Rhoda comes now, having slipped in while we were not looking. She must have made a tortuous course, taking cover now behind a waiter, now behind some ornamental pillar, so as to put off as long as possible the shock of recognition, so as to be secure for one more moment to rock her petals in her basin. We wake her. We torture her. She dreads us, she despises us, yet she comes cringing to our sides because for al our cruelty there is always some name, some face which sheds a radiance, which lights up her pavements and makes it possible for her to replenish her dreams.
These lights, this brightness, these clusters of human hope, of wild desire—I shall take these lights in my fingers. I shall make them bright, and whether they shine or not, it is in these fingers that they shall succeed or fail.
All poets have signalized their consciousness of rare moments when they were superior to themselves, -when a light, a freedom, a power came to them which lifted them to performances far better than they could reach at other times.
It was dawn now on Long Island and we went about opening the rest of the windows downstairs, filling the house with gray-turning, gold-turning light. The Shadow of a tree fell abruptly across the dew and ghostly birds began to sing among the blue leaves. There was a slow, pleasant movement in the air, scarcely a wind, promising a cool, lovely day.
In the light of our culture, these are not unreasonable questions and tactics, but if once again, we try to see the lens through which we look, we can see that there is far too great an emphasis placed on the future.
Look for the stars, you'll say that there are none; / Look up a second time, and, one by one, / You mark them twinkling out with silvery light, / And wonder how they could elude the sight!