Yawp Quotes

I sound my barbaric yawp over the roofs of the world.

I too am not a bit tamed, I too am untranslatable, I sound my barbaric yawp over the roofs of the world.

I sound my barbaric yawp over the rooftops of the world.

I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass. 32. I think I could turn and live with animals, they're so placid and self-contained, I stand and look at them and long. They do not sweat and whine about their condition. They do not lie awake in the dark and weep for their sins. They do not make me sick discussiong their duty to God, Not one is dissatisfied, not one is demented with the mania of owning things, Not one kneels to another, nor to his kind that lived thousands of years ago, Not one is respectable or unhappy over the earth. 52. The spotted hawk swoops by and accuses me, he complains of my gab and loitering. I too am not a bit tamed, I too am untranslatable, I sound my barbaric YAWP over the roofs of the world.

Walt Whitman is HOT! I mean, that guy could sound his barbaric yawps over the roofs of my world any time.

Nowadays anyone with a crap laptop and an Internet connection can sound their barbaric yawp, whatever it may be.

Some people define themselves by railing against all of the things they hate, while explaining why everyone else should hate it too. But not me. I prefer to lead with my love—to define myself through joyous yawps of admiration, instead of cynical declarations of disdain.

We all go through life as puzzled monkeys. The minute we think we're any more than that, we've made a grave mistake. We're just trying to gain some meaning of it all, some understanding. The only thing we can do is buy the ticket, take the ride. And offer our barbaric yawps to the world...

The spotted hawk swoops by and accuses me, he complains of my gab and my loitering. I too am not a bit tamed, I too am untranslatable, I sound my BARBARIC YAWP over the roofs of the world

Some people define themselves by railing against all of the things they hate, while explaining why everyone else should hate it too. But not me. I prefer to lead with my love– to define myself through joyous yawps of admiration, instead of cynical declarations of disdain.

But The L0w-Down was different. L0hengrin had an incredibly upbeat personality, and an infectious brand of enthusiasm that reminded me of how I’d felt in the early days of the contest. The brief voice over that opened her show seemed to sum up her life’s philosophy: “Some people define themselves by railing against all of the things they hate, while explaining why everyone else should hate it too. But not me. I prefer to lead with my love—to define myself through joyous yawps of admiration, instead of cynical declarations of disdain.

To live with his physical hideousness, incapacitating deformities and unremiting pain is trial enough, but to be exposed to the cruelly lacerating expressions of horror and disgust by all who behold him -- is even more difficult to bear. [...] For in order to survive, Merrick forces himself to suffer these humiliations, I repeat, humiliations, in order to survive, thus he exposes himself to crowds who pay to gape and yawp at this freak of nature, the Elephant Man.

Sylvia Plath's greatest poetry was sometimes conceived while she was baking bread, she was such a perfectionist and ultimately such a fool. The trouble is, of course, that the role of the goddess, the role of the glory and the grandeur of the female in the universe exists in the fantasy of the male artist and no woman can ever draw it to her heart for comfort, but the role of menial, unfortunately, is real and that she knows because she tastes it everyday. So the barbaric yawp of utter adoration for the power and the glory and the grandeur of the female in the universe is uttered at the expense of the particular living woman every time. And because we can be neither one nor the other with any piece of mind, because we are unfortunately improper goddesses and unwilling menials, there is a battle waged between us. And after all, in the description of this battle, maybe I find the justification of my idea that the achievement of the male artistic ego is at my expense for I find that the battle is dearer to him than the peace would ever be. The eternal battle with women, he boasts, sharpens our resistance, develops our strength, enlarges the scope of our cultural achievements. So is the scope after all worth it? Again, the same question, just as if we were talking of the income of a thousand families for a whole year. You see, I strongly suspect that when this revolution takes place, art will no longer be distinguished by its rarity, or its expense, or its inaccessibility, or the extraordinary way which in it is marketed, it will be the prerogative of all of us and we will do it as those artists did whom Freud understood not at all, the artists who made the Cathedral of Chartres or the mosaics of Byzantine, the artist who had no ego and no name.

I too am not a bit tamed . . . . I too am untranslatable, I sound my barbaric yawp over the roofs of the world.

I too am not a bit tamed, I too am untranslatable, I sound my barbaric yawp over the roofs of the world.

You can sound your barbaric yawp over the rooftops . . . or suffer the slings and arrows of outrageous fortune . . . or seize the day . . . or sail away from the safe harbor . . . or seek a newer world . . . or rage against the dying of the light,

Some people define themselves by railing against all of the things they hate, while explaining why everyone else should hate it too. But not me. I prefer to lead with my love--to define myself through joyous yawps of admiration, instead of cynical declarations of disdain.

Overhead, an enemy plane had been dragging, drumming slowly round in the pool of night, drawing up bursts of gunfire--nosing, pausing, turning, fascinated to the point for its intent. The barrage banged, coughed, retched; in here the lights in the mirrors rocked. Now down a shaft of anticipating silence the bomb swung whistling. With the shock of detonation, still to be heard, four walls of in here yawped in then bellied out; bottles danced on glass; a distortion ran through the view. The detonation dulled off into the cataracting roar of a split building: direct hit, somewhere else.

Whether Whether anger quickens a lagging stride, and periodic burn-offs in the forest revitalize exhausted soil and flora—. Whether we should take pleasure in the wildcat jubilation of a lightning bolt that whips its silver vein of genesis through the night sky, flash-photo of a white birch upended, the root-system buckled to swollen thunderheads—. And whether naming an offense amounts to sour grapes and common bitterness, or even the conceited nonsense of unwashed yahoo multitudes, a yawping insult to civilized behavior—. Whether a July rainstorm, even when it drenches the unprepared pedestrian and befuddles traffic, might be extravagant, a joy, like the whoops and escalating bop glissandos of Gillespie’s upraised horn, cascading pitches a countersong to meteoric chalk marks Perseids burn across the House of Leo—. And whether peaceful ecstasy might float up from a fifteen-second avalanche reflected in the skier’s goggles, his jacket a spark of scarlet on the topmost slope, waiting for the homeward track to clear.

This immoral system, how do you get outside it? Option one, you drop out, sever the connections. They got that far in ’68, okay? People went as far with that as they could, to say, I’m free, you’re free, kumbaya and barbaric yawp and yadda yadda, and look what happened. The problem with the whole Rousseau trip is that man is primordially a social animal, in the sense of clan or tribe. Marx says this somewhere. You detach completely, you not only find yourself way out on a limb, against your nature, but you’ve lost any power for group resistance. And eventually, you come crawling back, clutching credit-card applications, begging to be let in.

one could say that the smartphone creates an environment that encourages participation at a distance: participation as performance. The smartphone retribalizes by putting us always on display, by eating away at our sense of the private self, but it detribalizes by isolating us in an abstract world, a world of our own. You hit the switch, and the light comes on and you find yourself in an empty room full of people. To put it another way: Participation is the content of the smartphone, and the content, as McLuhan wrote, is “the juicy piece of meat carried by the burglar to distract the watchdog of the mind.” The illusion of involvement conceals its absence. Here comes Walt Whitman, alone and alienated, dreaming dreams of connection, turning a barbaric yawp into silent words on a flat page.

Wilderness by Carl Sandburg There is a wolf in me . . . fangs pointed for tearing gashes . . . a red tongue for raw meat . . . and the hot lapping of blood—I keep this wolf because the wilderness gave it to me and the wilderness will not let it go. There is a fox in me . . . a silver-gray fox . . . I sniff and guess . . . I pick things out of the wind and air . . . I nose in the dark night and take sleepers and eat them and hide the feathers . . . I circle and loop and double-cross. There is a hog in me . . . a snout and a belly . . . a machinery for eating and grunting . . . a machinery for sleeping satisfied in the sun—I got this too from the wilderness and the wilderness will not let it go. There is a fish in me . . . I know I came from salt-blue water-gates . . . I scurried with shoals of herring . . . I blew waterspouts with porpoises . . . before land was . . . before the water went down . . . before Noah . . . before the first chapter of Genesis. There is a baboon in me . . . clambering-clawed . . . dog-faced . . . yawping a galoot’s hunger . . . hairy under the armpits . . . here are the hawk-eyed hankering men . . . here are the blonde and blue-eyed women . . . here they hide curled asleep waiting . . . ready to snarl and kill . . . ready to sing and give milk . . . waiting—I keep the baboon because the wilderness says so. There is an eagle in me and a mockingbird . . . and the eagle flies among the Rocky Mountains of my dreams and fights among the Sierra crags of what I want . . . and the mockingbird warbles in the early forenoon before the dew is gone, warbles in the underbrush of my Chattanoogas of hope, gushes over the blue Ozark foothills of my wishes—And I got the eagle and the mockingbird from the wilderness. O, I got a zoo, I got a menagerie, inside my ribs, under my bony head, under my red-valve heart—and I got something else: it is a man-child heart, a woman-child heart: it is a father and mother and lover: it came from God-Knows-Where: it is going to God-Knows-Where—For I am the keeper of the zoo: I say yes and no: I sing and kill and work: I am a pal of the world: I came from the wilderness.

It is said that, as he wandered the streets of the City, an ancient jackbird cycled three times above him, then came to rest upon Sam's shoulder, saying: "Are you not Maitreya, Lord of Light, for whom the world has waited, lo, these many years–he whose coming I prophesyed long ago in a poem?" "No, my name is Sam," he replied, "and I am about to depart the world, not enter into it Who are you?" "I am a bird who was once a poet. All morning have I flown, since the yawp of Garuda opened the day. I was flying about the ways of Heaven looking for Lord Rudra, hoping to befoul him with my droppings, when I felt the power of a weird come over the land. I have flown far, and I have seen many things, Lord of Light." "What things have you seen, bird who was a poet?" "I have seen an unlit pyre set at the end of the world, with fogs stirring all about it. I have seen the gods who come late hurrying across the snows and rushing through the upper airs, circling outside the dome. I have seen the players upon the ranga and the nepathya, rehearsing the Masque of Blood, for the wedding of Death and Destruction. I have seen the Lord Vayu raise up his hand and stop the winds that circle through Heaven. I have seen all-colored Mara atop the spire of the highest tower, and I have felt the power of the weird he lays–for I have seen the phantom cats troubled within the wood, then hurrying in this direction. I have seen the tears of a man and of a woman. I have heard the laughter of a goddess. I have seen a bright spear uplifted against the morning, and I have heard an oath spoken. I have seen the Lord of Light at last, of whom I wrote, long ago: Always dying, never dead; Ever ending, never ended; Loathed in darkness, Clothed in light, He comes, to end a world, As morning ends the night. These lines were writ By Morgan, free, Who shall, the day he dies, See this prophecy." The bird ruffled his feathers then and was still. "I am pleased, bird, that you have had a chance to see many things," said Sam, "and that within the fiction of your metaphor you have achieved a certain satisfaction. Unfortunately, poetic truth differs considerably from that which surrounds most of the business of life." "Hail, Lord of Light!" said the bird, and sprang into the air. As he rose, he was pierced through by an arrow shot from a nearby window by one who hated jackbirds. Sam hurried on.

Whenever an art form—music, book, drama, song—is dragged into the seminar rooms, it is finished as a force. Nothing is more deadly than the anatomizing of scholarship, since the study of art, any art—even the obscene, semiliterate yawp and grunt of rap—drains the life from it.

millionaire and the trust have appropriated too many

For a fledgling heron, the sum total of reality extends only to the rim of the nest and the sky above. They have no way of grasping the danger of remaining in the nest or the prospects that lie beyond. Everything outside the nest is a feral, yawping marsh that reeks of terror and strife. The fledglings have no data suggesting that the outside world offers anything but shrieking, fathomless chaos and danger. They don’t even know they can fly.

I too am not a bit tamed, I too am untranslatable, I sound my barbaric yawp over the roofs of the world.

What he objected to in this generation, if that was what it was, was that they could not do a thing without showing off. Why all this yawping about everything, he asked. They could not grow a carrot without congratulating themselves on it.

I too am not a bit tamed, I too am untranslatable, I sound my barbaric yawp over the roofs of the world.

The Beats’ self-conception descended from a particular American lineage—mountain men, outlaws, frontier cranks, lonely individualists, and narcissistic outsiders sounding their barbaric yawps over the rooftops of the world. The hippie dream that followed drew as well from a parallel lineage—Cane Ridge, the communes of the 1830s and ’40s, Transcendentalism, pastoralism, Thoreau. Both were enactments of classic American fantasies.

Paul scrambled across the war torn lot to the rear of the car and snatched the dead boy’s rifle from the moonlight. Wet blood kissed his palm along its grip. He wiped the gore on his pantleg and pressed his back to the tire well at the rear of the vehicle. Another bullet yawped against the reinforced frame. From the tree line, the chorus of dead rasped, you too, soon.

This is what made the Beats such an American phenomenon. They were all about their mystical, individualist beliefs, and all in. They rejected bland rules to live lives of antimaterialist and quasi-religious purity. They were like some freaky renegade Protestant sect who didn’t focus on Jesus but otherwise took the original priesthood-of-all-believers idea to the max. The Beats’ self-conception descended from a particular American lineage—mountain men, outlaws, frontier cranks, lonely individualists, and narcissistic outsiders sounding their barbaric yawps over the rooftops of the world. The hippie dream that followed drew as well from a parallel lineage—Cane Ridge, the communes of the 1830s and ’40s, Transcendentalism, pastoralism, Thoreau. Both were enactments of classic American fantasies.