WERE you but lying cold and dead,
And lights were paling out of the West,
You would come hither, and bend your head,
And I would lay my head on your breast;
And you would murmur tender words,
Forgiving me, because you were dead:
Nor would you rise and hasten away,
Though you have the will of the wild birds,
But know your hair was bound and wound
About the stars and moon and sun:
O would beloved that you lay
Under the dock-leaves in the ground,
While lights were paling one by one.
W.B. Yeats, The Wind Among the Reeds
HAD I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
W.B. Yeats, The Wind Among the Reeds
The decline of the influence of Calvin, or Fenelon, or Wesley, or Channing, need give us no uneasiness. The builder of heaven has not so ill constructed his creature as that the religion, that is, the public nature, should fall out: the public and the private element, like north and south, like inside and outside, like centrifugal and centripetal, adhere to every soul, and cannot be subdued, except the soul is dissipated. God builds his temple in the heart on the ruins of churches and religions.
Ralph Waldo Emerson, Worship
I want to put flowers in your hair. But what flowers? There are none with touching enough simplicity. And from what May would I fetch them? But I’m convinced now that you always have a wreath in your hair…or a crown…I’ve never seen you in any other way.
I’ve never seen you without wanting to pray to you. I’ve never heard you without wanting to place my faith in you. I’ve never longed for you without wanting to suffer for your sake. I’ve never desired you without wanting to be able to kneel before you.
I am yours as the staff is the pilgrim’s-only I don’t support you. I am yours as the scepter is the queen’s-only I don’t enrich you. I am yours as the last little star is the night’s, even though the night may be scarcely aware of it and have no knowledge of its glimmer.
For the poet is a light and winged and holy thing, and there is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him: when he has not attained to this state, he is powerless and is unable to utter his oracles…for not by art does the poet sing, but by power divine. Had he learned by rules of art, he would have known how to speak not of one theme only, but of all; and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us.
The first study for the man who wants to be a poet is knowledge of himself, complete: he searches for his soul, he inspects it, he puts it to the test, he learns it. As soon as he has learned it, he must cultivate it! I say that one must be a seer, make oneself a seer. The poet becomes a seer through a long, immense, and reasoned derangement of all the senses. All shapes of love, suffering, madness. He searches himself, he exhausts all poisons in himself, to keep only the quintessences. Ineffable torture where he needs all his faith, all his superhuman strength, where he becomes among all men the great patient, the great criminal, the great accursed one–and the supreme Scholar! For he reaches the unknown! ….So the poet is actually a thief of Fire!
Poetry demands a man with a special gift for it, or else one with a touch of madness in him; the former can easily assume the required mood, and the later may be actually beside himself with emotion.
If we wish to be let in on the secrets of life, we must be mindful of two things: first, there is the great melody to which things and scents, feelings and past lives, dawns and dreams contribute in equal measure, and then there are the individual voices that complete and perfect this full chorus. And to establish the basis for a work of art, that is, for an image of life lived more deeply, lived more than life as it is lived today, and as the possibility that it remains throughout the ages, we have to adjust and set into their proper relation these two voices: the one belonging to a specific moment and the other to the group of people living in it.
Rilke, Letters on Life
Seeing is for us the most authentic possibility of acquiring something. If god had only made our hands to be like our eyes–so ready to grasp, so willing to relinquish all things–then we could truly acquire wealth. We do not acquire wealth by letting something remain and wilt in our hands but only by letting everything pass through their grasp as if through the festive gate of return and homecoming. Our hands ought not to be a coffin for us but a bed sheltering the twilight slumber and dreams of the things held there, out of whose depths their dearest secrets speak. Once out of our hands, however, things ought to move forward, now sturdy and strong, and we should keep nothing of them but the courageous morning melody that hovers and shimmers behind their fading steps.
For property is poverty and fear; only to have possessed something and to have let go of it means carefree ownership!
Rilke, Letters on Life
“Enlarge not thy destiny,” said the oracle: “endeavor not to do more than is given thee in charge.” The one prudence in life is concentration; the one evil is dissipation: and it makes no difference whether our dissipations are coarse or fine; property and its cares, friends, and a social habit, or politics, or music, or feasting. Everything is good which takes away one plaything and delusion more, and drives us home to add one stroke of faithful work. Friends, books, pictures, lower duties, talents, flatteries, hopes, — all are distractions which cause oscillations in our giddy balloon, and make a good poise and a straight course impossible. You must elect your work; you shall take what your brain can, and drop all the rest. Only so, can that amount of vital force accumulate, which can make the step from knowing to doing. No matter how much faculty of idle seeing a man has, the step from knowing to doing is rarely taken. ‘Tis a step out of a chalk circle of imbecility into fruitfulness. Many an artist lacking this, lacks all: he sees the masculine Angelo or Cellini with despair. He, too, is up to Nature and the First Cause in his thought. But the spasm to collect and swing his whole being into one act, he has not. The poet Campbell said, that “a man accustomed to work was equal to any achievement he resolved on, and, that, for himself, necessity not inspiration was the prompter of his muse.”
Ralph Waldo Emerson, Power