You're always believing ahead of your evidence. What was the evidence I could write a poem? I just believed it. The most creative thing in us is to believe in a thing.
The Sick Rose O Rose, thou art sick. The invisible worm That flies in the night In the howling storm Has found out thy bed Of crimson joy, And his dark secret love Does thy life destroy.
FINANCE, n. The art or science of managing revenues and resources for the best advantage of the manager. The pronunciation of this word with the i long and the accent on the first syllable is one of America's most precious discoveries and possessions.
Whoever is first in the field and awaits the coming of the enemy, will be fresh for the fight; whoever is second in the field and has to hasten to battle will arrive exhausted.
Sublime Philosophy! Thou art the patriarch's ladder, reaching heaven; And bright with beckoning angelsbut alas! We see thee, like the patriarch, but in dreams, By the first step, dull slumbering on the earth.
the ordinary man's experience is chaotic, irregular, fragmentary. [He] falls in love or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter, or the smell of cooking; in the mind of the poet these experiences are always forming new wholes
If, however, you are indulgent, but unable to make your authority felt; kind-hearted, but unable to enforce your commands; and incapable, moreover, of quelling disorder: then your soldiers must be likened to spoilt children; they are useless for any practical purpose.
You have to give your art everything you can - I don't mean only writing, but studying other poets and poetics, thinking, reading what poets have written other than their poetry.
The difference between architecture and building is that the former expresses an idea, while the latter is merely a structure built on economical principles. The value of matter depends solely on its capacities of expressing ideas.
Teaching is an instinctual art, mindful of potential, craving of realizations, a pausing, seamless process, where one rehearses constantly while acting, sits as a spectator at a play one directs, engages every part in order to keep the choices open and the shape alive for the student, so that the student may enter in, and begin to do what the teacher has done: make choices.