time and place is always place and only place. And what is actual is actual only for one time. And only for one place. I rejoice that things are as they are.
Moving between the legs of tables and of chairs, rising or falling, grasping at kisses and toys, advancing boldly, sudden to take alarm, retreating to the corner of arm and knee, eager to be reassured, taking pleasure in the fragrant brilliance of the Christmas tree.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
All significant truths are private truths. As they become public they cease to become truths; they become facts, or at best, part of the public character; or at worst, catchwords.
The river itself has no beginning or end. In its beginning, it is not yet the river; in the end it is no longer the river. What we call the headwaters is only a selection from among the innumerable sources which flow together to compose it. At what point in its course does the Mississippi become what the Mississippi means?
Home is where one starts from. As we grow older
The world becomes stranger, the pattern more complicatied
Of dead and living, Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment . . .
No one can become really educated without having pursued some study in which he took no interest- for it is a part of education to learn to interest ourselves in subjects for which we have no aptitude.
There's no vocabulary For love within a family, love that's lived in But not looked at, love within the light of which All else is seen, the love within which All other love finds speech. This love is silent.
I said to my soul, be still and wait without hope, for hope would be hope for the wrong thing; wait without love, for love would be love of the wrong thing; there is yet faith, but the faith and the love are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing.
I do not know much about gods; but I think that the river is a strong brown god-sullen, untamed and intractable, Patient to some degree, at first recognized as a frontier; Useful, untrustworthy, as a conveyor of commerce; Then only a problem confronting the builder of bridges. The problem once solved, the brown god is almost forgotten By the dwellers in cities-ever, however, implacable. Keeping his seasons, and rages, destroyer, reminder Of what men choose to forget. Unhonored, unpropitiated By worshippers of the machine, but waiting, watching and waiting.
At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not all it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance.