A Quote by William Wordsworth
And when a damp Fell round the path of Milton, in his hand The thing became a trumpet; whence he blew Soul-animating strains,-alas! too few.
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Milton, in his hand
The thing became a trumpet
Alas! What is man? Whether he be deprived of that light which is from on high, of whether he discard it, a frail and trembling creature; standing on time, that bleak and narrow isthmus between two eternities, he sees nothing but impenetrable darkness on the one hand, and doubt, distrust, and conjecture, still more perplexing, on the other. Most gladly would he take an observation, as to whence he has come, or whither he is going; alas, he has not the means: his telescope is too dim, his compass too wavering, his plummet too short.
One may imagine that a man who blew the trumpet for his living would be glad to play the violin for his amusement.
Alas! while the body stands so broad and brawny, must the soul lie blinded, dwarfed, stupefied, almost annihilated? Alas! this was, too, a breath of God, bestowed in heaven, but on earth never to be unfolded!
Do not lift him from the bracken, Leave him lying where he fell- Better bier ye cannot fashion: None beseems him half so well As the bare and broken heather, And the hard and trampled sod, Whence his angry soul ascended To the judgment seat of God!
But alas for the dreams that round us play! / For the plans of mortal making! / And alas for the false and fickle day / That looked so fair at waking!
Then I saw it. I saw a mom who would die for her son. A man who would kill for his wife. A boy, angry and alone. Laid out in front of him, the bad path. I saw it. And the path was a circle. Round and round. So I changed it.
My landlady, who is only a tailor's widow, reads her Milton; and tells me, that her late husband first fell in love with her on this very account: because she read Milton with such proper emphasis.
If a man were to look over the fence on one side of his garden and observe that the neighbor on his left had laid his garden path round a central lawn; and were to look over the fence on the other side of his garden and observe that the neighbor on his right had laid his path down the middle of the lawn, and were then to lay his own garden path diagonally from one corner to the other, that man's soul would be lost. Originality is only to be praised when not prefaced by the look to right and left.
I became simply a pair of eyes, staring through my mask at Char. I needed no ears because I was too far off to hear his voice, no words because I was too distant for speech, and no thoughts - those I saved for later. He bent his head. I loved the hairs on the nape of his neck. He moved his lips. I admired their changing shape. He clasped his hand. I blessed his fingers. Once, the power of my gaze drew his eyes.
You probably won't remember me. I'm probably ancient history. I'm one of the chosen few who went ahead and fell for you. I'm out of vogue, I'm out of touch. I fell too fast, I feel too much. I thought that you might have some advice to give on how to be insensitive.
I played trumpet in school once because I joined band because a cute boy played trumpet too. And I was really bad at trumpet.
While I am compassed round With mirth, my soul lies hid in shades of grief, Whence, like the bird of night, with half-shut eyes, She peeps, and sickens at the sight of day.
It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.
At a well in a yard they met a man who was beating a boy. The stick burst into a flower in the mans hand. He tried to drop it, but it stuck to his hand. His arm became a branch, his body the trunk of a tree, his feet took root.
The physical world is the point of departure from whence the magician works and upon which every human being, initiated or not, live and moves through his senses, his spirit, his soul and his physical body.
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