A Quote by Herman Melville
To anybody who can hold the Present at its worth without being inappreciative of the Past, it may be forgiven, if to such an one the solitary old hulk at Portsmouth, Nelson's Victory, seems to float there, not alone as the decaying monument of a fame incorruptible, but also as a poetic approach, softened by its picturesqueness, to the Monitors and yet mightier hulls of the European ironclads.
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We may have an excellent ear for music, without being able to perform in any kind; we may judge well of poetry, without being poets, or possessing the least of a poetic vein; but we can have no tolerable notion of goodness without being tolerably good.
It seems like they conflate Bruce and the Hulk. It's usually, 'Hulk!' as I'm walking across the street. But sometimes it's 'Banner!' If you go on my Twitter feed, you'll see it's mostly Hulk. I think it was pretty spectacular what we were able to accomplish with CGI with 'The Hulk,' and I can't take full credit for that.
My concern today is with the painting of manners of the present. The past is interesting not only by reason of the beauty which could be distilled from it by those artists for whom it was the present, but also precisely because it is the past, for its historical value. It is the same with the present. The pleasure which we derive from the representation of the present is due not only to the beauty with which it can be invested, but also to its essential quality of being present
The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.
Almost anybody from the past will hold views discordant with the present.
The past seems to infuse into the present, and in the brown, wringled faces of the old people one sees the presence of the past.
Writers may be solitary but they also tend to flock together: they like being solitary together.
Sometimes the past seems too big for the present to hold.
Reality is a question of perspective; the further you get from the past, the more concrete and plausible it seems - but as you approach the present, it inevitably seems more and more incredible.
Victory at all costs, victory in spite of all terror, victory however long and hard the road may be; for without victory, there is no survival.
How frail and ephemeral is the material substance of letters, which makes their very survival so hazardous. Print has a permanence of its own, though it may not be much worth preserving, but a letter! Conveyed by uncertain transportation, over which the sender has no control; committed to a single individual who may be careless or inappreciative; left to the mercy of future generations, of families maybe anxious to suppress the past, of the accidents of removals and house-cleanings, or of mere ignorance. How often it has been by the veriest chance that they have survived at all.
Not that one choose to draw aside in churlish mein or vein, From common lot of what life holds of pleasure, toil or pain But that the call-s to rise and cruise alone with dreams unshared Or plan alone for some far goal, for which none else has cared Or fight alone for what you hold is worth a warrior-s strife And ask no gain or fame or aught beyond the joy of life.
I don't have the best family life. I'm not going to have a sob story and be like, my parents abandoned me, because they didn't. But they also are not that present. When I'm alone, I'm alone. I don't have anybody to call, and so I have to create meaning from myself.
I do not compare the past with the present without a prejudice for either, but, great as the improvement in country life is in many respects, it seems a pity the old cheap, wholesome dishes have gone to make way for tinned and preserved foods.
I said there was but one solitary thing about the past worth remembering, and that was the fact that it is past-can't be restored.
Being a painter myself... whenever I could dispense with architectural precision, I indulged in the picturesque, in which case I sacrificed a few details when necessary in favor of an imposing effect that would give a monument its real character and also preserve the poetic charm that surrounds it.
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