Bees In Literature Quotes

I go to books and to nature as the bee goes to a flower, for a nectar that I can make into my own honey.

She was stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze when the inaudible voice of it all came to her. She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight.

A PHD is not the end of education. Education exists even among the bees who feed their queen only with the purest

The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes connot write books. Very gladly would I learn what face things present to a mouse or a bee; more gladly still would I perceive the olfactory world charged with all the information and emotion it carries for a dog. Literary experience heals the wound, without undermining the privilege, of individuality... in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad of eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.

No matter how right or how beautiful your path is, never try to impose your path on others! Remember that flowers by no means pull bees by force to their world! Your path is your poem; if people like your poem, they will fondly join you in your path!

stories must be told, if they are not told, they die. then we forget who we are and why we are here

Conceive the condition of the human mind if all propositions whatsoever were self-evident except one, which was to become self-evident at the close of a summer’s day, but in the meantime might be the subject of question, of hypothesis, of debate. Art and philosophy, literature and science, would fasten like bees on that one proposition which had the honey of probability in it, and be the more eager because their enjoyment would end with sunset. Our impulses, our spiritual activities, no more adjust themselves to the idea of their future nullity, than the beating of our heart, or the irritability of our muscles.

We use horses as our slaves; we chain dogs; we steal eggs from the chickens, honey from the bees; we make wallets out of crocodiles; we imprison the birds; we torture the bulls in the arenas; we whip the lions and beat the tigers in the circuses! What are we? Definitely not ethical creatures!

I explored the literature of tree-climbing, not extensive, but so exciting. John Muir had swarmed up a hundred-foot Douglas Spruce during a Californian windstorm, and looked out over a forest, 'the whole mass of which was kindled into one continuous blaze of white sun-fire!' Italo Calvino had written his The Baron in the Trees, Italian editionmagical novel, The Baron in the Trees, whose young hero, Cosimo, in an adolescent huff, climbs a tree on his father's forested estate and vows never to set foot on the ground again. He keeps his impetuous word, and ends up living and even marrying in the canopy, moving for miles between olive, cherry, elm, and holm oak. There were the boys in B.B.'s Brendan Chase, who go feral in an English forest rather than return to boarding-school, and climb a 'Scotch pine' in order to reach a honey buzzard's nest scrimmed with beech leaves. And of course there was the realm of Winnie the Pooh and Christopher Robin: Pooh floating on his sky-blue balloon up to the oak-top bee's nest, in order to poach some honey; Christopher ready with his pop-gun to shoot Pooh's balloon down once the honey had been poached....

The tree of possibilities: life as it reveals itself to a man arriving, astonished, at the threshold of his adult life: an abundant treetop canopy filled with bees singing. And he thinks he understands why she never showed him the letters: she wanted to hear the murmur of the tree by herself, without him, because he, Jean-Marc, represented the abolition of all possibilities, he was the reduction, (even though it was a happy reduction) of her life to a single possibility.

A classic is a work which gives pleasure to the minority which is intensely and permanently interested in literature. It lives on because the minority, eager to renew the sensation of pleasure, is eternally curious and is therefore engaged in an eternal process of rediscovery. A classic does not survive because of any ethical reason it does not survive because it conforms to certain canons, or because neglect would kill it. It survived because it is a source of pleasure and because the passionate few can no more neglect it then a bee can neglect a flower. The passionate few do not read "the right things" because they are right. That is to put the cart before the horse "the right things" are the right things solely because the passionate few like reading them … Nobody at all is quite in a position to choose with certainty among modern works. To sift the wheat from the chaff is a process that takes an exceedingly long time. Modern works have to pass before the bar of the taste of successive Generations; whereas, with Classics, which have been through the ordeal, almost the reverse is the case. Your taste has to pass before the bar of the classics. That is the point. If you differ with a classic, it is you who are wrong, and not the book. If you differ with a modern work, you may be wrong or you may be right, but no judge is authoritative to decide your taste is unformed. It needs guidance and it needs authoritative guidance. Arnold Bennett, Literary Taste: How to Form It, as quoted by S. I. Hayakawa

Green in nature is one thing, green in literature another. Nature and letters seem to have a natural antipathy; bring them together and they tear each other to pieces. The shade of green Orlando now saw spoilt his rhyme and split his metre. Moreover, nature has tricks of her own. Once look out of a window at bees among flowers, at a yawning dog, at the sun setting, once think "how many more suns shall I see set," etc., etc. (the thought is too well known to be worth writing out) and one drops the pen, takes one's cloak, strides out of the room, and catches one's foot on a painted chest as one does so. For Orlando was a trifle clumsy.

However, there is now a sizable body of experimental work documenting flexible learning capabilities in insects that, in some cases, rival those found in mammals and birds. These cognitive abilities range from conditional discrimination and concept formation to spatial cognition, planning, causal reasoning, and social learning. Indeed, a review of the insect cognition literature leaves one with the impression that bees are likely to outperform birds and mammals on many quintessential cognitive tasks, such as matching-to-sample discriminations and the cross-modal transfer of learned concepts - often necessitating fewer trails for success than is necessary to train up similar abilities in mammals (including primates!).

A classic is a work which gives pleasure to the minority which is intensely and permanently interested in literature. It lives on because the minority, eager to renew the sensation of pleasure, is eternally curious and is therefore engaged in an eternal process of rediscovery. A classic does not survive for any ethical reason. It does not survive because it conforms to certain canons, or because neglect would not kill it. It survives because it is a source of pleasure, and because the passionate few can no more neglect it than a bee can neglect a flower. The passionate few do not read "the right things" because they are right. That is to put the cart before the horse. "The right things" are the right things solely because the passionate few like reading them. Hence—and I now arrive at my point— the one primary essential to literary taste is a hot interest in literature. If you have that, all the rest will come. It matters nothing that at present you fail to find pleasure in certain classics. The driving impulse of your interest will force you to acquire experience, and experience will teach you the use of the means of pleasure. You do not know the secret ways of yourself: that is all. A continuance of interest must inevitably bring you to the keenest joys.

Students choose topic groups and do focused studies of bees, apple production, compost, greenhouses. They write, draw diagrams, make models, read nonfiction literature. All of this is

She put the letter down on the table, choosing to ignore it. After three seconds, she glanced at the letter and picked it up again, re-reading it and giving the event a bit more thought. She smiled little-wicked before putting it back in her bag. The Eventual Novelist looked directly at her, bee-lined to her table, stopped stock-still, and said, “Whatever it is, don't be like me and put it off”, before scurrying back to his table to do whatever he was doing before. Seanna decided that it was to time to drink up and go home.

But as for the rest of you, sisters, when anyone says to you, this, that or the other is natural, then fight. Nature does not know best; for the birds, for the bees, for the cows; for men, perhaps. But your interests and Nature’s do not coincide. Nature our Friend is an argument used, quite understandably, by men.

Across these diverse occupations, grittier adults reported experiencing more flow, not less. In other words, flow and grit go hand in hand. Putting together what I learned from this survey, the findings on National Spelling Bee finalists, and a decadelong inspection of the relevant research literature, I’ve come to the following conclusion: Gritty people do more deliberate practice and experience more flow. There’s no contradiction here, for two reasons. First, deliberate practice is a behavior, and flow is an experience. Anders Ericsson is talking about what experts do; Mihaly Csikszentmihalyi is talking about how experts feel. Second, you don’t have to be doing deliberate practice and experiencing flow at the same time. And, in fact, I think that for most experts, they rarely go together.

In 1662 a vicar newly appointed to the village parish mused in his diary on the poet’s uneducated genius. “I have heard that Mr. Shakspeare was a natural wit, without any art at all,” he wrote. “Remember to peruse Shakespeare’s plays,” he reminded himself, “and bee much versed in them, that I may not bee ignorant in that matter.

Here is good CS Lewis quote about reading and litterature generally: "Literature enlarges our being by admitting us to experiences not our own. They may be beautiful, terrible, awe-inspiring, exhilarating, pathetic, comic, or merely piquant. Literature give the entree to them all. Those of us who have been true readers all our life seldom realize the enormous extension of our being that we owe to authors. We realize it best when we talk with an unliterary friend. he may be full of goodness and good sense but he inhabits a tiny world. In it, we should be suffocated. My own eyes are not enough for me. Even the eyes of all humanity are not enough. Very gladly would I learn what face things present to a mouse or a bee. (…) In reading great literature I become a thousand men and yet remain myself. Like the night sky in a Greek poem, I see with a thousand eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself: and am never more myself than when I do." C. S. Lewis An Experiment in Criticism. 1961 pp. 140-141 Cambridge U. Press

Here is good CS Lewis quote about reading and literature generally: "Literature enlarges our being by admitting us to experiences not our own. They may be beautiful, terrible, awe-inspiring, exhilarating, pathetic, comic, or merely piquant. Literature give the entree to them all. Those of us who have been true readers all our life seldom realize the enormous extension of our being that we owe to authors. We realize it best when we talk with an unliterary friend. he may be full of goodness and good sense but he inhabits a tiny world. In it, we should be suffocated. My own eyes are not enough for me. Even the eyes of all humanity are not enough. Very gladly would I learn what face things present to a mouse or a bee. (…) In reading great literature I become a thousand men and yet remain myself. Like the night sky in a Greek poem, I see with a thousand eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself: and am never more myself than when I do." C. S. Lewis An Experiment in Criticism. 1961 pp. 140-141 Cambridge U. Press

I often beheld the world at a great distance, or I didn't behold it at all. At every moment, birds passed by overhead that I did not see, clouds and bees, the rustling of breezes, the sun on my flesh. I lived only in the greyish, insensate world of my mind, where I tried to reason everything out and came to no conclusions. I wished to have the time to put together a world view, but there was never enough time, and also, those who had it, seemed to have had it from a very young age, they didn't begin at forty. Literature, I knew, was the only thing that could be begun at forty. If you were forty, beginning it, you could be said to be young. In everything else, I was old, all the boats were far off, away from the shore, while I was still making my way to the shore, I hadn't even found my boat yet. (...) To transform the greyish and muddy landscape of my mind into a solid and concrete thing, utterly apart from me, indeed not me at all, was my only hope. I didn't know what this solid form would be, or what shape it would take. I only knew that I had to create a powerful monster, since I was such a weak one. I had to create a monster apart from me, that knew more than I knew, had a world view, and did not get such simple words wrong.

ALI He was butterfly and bee. In the ring, he floated and stung. In 1967, Muhammad Ali, born Cassius Clay, refused to put on a uniform. “Got nothing against no Viet Cong,” he said. “Ain’t no Vietnamese ever called me nigger.” They called him a traitor. They sentenced him to a five-year jail term, and barred him from boxing. They stripped him of his title as champion of the world. The punishment became his trophy. By taking away his crown, they anointed him king. Years later, a few college students asked him to recite something. And for them he improvised the shortest poem in world literature: “Me, we.