Ode To A Friend Quotes

From quiet homes and first beginning, Out to the undiscovered ends, There's nothing worth the wear of winning, But laughter and the love of friends.

If that kind of poetry doesn’t make your bosom heave then I fear we shall never be friends.

Not him with great possessions should you in truth call blest; with better right does he claim the name of happy man who realizes how to make use of the gods' gifts wisely, is skilled to meet harsh poverty and endure, as one who dreads dishonor far more than death; a man like that for friends beloved, or for his country fears not to perish.

ODE TO THE WORD PUSSY I could devote my time to justifying your name by defending the feline. But what about the lioness, I might say, colossal queen of the animal kingdom, or even a house cat, twitching mouse caught in its claws, how could my body not be that? But

All my other current friends were "intellectuals"––Chad the Nietzschean anthropologist, Carlo Marx and his nutty surrealist low-voiced serious staring talk, Old Bull Lee and his critical anti-everything drawl––or else they were slinking criminals like Elmer Hassel, with that hip sneer; Jane Lee the same, sprawled on the Oriental cover of her couch, sniffing at the New Yorker. But Dean's intelligence was every bit as formal and shining and complete, without the tedious intellectualness. And his "criminality" was not something that sulked and sneered; it was a wild yea-saying overburst of American joy; it was Western, the west wind, an ode from the Plains, something new, long prophesied, long a-coming. Besides, all my New York friends were in the negative, nightmare position of putting down society and giving their tired bookish or political or psychoanalytical reasons, but Dean just raced in society, eager for bread and love; he didn't care one way or the other.

Thou still unravish’d bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring’d legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear’d, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy’d, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy’d, A burning forehead, and a parching tongue. Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead’st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e’er return. O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, “Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.

Joy lift her spirit, joy attune her voice; To her may all things live, from pole to pole, Their life the eddying of her living soul! O simple spirit, guided from above, Dear Lady! friend devoutest of my choice, Thus mayest thou ever, evermore rejoice.

ODE TO MY BITCH FACE you

ODE TO THE WOMEN ON LONG ISLAND after

Diffugere Nives Horace, Odes, iv, 7 The snows are fled away, leaves on the shaws And grasses in the mead renew their birth, The river to the river-bed withdraws, And altered is the fashion of the earth. The Nymphs and Graces three put off their fear And unapparelled in the woodland play. The swift hour and the brief prime of the year Say to the soul, Thou wast not born for aye. Thaw follows frost; hard on the heel of spring Treads summer sure to die, for hard on hers Comes autumn with his apples scattering; Then back to wintertide, when nothing stirs. But oh, whate'er the sky-led seasons mar, Moon upon moon rebuilds it with her beams; Come we where Tullus and where Ancus are And good Aeneas, we are dust and dreams. Torquatus, if the gods in heaven shall add The morrow to the day, what tongue has told? Feast then thy heart, for what thy heart has had The fingers of no heir will ever hold. When thou descendest once the shades among, The stern assize and equal judgment o'er, Not thy long lineage nor thy golden tongue, No, nor thy righteousness, shall friend thee more. Night holds Hippolytus the pure of stain, Diana steads him nothing, he must stay; And Theseus leaves Pirithous in the chain The love of comrades cannot take away.

Sometimes, even those whom we consider as our close friends may betray us so easily, in a moment when we do not even expect it. Such is the truth of life, despite so many eloquent odes humanity dedicated to friendship.

Ode to Joy Joy, beautiful spark of Divinity, Daughter of Elysium, We enter, drunk with fire, Heavenly one, thy sanctuary! Thy magic binds again What custom strictly divided;* All people become brothers,* Where thy gentle wing abides. Whoever has succeeded in the great attempt, To be a friend's friend, Whoever has won a lovely woman, Add his to the jubilation! Yes, and also whoever has just one soul To call his own in this world! And he who never managed it should slink Weeping from this union! All creatures drink of joy At nature's breasts. All the Just, all the Evil Follow her trail of roses. Kisses she gave us and grapevines, A friend, proven in death. Salaciousness was given to the worm And the cherub stands before God. Gladly, as His suns fly through the heavens' grand plan Go on, brothers, your way, Joyful, like a hero to victory. Be embraced, Millions! This kiss to all the world! Brothers, above the starry canopy There must dwell a loving Father. Are you collapsing, millions? Do you sense the creator, world? Seek him above the starry canopy! Above stars must He dwell.

poem for the event, her “Columbian Ode,” and pestered her many powerful friends into having it placed on the day’s program. She watched with pride as an actress read it to the few thousand people close enough to hear it. Unlike the majority of the audience, Monroe believed

Ode to Willem de Kooning" Beyond the sunrise where black begins                                                                   an enormous city                                                                   is sending up its shutters     and just before the last lapse of nerve which I am already sorry for, that friends describe as “just this once” in a temporary hell, I hope              I try to seize upon greatness             which is available to me …

Painful memories, they can mend, love’s powerful, but it can rend, through the treacherous act of jealousy. A passion that seeks to destroy, the soul when it deploys, the vicious sin that is envy. Take heed my friends, when contemplating the end of an imagined rival for the heart’s true amour. Acts of envy bode not well, for they cast an evil spell, and in the end you’ll suffer forevermore. For jealously can blight, the harmonious light of all the love you’d hoped to see, because envy has power, and can inhumanly devour, everything you wanted from love, for thee.

This is the pivotal point, maybe of this whole book. On the surface of our lives most of us build the hard shell. It is built to cover fear and insecurity and win approval and success. When you get down to the core of yourself, you find a different, more primeval country, and in it a deep yearning to care and connect. You could call this deep core of yourself the pleroma, or substrate. It is where your heart and soul reside. After her first daughter was born, a friend of mine, Catherine Bly Cox, told me, “I found I loved her more than evolution required.” I’ve always loved that observation because it points to that deeper layer. There are the things that drive us toward material pleasure, and there are evolutionary forces that drive us to reproduce and pass down our genes. These are the layers of life covered by economics and political science and evolutionary psychology. But those layers don’t explain Chartres Cathedral or “Ode to Joy”; they don’t explain Nelson Mandela in jail, Abraham Lincoln in the war room, or a mother holding her baby. They don’t explain the fierceness and fullness of love, as we all experience it. This is the layer we’re trying to reach in the wilderness. These are the springs that will propel us to our second mountain.

Didi Hill writes…an ode to my friend Jane: Now that we’re 60 plus What's all the fuss? To make sure we have fun We'll make sure it’s for everyone. Do the things we've always wanted to do Like going on a zip wire Or having a tattoo… Do it now do it on a whim Whether it's a she or a him. Say I've done it. That's for sure. You never know………… you might go back for more!

Evening, Kesmore. What has lured you from the wilds of Kent so early in the year?” Kesmore’s dark brows twitched down. “Raising hogs is vulgarly profitable. I say this to you in strictest confidence as your neighbor and friend, and as a man who has seen you so drunk you sing odes to the barmaid’s feminine attributes. There is, however, a certain hardship upon the man—particularly a man newly married—who undertakes such a commercial endeavor when the weather moderates and the hog pens must be cleaned of several months’ worth of pig shit.” Despite the cloying heat of the ballroom, despite the gauntlet forming for him as the orchestra warmed up, Deene’s lips quirked up. “You came to Town to avoid the smell of pig shit?” “Pig shit wafting in my bedroom window at night, pig shit scenting my linen, pig shit… but I am whining, and thank all the gods it’s not me the mamas are trolling for this year.” Deene

Somewhere in the middle of the second oration, an acrostic ode that simultaneously spelled out the name of the poet’s hypothetical lost beloved via the opening letters of each line and told a heart-wrenching story of his self-sacrifice to save his shipmates from a vacuum breach, Mahit had the sudden realization that she was standing in the Teixcalaanli court, hearing a Teixcalaanli poetry contest, while holding an alcoholic drink and accompanied by a witty Teixcalaanli friend. Everything she had ever wanted when she was fifteen. Right here.

Resilient living is not an ode to dishwashing. Resilient repetitions are linked to the usage of aesthetically nourishing objects, to gratitude for the rhythms in nature, to steadily, gradually re- fining a skill, to the pleasure of slow creation—and the appreciation of slowly created objects—to creating momentous rituals with communities, friends, and family, and to finding a stimulating work-life balance and enjoying meaningful daily routines that allow for both efficiency and stillness. Resilient repetitions are nourishing be- cause they have been consciously chosen by the individual.

Resilient living is not an ode to dishwashing. Resilient repetitions are linked to the usage of aesthetically nourishing objects, to gratitude for the rhythms in nature, to steadily, gradually refining a skill, to the pleasure of slow creation—and the appreciation of slowly created objects—to creating momentous rituals with communities, friends, and family, and to finding a stimulating work-life balance and enjoying meaningful daily routines that allow for both efficiency and stillness. Resilient repetitions are nourishing because they have been consciously chosen by the individual.

„Dear Fernandamama, I need to borrow some quick cash from you, about 900 Euros to be honest. This f...g Adam guy’s fines arrived on my name. He is paying your children and drugging them, this f...g godless Israeli criminal, with his f...g junkie friends and family, influencing your children is not good for our health, Fernandamama. You know. The coffeeshop. On my name. This f...g Adam guy is the reason why Martina is gone and the f...g coffeeshop, huh? I should have killed him when I had the chances, what do you say, Fernanda? Your silence tells me odes, Fernandamama since weeks if not months. Meaning, you know better if I should have taken care of Adam on time and closed the club last summer when you came to visit „us.” I need to pay for these Zaragoza fines Adam collected for my name Fernanda. I need my money to give it away to the landlord so that Martina has a home. You know, without my coffeeshop on my name. I hope you understand. I pay you back just like the 6-800 you landed us earlier. If Martina allows me to contact you, if I wasn’t a ghost in Barcelona made believe. You know. Thanks. Cheers, Tomas

Ode To The Stretchy Trot Oh stretchy trot, friend of friends, honest and true, how do I love thee? Let me count the ways. There in the beginning, and there at the end, thy calming presence evolving into the finest equine dance. Compulsory test circle or ultimate personal choice, available at a moment's notice, thou art the true collaborator. Releasing tension, transmitting serenity to the mind, encouraging relaxation, improving weight carriage; Steadfastly the soothing one during tumultuous times. . I know when thou art here: soft ears, loose muscles, bounciness, floating light-stepped-ness, and the ever-pervasive snorts! . Not a mere "neck down" or some prescribed posture to behold, thou art an overall body stretch through the topline from tail to ear. I cannot express enough love for thee, save that I will be here, lingering, eagerly awaiting your next appearance.

A dandy," wrote Charles Baudelaire, "must be looking in his mirror at all times, waking and sleeping." Dali could easily have become the living proof of Baudelaire's dictum. But the literal mirror was not enough for him. Dali needed mirrors of many kinds: his pictures, his admirers, newspapers and magazines and television. And even that still left him unsatisfied. So one Christmas he took a walk in the streets of New York carrying a bell. He would ring it whenever he felt people were not paying enough attention to him. "The thought of not being recognised was unbearable." True to himself to the bitter end, he delighted in following Catalonian television's bulletins on his state of health during his last days alive (in Quiron hospital in Barcelona); he wanted to hear people talking about him, and he also wanted to know whether his health would revive or whether he would be dying soon. At the age of six he wanted to be a female cook - he specified the gender. At seven he wanted to be Napoleon. "Ever since, my ambition has been continually on the increase, as has my megalomania: now all I want to be is Salvador Dali. But the closer I get to my goal, the further Salvador Dali drifts away from me." He painted his first picture in 1910 at the age of six. At ten he discovered Impressionist art, and at fourteen the Pompiers (a 19th century group of academic genre painters, among them Meissonier, Detaille and Moreau). By 1927 he was Dali, and the poet and playwright Federico Garcia Lorca, a friend of his youth, wrote an 'Ode to Salvador Dali.' Years later Dali claimed that Lorca had been very attracted to him and had tride to sodomize him, but had not quite managed it. Dali's thirst for scandal was unquenchable. His parents had named him Salvador "because he was the chosen one who was come to save painting from the" deadly menace of abstract art, academic Surrealism, Dadaism, and any kind of anarchic "ism" whatsoever." If he had lived during the Renaissance, his genius would have been recognized at an earlier stage and indeed considered normal. But in the twentieth century, which Dali damned as stupid, he was thought provocative, a thorn in the flesh. To this day there are many who misunderstand the provocativeness and label him insane. But Dali repeatedly declared: "... the sole difference between me and a madman is the fact that I am not mad!" Dali also said: "The difference between the Surrealists and me is that I am a Surrealist" - which is perfectly true. And he also claimed: "I have the universal curiosity of Renaissance men, and my mental jaws are constantly at work.

ODE TO MY PERIOD UNDERWEAR I

The Doors music has been included in movies and their career has inspired feature films. Chapter 8 - The Doors at The Movies Ray Manzarek and Jim Morrison were film students at UCLA when they met. They both had an abiding interest in film and the past masters as well as creating a new cinema. Through The Doors they did create cinema. At first, one strictly of The Doors, but as their influence and legend spread through culture they, in turn, inspired those that were creating movies.   The Doors Film Feast of Friends Late in March 1968 (the exact date is unknown) The Doors decided to film a documentary of their forthcoming tour. The idea may have come about because Bobby Neuwirth, who was hired to hang out with Jim and try to direct his energies to more productive pursuits than drinking, produced a film Not to Touch the Earth that utilized behind the scenes film of The Doors. The band set up an initial budget of $20,000 for the project. Former UCLA film students Jim Morrison and Ray Manzarek hired film school friends Paul Ferrara as director of photography, Frank Lisciandro as editor, and Morrison friend Babe Hill as the sound recorder. The first show shot, for what would be later named Feast of Friends, was the April 13th performance at the Santa Rosa Fairgrounds. Overall shooting of the film lasted for five months between March and September, and captured the riots in Cleveland and the Singer Bowl. Filming culminated in Saratoga Springs, New York, where backstage Morrison goofed around on a warm up piano and improvised a hilarious ode to Frederick Nietzsche. After filming started, the concept grew and Feast of Friends was to incorporate fictional scenes (some version of HWY?). But problems started to arise. The live sound, in parts, was unusable so the decision was made to use the album cuts of Doors songs. The budget grew by another $10,000 and the film still wasn’t finished. A decision was made by Ray, Robby and John to pull the plug on the film, but Paul Ferrara appealed to Jim and a compromise was worked out. The fictional scenes would be dropped and another $4,000 was added to the budget to complete the editing. The completed film runs to about thirty-eight minutes and is mostly images taken from different shows, or the band prior to a show. It has some footage of the Singer Bowl riot, which shows the riot in full flower, the stage crowded with policemen and fans. Occasionally, Morrison comes out of nowhere to encourage it all. The centerpiece of the film is The End from the Hollywood Bowl show. The film suffers a bit from not using live sound, the superimposition of album cuts of songs (except the Hollywood Bowl footage) removes the viewer from the immediacy and impact of The Doors. Feast of Friends was later accepted at five major film festivals, including the Atlanta International Film Festival that Frank Lisciandro describes in An Hour For Magic. In later years Feast of Friends was shelved, missing the late 70’s midnight movie circuit showing rock films. In the 80’s with the advent of MTV, Ray Manzarek started producing videos of Doors songs for showing on MTV and they relied heavily on the Feast of Friends footage. Chances are that even if you haven’t seen Feast of Friends you’ve seen a lot of the footage.   Jim Morrison Films HWY The Doors had laid low for just over a month. On March 1, 1969, the ‘Miami Incident’ had occurred, at first with no reaction more than any other Doors show, and the band went off on a prearranged Jamaican vacation in anticipation

Ode to Charlie THE DOG OF A LIFETIME We got a pup named Charlie One year at Christmastime. He changed our lives completely So I’ll share this dog rhyme. His ears were long and dangly, His legs were short and fat, His naps were almost constant, ’Cept when he chased the cat. I dressed him up in outfits, In dresses, shirts, and jeans, In boots and leather loafers-- The dapp’rest pup I’d seen! He started working cattle With Ladd and all the crew. He thought this was his purpose. Oh, if he only knew! That he was just a Bassett And bred for not so much. But Charlie rose above it And learned that cowdog touch. But man, that short dog syndrome… He thought he was in charge And ruled the other doggies His bravado, always large! But deep down, all he wanted Were tummy rubs all day And sausage, ham, and burgers And bacon, I would say. He snored just like an engine, His breath was not so great, His ears were always crusty From hanging in his plate. But Charlie Boy was perfect And loyal through and through. He knew what we were thinking, He sensed what we would do. We thought he’d live forever But cancer came and stayed, Then left with our dear Charles And left us all dismayed. And yet, we feel so lucky He got to be our friend. We have a million memories Right up until the end. We loved you, Charlie, you were the best We never will forget you And the very second we get to Heaven… We’re coming straight to get you!