Love is like some fresh spring, first a stream and then a river, changing its aspect and its nature as it flows to plunge itself in some boundless ocean, where restricted natures only find monotony, but where great souls are engulfed in endless contemplation.
Pleasure to me is wonder—the unexplored, the unexpected, the thing that is hidden and the changeless thing that lurks behind superficial mutability. To trace the remote in the immediate; the eternal in the ephemeral; the past in the present; the infinite in the finite; these are to me the springs of delight and beauty.
Dear Prince, I must leave you, but I will never forget you, and next spring I will bring you back two beautiful jewels in place of those you have given away. The ruby shall be redder than a red rose, and the sapphire shall be as blue as the great sea.
Every being in the universe is an expression of the Tao. It springs into existence, unconscious, perfect, free, takes on a physical body, lets circumstances complete it. That is why every being spontaneously honors the Tao. The Tao gives birth to all beings, nourishes them, maintains them, cares for them, comforts them, protects them, takes them back to itself, creating without possessing, acting without expecting, guiding without interfering. That is why love of the Tao is in the very nature of things.
But science can only be created by those who are thoroughly imbued with the aspiration toward truth and understanding. This source of feeling, however, springs from the sphere of religion. To this there also belongs the faith in the possibility that the regulations valid for the world of existence are rational, that is, comprehensible to reason. I cannot conceive of a genuine scientist without that profound faith. The situation may be expressed by an image: science without religion is lame, religion without science is blind.
But it is a blessed provision of nature that at times like these, as soon as a man's mercury has got down to a certain point there comes a revulsion, and he rallies. Hope springs up, and cheerfulness along with it, and then he is in good shape to do something for himself, if anything can be done.
The good of man is the active exercise of his soul's faculties. This exercise must occupy a complete lifetime. One swallow does make a spring, nor does one fine day. Excellence is a habit, not an event.
When the grass was closely mown,
Walking on the lawn alone,
In the turf a hole I found,
And hid a soldier underground.
Spring and daisies came apace;
Grasses hide my hiding place;
Grasses run like a green sea
O'er the lawn up to my knee.
When you think everything is someone else's fault, you will suffer a lot. When you realize that everything springs only from yourself, you will learn both peace and joy.
I wish to preach not the doctrine of ignoble ease but the doctrine of the strenuous life; the life of toil and effort; of labour and strife; to preach that highest form of success which comes not to the man who desires mere easy peace but to the man who does not shrink from danger, from hardship, or from bitter toil, and who out of these wins the splendid ultimate triumph. A life of ignoble ease, a life of that peace which springs merely from lack either of desire or of power to strive after great things, is as little worthy of a nation as of an individual.
The jostling of young minds against each other has this wonderful attribute, that one can never foresee the spark, nor predict the flash. What will spring up in a moment? Nobody knows.
The thorn tree just began to bud
And greening stained the sheltering hedge,
An many a violet beside the wood
Peeped blue between the withered sedge;
The sun gleamed warm the bank beside,
'Twas pleasant wandering out a while
Neath nestling bush to lonely hide,
Or bend a musings o'er a stile.
Oh, how this spring of love resembleth, The uncertain glory of an April day, Which now shows all beauty of the Sun, And by and by a cloud takes all away
I visited the Museum of Modern Art last spring and spent time with David Alfaro Siqueiros's painting, 'Echo of a Scream (1937).' I got spun out by the way he creates tension and movement through the interlocking details in the painting. This poem began as an emulation of Siqueiros's compositional style and, in the process, became an ekphrastic aubade about my old neighborhood.