Solitary Flower Quotes

Never let me lose the marvel of your statue-like eyes, or the accent the solitary rose of your breath places on my cheek at night. I am afraid of being, on this shore, a branchless trunk, and what I most regret is having no flower, pulp, or clay for the worm of my despair. If you are my hidden treasure, if you are my cross, my dampened pain, if I am a dog, and you alone my master, never let me lose what I have gained, and adorn the branches of your river with leaves of my estranged Autumn.

The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other - child out of the womb, friend away from friend, moving from each other, each through his own pathway towards the goal-box of solitary death.

Wicca's temples are flowered-splashed meadows, forest, beaches, and deserts.

That perhaps is at the core of Wicca--it is a joyous union with nature. The earth is a manifestation of divine energy. Wicca's temples are flower-splashed meadows, forests, beaches, and deserts. When a Wicca is outdoors, she or he is actually surrounded by sanctity, much as is a Christian when entering a church or cathedral.

Much has been said of the aesthetic values of chanoyu- the love of the subdued and austere- most commonly characterized by the term, wabi. Wabi originally suggested an atmosphere of desolation, both in the sense of solitariness and in the sense of the poverty of things. In the long history of various Japanese arts, the sense of wabi gradually came to take on a positive meaning to be recognized for its profound religious sense. ...the related term, sabi,... It was mid-winter, and the water's surface was covered with the withered leaves of the of the lotuses. Suddenly I realized that the flowers had not simply dried up, but that they embodied, in their decomposition, the fullness of life that would emerge again in their natural beauty.

The brooks flow to their lover, the sea, and the flowers smile at the object of their passion, the light. The mist rolls down to its beloved, the valley. And I? In me is what brooks do not know, what flowers do not hear, what the mist does not apprehend. You see me alone in my love, solitary in my yearning.

New ideas, fragile as spring flowers, easily bruised by the tread of the multitude, may yet be cherished by the solitary wanderer.

Must we always be warned, and can we only fall on our knees when some one is there to tell us that God is passing by? If you have loved profoundly you have needed no one to tell you that your soul was a thing as great in itself as the world; that the stars, the flowers, the waves of night and sea were not solitary; that it was on the threshold of appearances that everything began, but nothing ended, and that the very lips you kissed belonged to a creature who was loftier, much purer, and much more beautiful than the one whom your arms enfolded.

Every Day You Play.... Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind.  The wind. I alone can contend against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here.  Oh, you do not run away. You will answer me to the last cry. Curl round me as though you were frightened. Even so, a strange shadow once ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the grey light unwinds in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other—child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death. But this was the counterweight, the act of binding and holding. As when men to keep from being swept overboard in the storm clutch at each other’s hands to resist being torn apart, so our bodies fused a link in the human chain

Various stars. Various kings. Various sunsets, signs, cursory insights. Many minute attentions, many knowledgeable watchers, Much cold, much overbearing darkness. Various long midwinter Glooms. Various Solitary and Terrible Stars. Many Frosty Nights, many previously Unseen Sky-flowers. Many people setting out (some of them kings) all clutching at stars. ... Various people coming home (some of them kings). Various headlights. Two or three children standing or sitting on the low wall. Various winds, the Sea Wind, the sound-laden Winds of Evening Blowing the stars toward them, bringing snow.

It was just this solitariness of love in which a priest's life could be like his Master's. It was not a solitude of atrophy, of negation, but of perpetual flowering.

it is a valuable lesson that should often be reinforced—that many who are faced with impending death, a disease that will likely take them in a year’s time, for example, quite often insist that their affliction is the best thing that ever happened to them. It takes the immediacy of mortality to remind them to watch the sunrise and the sunset, to note the solitary flower among the rocks, to appreciate those loved ones around them, to taste their food, and revel in the feel of a cool breeze.

For the city, his city, stood unchanging on the edge of time: the same burning dry city of his nocturnal terrors and the solitary pleasures of puberty, where flowers rusted and salt corroded, where nothing had happened for four centuries except a slow aging among withered laurels and putrefying swamps. In winter sudden devastating downpours flooded the latrines and turned the streets into sickening bogs. In summer an invisible dust as harsh as red-hot chalk was blown into even the best-protected corners of the imagination by mad winds that took the roofs off the houses and carried away children through the air.

Practice self-nurturing, not only to get you through hard times but to guide you into a loving relationship with yourself. When you follow through with a simple act like comforting yourself with homemade soup, bringing home a fragrant flower for your night table, or taking a sweet solitary walk in a beautiful place, then you get an experience of being kind to yourself that can answer all those questions about “what do they mean, love myself?” This question is more easily answered by doing than by thinking.

The journey simultaneously holds the contraries of solitary longing and relatedness to community, as Shaw tells us: “It’s an extraordinary, indigenous idea that to find an authentic center we have to wander lonely beaches and sleep under hedges, longing for something we know is lost. To make a place in us for a small, cultivated altar to the bird that flew away.” And, “This intensely mysterious experience is solitary in nature—a conscious break from society—but requires the warmth and subtlety of a return to community to help grow the seeds that can flower from such an experience.

Of course, I think Legna tops this particular cake. You see, when Mind Demons teleport, they have to remember to teleport their clothes with them.” “Oh no . . .” “Oh, yes. Noah’s coronation anniversary. There is an incredible celebration every ten years, and everyone goes, even the most solitary of us. Legna was sixteen years old, and she was running late just like any typical teenager. She exploded into the room. Mind you, the display of a teleport in someone so young is ten times what you see her cause now, so she had everyone’s attention. That youngling blushed bright red in places I never thought a woman could blush. It was a most enlightening moment.” “I’ll bet!” Isabella giggled, her skin flushing in sympathetic embarrassment. “The poor thing!” “Well, Noah responded very fast, so I assure you she only had time for a quick blush before he covered her in smoke, blocking her from a multitude of very astonished eyes. We do not tease her about it, however. Noah actually passed a law saying we could not. It was the only way he could get her to go out in public again. I am risking my peace of mind telling you this. One chuckle in front of her, little flower, and you will doom me. So please . . .

Sonnet of the Sweet Complaint" Never let me lose the marvel of your statue-like eyes, or the accent the solitary rose of your breath places on my cheek at night. I afraid of being, on this shore a branchless trunk, and what I most regret is having no flower, pulp, or clay for the worm of my despair. If you are my hidden treasure, if you are my gross, my dampened pain, if I am a dog, and you alone my master. Never let me lose what I have gained, and adorn the branches of your river with leaves of my estranged Autumn.

So love me Like a rainbow (It's your rain due to my sun) Love me Between two seasons (It's like two bodies that collide) Love me with your lips and not with your mouth (Your fire is the only one that touches me) Love me With your fingers and not your hand (And open me like the morning Wakes up the flower from its sorrow) Love me When the day is discreet Drink my shyness like dew And devastate my burned earth When the day comes to decline Love me In this ephemeral What is to be, what is not yet All I have of solitary Only speaks about your arms Love me In this hollow Love me In this space Where we can still grow For you are all that I embrace. ( I hear of voice in all the noise of the world.)

My solitary future looks bleak. But my future filled with my brother, my friends, her—there’s nothing fucking brighter. She’s the sun. I’m the dark. If she’s gone, I can kiss that fucking light away. Without her, I know I’ll never see it again.

The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other—child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death.

For the city, his city, stood unchanging on the edge of time: the same burning dry city of his nocturnal terrors and the solitary pleasures of puberty, where flowers rusted and salt corroded, where nothing happened for four centuries except a slow ageing among withered laurels and purifying swamps.

What You Should Know to be a Poet" all you can know about animals as persons. the names of trees and flowers and weeds. the names of stars and the movements of planets and the moon. your own six senses, with a watchful elegant mind. at least one kind of traditional magic: divination, astrology, the book of changes, the tarot; dreams. the illusory demons and the illusory shining gods. kiss the ass of the devil and eat sh*t; fuck his horny barbed cock, fuck the hag, and all the celestial angels and maidens perfum’d and golden- & then love the human: wives husbands and friends children’s games, comic books, bubble-gum, the weirdness of television and advertising. work long, dry hours of dull work swallowed and accepted and lived with and finally lovd. exhaustion, hunger, rest. the wild freedom of the dance, extasy silent solitary illumination, entasy real danger. gambles and the edge of death.

The bluish, pale face of the house rises above me like a wall of ice and the distant, solitary barking of an owl floats toward me. I half close my eyes. Over the damp dark of the garden flowers swing back and forth like small balloons. The solemn trees, each buried in a cloud of leaves, seem lost in sleep. It is late. I like in the grass, smoking, feeling at ease, pretending the end will be like this. Moonlight falls on my flesh. A breeze circles my wrist. I drift. I shiver. I know that soon the day will come to wash away the moon's white stain, that I shall walk in the morning sun invisible as anyone.

Their lives would not turn out as they dreamed. I understood this, even as mine had turned out far better than I would have hoped, had I permitted myself to hope for anything at all. I was the exception, I knew, and even my own good fortune I believed to be a fleeting moment in what would be a long, hard, solitary life.

Tomino’s Hell Elder sister vomits blood, younger sister’s breathing fire while sweet little Tomino just spits up the jewels. All alone does Tomino go falling into that hell, a hell of utter darkness, without even flowers. Is Tomino’s big sister the one who whips him? The purpose of the scourging hangs dark in his mind. Lashing and thrashing him, ah! But never quite shattering. One sure path to Avici, the eternal hell. Into that blackest of hells guide him now, I pray— to the golden sheep, to the nightingale. How much did he put in that leather pouch to prepare for his trek to the eternal hell? Spring is coming to the valley, to the wood, to the spiraling chasms of the blackest hell. The nightingale in her cage, the sheep aboard the wagon, and tears well up in the eyes of sweet little Tomino. Sing, o nightingale, in the vast, misty forest— he screams he only misses his little sister. His wailing desperation echoes throughout hell— a fox peony opens its golden petals. Down past the seven mountains and seven rivers of hell— the solitary journey of sweet little Tomino. If in this hell they be found, may they then come to me, please, those sharp spikes of punishment from Needle Mountain. Not just on some empty whim Is flesh pierced with blood-red pins: they serve as hellish signposts for sweet little Tomino. —translated by David Bowles June 29, 2014

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him

There is one in this tribe too often miserable - a child bereaved of both parents. None cares for this child: she is fed sometimes, but oftener forgotten: a hut rarely receives her: the hollow tree and chill cavern are her home. Forsaken, lost, and wandering, she lives more with the wild beast and bird than with her own kind. Hunger and cold are her comrades: sadness hovers over, and solitude besets her round. Unheeded and unvalued, she should die: but she both lives and grows: the green wilderness nurses her, and becomes to her a mother: feeds her on juicy berry, on saccharine root and nut. There is something in the air of this clime which fosters life kindly: there must be something, too, in its dews, which heals with sovereign balm. Its gentle seasons exaggerate no passion, no sense; its temperature tends to harmony; its breezes, you would say, bring down from heaven the germ of pure thought, and purer feeling. Not grotesquely fantastic are the forms of cliff and foliage; not violently vivid the colouring of flower and bird: in all the grandeur of these forests there is repose; in all their freshness there is tenderness. The gentle charm vouchsafed to flower and tree, - bestowed on deer and dove, - has not been denied to the human nursling. All solitary, she has sprung up straight and graceful. Nature cast her features in a fine mould; they have matured in their pure, accurate first lines, unaltered by the shocks of disease. No fierce dry blast has dealt rudely with the surface of her frame; no burning sun has crisped or withered her tresses: her form gleams ivory-white through the trees; her hair flows plenteous, long, and glossy; her eyes, not dazzled by vertical fires, beam in the shade large and open, and full and dewy: above those eyes, when the breeze bares her forehead, shines an expanse fair and ample, - a clear, candid page, whereon knowledge, should knowledge ever come, might write a golden record. You see in the desolate young savage nothing vicious or vacant; she haunts the wood harmless and thoughtful: though of what one so untaught can think, it is not easy to divine. On the evening of one summer day, before the Flood, being utterly alone - for she had lost all trace of her tribe, who had wandered leagues away, she knew not where, - she went up from the vale, to watch Day take leave and Night arrive. A crag, overspread by a tree, was her station: the oak-roots, turfed and mossed, gave a seat: the oak-boughs, thick-leaved, wove a canopy. Slow and grand the Day withdrew, passing in purple fire, and parting to the farewell of a wild, low chorus from the woodlands. Then Night entered, quiet as death: the wind fell, the birds ceased singing. Now every nest held happy mates, and hart and hind slumbered blissfully safe in their lair. The girl sat, her body still, her soul astir; occupied, however, rather in feeling than in thinking, - in wishing, than hoping, - in imagining, than projecting. She felt the world, the sky, the night, boundlessly mighty. Of all things, herself seemed to herself the centre, - a small, forgotten atom of life, a spark of soul, emitted inadvertent from the great creative source, and now burning unmarked to waste in the heart of a black hollow. She asked, was she thus to burn out and perish, her living light doing no good, never seen, never needed, - a star in an else starless firmament, - which nor shepherd, nor wanderer, nor sage, nor priest, tracked as a guide, or read as a prophecy? Could this be, she demanded, when the flame of her intelligence burned so vivid; when her life beat so true, and real, and potent; when something within her stirred disquieted, and restlessly asserted a God-given strength, for which it insisted she should find exercise?

This was the way he loved, until the night became a silent day. And as I lay there with her I could see how important physical love was, how necessary it was for us to be in each other's arms, giving and taking. The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other – child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death.

I love you,” I tell her. “I love you because all the loves in the world are like different rivers flowing into the same lake, where they meet and are transformed into a single love that becomes rain and blesses the earth. “I love you like a river that creates the right conditions for trees and bushes and flowers to flourish along its banks. I love you like a river that gives water to the thirsty and takes people where they want to go. “I love you like a river that understands that it must learn to flow differently over waterfalls and to rest in the shallows. I love you because we are all born in the same place, at the same source, which keeps us provided with a constant supply of water. And so, when we feel weak, all we have to do is wait a little. The spring returns, and the winter snows melt and fill us with new energy. “I love you like a river that begins as a solitary trickle in the mountains and gradually grows and joins other rivers until, after a certain point, it can flow around any obstacle in order to get where it wants. “I receive your love, and I give you mine. Not the love of a man for a woman, not the love of a father for a child, not the love of God for his creatures, but a love with no name and no explanation, like a river that cannot explain why it follows a particular course but simply flows onward. A love that asks for nothing and gives nothing in return; it is simply there. I will never be yours, and you will never be mine; nevertheless, I can honestly say: I love you, I love you, I love you.

Sonnet of the sweet complaint " Never let me lose the marvel of your statue-like eyes, or the accent, the solitary rose of your breath, places on my cheek at night. I am afraid of being on this shore, a branchless trunk, and what I most regret is having no flower, pulp or clay for the worm of my despair. If you are my hidden treasure, if you are my cross, my smothered pain, if I am a dog, and you alone my master, never let me lose what I have gained, and adorn the branches of your river with leaves of my estranged autumn.

The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other—child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death. But this was the counterweight, the act of binding and holding. As when men to keep from being swept overboard in the storm clutch at each other’s hands to resist being torn apart, so our bodies fused a link in the human chain that kept us from being swept into nothing.

All rebel thought, as we have seen, is expressed either in rhetoric or in a closed universe. The rhetoric of ramparts in Lucretius, the convents and isolated castles of Sade, the island or the lonely rock of the romantics, the solitary heights of Nietzsche, the primeval seas of Lautreamont, the parapets of Rimbaud, the terrifying castles of the surrealists, which spring up in a storm of flowers, the prison, the nation behind barbed wire, the concentration camps, the empire of free slaves, all illustrate, after their own fashion, the same need for coherence and unity. In these sealed worlds, man can reign and have knowledge at last.

I had spent the New Year’s Day of old men, who differ on that day from their juniors, not because people have ceased to give them presents but because they themselves have ceased to believe in the New Year. Presents I had indeed received, but not that present which alone could bring me pleasure, namely a line from Gilberte. I was young still, none the less, since I had been able to write her one, by means of which I hoped, in telling her of my solitary dreams of love and longing, to arouse similar dreams in her. The sadness of men who have grown old lies in their no longer even thinking of writing such letters, the futility of which their experience has shewn.

Fragments for Subduing the Silence” I. The powers of language are the solitary ladies who sing, desolate, with this voice of mine that I hear from a distance. And far away, in the black sand, lies a girl heavy with ancestral music. Where is death itself? I have wanted clarity in light of my lack of light. Branches die in the memory. The girl lying in the sand nestles into me with her wolf mask. The one she couldn’t stand anymore and that begged for flames and that we set on fire. II. When the roof tiles blow away from the house of language, and words no longer keep—that is when I speak. The ladies in red have lost themselves in their masks. Though they will return to sob among the flowers. Death is no mute. I hear the song of the mourners sealing the clefts of silence. I listen and the sweetness of your crying brings life to my grey silence. III. Death has restored to silence its own bewitching charm. And I will not say my poem and I will say it. Even if (here, now) the poem has no feeling, no future. Boston Review: Three Poems April 15, 2015

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a square. “It has flowered,” the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o’clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

With the relief of knowing I had passed through a crisis, I sighed because there was nothing to hold me back. It was no time for fear or pretense, because it could never be this way with anyone else. All the barriers were gone. I had unwound the string she had given me, and found my way out of the labyrinth to where she was waiting. I loved her with more than my body. I don’t pretend to understand the mystery of love, but this time it was more than sex, more than using a woman’s body. It was being lifted off the earth, outside fear and torment, being part of something greater than myself. I was lifted out of the dark cell of my own mind, to become part of someone else—just as I had experienced it that day on the couch in therapy. It was the first step outward to the universe—beyond the universe—because in it and with it we merged to recreate and perpetuate the human spirit. Expanding and bursting outward, and contracting and forming inward, it was the rhythm of being—of breathing, of heartbeat, of day and night—and the rhythm of our bodies set off an echo in my mind. It was the way it had been back there in that strange vision. The gray murk lifted from my mind, and through it the light pierced into my brain (how strange that light should blind!), and my body was absorbed back into a great sea of space, washed under in a strange baptism. My body shuddered with giving, and her body shuddered its acceptance. This was the way we loved, until the night became a silent day. And as I lay there with her I could see how important physical love was, how necessary it was for us to be in each other’s arms, giving and taking. The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other—child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death. But this was the counterweight, the act of binding and holding. As when men to keep from being swept overboard in the storm clutch at each other’s hands to resist being torn apart, so our bodies fused a link in the human chain that kept us from being swept into nothing. And in the moment before I fell off into sleep, I remembered the way it had been between Fay and myself, and I smiled. No wonder that had been easy. It had been only physical. This with Alice was a mystery. I leaned over and kissed her eyes. Alice knows everything about me now, and accepts the fact that we can be together for only a short while. She has agreed to go away when I tell her to go. It’s painful to think about that, but what we have, I suspect, is more than most people find in a lifetime.

this was a solitary walk where the sun and the scents of wild flowers would act on a tortured mind like a soothing drug.

Next Day Moving from Cheer to Joy, from Joy to All, I take a box And add it to my wild rice, my Cornish game hens. The slacked or shorted, basketed, identical Food-gathering flocks Are selves I overlook. Wisdom, said William James, Is learning what to overlook. And I am wise If that is wisdom. Yet somehow, as I buy All from these shelves And the boy takes it to my station wagon, What I’ve become Troubles me even if I shut my eyes. When I was young and miserable and pretty And poor, I’d wish What all girls wish: to have a husband, A house and children. Now that I’m old, my wish Is womanish: That the boy putting groceries in my car See me. It bewilders me he doesn’t see me. For so many years I was good enough to eat: the world looked at me And its mouth watered. How often they have undressed me, The eyes of strangers! And, holding their flesh within my flesh, their vile Imaginings within my imagining, I too have taken The chance of life. Now the boy pats my dog And we start home. Now I am good. The last mistaken, Ecstatic, accidental bliss, the blind Happiness that, bursting, leaves upon the palm Some soap and water-- It was so long ago, back in some Gay Twenties, Nineties, I don’t know . . . Today I miss My lovely daughter Away at school, my sons away at school, My husband away at work--I wish for them. The dog, the maid, And I go through the sure unvarying days At home in them. As I look at my life, I am afraid Only that it will change, as I am changing: I am afraid, this morning, of my face. It looks at me From the rear-view mirror, with the eyes I hate, The smile I hate. Its plain, lined look Of gray discovery Repeats to me: “You’re old.” That’s all, I’m old. And yet I’m afraid, as I was at the funeral I went to yesterday. My friend’s cold made-up face, granite among its flowers, Her undressed, operated-on, dressed body Were my face and body. As I think of her I hear her telling me How young I seem; I am exceptional; I think of all I have. But really no one is exceptional, No one has anything, I’m anybody, I stand beside my grave Confused with my life, that is commonplace and solitary.

Steward was himself an able poet. His Italian sonnet “Virginia to Harlotta,” written at age nineteen, presciently describes a consciousness divided between virtuous chastity and thankless promiscuity: This is yours: to lie beside him all the night And feel the steady heat come out from him; The coolness of his hands, each slender limb Made restless by the absence of the light… To know the graceless touch, the never-quite- Sufficient kiss of lip on lip, or breast, And when the day comes, grey unwanted guest To see love’s death, each in each other’s sight. And this is mine: a solitary bed, And I so still…unwarmed, untouched, unkissed, With moonlight fingering flowers on my spread, And moaning trees and crying winds and mist… Weave me a spell, O bow-boy, so that he Embracing her sends his caress to me!

The morning was beautiful. The whole Hudson River Valley was beautiful. I thought of the last page of The Great Gatsby, the green land flowering before the Dutch sailors’ eyes, that last moment, Fitzgerald wrote, when man was face to face with something commensurate with his capacity for wonder. I thought of Dirk’s inadvertent similarity to Gatsby—the unused rooms of his house, the twenty-two televisions, which were maybe the convenient, modern stand-in for glittering parties, and I wondered what part of the past he was trying to recapture. I wondered if it was similar to the feeling of community my parents were trying to recapture every time they drove through Newburgh. And I wondered if it was similar to what I was trying to recapture by living in the woods, just in my own solitary way.

In the darkness of the night while removing the long colourful gown that covers my nakedness, there is chill penetrating bare cells and the sky is as silent as ever. Another day has withered unto the lap of mighty earth, to make her heart fertile, to feed those lives sprouting and then again to raise up to the skies to kiss life! This home is not yours, nor this earth! A breeze that caresses the orphan longings of the senses, like that of the softest music – so is life, a passing breeze! All I own is this moment! O night, do you see stars blinking hidden amidst the darkest clouds? O life, can you inhale the fragrance of unborn flowers dancing wet in the rain? O life, do you hear a song from the farthest skies, a secret melody of silence that I cherish deep within?

Presently Grandmother Jia appeared, seated, in solitary splendour, in a large palanquin carried by eight bearers. Li Wan, Xi-feng and Aunt Xue followed, each in a palanquin with four bearers. After them came Bao-chai and Dai-yu sharing a carriage with a splendid turquoise-coloured canopy trimmed with pearls. The carriage after them, in which Ying-chun, Tan-chun and Xi-chun sat, had vermilion-painted wheels and was shaded with a large embroidered umbrella. After them rode Grandmother Jia’s maids, Faithful, Parrot, Amber and Pearl; after them Lin Dai-yu’s maids, Nightingale, Snowgoose and Delicate; then Bao-chai’s maids, Oriole and Apricot; then Ying-chun’s maids, Chess and Tangerine; then Tan-chun’s maids, Scribe and Ebony; then Xi-chun’s maids, Picture and Landscape; then Aunt Xue’s maids, Providence and Prosper, sharing a carriage with Caltrop and Caltrop’s own maid, Advent; then Li Wan’s maids, Candida and Casta; then Xi-feng’s own maids, Patience, Felicity and Crimson, with two of Lady Wang’s maids, Golden and Suncloud, whom Xi-feng had agreed to take with her, in the carriage behind. In the carriage after them sat another couple of maids and a nurse holding Xi-feng’s little girl. Yet more carriages followed carrying the nannies and old women from the various apartments and the women whose duty it was to act as duennas when the ladies of the household went out of doors.

These groups were a new kind of vehicle: a hive or colony of close genetic relatives, which functioned as a unit (e.g., in foraging and fighting) and reproduced as a unit. These are the motorboating sisters in my example, taking advantage of technological innovations and mechanical engineering that had never before existed. It was another transition. Another kind of group began to function as though it were a single organism, and the genes that got to ride around in colonies crushed the genes that couldn’t “get it together” and rode around in the bodies of more selfish and solitary insects. The colonial insects represent just 2 percent of all insect species, but in a short period of time they claimed the best feeding and breeding sites for themselves, pushed their competitors to marginal grounds, and changed most of the Earth’s terrestrial ecosystems (for example, by enabling the evolution of flowering plants, which need pollinators).43 Now they’re the majority, by weight, of all insects on Earth. What about human beings? Since ancient times, people have likened human societies to beehives. But is this just a loose analogy? If you map the queen of the hive onto the queen or king of a city-state, then yes, it’s loose. A hive or colony has no ruler, no boss. The queen is just the ovary. But if we simply ask whether humans went through the same evolutionary process as bees—a major transition from selfish individualism to groupish hives that prosper when they find a way to suppress free riding—then the analogy gets much tighter. Many animals are social: they live in groups, flocks, or herds. But only a few animals have crossed the threshold and become ultrasocial, which means that they live in very large groups that have some internal structure, enabling them to reap the benefits of the division of labor.44 Beehives and ant nests, with their separate castes of soldiers, scouts, and nursery attendants, are examples of ultrasociality, and so are human societies. One of the key features that has helped all the nonhuman ultra-socials to cross over appears to be the need to defend a shared nest. The biologists Bert Hölldobler and E. O. Wilson summarize the recent finding that ultrasociality (also called “eusociality”)45 is found among a few species of shrimp, aphids, thrips, and beetles, as well as among wasps, bees, ants, and termites: In all the known [species that] display the earliest stages of eusociality, their behavior protects a persistent, defensible resource from predators, parasites, or competitors. The resource is invariably a nest plus dependable food within foraging range of the nest inhabitants.46 Hölldobler and Wilson give supporting roles to two other factors: the need to feed offspring over an extended period (which gives an advantage to species that can recruit siblings or males to help out Mom) and intergroup conflict. All three of these factors applied to those first early wasps camped out together in defensible naturally occurring nests (such as holes in trees). From that point on, the most cooperative groups got to keep the best nesting sites, which they then modified in increasingly elaborate ways to make themselves even more productive and more protected. Their descendants include the honeybees we know today, whose hives have been described as “a factory inside a fortress.”47

This home is not yours, nor this earth! A breeze that caresses the orphan longings of the senses, like that of the softest music – so is life, a passing breeze! All I own is this moment! O night, do you see stars blinking hidden amidst the darkest clouds? O life, can you inhale the fragrance of unborn flowers dancing wet in the rain?

While Diana and her mother started planning guest lists, wardrobe requirements and the other details for the wedding of the year, the media vainly attempted to discover her hiding-place. The one man who did know was the Prince of Wales. As the days passed, Diana pined for her Prince and yet he never telephoned. She excused his silence as due to the pressure of his royal duties. Finally she called him only to find that he was not in his apartment at Buckingham Palace. It was only after she called him that he telephoned her. Soothed by that solitary telephone call, Diana’s ruffled pride was momentarily mollified when she returned to Coleherne Court. There was a knock on the door and a member of the Prince’s staff appeared with a large bouquet of flowers. However there was no note from her future husband and she concluded sadly that it was simply a tactful gesture by his office. These concerns were forgotten a few days later when Diana rose at dawn and travelled to the Lambourn home of Nick Gaselee, Charles’s trainer, to watch him ride his horse, Allibar. As she and his detective observed the Prince put the horse through its paces on the gallops Diana was seized by another premonition of disaster. She said that Allibar was going to have a heart attack and die. Within seconds of her uttering those words, 11-year-old Allibar reared its head back and collapsed to the ground with a massive coronary. Diana leapt out of the Land Rover and raced to Charles’s side. There was nothing anyone could do. The couple stayed with the horse until a vet officially certified its death and then, to avoid waiting photographers, Diana left the Gaselees in the back of the Land Rover with a coat over her head. It was a miserable moment but there was little time to reflect on the tragedy. The inexorable demands of royal duty took Prince Charles on to wales, leaving Diana to sympathize with his loss by telephone. Soon they would be together forever, the subterfuge and deceit ended. It was nearly time to let the world into their secret. The night before the engagement announcement, which took place on February 24, 1981, she packed a bag, hugged her loyal friends and left Coleherne Court forever. She had an armed Scotland Yard bodyguard for company, Chief Inspector Paul Officer, a philosophical policeman who is fascinated by runes, mysticism and the after-world. As she prepared to say goodbye to her private life, he told her: “I just want you to know that this is the last night of freedom in your life so make the most of it.” Those words stopped her in her tracks. “They felt like a sword through my heart.

What counter to death is there than this? This is forgiveness, this is the end of solitary mourning. Joy and sorrow, triumph and tragedy are the weeds and flowers of their Eden, and it will outlast the mortal blooms of this world.

* The life of man [is] solitary, poor, nasty, brutish, and short. - Thomas Hobbes * Not sure if human life is solitary, poor, nasty, brutish, and short, if it carries God in its heart, love in its feelings, flowers in its thoughts, justice in its character, and truth in its life. - Ehsan Sehgal

She made me comfortable to share my life with someone else, to live for happiness in the company of others. My solitary future looks bleak. But my future filled with my brother, my friends, her—there’s nothing fucking brighter. She’s the sun. I’m the dark. If she’s gone, I can kiss that fucking light away. Without her, I know I’ll never see it again.

Not sure if human life is solitary, poor, nasty, brutish, and short, if it carries God in its heart, love in its feelings, flowers in its thoughts, justice in its character, and truth in its life.

This was the way we loved, until the night became a silent day. And as 1 lay there with her I could see how important physical love was, how necessary it was for us to be in each other's arms, giving and taking. The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other—child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death. But this was the counterweight, the act of binding and holding.

I Hoed and trenched and weeded, And took the flowers to fair: I brought them home unheeded; The hue was not the wear. So up and down I sow them For lads like me to find, When I shall lie below them, A dead man out of mind. Some seed the birds devour, And some the season mars, But here and there will flower The solitary stars, And fields will yearly bear them As light-leaved spring comes on, And luckless lads will wear them When I am dead and gone.

XIV [Every day you play with the light of the universe.]” Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. The wind. I can contend only against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh, you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the gray light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees. Pablo Neruda, Twenty Love Poems and a Song of Despair. Trans. W.S. Merwin (Penguin Classics; Bilingual edition, December 26, 2006)

...one odyssey of a stone perched on a hill surrounded by colorful flowers and a grove of trees -in other words, a place like Vinci. Looking at the crowd of stones along the road below, it decided it wanted to join them. ‘What am I doing here among these plants?’ the stone asked. ‘I want to live in the company of my fellow stones.’ So it rolled down to the others. ‘After a while,’ Leonardo recounted, ‘it found itself in continual distress from the wheels of the carts, the iron hoofs of horses, and the feet of the passers-by. One rolled it over, another trod upon it. Sometimes the stone raised itself up a little as it lay covered with mud or the dung of some animal, but it was in vain that it looked up at the spot whence it come as a place of solitude and tranquil peace.’ Leonardo drew a moral: ‘This is what happens to those who leave a life of solitary contemplation and choose to dwell in cities among people full of infinite evil.

Not sure, the human lives as solitary, poor, nasty, brutish, and short, if it carries God in its heart, love in its feelings, flowers in its thoughts, justice in its character, and truth in its life

The life of man [is] solitary, poor, nasty, brutish, and short. - Thomas Hobbes -- Not sure, the human lives as solitary, poor, nasty, brutish, and short, if it carries God in its heart, love in its feelings, flowers in its thoughts, justice in its character, and truth in its life - Ehsan Sehgal

Nana Grubb skulked through the sludge and the dirt. The solitary witness of Mr. Grubb’s hurt. She gathered the petals and hid them from sight. The buttercup fragments of Mr. Grubb’s plight. So Billy and Bella and dear Mrs. Grubb, Would not know his madness, but only his love. … From a weird reverie of dark revelations Mr grubb woke up with a strange sensation So he turned to the goblin who knew him the best And brought her soft hands to the depths of his chest It would beat through the future as it beat through the past But how frightening to ponder when its beating that fast

There is a quiet ache in the solitary darkness of a poet’s soul, which is unfathomable for many, but an unsuspected treasure at the same time. The treasure is in a silver casket, created with the ash of burnt shadows and the blazing fire of eternal struggles. It contains the ultimate secret – the secret of the cloud of unknowing flickering the purest transparent flower in bright but brief flashes of lightning.

Wicca’s temples are flower-splashed meadows, forests, beaches, and deserts.

Well, I have certainly been helped by many other people. One of the good things is realizing that you are not a solitary cell. You are part of a wonderful community. That's helped very greatly. As we were saying, if you are setting out to be joyful you are not going to end up being joyful. You're going to find yourself turned in on yourself. It's like a flower. You open, you blossom, really because of other people. And I think some suffering, maybe even intense suffering, is a necessary ingredient for life, certainly for developing compassion.

Everything must be traced up to the root of human nature: if it has sprung from thence, it has an undoubted worth of its own; but if, without possessing a living germ, it is merely externally attached thereto, it will never thrive nor acquire a proper growth. Many productions which appear at first sight dazzling phenomena in the province of the fine arts, and which as a whole have been honoured with the appellation of works of a golden age, resemble the mimic gardens of children: impatient to witness the work of their hands, they break off here and there branches and flowers, and plant them in the earth; everything at first assumes a noble appearance: the childish gardener struts proudly up and down among his showy beds, till the rootless plants begin to droop, and hang their withered leaves and blossoms, and nothing soon remains but the bare twigs, while the dark forest, on which no art or care was ever bestowed, and which towered up towards heaven long before human remembrance, bears every blast unshaken, and fills the solitary beholder with religious awe.

* The life of man [is] solitary, poor, nasty, brutish, and short. - Thomas Hobbes * Not sure, the human lives as solitary, poor, nasty, brutish, and short, if it carries God in its heart, love in its feelings, flowers in its thoughts, justice in its character, and truth in its life. - Ehsan Sehgal

For a moment, all that remained lit was a solitary gold lotus flower—the Buddhist symbol of transcendence, renunciation, and hope—on the front of the temple. It floated on the unseen surface of an ocean of shadow.

HOW DOES SHE KEEP HOPE ALIVE WHEN THIS SOLITARY EXISTENCE IS STUNTING HER AS SURELY AS THE RUBBER TREES STUNT THE FLOWERS WRIGGLING UP THROUGH THE DIRT, ONLY TO FIND THEMSELVES IN SHADE, THEIR PETALS CURLING, BROWNING, FALLING AWAY. DEATH COMES EARLY TO FLOWERS, TO MOST LIVING THINGS, WHEN THERE IS NO SUNLIGHT. IT’S NOT HARD FOR HER TO IMAGINE A SIMILAR OUTCOME FOR HERSELF IF LOVE AND MOTHERHOOD ESCAPE HER FOREVER.

In contrast to most of the examples given in this chapter, it is occasionally recorded that even solitary confinement imposed by enemies can be the trigger for psychological experiences of lasting value. Anthony Grey, who experienced solitary confinement in China, and Arthur Koestler, who was similarly imprisoned in Spain, discussed their experiences together on television. The transcript of their discussion appears in Koestl’s collection of essays, Kaleidoscope. Both men were grateful that they did not have to share a cell with another prisoner. Both felt that solitude enhanced their appreciation of, and sympathy with, their fellow men. Both had intense experiences of feeling that some kind of higher order of reality existed with which solitude put them in touch. Both felt that trying to put this experience into words tended to trivialize it, because words could not really express it. Although neither man subscribed to any orthodox religious belief, both agreed that they had felt the abstract existence of something which was indefinable or which could only be expressed in symbols. Anthony Grey thought that his experience had given him a new awareness and appreciation of normal life. Koestler concurred, but added that he had also become more aware of horrors lurking under the surface. Koestler also refers to a feeling of inner freedom, of being alone and confronted with ultimate realities instead of with your bank statement. Your bank statement and other trivialities are again a kind of confinement. Not in space but in spiritual space . . . So you have got a dialogue with existence. A dialogue with life, a dialogue with death. Grey comments that this is an area of experience into which most people do not enter. Koesder righdy affirms that most people have occasional confrontations of this kind when they are severely ill or when a parent dies, or when they first fall in love. Then they are transferred from what I call the trivial plane to the tragic or absolute plane. But it only happens a few times. Whereas in the type of experience which we shared, one has one’s nose rubbed into it, for a protracted period.17 So, occasionally, good can come out of evil. Anthony Grey recalled being shown a painting by a Chinese friend in which a beautiful lotus flower is growing out of mud. The human spirit is not indestructible; but a courageous few discover that, when in hell, they are granted a glimpse of heaven.

Some seed the bird devours, And some the season mars, But here and there will flower The solitary stars, And fields will yearly bear them, As light-leaved spring comes on, And luckless lads will wear them When I am dead and gone.

XIV. Every Day You Play" Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars if the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. the wind. I can only contend against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honey suckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the grey light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

Every Day You Play" Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. The wind. I can contend only against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh, you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the gray light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

This is a city with its legs spread open toward the sea. Take a look at the port when you walk down toward the old neighborhoods in Sidi El Houari, over on the Calère des Espagnols side. It’s like an old whore, nostalgic and chatty. Sometimes I go down to the lush garden on the Promenade de Létang to have a solitary drink and rub shoulders with delinquents. Yes, down there, where you see that strange, dense vegetation, ficuses, conifers, aloes, not to mention palms and other deeply rooted trees, growing up toward the sky as well as down under the earth. Below there’s a vast labyrinth of Spanish and Turkish galleries, which I’ve been able to visit, even though they’re usually closed. I saw an astonishing spectacle down there: the roots of centuries-old trees, seen from the inside, so to speak, gigantic, twisting things, like giant, naked, suspended flowers. Go and visit that garden. I love the place, but sometimes when I’m there I detect the scent of a woman’s sex, a giant, worn-out one. Which goes a little way toward confirming my obscene vision: This city faces the sea with its legs apart, its thighs spread, from the bay to the high ground where that luxurious, fragrant garden is. It was conceived — or should I say inseminated, ha, ha! — by a general, General Létang, in 1847. You absolutely must go and see it — then you’ll understand why people here are dying to have famous ancestors. To escape from the evidence.