Composing on the typewriter, I find that I am sloughing off all my long sentences which I used to dote upon. Short, staccato, like modern French prose. The typewriter makes for lucidity, but I am not sure that it encourages subtlety.
I, too, am indignant when the worthy Homer nods; yet in a long work it is allowable for sleep to creep over the writer.
[Lat., Et idem
Indignor quandoque bonus dormitat Homerus;
Verum opere longo fas est obrepere somnum.]
The industrial-technological system may survive or it may break down. If it survives, it MAY eventually achieve a low level of physical and psychological suffering, but only after passing through a long and very painful period of adjustment and only at the cost of permanently reducing human beings and many other living organisms to engineered products and mere cogs in the social machine.
What the world wants, what the world is waiting for, is not Modern Poetry or Classical Poetry or Neo-Classical Poetry - but Good Poetry. And the dreadful disreputable doubt, which stirs in my own skeptical mind, is doubt about whether it would really matter much what style a poet chose to write in, in any period, as long as he wrote Good poetry.
Wisdom leads to unity, but ignorance to separation.
So long as God seems to be outside and far away, there is ignorance.
But when God is realised within, that is true knowledge.
I warn the marauder dragging plunder, chaotic, rich beyond all rights: he'll strike his sails, harried at long last, stunned when the squalls of torment break his spars to bits.
Our day of dependence, our long apprenticeship to the learning of other lands, draws to a close. The millions, that around us arerushing into life, cannot always be fed on the sere remains of foreign harvests.
The people who have adored me-- there have not been very many, but there have been some-- have always insisted on living on, long after I had ceased to care for them, or they to care for me.