What many men desire--that 'many' may be meant By the fool multitude that choose by show, Not learning more than the fond eye doth teach, Which pries not to th' interior, but like the martlet Builds in the weather on the outward wall, Even in the force and road of casualty.
The hare grows old as she plays in the sun
And gazes around her with eyes of brightness;
Before the swift things that she dreamed of were done
She limps along in an aged whiteness.
What a person is for himself, what abides with him in his loneliness and isolation, and what no one can give or take away from him, this is obviously more essential for him than everything that he possesses or what he may be in the eyes of others.
She dealt her pretty words like Blades -- How glittering they shone -- And every One unbared a Nerve Or wantoned with a Bone -- She never deemed -- she hurt -- That -- is not Steel's Affair -- A vulgar grimace in the Flesh -- How ill the Creatures bear -- To Ache is human -- not polite -- The Film upon the eye Mortality's old Custom -- Just locking up -- to Die.
A goodly portly man, i' faith, and a corpulent; of a cheerful look, a pleasing eye, and a most noble carriage; and, as I think, his age some fifty, or, by'r Lady, inclining to threescore; and now I remember me, his name is Falstaff.
O no, thy love though much, is not so great, It is my love that keeps mine eye awake, Mine own true love that doth my rest defeat, To play the watchman ever for thy sake. For thee watch I, whilst thou dost wake elsewhere, From me far off, with others all too near.
When confronted with a situation that appears fragmented or impossible, step back, close your eyes, and envision perfection where you saw brokenness. Go to the inner place where there is no problem, and abide in the consciousness of well-being.
The greatest thing by far is to have a command of metaphor. This alone cannot be imparted by another; it is the mark of genius, for to make good metaphors implies an eye for resemblances.
To me the biggest irony of this lifetime that I'm living is that for someone who thrives in the public eye in the creative ways that I do, I actually don't enjoy being in the public eye.
Re-vision – the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction – is for woman more than a chapter in cultural history: it is an act of survival. Until we understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society.
Well, in that hit you miss. She'll not be hit With Cupid's arrow. She hath Dian's wit, And, in strong proff of chastity well armed, From Love's weak childish bow she lives uncharmed. She will not stay the siege of loving terms, Nor bide th' encounter of assailing eyes, Nor ope her lap to saint-seducing gold. O, she is rich in beauty; only poor That, when she dies, with dies her store. Act 1,Scene 1, lines 180-197
The Mississippi River towns are comely, clean, well built, and pleasing to the eye, and cheering to the spirit. The Mississippi Valley is as reposeful as a dreamland, nothing worldly about it . . . nothing to hang a fret or a worry upon.
Children are always looking at the world as if it was for the first time in their lives. So, we should always look to the world with the eyes of a child. I am not saying be naive, I am saying be innocent in the sense of discovering things.
It's a warm wind, the west wind, full of birds' cries; I never hear the west wind but tears are in my eyes. For it comes from the west lands, the old brown hills, And April's in the West wind, and daffodils.
I'll privily away; I love the people, But do not like to stage me to their eyes; Though it do well, I do not relish well Their loud applause and aves vehement, Nor do I think the man of safe discretion That does not affect it.