Sanity Poetic Quotes

As his rendition quietened, he recalled her words from a time in their earliest meetings. How music gave her life. Gave her reason. Gave her purpose. How in her solitary state, the sounds that she’d summoned, were a company of sanity. A body of a million notes, written and played by her and for her. It was her air. Just as she was his. Her presence, his music.

There is nothing sane, merciful, heroic, devout, redemptive, wise, holy, loving, peaceful, joyous, righteous, gracious, remotely spiritual, or worthy of praise where mass murder is concerned. We have been in this world long enough to know that by now and to understand that nonviolent conflict resolution informed by mutual compassion is the far better option.

Wherever she sought solitude, she was never alone. Suddenly that wasn't a bad thing. There was safety in numbers greater than one and sanity in knowing that everyone healed. If everyone has scars, there are two choices. Bleed to death slowly or stitch yourself together.

Let us begin, then, with the mad-house; from this evil and fantastic inn let us set forth on our intellectual journey. Now, if we are to glance at the philosophy of sanity, the first thing to do in the matter is to blot out one big and common mistake. There is a notion adrift everywhere that imagination, especially mystical imagination, is dangerous to man’s mental balance. Poets are commonly spoken of as psychologically unreliable; and generally there is a vague association between wreathing laurels in your hair and sticking straws in it. Facts and history utterly contradict this view. Most of the very great poets have been not only sane, but extremely business-like; and if Shakespeare ever really held horses, it was because he was much the safest man to hold them. Imagination does not breed insanity. Exactly what does breed insanity is reason. Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers; but creative artists very seldom. I am not, as will be seen, in any sense attacking logic: I only say that this danger does lie in logic, not in imagination. Artistic paternity is as wholesome as physical paternity. Moreover, it is worthy of remark that when a poet really was morbid it was commonly because he had some weak spot of rationality on his brain. Poe, for instance, really was morbid; not because he was poetical, but because he was specially analytical. Even chess was too poetical for him; he disliked chess because it was full of knights and castles, like a poem. He avowedly preferred the black discs of draughts, because they were more like the mere black dots on a diagram. Perhaps the strongest case of all is this: that only one great English poet went mad, Cowper. And he was definitely driven mad by logic, by the ugly and alien logic of predestination. Poetry was not the disease, but the medicine; poetry partly kept him in health. He could sometimes forget the red and thirsty hell to which his hideous necessitarianism dragged him among the wide waters and the white flat lilies of the Ouse. He was damned by John Calvin; he was almost saved by John Gilpin. Everywhere we see that men do not go mad by dreaming. Critics are much madder than poets. Homer is complete and calm enough; it is his critics who tear him into extravagant tatters. Shakespeare is quite himself; it is only some of his critics who have discovered that he was somebody else. And though St. John the Evangelist saw many strange monsters in his vision, he saw no creature so wild as one of his own commentators. The general fact is simple. Poetry is sane because it floats easily in an infinite sea; reason seeks to cross the infinite sea, and so make it finite. The result is mental exhaustion, like the physical exhaustion of Mr. Holbein. To accept everything is an exercise, to understand everything a strain. The poet only desires exaltation and expansion, a world to stretch himself in. The poet only asks to get his head into the heavens. It is the logician who seeks to get the heavens into his head. And it is his head that splits.

Cassandra, foreseeing not the end of Troy, but the end of everything that came after Troy. The victory of Greece remains the most important victory of our history; it not only inspired the first text of Western literature but perhaps is the very text of ‘the West’ itself. This victory, prefigured in the mad rants of the woman who defied the god of truth, could not have been won if anyone had listened to Cassandra. But then again, she did not die before she took her madness into the heart of Greece: it echoed through Agamemnon’s palace, through Aeschylus’s Oresteia, continued as shout and murmur through literature. Nonetheless, the book that frames these screams is called (defiantly perhaps?) a science, and gay.

we find madness and sanity in each other