Rhyme With Hate Quotes

I hate the way you talk to me And the way you cut your hair I hate the way you drive my car I hate it when you stare I hate your big dumb combat boots And the way you read my mind I hate you so much, that it makes me sick And even makes me rhyme I hate the way you're always right I hate it when you lie I hate it when you make me laugh Even worse when you make me cry I hate it when you not around And the fact that you didn't call But mostly I hate the way I don't hate you Not even close Not even a little bit Not even at all

He's never going to sit at my feet and write me poems, which is good because I hate poetry, except dirty ones that rhyme.

I’m not a woman you bring home to Mother, pick out china patterns with, or Mary forefend, breed. I’ve seen a chunk of the universe, true, but there’s still so much more to see. I doubt I’ll ever cure this wanderlust, and I’m content with dedicating my life to failing to sate it... He’s never going to sit at my feet and write me poems, which is good because I hate poetry, except dirty ones that rhyme.

whatever is profound loves masks; what is most profound even hates image and parable.

The color of one's creed, neckties, eyes, thoughts, manners, speech, is sure to meet somewhere in time of space with a fatal objection from a mob that hates that particular tone. And the more brilliant, the more unusual the man, the nearer he is to the stake. Stranger always rhymes with danger. The meek prophet, the enchanter in his cave, the indignant artist, the nonconforming little schoolboy, all share in the same sacred danger. And this being so, let us bless them, let us bless the freak; for in the natural evolution of things, the ape would perhaps never have become man had not a freak appeared in the family.

I like Clary," he said simply. "She always tries to do what's right, and she never lets anyone else tell her what right is. She reminds my parabatai that he wants to live. Occasionally I wish she'd take fewer mad risks, but if I hated reckless crazy-brave people, I'd hate..." "Let me guess," said Simon. "His name rhymes with Face Herringfail." Alec laughed and Simon mentally congratulated himself.

(a) Are the skies you sleep under likely to open up for weeks on end? (b) Is the ground you walk on likely to tremble and split? (c) Is there a chance (and please check the box, no matter how small that chance seems) that the ominous mountain casting a midday shadow over your home might one day erupt with no rhyme or reason? Because if the answer is yes to one or all of these questions, then the life you lead is a midnight thing, always a hair's breadth from the witching hour; it is volatile, it is threadbare; it is carefree in the true sense of that term; it is light, losable like a key or a hair clip. And it is lethargy: why not sit all morning, all day, all year, under the same cypress tree drawing the figure eight in the dust? More than that, it is disaster, it is chaos: why not overthrow a government on a whim, why not blind the man you hate, why not go mad, go gibbering through the town like a loon, waving your hands, tearing your hair? There's nothing to stop you---or rather anything could stop you, any hour, any minute. That feeling. That's the real difference in a life.

No thanky-you; you can't overcome hatred with more hatred. Force can kill the liar but not the lie, the hater but not the hate, and the violent but not the violence. Hate begets hate, violence begets violence, and war begets war.

the more I get to know Ray, the more I hate him. The bastard is rude, crude and lewd. He’s not a good dude. Yep, Dr. Seuss could write a series of adult rhyming books about that creep.

I've heard you say so many a time That I know just the right words to say, just the right lines to rhyme... Today it's been 7 years since we last met I have learnt to say just the wrong words, just the lines you hate....

There are many shades in the danger of adventures and gales, and it is only now and then that there appears on the face of facts a sinister violence of intention- that indefinable something which forces it upon the mind and the heart of a man, that this complication of accidents or these elemental furies are coming at him with a purpose of malice, with a strength beyond control, with an unbridled cruelty that means to tear out of him his hope and his fear, the pain of his fatigue and his longing for rest: which means to smash, to destroy, to annihilate all he has seen, known, loved, enjoyed, or hated; all that is priceless and necessary- the sunshine, the memories, the future,- which means to sweep the whole precious world utterly away from his sight by the simple and appalling act of taking his life.

To make my body a temple pure Wherein I dwell serene; To care for the things that shall endure, The simple, sweet and clean. To oust out envy and hate and rage, To breathe with no alarm; For Nature shall be my anchorage, And none shall do me harm.

She dared to cry? On this day of all days? I was the one who would be married at sunset, and I hadn't let myself cry in five years. There was ice in my lungs and in my heart. I was floating. I was swept away, and out of the cold I spoke to her in a voice as soft as snow, the gentle and obedient voice I had used to consent to every order that Father and Aunt Telomache ever gave me, every order that they would never give Astraia because they actually loved her. "You know, that Rhyme is a lie that Aunt Telomache only told you because you weren't strong enough to bear the truth." I had thought the words so often, they felt like nothing in my mouth, like no more than a breath of air, and as easily as breathing I went on. "The truth is, Mother died because of you, and now I have to die for your sake, too. And neither one of us will ever forgive you." Then I shoved her aside and strode out of the room.

I scooted out of the laundry room and skipped down the hallway, arms flaying around my head like one of the hot pink puppets from the movie Labyrinth. “A scent and a sound, I’m lost and I’m found. And I’m hungry like the wolf. Something on a line, it’s discord and rhyme—whatever, whatever, la la la—Mouth is alive, all running inside, and I’m hungry like the—” Warmth spread down my neck. “It’s actually, ‘I howl and I whine. I’m after you,’ and not blah or whatever.” Startled by the deep voice, I shrieked and whipped around. My foot slipped on a section of well-cleaned wood and my butt smacked on the floor. “Holy crap,” I gasped, clutching my chest. “I think I’m having a heart attack.” “And I think you broke your butt.” Laughter filled Daemon’s voice. I remained sprawled across the narrow hallway, trying to catch my breath. “What the hell? Do you just walk into people’s houses?” “And listen to girls absolutely destroy a song in a matter of seconds? Well, yes, I make a habit out of it. Actually, I knocked several times, but I heard your…singing, and your door was unlocked.” He shrugged. “So I just let myself in.” “I can see that.” I stood, wincing. “Oh, man, maybe I did break my butt.” “I hope not. I’m kind of partial to your butt.” He flashed a smile. “Your face is pretty red. You sure you didn’t smack that on the way down?” I groaned. “I hate you.

Oh, these men of former times knew how to dream and did not find it necessary to go to sleep first. And we men of today still master this art all too well, despite all of our good will toward the day and staying awake. It is quite enough to love, to hate, to desire, simply to feel--and right away the spirit and power of the dream overcome us, and with our eyes open, coldly contemptuous of all danger, we climb up on the most hazardous paths to scale the roofs and spires of fantasy--without any sense of dizziness, as if we had been born to climb, we somnambulists of the day! We artists! We ignore what is natural. We are moonstruck and God-struck. We wander, still as death, unwearied, on heights that we do not see as heights but as plains, as our safety.

What the Motorcycle Said Br-r-r-am-m-m, rackerty-am-m, OM, AM: All-r-r-room, r-r-ram, ala-bas-ter- Am, the world’s my oyster. I hate plastic, wear it black and slick, hate hardhats, wear one on my head, That’s what the motorcycle said. Passed phonies in Fords, knockede down billboards, landed On the other side of The Gap, and Whee, bypassed history. When I was born (The Past), baby knew best. They shook when I bawled, took Freud’s path, threw away their wrath. R-r-rackety-am-m. Am. War, rhyme, soap, meat, marriage, the Phantom Jet are sh*t, and like that. Hate pompousness, punishment, patience, am into Love, hate middle-class moneymakers, live on Dad, that’s what the motorcycle said. Br-r-r-am-m-m. It’s Nowsville, man. Passed Oldies, Uglies, Straighties, Honkies. I’ll never be mean, tired, or unsexy. Passed cigarette suckers, souses, mother-fuckers, losers, went back to Nature and found how to get VD, stoned. Passed a cow, too fast to hear her moo, “I rolled our leaves of grass into one ball. I am the grassy All.” Br-r-r-am-m-m, rackety-am-m, OM, Am: All-gr-r-rin, oooohgah, gl-l-utton- Am, the world’s my smilebutton.

What rhymes with insensitive?” I tap my pen on the kitchen table, beyond frustrated with my current task. Who knew rhyming was so fucking difficult? Garrett, who’s dicing onions at the counter, glances over. “Sensitive,” he says helpfully. “Yes, G, I’ll be sure to rhyme insensitive with sensitive. Gold star for you.” On the other side of the kitchen, Tucker finishes loading the dishwasher and turns to frown at me. “What the hell are you doing over there, anyway? You’ve been scribbling on that notepad for the past hour.” “I’m writing a love poem,” I answer without thinking. Then I slam my lips together, realizing what I’ve done. Dead silence crashes over the kitchen. Garrett and Tucker exchange a look. An extremely long look. Then, perfectly synchronized, their heads shift in my direction, and they stare at me as if I’ve just escaped from a mental institution. I may as well have. There’s no other reason for why I’m voluntarily writing poetry right now. And that’s not even the craziest item on Grace’s list. That’s right. I said it. List. The little brat texted me not one, not two, but six tasks to complete before she agrees to a date. Or maybe gestures is a better way to phrase it... “I just have one question,” Garrett starts. “Really?” Tuck says. “Because I have many.” Sighing, I put my pen down. “Go ahead. Get it out of your systems.” Garrett crosses his arms. “This is for a chick, right? Because if you’re doing it for funsies, then that’s just plain weird.” “It’s for Grace,” I reply through clenched teeth. My best friend nods solemnly. Then he keels over. Asshole. I scowl as he clutches his side, his broad back shuddering with each bellowing laugh. And even while racked with laughter, he manages to pull his phone from his pocket and start typing. “What are you doing?” I demand. “Texting Wellsy. She needs to know this.” “I hate you.” I’m so busy glaring at Garrett that I don’t notice what Tucker’s up to until it’s too late. He snatches the notepad from the table, studies it, and hoots loudly. “Holy shit. G, he rhymed jackass with Cutlass.” “Cutlass?” Garrett wheezes. “Like the sword?” “The car,” I mutter. “I was comparing her lips to this cherry-red Cutlass I fixed up when I was a kid. Drawing on my own experience, that kind of thing.” Tucker shakes his head in exasperation. “You should have compared them to cherries, dumbass.” He’s right. I should have. I’m a terrible poet and I do know it. “Hey,” I say as inspiration strikes. “What if I steal the words to “Amazing Grace”? I can change it to…um…Terrific Grace.” “Yup,” Garrett cracks. “Pure gold right there. Terrific Grace.” I ponder the next line. “How sweet…” “Your ass,” Tucker supplies. Garrett snorts. “Brilliant minds at work. Terrific Grace, how sweet your ass.” He types on his phone again. “Jesus Christ, will you quit dictating this conversation to Hannah?” I grumble. “Bros before hos, dude.” “Call my girlfriend a ho one more time and you won’t have a bro.” Tucker chuckles. “Seriously, why are you writing poetry for this chick?” “Because I’m trying to win her back. This is one of her requirements.” That gets Garrett’s attention. He perks up, phone poised in hand as he asks, “What are the other ones?” “None of your fucking business.” “Golly gee, if you do half as good a job on those as you’re doing with this epic poem, then you’ll get her back in no time!” I give him the finger. “Sarcasm not appreciated.” Then I swipe the notepad from Tuck’s hand and head for the doorway. “PS? Next time either of you need to score points with your ladies? Don’t ask me for help. Jackasses.” Their wild laughter follows me all the way upstairs. I duck into my room and kick the door shut, then spend the next hour typing up the sorriest excuse for poetry on my laptop. Jesus. I’m putting more effort into this damn poem than for my actual classes.

I hate the way you talk to me, and the way you cut your hair I hate the way you drive my car. I hate it when you stare. I hate your big dumb combat boots, and the way you read my mind. I hate you so much it makes me sick; it even makes me rhyme! I hate it, I hate the way you’re always right. I hate it when you lie. I hate it when you make me laugh, even worse when you make me cry. I hate it when you’re not around, and the fact that you didn’t call. But mostly I hate the way I don’t hate you. Not even close, not even a little bit, not even at all.

Straining to hear, I can make out something acoustic. Coming from...the backyard? I glance down from my bedroom window and feel my jaw fall open. Matt Finch is standing below my window, guitar strapped across his chest. I pull my window up, and I expect the song from that old movie - the one about a guy with a trench coat and the big radio and his heart on his sleeve. But it's not that. It's not anything I recognise, and I strain to make out the lyrics: Stop being ridiculous, stop being ridiculous, Reagan. What an asshole. The mesh screen and two floors between us don't seem like enough to protect him from my anger. "Nice apology," I call down to him. "I've apologised thirteen times," he yells back, "and so far you haven't called me back." I open my mouth to say it doesn't matter, but he's already redirecting the song. "Now I'm gonna stand here until you forgive me," he sings loudly, "or at least until you hear me out, la-la, oh-la-la. I drove seven hours overnight, and I won't leave until you come out here." (...) "This is private property!" My throat feel coarse from how loudly I'm yelling. "And that doesn't even rhyme!" The guitar chord continues as he sings, "Then call the cops, call the cops, call the cops..." I storm downstairs, my feet pounding against the staircase. When I turn the corner, my dad looks almost amused from his seat in the recliner. Noticing my expression, he stares back at his newspaper, as if I won't notice him. (...) "Dad. How did Matt know which window was mine?" "Well..." he peeks over the sports section. "I reckon I told him." "You talked to him?" My voice is no longer a voice. It's a shriek. "God, Dad!" He juts out his chin, defensive. "How was I supposed to know you had some sort of drama with him? He shows up, lookin' to serenade my daughter. Thought it seemed innocent enough. Sweet, even. Old-fashioned." "It's not any of those things! I hate him!

Sometimes quiet is violent I find it hard to hide it My pride is no longer inside It's on my sleeve My skin will scream reminding me of Who I killed inside my dream I hate this car that I'm driving There's no hiding for me I'm forced to deal with what I feel There is no distraction to mask what is real I could pull the steering wheel I have these thoughts, so often I ought To replace that slot with what I once bought 'Cause somebody stole my car radio And now I just sit in silence I ponder of something terrifying 'Cause this time there's no sound to hide behind I find over the course of our human existence One thing consists of consistence And it's that we're all battling fear Oh dear, I don't know if we know why we're here Oh my, too deep, please stop thinking I liked it better when my car had sound There are things we can do But from the things that work there are only two And from the two that we choose to do Peace will win and fear will lose It is faith and there's sleep We need to pick one please because Faith is to be awake And to be awake is for us to think And for us to think is to be alive And I will try with every rhyme To come across like I am dying To let you know you need to try to think I have these thoughts, so often I ought To replace that slot with what I once bought 'Cause somebody stole my car radio And now I just sit in silence

I would let the whole town think I’m a madwoman and a murderer, let it scorn and reject me, let its children compose hateful rhymes to be sung whilst jumping rope.

because, no matter how he’d come to hate her, he was also, even now, trying to impress her and win her praise, bringing her his Bertrand Russell papers as mother-flattering evidence of his outsize intellect, constructing his rhyme schemes.

Whoever knows that he is profound strives for clarity; whoever would like the crowd to think he is profound strives for obscurity. The reason for this is that the crowd thinks something is profound whenever it cannot see to the bottom of it; it is afraid of the water and hates to get its feet wet.

I never went to college. I don’t believe in college for writers. I think too many professors are too opinionated and too snobbish and too intellectual. And the intellect is a great danger to creativity because you begin to rationalize and make up reasons for things instead of staying with your own basic truth--- who you are, what you are, what you wanna be. I’ve had a sign over my typewriter for twenty-five years now which reads, “Don’t think.” You must never think at the typewriter--- you must feel, and your intellect is always buried in that feeling anyway. You collect up a lot of data, you do a lot of thinking away from the typewriter, but at the typewriter you should be living. It should be a living experience. The worst thing you do when you think is lie — you can make up reasons that are not true for the things that you did, and what you’re trying to do as a creative person is surprise yourself — find out who you really are, and try not to lie, try to tell the truth all the time. And the only way to do this is by being very active and very emotional, and get it out of yourself — making things that you hate and things that you love, you write about these then, intensely. When it’s over, then you can think about it; then you can look, it works or it doesn’t work, something is missing here. And, if something is missing, then you go back and reemotionalize that part, so it’s all of a piece. But thinking is to be a corrective in our life. It’s not supposed to be a center of our life. Living is supposed to be the center of our life, being is supposed to be the center, with correctives around, which hold us like the skin holds our blood and our flesh in. But our skin is not a way of life. The way of living is the blood pumping through our veins, the ability to sense and to feel and to know, and the intellect doesn’t help you very much there. You should get on with the business of living. Everything of mine is intuitive. All the poetry I’ve written, I couldn’t possibly tell you how I did it. I don’t know anything about the rhythms or the schemes or the inner rhymes or any of these sorts of thing. It comes from 40 years of reading poetry and having heroes that I loved. I love Shakespeare, I don’t Intellectualize about him. I love Gerard Manley Hopkins, I don’t intellectualize about him. I love Dylan Thomas, I don’t know what the hell he’s writing about half the time, but he sounds good, he rings well. Let me give you an example on this sort of thing: I walked into my living room twenty years ago, when one of my daughters was about four years old, and a Dylan Thomas record was on the set. I thought that my wife had put the record on; come to find out my four-year-old had put on his record. I came into the room, she pointed to the record and said, ‘He knows what he’s doing.’ Now, that’s great. See, that’s not intellectualizing, it’s an emotional reaction. If there is no feeling, there cannot be great art.” 

I work with a great deal of discipline, although I usually take on more than I can handle and often have to extend due dates. I have always been appalled by bohemianism because of its laziness, disorder, and moral weakness. I understand that this way of living is a response to the fact of human frailty, but it leans too far in one direction. Being a little more buttoned up doesn’t mean that you’ll get so brittle that you’ll break. Nor does it mean that you don’t understand tragedy, loss, and, most of all, human limitation. I am more than well aware of those things and I feel very strongly, but on the other hand I like to run ten miles and return to a spotless well-ordered room, and I like my shirts heavily starched. When I used to go on a long run on Sunday morning when I lived on the Upper West Side, I would pass thousands and thousands of people in restaurants eating . . . (I won’t say this word, because I hate it so much, but it rhymes with hunch, and it’s a disgusting meal that is supposed to be both breakfast and lunch). There they were—having slept for five hours while I was doing calisthenics and running—unshaven (the women too), bleary eyed, surrounded by newspapers scattered as if in a hamster cage, smoking noxious French cigarettes, and drinking Bloody Marys while they ate huge quantities of fat. They looked to me like a movie version of South American bandits. I would never want to be like that. I prefer to live like a British soldier.

Meanwhile, as one contemporary noted, the sheer number of British biographies of Napoleon published in the years after 1797 meant that they had ‘to out-Herod each other in the representations they give alike of the hateful and malignant cast of his features, and of the deformity and depravity of his moral character’.55 As well as newspapers, caricatures, books and even nursery rhymes, Napoleon was the regular butt of British ballads, songs and poems. In an age when absolutely everything was regarded as a fit subject for an ode – one was entitled ‘On a Drunken Old Woman Who was Accidentally Drowned on a Ferry Crossing’ – Napoleon’s supposed crimes excited an avalanche of poetry, none of it memorable.

There was nothing negative about the whore in the ancient world; Her title Hierodule of Heaven means sacred work or servant of the holy in Greek. The word prostitute means to stand on behalf of (the Goddess) in Hebrew the word zona is used for both Prophetess and Priestess. Even that wonderful word harlot (rhymes with scarlet) means priestess of Hathoor. It is essential that the Goddess-hating negativity of Christianity is washed away from these words. Even the term virgin means ever creative receptive potential, it is definitely not a physical state. In many cultures virgin simply meant un-married, and children born out of wedlock were called virgin-born – that puts rather a different slant on the story of Joseph and Mary. More often than not virgin was used to contrast with married, and the Holy Whore is very much her own woman.

The book treats, in fantastical terms, the dread problems of excessive specialization, lack of communication, conformity, cupidity, and all the alarming ills of our time. Things have gone from bad to worse to ugly. The dumbing down of America is proceeding apace. Juster’s allegorical monsters have become all too real. The Demons of Ignorance, the Gross Exaggeration (whose wicked teeth were made “only to mangle the truth”), and the shabby Threadbare Excuse are inside the walls of the Kingdom of Wisdom, while the Gorgons of Hate and Malice, the Overbearing Know-it-all, and most especially the Triple Demons of Compromise are already established in high office all over the world. The fair princesses, Rhyme and Reason, have obviously been banished yet again. We need Milo! We need him and his endearing buddies, Tock the watchdog and the Humbug, to rescue them once more. We need them to clamber aboard the dear little electric car and wind their way around the Doldrums, the Foothills of Confusion, and the Mountains of Ignorance, up into the Castle in the Air, where Rhyme and Reason are imprisoned, so they can restore them to us.

Reason No. 1. Overcoming the fear of losing money. I have never met anyone who really likes losing money. And in all my years, I have never met a rich person who has never lost money. But I have met a lot of poor people who have never lost a dime. . .investing, that is. The fear of losing money is real. Everyone has it. Even the rich. But it's not fear that is the problem. It's how you handle fear. It's how you handle losing. It's how you handle failure that makes the difference in one's life. That goes for anything in life, not just money. The primary difference between a rich person and a poor person is how they handle that fear. It's OK to be fearful. It's OK to be a coward when it comes to money. You can still be rich. We're all heroes at something and cowards at something else. My friend's wife is an emergency room nurse. When ; she sees blood, she flies into action. When I mention investing, she runs'j away. When I see blood, I don't run. I pass out. My rich dad understood phobias about money. "Some people are terrified of snakes. Some people are terrified about losing money. Both are phobias," he would say. So his solution to the phobia of losing money was this little rhyme: "If you hate risk and worry. . .start early.

The Fool's Interruption. It is not a misanthrope who has written this book: the hatred of men costs too dear today. To hate as they formerly hated man, in the fashion of Timon, completely, without qualification, with all the heart, from the pure love of hatred - for that purpose one would have to renounce contempt: - and how much refined pleasure, how much patience, how much benevolence even, do we owe to contempt! Moreover we are thereby the "elect of God": refined contempt is our taste and privilege, our art, our virtue perhaps, we, the most modern amongst the moderns!... Hatred, on the contrary, makes equal, it puts men face to face, in hatred there is honour; finally, in hatred there is fear, quite a large amount of fear. We fearless ones, however, we, the most intellectual men of the period, know our advantage well enough to live without fear as the most intellectual persons of this age. People will not easily behead us, shut us up, or banish us; they will not even ban or burn our books. The age loves intellect, it loves us, and needs us, even when we have to give it to understand that we are artists in despising; that all intercourse with men is something of a horror to us; that with all our gentleness, patience, humanity and courteousness, we cannot persuade our nose to abandon its prejudice against the proximity of man; that we love nature the more, the less humanly things are done by her, and that we love art when it is the flight of the artist from man, or the raillery of the artist at man, or the raillery of the artist at himself...

The intellectual conscience. I keep having the same experience and keep resisting it every time. I do not want to believe it although it is palpable: the great majority of people lacks an intellectual conscience. Indeed, it has often seemed to me as if anyone calling for an intellectual conscience were as lonely in the most densely populated cities as if he were in a desert. Everybody looks at you with strange eyes and goes right on handling his scales, calling this good and that evil. Nobody even blushes when you intimate that their weights are under-weight; nor do people feel outraged; they merely laugh at your doubts. I mean: the great majority of people does not consider it contemptible to believe this or that and to live accordingly, without first having given themselves an account of the final and most certain reasons pro and con, and without even troubling themselves about such reasons afterward: the most gifted men and the noblest women still belong to this "great majority." But what is goodheartedness, refinement, or genius to me, when the person who has these virtues tolerates slack feelings in his faith and judgments and when he does not account the desire for certainty as his inmost craving and deepest distress-as that which separates the higher human beings from the lower. Among some pious people I found a hatred of reason and was well disposed to them for that; for this at least betrayed their bad intellectual conscience. But to stand in the midst of this rerum concordia discors and of this whole marvelous uncertainty and rich ambiguity of existence without questioning, without trembling with the craving and the rapture of such questioning, without at least hating the person who questions, perhaps even finding him faintly amusing - that is what l feel to be contemptible, and this is the feeling for which I look first in everybody. Some folly keeps persuading me that every human being has this feeling, simply because be is human. This is my type of injustice.

Farewell, ye gilded follies, pleasing troubles; Farewell, ye honour'd rags, ye glorious bubbles; Fame's but a hollow echo, Gold, pure clay; Honour the darling but of one short day; Beauty, th' eye's idol, but a damask'd skin; State, but a golden prison, to live in And torture free-born minds; embroider'd Trains, Merely but pageants for proud swelling veins; And Blood allied to greatness is alone Inherited, not purchas'd, nor our own. Fame, Honour, Beauty, State, Train, Blood and Birth, Are but the fading blossoms of the earth. I would be great, but that the sun doth still Level his rays against the rising hill: I would be high, but see the proudest oak Most subject to the rending thunder-stroke: I would be rich, but see men, too unkind Dig in the bowels of the richest mind: I would be wise, but that I often see The fox suspected, whilst the ass goes free: I would be fair, but see the fair and proud, Like the bright sun, oft setting in a cloud: I would be poor, but know the humble grass Still trampled on by each unworthy ass: Rich, hated wise, suspected, scorn'd if poor; Great, fear'd, fair, tempted, high, still envy'd more. I have wish'd all, but now I wish for neither. Great, high, rich, wise, nor fair: poor I'll be rather. Would the World now adopt me for her heir; Would beauty's Queen entitle me the fair; Fame speak me fortune's minion, could I " vie Angels " with India with a speaking eye Command bare heads, bow'd knees, strike justice dumb, As well as blind and lame, or give a tongue To stones by epitaphs, be call'd " great master " In the loose rhymes of every poetaster ? Could I be more than any man that lives, Great, fair, rich wise, all in superlatives; Yet I more freely would these gifts resign Than ever fortune would have made them mine. And hold one minute of this holy leisure Beyond the riches of this empty pleasure. Welcome, pure thoughts; welcome, ye silent groves; These guests, these courts, my soul most dearly loves. Now the wing'd people of the sky shall sing My cheerful anthems to the gladsome spring: A pray'r-book, now, shall be my looking-glass, In which I will adore sweet virtue's face. Here dwell no hateful looks, no palace cares, No broken vows dwell here, nor pale-fac'd fears; Then here I'll sit, and sigh my hot love's folly, And learn t' affect an holy melancholy: And if contentment be a stranger then, I'll ne'er look for it, but in heaven, again.

I’m sure we can manage to tolerate each other’s company for one meal.” “I won’t say anything about farming. We can discuss other subjects. I have a vast and complex array of interests.” “Such as?” Mr. Ravenel considered that. “Never mind, I don’t have a vast array of interests. But I feel like the kind of man who does.” Amused despite herself, Phoebe smiled reluctantly. “Aside from my children, I have no interests.” “Thank God. I hate stimulating conversation. My mind isn’t deep enough to float a straw.” Phoebe did enjoy a man with a sense of humor. Perhaps this dinner wouldn’t be as dreadful as she’d thought. “You’ll be glad to hear, then, that I haven’t read a book in months.” “I haven’t gone to a classical music concert in years,” he said. “Too many moments of ‘clap here, not there.’ It makes me nervous.” “I’m afraid we can’t discuss art, either. I find symbolism exhausting.” “Then I assume you don’t like poetry.” “No . . . unless it rhymes.” “I happen to write poetry,” Ravenel said gravely. Heaven help me, Phoebe thought, the momentary fun vanishing. Years ago, when she’d first entered society, it had seemed as if every young man she met at a ball or dinner was an amateur poet. They had insisted on quoting their own poems, filled with bombast about starlight and dewdrops and lost love, in the hopes of impressing her with how sensitive they were. Apparently, the fad had not ended yet. “Do you?” she asked without enthusiasm, praying silently that he wouldn’t offer to recite any of it. “Yes. Shall I recite a line or two?” Repressing a sigh, Phoebe shaped her mouth into a polite curve. “By all means.” “It’s from an unfinished work.” Looking solemn, Mr. Ravenel began, “There once was a young man named Bruce . . . whose trousers were always too loose.” Phoebe willed herself not to encourage him by laughing. She heard a quiet cough of amusement behind her and deduced that one of the footmen had overheard. “Mr. Ravenel,” she asked, “have you forgotten this is a formal dinner?” His eyes glinted with mischief. “Help me with the next line.” “Absolutely not.” “I dare you.” Phoebe ignored him, meticulously spreading her napkin over her lap. “I double dare you,” he persisted. “Really, you are the most . . . oh, very well.” Phoebe took a sip of water while mulling over words. After setting down the glass, she said, “One day he bent over, while picking a clover.” Ravenel absently fingered the stem of an empty crystal goblet. After a moment, he said triumphantly, “. . . and a bee stung him on the caboose.” Phoebe almost choked on a laugh. “Could we at least pretend to be dignified?” she begged. “But it’s going to be such a long dinner.

As Henny sat before her teacup and the steam rose from it and the treacherous foam gathered, uncollectible round its edge, the thousand storms of her confined life would rise up before her, thinner illusions on the steam. She did not laugh at the words "a storm in a teacup." Some raucous, cruel words about five cents misspent were as serious in a woman's life as a debate on war appropriations in Congress: all the civil war of ten years roared into their smoky words when they shrieked, maddened, at each other; all the snakes of hate hissed. Cells are covered with the rhymes of the condemned, so was this house with Henny's life sentence, invisible but thick as woven fabric.

So his solution to the phobia of losing money was this little rhyme: “If you hate risk and worry, start early.” If you start young, it’s easier to be rich.

prophetic and scarily pertinent to late-nineties urban living. The book treats, in fantastical terms, the dread problems of excessive specialization, lack of communication, conformity, cupidity, and all the alarming ills of our time. Things have gone from bad to worse to ugly. The dumbing down of America is proceeding apace. Juster’s allegorical monsters have become all too real. The Demons of Ignorance, the Gross Exaggeration (whose wicked teeth were made “only to mangle the truth”), and the shabby Threadbare Excuse are inside the walls of the Kingdom of Wisdom, while the Gorgons of Hate and Malice, the Overbearing Know-it-all, and most especially the Triple Demons of Compromise are already established in high office all over the world. The fair princesses, Rhyme and Reason, have obviously been banished yet again. We need Milo! We need him and his endearing buddies, Tock the watchdog and the Humbug, to rescue them once more. We need them to clamber aboard the dear little electric car and wind their way around the Doldrums, the Foothills of Confusion, and the Mountains of Ignorance, up into the Castle in the Air, where Rhyme and Reason are imprisoned, so they can restore them to us.

Twinkle twinkle valiant star, ever wonder what you are! Far past the freeze and hate, lever of love, you're world lifter.

Twinkle twinkle valiant star, ever wonder what you are! Far past the freeze and hate, lever of love, you're world lifter. Up above the jungle tribes, like a diamond in the sky, to be a star you gotta burn, in your light the world unites.

When intolerance reigns as law, centuries old and millennia old civilizations suffer equally together.

Come, let's hoist together the colors of all! World belongs to none, if it doesn't belong to all.

Ellie Wasserman: Raging Man-Hating Rhymes-with-Witch." "But that's so wrong," Ellie said indignantly. "I'm not a misandrist. I was just trying to get my work done. Isn't that what you pay me for?" Tad pressed his forehead into his palms. "I take your point, Ellie, but the last time I checked, having a public temper tantrum wasn't in your job description. I'm surprised, and I'm disappointed." The last word was like a needle, and Ellie instantly deflated.

Shall I Compare thee to a Hashtag Hater? Shall I compare thee to a hashtag hater? Thou art less self-promoting and gots no marketing skillz, bitch. My razor wit tumbles thy humongous ass off thy high horse; Even Frank's makes better sauce than thy lame sauciness. Sometime my hot-wing-ed words set you aflame, And the kickass rhymes I bust dull thy bleak provincial mind. In every bullshit hate you chant, thou art abated, Hung by thine own petards, ye redneck retards. But thy noisome toll shall soon fade; With every hateful word ye spout, my followers grow boundless; Death shall boast that thou wand’rest in his shade, As Time, O wisest judge, diminishes thee in his eternal lines. So long as men can breathe, or eyes can see, My wit and my poetry, shall make short shrift of thee.

INTERNAL RHYME Also known as a MIDDLE RHYME. Internal rhymes are also used frequently and occur when a rhyme exists within a single line. Internal rhymes are very effective in adding emphasis and speeding up the pace of the rhythm.   I see no changes all I see is racist faces/ Misplaced hate makes disgrace to races[6]/

Partisanship is but hateful poetry often engaged in by those without any talent for rhyme.

World belongs to none, if it doesn't belong to all.

Then the floodgates opened. No rhyme or reason for it. Maybe it was her sister’s strong, soft voice—she hated feeling like she’d gotten in trouble. Maybe it was the lack of sleep. Or maybe it was that she was facing down her belief system, the core of herself, that she’d been holding onto so tightly, and it was crumbling.

He hated songs like that, the kinds that should stay in nursery rhymes and bedtime stories. Fee-Fi-Fo-Fum… He was plagued by them.

But of my bad nights I made only one rhyme and it repeated itself to me time and again: Mortality And error, Partiality, And terror. It is not a terrible thing to love the world, knowing that the world is always passing and irrecoverable, to be known only in loss. To love anything good, at any cost, is a bargain. It is a terrible thing to love the world, knowing that you are a human and therefore joined by kind to all that hates the world and hurries its passing—the violence and greed and falsehood that overcome the world that is meant to be overcome by love.