Originally Poem Quotes

He has achieved success who has lived well, laughed often, and loved much; Who has enjoyed the trust of pure women, the respect of intelligent men and the love of little children; Who has filled his niche and accomplished his task; Who has never lacked appreciation of Earth's beauty or failed to express it; Who has left the world better than he found it, Whether an improved poppy, a perfect poem, or a rescued soul; Who has always looked for the best in others and given them the best he had; Whose life was an inspiration; Whose memory a benediction.

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." [MovieMaker Magazine #53 - Winter, January 22, 2004 ]

You think of yourself as a citizen of the universe. You think you belong to this world of dust and matter. Out of this dust you have created a personal image, and have forgotten about the essence of your true origin

Women are books, and men the readers be...

There cannot be good living where there is not good drinking.

Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun.... there are millions of suns left, You shall no longer take things at second or third hand.... nor look through the eyes of the dead.... nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from yourself.

But we were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted into battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen. We are known among the stars by our poems, not our corpses.

Take from my palms, to soothe your heart, a little honey, a little sun, in obedience to Persephone's bees. You can't untie a boat that was never moored, nor hear a shadow in its furs, nor move through thick life without fear. For us, all that's left is kisses tattered as the little bees that die when they leave the hive. Deep in the transparent night they're still humming, at home in the dark wood on the mountain, in the mint and lungwort and the past. But lay to your heart my rough gift, this unlovely dry necklace of dead bees that once made a sun out of honey. ― Osip Mandelstam, The Selected Poems (NYRB Classics; 1st edition, August 31, 2004) Originally published 1972

But often, in the world’s most crowded streets, But often, in the din of strife, There rises an unspeakable desire After the knowledge of our buried life; A thirst to spend our fire and restless force In tracking out our true, original course; A longing to inquire Into the mystery of this heart which beats So wild, so deep in us—to know Whence our lives come and where they go.

[The Old Astronomer to His Pupil] Reach me down my Tycho Brahe, I would know him when we meet, When I share my later science, sitting humbly at his feet; He may know the law of all things, yet be ignorant of how We are working to completion, working on from then to now. Pray remember that I leave you all my theory complete, Lacking only certain data for your adding, as is meet, And remember men will scorn it, 'tis original and true, And the obloquy of newness may fall bitterly on you. But, my pupil, as my pupil you have learned the worth of scorn, You have laughed with me at pity, we have joyed to be forlorn, What for us are all distractions of men's fellowship and smiles; What for us the Goddess Pleasure with her meretricious smiles. You may tell that German College that their honor comes too late, But they must not waste repentance on the grizzly savant's fate. Though my soul may set in darkness, it will rise in perfect light; I have loved the stars too fondly to be fearful of the night. What, my boy, you are not weeping? You should save your eyes for sight; You will need them, mine observer, yet for many another night. I leave none but you, my pupil, unto whom my plans are known. You 'have none but me,' you murmur, and I 'leave you quite alone'? Well then, kiss me, -- since my mother left her blessing on my brow, There has been a something wanting in my nature until now; I can dimly comprehend it, -- that I might have been more kind, Might have cherished you more wisely, as the one I leave behind. I 'have never failed in kindness'? No, we lived too high for strife,-- Calmest coldness was the error which has crept into our life; But your spirit is untainted, I can dedicate you still To the service of our science: you will further it? you will! There are certain calculations I should like to make with you, To be sure that your deductions will be logical and true; And remember, 'Patience, Patience,' is the watchword of a sage, Not to-day nor yet to-morrow can complete a perfect age. I have sown, like Tycho Brahe, that a greater man may reap; But if none should do my reaping, 'twill disturb me in my sleep So be careful and be faithful, though, like me, you leave no name; See, my boy, that nothing turn you to the mere pursuit of fame. I must say Good-bye, my pupil, for I cannot longer speak; Draw the curtain back for Venus, ere my vision grows too weak: It is strange the pearly planet should look red as fiery Mars,-- God will mercifully guide me on my way amongst the stars.

When they bombed Hiroshima, the explosion formed a mini-supernova, so every living animal, human or plant that received direct contact with the rays from that sun was instantly turned to ash. And what was left of the city soon followed. The long-lasting damage of nuclear radiation caused an entire city and its population to turn into powder. When I was born, my mom says I looked around the whole hospital room with a stare that said, "This? I've done this before." She says I have old eyes. When my Grandpa Genji died, I was only five years old, but I took my mom by the hand and told her, "Don't worry, he'll come back as a baby." And yet, for someone who's apparently done this already, I still haven't figured anything out yet. My knees still buckle every time I get on a stage. My self-confidence can be measured out in teaspoons mixed into my poetry, and it still always tastes funny in my mouth. But in Hiroshima, some people were wiped clean away, leaving only a wristwatch or a diary page. So no matter that I have inhibitions to fill all my pockets, I keep trying, hoping that one day I'll write a poem I can be proud to let sit in a museum exhibit as the only proof I existed. My parents named me Sarah, which is a biblical name. In the original story God told Sarah she could do something impossible and she laughed, because the first Sarah, she didn't know what to do with impossible. And me? Well, neither do I, but I see the impossible every day. Impossible is trying to connect in this world, trying to hold onto others while things are blowing up around you, knowing that while you're speaking, they aren't just waiting for their turn to talk -- they hear you. They feel exactly what you feel at the same time that you feel it. It's what I strive for every time I open my mouth -- that impossible connection. There's this piece of wall in Hiroshima that was completely burnt black by the radiation. But on the front step, a person who was sitting there blocked the rays from hitting the stone. The only thing left now is a permanent shadow of positive light. After the A bomb, specialists said it would take 75 years for the radiation damaged soil of Hiroshima City to ever grow anything again. But that spring, there were new buds popping up from the earth. When I meet you, in that moment, I'm no longer a part of your future. I start quickly becoming part of your past. But in that instant, I get to share your present. And you, you get to share mine. And that is the greatest present of all. So if you tell me I can do the impossible, I'll probably laugh at you. I don't know if I can change the world yet, because I don't know that much about it -- and I don't know that much about reincarnation either, but if you make me laugh hard enough, sometimes I forget what century I'm in. This isn't my first time here. This isn't my last time here. These aren't the last words I'll share. But just in case, I'm trying my hardest to get it right this time around.

You must be careful not to deprive the poem of its wild origin.

It is necessary to any originality to have the courage to be an amateur.

Pied Beauty— " Glory be to God for dappled things-- For skies of couple-colour as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches' wings; Landscape plotted and pieced--fold, fallow, and plough; And all trades, their gear and tackle and trim. All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise Him.

Before getting translated, a poem already gets shrunk or expanded within the ‘sphere of intellect’ of the translator in the original language, and it again gets shrunk or expanded within the ‘sphere of intellect’ of the translator in the target language.

Mister Cameron - I have read the unexpurgated Ovid, the love poems of Sappho, the Decameron in the original, and a great many texts in Greek and Latin histories that were not though fit for proper gentlemen to read, much less proper ladies. I know in precise detail what Caligula did to, and with, his sisters, and I can quote it to you in Latin or in my own translation if you wish. I am interested in historical truth, and truth in history is often unpleasant and distasteful to those of fine sensibility. I frankly doubt that you will produce anything to shock me.

Maybe the original sin was a man taking a woman for granted.

Days to come stand in front of us like a row of lighted candles— golden, warm, and vivid candles. Days gone by fall behind us, a gloomy line of snuffed-out candles; the nearest are smoking still, cold, melted, and bent. I don’t want to look at them: their shape saddens me, and it saddens me to remember their original light. I look ahead at my lighted candles. I don’t want to turn for fear of seeing, terrified, how quickly that dark line gets longer, how quickly the snuffed-out candles proliferate.

Before getting translated, a poem already gets shrunk or expanded within the ‘sphere of intellect’ of the translator in the original language, and it again gets shrunk or expanded within the ‘sphere of intellect’ of the translator in the target language. Thus, in translation of poetry; there exists a possibility of components like imagination, art of wordplay, skill of constructing internal rhythm and expand of knowledge of the poet getting affected by the constraint and differentia of the translator.

My love has eyes blue as the sky. Her warm, bright smile makes me want to try To give her the world, And when she's curled Up in my arms where I can feel her touch, I realize again that I love her so much. My world has turned from black to white. Kissing in starlight, basking in sunlight, dancing at midnight.' ~John's poem for Belle

Have you reckon'd a thousand acres much? have you reckon'd the earth much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, (there are millions of suns left,) You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.

If ghost, if whore, if virgin—same origin story: because X was a face too lovely, Y was a corpse in the lake.

I know a woman who keeps buying puzzles chinese puzzles blocks wires pieces that finally fit into some order. she works it out mathmatically she solves all her puzzles lives down by the sea puts sugar out for the ants and believes ultimately in a better world. her hair is white she seldom combs it her teeth are snaggled and she wears loose shapeless coveralls over a body most women would wish they had. for many years she irritated me with what I considered her eccentricities- like soaking eggshells in water (to feed the plants so that they'd get calcium). but finally when I think of her life and compare it to other lives more dazzling, original and beautiful I realize that she has hurt fewer people than anybody I know (and by hurt I simply mean hurt). she has had some terrible times, times when maybe I should have helped her more for she is the mother of my only child and we were once great lovers, but she has come through like I said she has hurt fewer people than anybody I know, and if you look at it like that, well, she has created a better world. she has won. Frances, this poem is for you.

From all the poems written on the subject of unrequited love, there are so few on the pain of being the object of that affection. The truth is..it's not love on which the strongest foundations are built. It's the decency of merciful lies.

Adam and Eve didn't know what they would win or what they would lose until they'd both won and lost it. It's like that poem we read. The guy doesn't know what the meaning is of the road he took until he got to the end of it. You choose first, then you find out what you've chosen after. Every choice has a price. Sometimes we don't know what it is until after we've paid it.

Forge your iron; shape it by force, not into a flower you already know but into what can also be a flower if you think it is and it is so.

How many times have your true colours faded just because the world was colour blind.

Solitude favors the original, the daringly and otherworldly beautiful, the poem. But it also favors the wrongful, the extreme, the absurd, and the forbidden.

Some flowers do not belong where they were originally planted.

76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces

His poem is like a play in a room through the windows of which a distant view can be seen over a large part of the English traditions about the world of their original home. (Tolkien on the author of Beowulf)

But I want to extol not the sweetness nor the placidity of the dog, but the wilderness out of which he cannot step entirely, and from which we benefit. For wilderness is our first home too, and in our wild ride into modernity with all its concerns and problems we need also all the good attachments to that origin that we can keep or restore. Dog is one of the messengers of that rich and still magical first world. The dog would remind us of the pleasures of the body with its graceful physicality, and the acuity and rapture of the senses, and the beauty of forest and ocean and rain and our own breath. There is not a dog that romps and runs but we learn from him. The other dog—the one that all its life walks leashed and obedient down the sidewalk—is what a chair is to a tree. It is a possession only, the ornament of a human life. Such dogs can remind us of nothing large or noble or mysterious or lost. They cannot make us sweeter or more kind. Only unleashed dogs can do that. They are a kind of poetry themselves when they are devoted not only to us but to the wet night, to the moon and the rabbit-smell in the grass and their own bodies leaping forward.

Take a newspaper. Take some scissors. Choose from this paper an article of the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that makes up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. The poem will resemble you. And there you are -- an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.

Studying texts and stiff meditation can make you lose your Original Mind. A solitary tune by a fisherman, though, can be an invaluable treasure.

Two things of opposite natures seem to depend On on another, as Logos depends On Eros, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come. Music falls on the silence like a sense A passion that we feel, not understand. Morning and afternoon are clasped together And North and South are an intrinsic couple And sun and rain a plural, like two lovers That walk away together as one in the greenest body.

Before getting translated, a poem already gets shrunk or expanded within the ‘sphere of intellect’ of the translator in the original language, and it again gets shrunk or expanded within the ‘sphere of intellect’ of the translator in the target language. Thus, in the translation of poetry there exists a possibility of the components like imagination, art of wordplay, skill of constructing internal rhythm and expansion of knowledge of the poet getting affected by the constraint and different methods employed by the translator.

Have you reckon’d a thousand acres much? have you reckon’d the earth much? Have you practis’d so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, (there are millions of suns left,) You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.

I wait on the origin of night's sounds waking. I know that here only the blind man sings, even in rain The notes of drenched violins rise like warped mirrors' and the last clouds part slowly, like a cracked wheel.

maybe the apple was actually a cock and maybe eve wanted it because adam was too busy, self-absorbed, and distracted to fuck her? maybe the original sin was a man taking a woman for granted • i’ve always liked serpents

Love that bore me I bear back to my Origin with no loss, I float over the vomiter thrilled with my deathlessness, thrilled with this endlessness I dice and bury, come Poet shut up eat my word, and taste my mouth in your ear.

Some poems survive it to become poems in another language,” he argued, “but others refuse to live in any language but their own, in which case the translator can manage no more than a reproduction, an effigy, of the original.

Our two hearts, they have bloomed in the garden - there where our souls; in red roses originate.

One honest John Tompkins, a hedger & ditcher, Although he was poor, did not want to be richer; For all such vain wishes in him were prevented By a fortunate habit of being contented.

The effect of studying masterpieces is to make me admire and do otherwise. So it must be on every original artist to some degree, on me to a marked degree. (from notes on 'Heraclitean Fire')

The water nymphs who came to Poseidon explained how little they desired to couple with the gods. Except to find out whether it was different, whether there was a fresh world, another dimension in their loins. In the old Pittsburgh, we dreamed of a city where women read Proust in the original French, and wondered whether we would cross over into a different joy if we paid a call girl a thousand dollars for a night. Or an hour. Would it be different in kind or only tricks and apparatus? I worried that a great love might make everything else an exile. It turned out that being together at twilight in the olive groves of Umbria did, indeed, measure everything after that.

At any time, and under any circumstances of human interest, is it not strange to see how little real hold the objects of the natural world amid which we live can gain on our hearts and minds? We go to Nature for comfort in trouble, and sympathy in joy, only in books. Admiration of those beauties of the inanimate world, which modern poetry so largely and so eloquently describes, is not, even in the best of us, one of the original instincts of our nature.

When Adam ate the irrevocable apple, Thou Saw'st beyond death the resurrection of the dead

I might call forth a river of expressed silence, or pile up a mountain of visible dreams. Whatever exists is already there; let’s create something beyond it.

Let’s do something, let us bring forth something new that has never existed.

I might call forth a river of expressed silence, or pile up a mountain of visible dreams.

She was an extravagantly slender girl. Her ribs showed. The conspicuous knobs of her hipbones framed a hollowed abdomen, so flat as to belie the notion of "belly." Her exquisite bone structure immediately slipped into a novel - became in fact the secret structure of that novel, besides supporting a number of poems.

They blew up your homes and demolished the grocery / stores and blocked the Red Cross and took away doctors / to jail and they cluster-bombed girls and boys / whose bodies / swelled purple and black into twice the original size / and tore the buttocks from a four month old baby / and then / they said this was brilliant

Actually, this is a poem my father once showed me, a long time ago. It has been bastardized many times, in many ways, but this is the original: The Cold Within Six men trapped by happenstance, in bleak and bitter cold Each possessed a stick of wood, or so the story's told. Their dying fire in need of logs, the first man held his back For of the faces round the fire, he noticed one was black. One man looking cross the way, saw one not of his church And could not bring himself to give the fire his stick of birch. The third one sat in tattered clothes, he gave his coat a hitch Why should his log be put to use to warm the idle rich? The rich man just sat back and thought of the wealth he had in store And how to keep what he had earned from the lazy, shiftless poor. The black man's face bespoke revenge as the fire passed from his sight, For all he saw in his stick of wood was a chance to spite the white. And the last man of this forlorn group did naught except for gain, Giving only to those who gave, was how he played the game The logs held tight, in death's still hands, was proof of human sin They didn't die from the cold without, they died from the cold within.

Problems are the poetry of chess. They demand from the composer the same virtues that characterize all worthwhile art: originality, invention, harmony, conciseness, complexity, and splendid insincerity.

For centuries, human beings have cultivated a habit of rivalry against their neighbors. This behavior originates in the fight for survival, a legacy that our founding fathers and forgers of humanity established in our society as a pillar of growth: “the law of the fittest." Our planet has lived under this scourge and conditioning of spirits for almost all of its existence. We fervently believe that our goal is immediate success, the fruit of our effort at any price, and we forget the essentials of this life. The essential thing is not written in any book displayed on the shelves of the human indoctrination industry; it is in our hearts! That small part is what we need to discover, not only to evolve our consciousness, but also to understand the true meaning of word love" From the book Say it by its name

People think genius a fine thing if it enables a man to write an exciting poem, or paint a picture, But in its true sense, that of originality in thought and action, though no one says that it is not a thing to be admired, nearly all, at heart, think that they can do very well without it. Unhappily this is too natural to be wondered at. Originality is the one thing which unoriginal minds cannot feel the use of. They cannot see what it is to do for them: how should they? If they could see what it would do for them, it would not be originality.

The Bible says, “We are God’s workmanship, created in Christ Jesus to do good works.”1 Our English word poem comes from the Greek word translated “workmanship.” You are God’s handcrafted work of art. You are not an assembly-line product, mass produced without thought. You are a custom-designed, one-of-a-kind, original masterpiece.

It’s jam every other day: to-day isn’t any other day, you know.

Oh dear! Oh dear! I shall be late!

Like a rose rabbi, later, I pursued, And still pursue, the origin and course Of love, but until now I never knew That fluttering things have so distinct a shade.

When she says margarita she means daiquiri. When she says quixotic she means mercurial. And when she says, "I'll never speak to you again," she means, "Put your arms around me from behind as I stand disconsolate at the window." He's supposed to know that. When a man loves a woman he is in New York and she is in Virginia or he is in Boston, writing, and she is in New York, reading, or she is wearing a sweater and sunglasses in Balboa Park and he is raking leaves in Ithaca or he is driving to East Hampton and she is standing disconsolate at the window overlooking the bay where a regatta of many-colored sails is going on while he is stuck in traffic on the Long Island Expressway. When a woman loves a man it is one ten in the morning she is asleep he is watching the ball scores and eating pretzels drinking lemonade and two hours later he wakes up and staggers into bed where she remains asleep and very warm. When she says tomorrow she means in three or four weeks. When she says, "We're talking about me now," he stops talking. Her best friend comes over and says, "Did somebody die?" When a woman loves a man, they have gone to swim naked in the stream on a glorious July day with the sound of the waterfall like a chuckle of water rushing over smooth rocks, and there is nothing alien in the universe. Ripe apples fall about them. What else can they do but eat? When he says, "Ours is a transitional era," "that's very original of you," she replies, dry as the martini he is sipping. They fight all the time It's fun What do I owe you? Let's start with an apology Ok, I'm sorry, you dickhead. A sign is held up saying "Laughter." It's a silent picture. "I've been fucked without a kiss," she says, "and you can quote me on that," which sounds great in an English accent. One year they broke up seven times and threatened to do it another nine times. When a woman loves a man, she wants him to meet her at the airport in a foreign country with a jeep. When a man loves a woman he's there. He doesn't complain that she's two hours late and there's nothing in the refrigerator. When a woman loves a man, she wants to stay awake. She's like a child crying at nightfall because she didn't want the day to end. When a man loves a woman, he watches her sleep, thinking: as midnight to the moon is sleep to the beloved. A thousand fireflies wink at him. The frogs sound like the string section of the orchestra warming up. The stars dangle down like earrings the shape of grapes.

To return to the moment of radical innocence. To paint. To stretch canvas. To find the point of originality. It wasn't a hippie idea. Both of us always hated the hippies, their flowers, their poems, their one idea. We were the furthest thing from hippies. We were the edge, the definers.

There is also a waka poem Akio penned for me: Now I understand It is all so clear to me August wind, rain, sleet I stopped believing in love Until I saw the leaves fall Poetry is kind of our thing. Originally, we were mortal enemies. Akio drove me nuts with his schedules, his overall gothic-novel vibe, and his eight inches of height over me. But now, our couple dynamic is fun-loving princess and gruff former bodyguard turned promising pilot who only shows his soft side to those closest to him. It really works for me.

Once on yellow sheet of paper with green lines, he wrote a poem and he called it “Spot” because that was the name of his dog and that’s what it was all about and his teacher gave him an “A” and a big gold star and his mother hung it on the kitchen cupboard and showed it to his aunt and that was the year his sister was born-and his parents kissed all the time and the little girl around the corner sent him a postcard with a row of X’s on it and his father tucked him into bed at night and was always there. Then on a white sheet of paper with blue lines, he wrote another poem and he called it “Autumn” because that was the time of year and that’s what it was all about and his teacher gave him an “A” and told him to write more clearly and his mother told him not to hang it on the kitchen cupboard because it left marks and that was the year his sister got glasses and his parents never kissed anymore and the little girl around the corner laughed when he fell down with his bike and his father didn’t tuck him in at night. So, on another piece of paper torn from a notebook he wrote another poem and he called it “Absolutely Nothing” Because that’s what it was all about and his teach gave him an “A” and a hard searching look and he didn’t show it to his mother and that was the year he caught his sister necking on the back porch and the little girl around the corner wore too much make-up so that he laughed when he kissed her but he kissed her anyway and he tucked himself in bed at three AM with his father snoring loudly in the next room Finally, on the inside of a matchbook he wrote another poem and he called it “?” because that’s what it was all about And he gave himself an “A” and a slash on each wrist and hung it on the bathroom mirror Because he couldn’t make it to the kitchen.

Most Western Christians—and most Western non-Christians, for that matter—in fact suppose that Christianity was committed to at least a soft version of Plato’s position. A good many Christian hymns and poems wander off unthinkingly in the direction of Gnosticism. The “just passing through” spirituality (as in the spiritual “This world is not my home, / I’m just a’passin’ through”), though it has some affinities with classical Christianity, encourages precisely a Gnostic attitude: the created world is at best irrelevant, at worst a dark, evil, gloomy place, and we immortal souls, who existed originally in a different sphere, are looking forward to returning to it as soon as we’re allowed to. A massive assumption has been made in Western Christianity that the purpose of being a Christian is simply, or at least mainly, to “go to heaven when you die,” and texts that don’t say that but that mention heaven are read as if they did say it, and texts that say the opposite, like Romans 8:18–25 and Revelation 21–22, are simply screened out as if they didn’t exist.13

Sidney remembered how strikingly original the poem was. For George Herbert, the time we spend on earth is not all too brief and transient but too long: because it detains human beings from a life outside time and with God.

this is actualy a poem we have been called naive as if it were a dirty word, whe have been called innocent as though with shame our cheeks should burn so we visit with the careful idols of cynisism to learn to sneer and pant and walk so as not to feel the scales of judgement rub wrongly but we say some things must remain simple some things must remain untouched and pure lest we all forget the legacy we begot us the health of our origins the poetry of our fundemental selves

A feeling, for which I have no name, has taken possession of my soul —a sensation which will admit of no analysis, to which the lessons of bygone times are inadequate, and for which I fear futurity itself will offer me no key. To a mind constituted like my own, the latter consideration is an evil. I shall never—I know that I shall never—be satisfied with regard to the nature of my conceptions. Yet it is not wonderful that these conceptions are indefinite, since they have their origin in sources so utterly novel. A new sense—a new entity is added to my soul.

But my research had taught me that the tissue of contradictions that was my personality was itself, at best, a poem, where “poem” is understood as referring to a failure of language to be equal to the possibilities it figures; only then could my fraudulence be a project and not merely a pathology; only then could my distance from myself be redescribed as critical, aesthetic, as opposed to a side effect of what experts might call my substance problem, felicitous phrase, the origins of which lay not in my desire to evade reality, but in my desire to have a chemical excuse for reality’s unavailability.

There is nothing original about human behavior. Any idea I have is likely occurring to scores of others in my demographic categories. We live in similar ways, think similar thoughts. What the eluders want to restore, I suspect, is the uniqueness they felt before counting like ours revealed that they were an awful lot like everyone else. But where the eluders have it wrong is that quantifiability doesn’t make human life any less remarkable, or even (this is counterintuitive, I know) less mysterious—any more than identifying the rhyme scheme in a poem devalues the poem itself. The opposite! Mysteries that are destroyed by measurement were never truly mysterious; only our ignorance made them seem so. They are like whodunits after you know who did it. Does anyone reread a murder mystery? Whereas the cosmos has been mysterious to humans since long before we knew anything about astronomy or space—and, now that we do, is only more so.

I read your poems with interest and found them serious, original, linguistically fresh, but first of all you must learn to curb your excess of emotion and write with more distance. As if you the person writing the poems and you the suffering young man are two different people, and as though the former observes the latter coolly, distantly, even with a measure of amusement.

Suppose That I'm Inevitable Suppose that I'm inevitable Even the veins of my right hand Cross you from the drafts. On my smooth nails The breeze Which is not from the sky Is curving you Either the veins of my right hand Is running short On my pulse. Rolled along my fingers Vanished Not repeated forever For the second. I'm a half Since the first. The veins of my neck cross you all. If the warmth of my ten fingers Seized on your torn pieces of breath All is over With the dead-end alleys all in oblivion. (TRANSLATED FROM ORIGINAL PERSIAN INTO ENGLISH BY ROSA JAMALI)

Mountain Center" Maureen McLane The cords are strong a loose weave strung between white pines. Now I will offer a transcript of today’s news and you’ll know it as conceptual poetry as this hammock is a plagiarism of all other hammocks in all poems & the world. My dream of originality a copy of an idea no one had. Like everyone “I have wasted my life.” Magpie day mockingbird night cuckoo mind

Memories are better than life. Nothing I'm part of is good until later. I love what time does. I make decisions on the basis of sensing what will produce the best memory. They're my finest works: all that multidimensional and liquid maze of experience minus the fear and uncertainty, or with the fear and uncertainty changed to something else. Because they're already finished. I made them up and they comprise me. It's as if experience is only the dark, chaotic factory where these little infinity jewels are pressed into being. Everyone is the poet of their memories. Usually it's better to get things over with so you have the memory. But like the best poems, they're also never really finished because they gain new meaning as time reveals them in different lights. Maybe every memory is inside you from the beginning; they erupt and branch and merge in fantastic patterns, but if you really tried you could trace any one of them back to the same original. Maybe the best ones are all the same: of being born. Or dying, or whatever it is.

Edwards’s stark presentation of the immanent consciousness of Separation enters the structure of her poems. Each word is a cipher, through its sensible sign another sign hidden. The recipient of a letter, or combination of letter and poem from Emily Dickinson, was forced much like Edwards’ listening congregation, through shock and through subtraction of the ordinary, to a new way of perceiving. Subject and object were fused at that moment, into the immediate feeling of understanding. This re-ordering of the forward process of reading is what makes her poetry and the prose of her letters among the most original writing of her century.

So tired am I, so weary of to-day, So unrefreshed from foregone weariness, So overburdened by foreseen distress, So lagging and so stumbling on my way, I scarce can rouse myself to watch or pray, To hope, or aim, or toil for more or less,-- Ah, always less and less, even while I press Forward and toil and aim as best I may. Half-starved of soul and heartsick utterly, Yet lift I up my heart and soul and eyes Which fail in looking upward

One cannot say that a major poet writes better poems than a minor; on the contrary the chances are that, in the course of his lifetime, the major poet will write more bad poems than the minor.... To qualify as major, a poet, it seems to me, must satisfy about three and a half of the following five conditions. 1. He must write a lot. 2. His poems must show a wide range in subject matter and treatment. 3. He must exhibit an unmistakable originality of vision and style. 4. He must be a master of verse technique. 5. In the case of all poets we distinguish between their juvenilia and their mature work, but [the major poet's] process of maturing continues until he dies....

In the infancy of society every author is necessarily a poet, because language itself is poetry; and to be a poet is to apprehend the true and the beautiful, in a word, the good which exists in the relation, subsisting, first between existence and perception, and secondly between perception and expression. Every original language near to its source is in itself the chaos of a cyclic poem: the copiousness of lexicography and the distinctions of grammar are the works of a later age, and are merely the catalogue and the form of the creations of poetry.

The concept of an author, the single creative person who gives the text 'authority', only comes later in this period. Most Old English poetry is anonymous, even though names which are in no way comparable, such as Caedmon and Deor, are used to identify single texts. Caedmon and Deor might indeed be as mythical as Grendel, might be the originators of the texts which bear their names, or, in Deor's case only, the persona whose first-person voice narrates the poem. Only Cynewulf 'signed' his works, anticipating the role of the 'author' by some four hundred years.

The novel, then, provides a reduction of the world different from that of the treatise. It has to lie. Words, thoughts, patterns of word and thought, are enemies of truth, if you identify that with what may be had by phenomenological reductions. Sartre was always, as he explains in his autobiography, aware of their being at variance with reality. One remembers the comic account of this antipathy in Iris Murdoch Under the Net, one of the few truly philosophical novels in English; truth would be found only in a silent poem or a silent novel. As soon as it speaks, begins to be a novel, it imposes causality and concordance, development, character, a past which matters and a future within certain broad limits determined by the project of the author rather than that of the characters. They have their choices, but the novel has its end. * ____________________ * There is a remarkable passage in Ortega y Gasset London essay ' History as a System' (in Philosophy and History, ed. Klibansky and Paton, 1936) which very clearly states the issues more notoriously formulated by Sartre. Ortega is discussing man's duty to make himself. 'I invent projects of being and doing in the light of circumstance. This alone I come upon, this alone is given me: circumstance. It is too often forgotten that man is impossible without imagination, without the capacity to invent for himself a conception of life, to "ideate" the character he is going to be. Whether he be original or a plagiarist, man is the novelist of himself... Among... possibilities I must choose. Hence, I am free. But, be it well understood, I am free by compulsion, whether I wish to be or not... To be free means to be lacking in constitutive identity, not to have subscribed to a determined being, to be able to be other than what one was...' This 'constitutive instability' is the human property lacking in the novels condemned by Sartre and Murdoch. Ortega differs from Sartre on the use of the past; but when he says that his free man is, willy-nilly, 'a second-hand God,' creating his own entity, he is very close to Sartre, who says that to be is to be like the hero in a novel. In one instance the eidetic image is of God, in the other of the Hero.

The Latin Church, which I constantly find myself admiring, despite its occasional astounding imbecilities, has always kept clearly before it the fact that religion is not a syllogism, but a poem. It is accused by Protestant dervishes of withholding the Bible from the people. To some extent this is true; to some extent the church is wise; again to the same extent it is prosperous. ... Rome indeed has not only preserved the original poetry of Christianity; it has also made capital additions to that poetry -- for example, the poetry of the saints, of Mary, and of the liturgy itself. A solemn high mass is a thousand times as impressive, to a man with any genuine religious sense in him, as the most powerful sermon ever roared under the big top by Presbyterian auctioneer of God. In the face of such overwhelming beauty it is not necessary to belabor the faithful with logic; they are better convinced by letting them alone. Preaching is not an essential part of the Latin ceremonial. It was very little employed in the early church, and I am convinced that good effects would flow from abandoning it today, or, at all events, reducing it to a few sentences, more or less formal. In the United States the Latin brethren have been seduced by the example of the Protestants, who commonly transform an act of worship into a puerile intellectual exercise; instead of approaching God in fear and wonder these Protestants settle back in their pews, cross their legs, and listen to an ignoramus try to prove that he is a better theologian than the Pope. This folly the Romans now slide into. Their clergy begin to grow argumentative, doctrinaire, ridiculous. It is a pity. A bishop in his robes, playing his part in the solemn ceremonial of the mass, is a dignified spectacle; the same bishop, bawling against Darwin half an hour later, is seen to be simply an elderly Irishman with a bald head, the son of a respectable police sergeant in South Bend, Ind. Let the reverend fathers go back to Bach. If they keep on spoiling poetry and spouting ideas, the day will come when some extra-bombastic deacon will astound humanity and insult God by proposing to translate the liturgy into American, that all the faithful may be convinced by it.

Lost In black as solid as a mire In a land no one would die for In a time I was lost To anyone who ever loved me The world set itself on fire And the sky collapsed above me In a place no one could call home In a place I breathed and slept In a battle no one understood That continued all the same I sat defenseless and alone With the insignificance of my name In the midst of the Lord’s birth On a night meant to be peaceful In a country of the Prophet Where women don’t live free I spoke to God from the shaking Earth And prayed my mother would forgive me In a city without power In a desert torn by religion In a bank between two rivers We added up the decade’s cost And glorified the final hour Of a war that everyone had lost In the dust of helplessness In a concrete bunker In a fate I chose myself I waited without remorse To fight again as recompense For wasted lives and discourse -an original poem about an attack on our base in Iraq during the Arab Spring

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

A poem to Raymond, whom everybody loves, originally composed on a waterproof smartphone in a sea of love, which was hidden under the pile of garbage that my bum-pals that have no pen names, or pen-pals, or names, for that matter, brought to me as an offering on the 1st of April 1877, exactly 111 years and 7 months before I was brought forth to this world, because some anonymous prophet told them this would bring luck, joy, happiness, food, and, of course – shelter from evil (he was lying): If it's fantasy you seek, to E. Feist then, you must speak. All he writes is all there is, for his words, they move the seas. . I would write, but I know naught. In my heart there is a draught. Hidden desert - golden sands. Few my love can ever stand. And so far I've talked to many, a reply - will there be any? I know - not, yet I know naught, all to question, I was taught... So I learn, I borrow wisdom, from the great, the ones with vision. They can teach, the few that grasp, concepts from a long forgotten past.

But Wordsworth stuck with me when he said, “Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity.” This book is a spontaneous overflow in the middle of chaos, not tranquillity. So it’s not a poem to you. It’s a half poem. It’s a “po.” It’s a Poehler po. Wordsworth also said that the best part of a person’s life is “his little, nameless, unremembered, acts of kindness and of love.” I look forward to reading a book one day in which someone lists mine. I feel like I may have failed to do so. Either way, it’s obvious I am currently on a Wordsworth kick and this should give you literary confidence as you read Yes Please. The

Our most heated argument concerned the preponderance of women in my epic and Athene’s ubiquity, and the precedence given to famous women when Odysseus meets the ghosts of the departed. I had mentioned only Tyro, Antiope, Alcmene, Jocasta, Chloris, Leda, Iphimedeia, Phaedra, Procris, Ariadne, Maera, Clymene and, naturally, Eriphyle, and let Odysseus describe them to Alcinous. “My dear Princess,” said Phemius, “if you really think that you can pass off this poem as the work of a man, you deceive yourself. A man would give pride of place to the ghosts of Agamemnon, Achilles, Ajax, Odysseus’s old comrades, and other more ancient heroes such as Minos, Orion, Tityus, Salmoneus, Tantalus, Sisyphus and Hercules; and mention their wives and mothers incidentally, if at all; and make at least one god help Odysseus at some stage or other.” I admitted the force of his argument, which explains why, now, Odysseus first meets a comrade who has fallen off a roof at Circe’s house—I call him Elpenor—and cracks a mild joke about Elpenor’s having come more quickly to the Grove of Persephone by land than he by sea. I also allow Alcinous to ask after Agamemnon, Achilles and the rest, and Odysseus to satisfy his curiosity. For Phemius’s sake I have even let Hermes supply the moly in passages adapted from my uncle Mentor’s story of Ulysses. In my original version I had given all the credit to Athene.

The Pleiades and northern lights are still above the mountain. The mountain is in the east, and on its slopes there are reindeer. Reindeer always remind me of trees that have taken to moving. They remind me even more of trees than people do. In the distant past, reindeer were trees as people were, but they haven't come such a long way from their origins, and the branches can be seen although they no longer bear leaves. I have my bedtime book in my hand and my pocket light and walk toward the mountain over the edges of the moorland in rubber boots. The book is a relative of mine, I feel; it is made out of trees and human thought, and thus the relationship becomes twofold. These are ancient poems that I am taking to the mountains and the reindeer.

Pearl introduces an original story, in a form which was to become one of the most frequent in mediaeval literature, the dream-vision. Authors like Chaucer and Langland use this form, in which the narrator describes another world - usually a heavenly paradise - which is compared with the earthly human world. In Pearl, the narrator sees his daughter who died in infancy, 'the ground of all my bliss'. She now has a kind of perfect knowledge, which her father can never comprehend. The whole poem underlines the divide between human comprehension and perfection; these lines show the gap between possible perfection and fallen humanity which, thematically, anticipate many literary examinations of man's fall, the most well known being Milton's late Renaissance epic, Paradise Lost.

This poetry is utilitarian—heavy-duty, industrial strength poetry. It is meant to be read aloud and, even better, memorized and recited. It is best used in the natural world where there are starlit skies, the warmth of blazing fires, and sounds and sights of open expanse. This book is meant to be carried with you in the glove box of a pickup truck, the back pocket of a worn pair of pants, even a saddlebag. It is not made to take up space on a library shelf, squeezed between other unread volumes. Take it along; you never know when the opportunity will be just right. Nothing pleases more than to see copies of the book twice as thick as the original from continued page turning, with turned-down corners marking favorite poems, or the whole shape curved to match the owner’s posterior.

And the son bursting into his father's house, killing him, and at the same time not killing him, this is not even a novel, not a poem, it is a sphinx posing riddles, which it, of course, will not solve itself. If he killed him, he killed him; how can it be that he killed him and yet did not kill him--who can understand that? Then it is announced to us that our tribune is the tribune of truth and sensible ideas, and so from this tribune of 'sensible ideas' an axiom resounds, accompanied by an oath, that to call the murder of a father parricide is simply a prejudice! But if parricide is a prejudice, and if every child ought to ask his father, 'Father, why should I love you?'--what will become of us, what will become of the foundations of society, where will the family end up? Parricide--don't you see, it's just the 'brimstone' of some Moscow merchant's wife? The most precious, the most sacred precepts concerning the purpose and future of the Russian courts are presented perversely and frivolously, only to achieve a certain end, to achieve the acquittal of that which cannot be acquitted. 'Oh, overwhelm him with mercy,' the defense attorney exclaims, and that is just what the criminal wants, and tomorrow everyone will see how overwhelmed he is! And is the defense attorney not being too modest in asking only for the defendant's acquittal? Why does he not ask that a fund be established in the parricide's name, in order to immortalize his deed for posterity and the younger generation? The Gospel and religion are corrected: it's all mysticism, he says, and ours is the only true Christianity, tested by the analysis of reason and sensible ideas. And so a false image of Christ is held up to us! With what measure ye mete, it shall be measured to you,' the defense attorney exclaims, and concludes then and there that Christ commanded us to measure with the same measure as it is measured to us--and that from the tribune of truth and sensible ideas! We glance into the Gospel only on the eve of our speeches, in order to make a brilliant display of our familiarity with what is, after all, a rather original work, which may prove useful and serve for a certain effect, in good measure, all in good measure! Yet Christ tells us precisely not to do so, to beware of doing so, because that is what the wicked world does, whereas we must forgive and turn our cheek, and not measure with the same measure as our offenders measure to us. This is what our God taught us, and not that it is a prejudice to forbid children to kill their own fathers. And let us not, from the rostrum of truth and sensible ideas, correct the Gospel of our God, whom the defense attorney deems worthy of being called merely 'the crucified lover of mankind,' in opposition to the whole of Orthodox Russia, which calls out to him: 'For thou art our God...!

Every year there was an important poetry contest at the fair of ‘Ukaz, just outside Mecca, and the winning poems were embroidered in gold on fine black cloth and hung on the walls of the Kabah. Muhammad’s followers would, therefore, have been able to pick up verbal signals in the text that are lost in translation. They found that themes, words, phrases, and sound patterns recurred again and again—like the variations in a piece of music, which subtly amplify the original melody, and add layer upon layer of complexity. The Qur’an was deliberately repetitive; its ideas, images, and stories were bound together by these internal echoes, which reinforced its central teaching with instructive shifts of emphasis. They linked passages that initially seemed separate, and integrated the different strands of the text, as one verse delicately qualified and supplemented others. The Qur’an was not imparting factual information that could be conveyed instantaneously. Like Muhammad, listeners had to absorb its teachings slowly; their understanding would grow more profound and mature over time, and the rich, allusive language and rhythms of the Qur’an helped them to slow down their mental processes and enter a different mode of consciousness.

On a spring day in 1988…a Massachusetts man who collected books about local history was rummaging through a bin in a New Hampshire antiques barn when something caught his eye. Beneath texts on fertilizers and farm machines lay a slim, worn pamphlet with tea-colored paper covers, titled Tamerlane and Other Poems, by an unnamed author identified simply as “a Bostonian.” He was fairly certain he had found something exceptional, paid the $15 price, and headed home, where Tamerlane would spend only one night. The next day, he contacted Sotheby’s, and they confirmed his suspicion that he had just made one of the most exciting book discoveries in years. The pamphlet was a copy of Edgar Allan Poe’s first text, written when he was only fourteen years old, a find that fortune-seeking collectors have imagined happening upon probably more than they’d like to admit. The humble-looking, forty-page pamphlet was published in 1827 by Calvin F.S. Thomas, a relatively unknown Boston printer who specialized in apothecary labels, and its original price was about twelve cents. But this copy, looking good for its 161 years, most of which were probably spent languishing in one dusty attic box after another, would soon be auctioned for a staggering $198,000.

At some point, I realized that museums and libraries (in what I imagine must have been either a hard-won gesture of goodwill, or in order not to appear irrelevant) had removed many nineteenth-century historically specific markers--such as slave, colored, and Negro--from their titles or archives, and replaced these words instead with the sanitized, but perhaps equally vapid, African-American. In order to replace this historical erasure of slavery (however well intended), I re-erased the postmodern African-American, then changed those titles back. That is, I re-corrected the corrected horror in order to allow that original worry to stand. My intent was to explore and record not only the history of human thought, but also how normative and complicit artists, curators, and art institutions have been in participating in--if not creating--this history.

And if I am not mistaken here is the secret of the greatness that was Spain. In Spain it is men that are the poems, the pictures and the buildings. Men are its philosophies. They lived, these Spaniards of the Golden Age; they felt and did; they did not think. Life was what they sought and found, life in its turmoil, its fervour and its variety. Passion was the seed that brought them forth and passion was the flower they bore. But passion alone cannot give rise to a great art. In the arts the Spaniards invented nothing. They did little in any of those they practised, but give a local colour to a virtuosity they borrowed from abroad. Their literature, as I have ventured to remark, was not of the highest rank; they were taught to paint by foreign masters, but, inapt pupils, gave birth to one painter only of the very first class; they owed their architecture to the Moors, the French and the Italians, and the works themselves produced were best when they departed least from their patterns. Their preeminence was great, but it lay in another direction: it was a preeminence of character. In this I think they have been surpassed by none and equalled only by the ancient Romans. It looks as though all the energy, all the originality, of this vigorous race had been disposed to one end and one end only, the creation of man. It is not in art that they excelled, they excelled in what is greater than art--in man. But it is thought that has the last word.

For a while, every smart and shy eccentric from Bobby Fischer to Bill Gate was hastily fitted with this label, and many were more or less believably retrofitted, including Isaac Newton, Edgar Allen Pie, Michelangelo, and Virginia Woolf. Newton had great trouble forming friendships and probably remained celibate. In Poe's poem Alone, he wrote that "All I lov'd - I lov'd alone." Michelangelo is said to have written "I have no friends of any sort and I don't want any." Woolf killed herself. Asperger's disorder, once considered a sub-type of autism, was named after the Austrian pediatrician Hans Asperger, a pioneer, in the 1940s, in identifying and describing autism. Unlike other early researchers, according to the neurologist and author Oliver Sacks, Asperger felt that autistic people could have beneficial talents, especially what he called a "particular originality of thought" that was often beautiful and pure, unfiltered by culture of discretion, unafraid to grasp at extremely unconventional ideas. Nearly every autistic person that Sacks observed appeard happiest when alone. The word "autism" is derived from autos, the Greek word for "self." "The cure for Asperger's syndrome is very simple," wrote Tony Attwood, a psychologist and Asperger's expert who lives in Australia. The solution is to leave the person alone. "You cannot have a social deficit when you are alone. You cannot have a communication problem when you are alone. All the diagnostic criteria dissolve in solitude." Officially, Asperger's disorder no longer exists as a diagnostic category. The diagnosis, having been inconsistently applied, was replaced, with clarified criteria, in the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders; Asperger's is now grouped under the umbrella term Autism Spectrum Disorder, or ASD.

They say the world will end soon. They say that the nuclear weapons made, Due to fearing 'the other', Has become a curse, a plague, a scourge On those who made them Even more than those they were made to scare... And I wonder: Will the nuclear weapons be the cause of world’s end? Or will world’s end be caused by humanity’s fear, complicity, and submission? And if what they say is true, Before the world ends and before I die, I wish to drink one last cup of cardamom-flavored tea Taste one last fig, peach, or apricot, Smell a quince, Dip one last piece of bread In Palestinian thyme and olive oil… Before the world ends, I wish to smell a few pine needles, To breathe the smell of the first rain shower After a long, hot, and dry summer… Before the world ends and before I die, I wish to read one more book Out of the thousands of books that I still want to read… Before the world ends and before I die, I ask for one more spring To smell bunches of Iraqi narcissus flowers. I want to live one more autumn, To enjoy the magical colors Of the dying leaves on the trees As they challenge death with beauty Right before falling on the grounds of indifference… But my biggest wish before I die is For my death not to be the end of the world… [Original poem published in Arabic on October 13 at ahewar.org]

Dryden was a highly prolific literary figure, a professional writer who was at the centre of all the greatest debates of his time: the end of the Commonwealth, the return of the monarch, the political and religious upheavals of the 1680s, and the specifically literary questions of neoclassicism opposed to more modern trends. He was Poet Laureate from 1668, but lost this position in 1688 on the overthrow of James II. Dryden had become Catholic in 1685, and his allegorical poem The Hind and the Panther (1687) discusses the complex issues of religion and politics in an attempt to reconcile bitterly opposed factions. This contains a well-known line which anticipates Wordsworth more than a century later: 'By education most have been misled … / And thus the child imposes on the man'. The poem shows an awareness of change as one grows older, and the impossibility of holding one view for a lifetime: My thoughtless youth was winged with vain desires, My manhood, long misled by wandering fires, Followed false lights… After 1688, Dryden returned to the theatre, which had given him many of his early successes in tragedy, tragi-comedy, and comedy, as well as with adaptations of Shakespeare. ...... Dryden was an innovator, leading the move from heroic couplets to blank verse in drama, and at the centre of the intellectual debates of the Augustan age. He experimented with verse forms throughout his writing life until Fables Ancient and Modern (1700), which brings together critical, translated, and original works, in a fitting conclusion to a varied career.

A sixteenth-century poet, especially one who knew that he ought to be a curious and universal scholar, would possess some notions, perhaps not strictly philosophical, about the origin of the world and its end, the eduction of forms from matter, and the relation of such forms to the higher forms which are the model of the world and have their being in the mind of God. He might well be a poet to brood on those great complementary opposites: the earthly and heavenly cities, unity and multiplicity, light and dark, equity and justice, continuity--as triumphantly exhibited in his own Empress--and ends--as sadly exhibited in his own Empress. Like St. Augustine he will see mutability as the condition of all created things, which are immersed in time. Time, he knows, will have a stop--perhaps, on some of the evidence, quite soon. Yet there is other evidence to suggest that this is not so. It will seem to him, at any rate, that his poem should in part rest on some poetic generalization-some fiction--which reconciles these opposites, and helps to make sense of the discords, ethical, political, legal, and so forth, which, in its completeness, it had to contain. This may stand as a rough account of Spenser's mood when he worked out the sections of his poem which treat of the Garden of Adonis and the trial of Mutability, the first dealing with the sempiternity of earthly forms, and the second with the dilation of being in these forms under the shadow of a final end. Perhaps the refinements upon, and the substitutes for, Augustine's explanations of the first matter and its potentialities, do not directly concern him; as an allegorist he may think most readily of these potentialities in a quasi-Augustinian way as seeds, seminal reasons, plants tended in a seminarium. But he will distinguish, as his commentators often fail to do, these forms or formulae from the heavenly forms, and allow them the kind of immortality that is open to them, that of athanasia rather than of aei einai. And an obvious place to talk about them would be in the discussion of love, since without the agency represented by Venus there would be no eduction of forms from the prime matter. Elsewhere he would have to confront the problem of Plato's two kinds of eternity; the answer to Mutability is that the creation is deathless, but the last stanzas explain that this is not to grant them the condition of being-for-ever.

Poet's Note: Kindly do not use my poem without giving me due credit. Do not use bits and pieces to suit your agenda of Kashmir whatever it may be. I, Srividya Srinivasan as the creator of this poem own the right to what I have chosen to feel about the issue and have represented all sides to a complex problem that involves people. I do not believe in war or violence of any kind and this is my compassionate side speaking from all angles to human beings thinking they own only their side to the story. THIS POEM IS THE ORIGINAL WORK OF SRIVIDYA SRINIVASAN and any misuse by you shall be considered as a violation of my copyrights and legally actionable. This poem is dedicated to all those who have suffered in Kashmir and through Kashmir and to not be sliced and interpreted to each one's convenience. ---------------------------- Weep softly O mother, the walls have ears you know... The streets are awash o mother! I cannot go searching for him anymore. The streets are awash o mother with blood and tears, pellets and screams. that silently remain locked in the air, while they seal our soulless dreams. The guns are out, O mother, while our boys go armed with stones, I cannot go looking for him O mother, I have no courage to face what I will find. For, I need to tend to this little one beside, with bound eyes that see no more. ----- Weep for the home we lost O mother, Weep for the valley we left behind, the hills that once bore our names, where shoulder to shoulder, we walked the vales, proud of our heritage. Hunted out of our very homes, flying like thieves in the night, abandoning it all, fearful for the lives of our men, fearful of our being raped, our children killed, Kafirs they called us O mother, they marked our homes to kill. We now haunt the streets of other cities, refugees in a country we call our own, belonging nowhere, feeling homeless without the land we once called home. ------------- Weep loudly O mother, for the nation hears our pain. As the fresh flag moulds his cold body, I know his sacrifice was not in vain. We need to put our chins up, O mother and face this moment with pride. For blood is blood, and pain is pain, and death is final, The false story we must tell ourselves is that we are always the right side, and forget the pain we inflict on the other side. Until it all stops, it must go on, the dry tears on either side, Every war and battle is within and without, and must claim its wounds and leave its scars, And, if we need to go on O mother, it matters we feel we are on the right side. We need to tell ourselves we are always the right sight... We need to repeat it a million times, We are always the right side... For god forbid, what if we were not? --- Request you to read the full poem on my website.

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.