Our civilization, bequeathed to us by fierce adventurers, eaters of meat and hunters, is so full of hurry and combat, so busy about many things which perhaps are of no importance, that it cannot but see something feeble in a civilization which smiles as it refuses to make the battlefield the test of excellence.
Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jelly-like mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this, and you will have some idea of the horror of the stench of hell.
The romantic temper, so often and so grievously misinterpreted and not more by others than by its own, is an insecure, unsatisfied, and impatient temper which sees no fit abode here for its ideals and chooses therefore to behold them under insensible figures. As a result of this choice it comes to disregard certain limitations. Its figures are blown to wild adventures, lacking the gravity of solid bodies, and the mind that has conceived them ends by disowning them.
If the Irish programme did not insist on the Irish language I suppose I could call myself a nationalist. As it is, I am content torecognize myself an exile: and, prophetically, a repudiated one.
Do you know what a pearl is and what an opal is? My soul when you came sauntering to me first through those sweet summer evenings was beautiful but with the pale passionless beauty of a pearl. Your love has passed through me and now I feel my mind something like an opal, that is, full of strange uncertain hues and colours, of warm lights and quick shadows and of broken music.
In this life our sorrows are either not very long or not very great because nature either overcomes them by habits or puts an end to them by sinking under their weight. But in hell the torments cannot be overcome by habit, for while they are of terrible intensity they are at the same time of continual variety, each pain, so to speak, taking fire from another and re-endowing that which has enkindled it with a still fiercer flame.
The personality of the artist, at first a cry or a cadence or a mood and then a fluid, and lambent narrative, finally refines itself out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic like that of material creation is accomplished. The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
While you have a thing it can be taken from you…..but when you give it, you have given it. no robber can take it from you. It is yours then forever when you have given it. It will be yours always. That is to give.
It was cold autumn weather, but in spite of the cold they wandered up and down the roads of the Park for nearly three hours. They agreed to break off their intercourse; every bond, he said, is a bond to sorrow.
You made me confess the fears that I have. But I will tell you also what I do not fear. I do not fear to be alone or to be spurned for another or to leave whatever I have to leave. And I am not afraid to make a mistake, even a great mistake, a lifelong mistake and perhaps as long as eternity too.