History isn't like that. History unravels gently, like an old sweater. It has been patched and darned many times, reknitted to suit different people, shoved in a box under the sink of censorship to be cut up for the dusters of propaganda, yet it always - eventually - manages to spring back into its old familar shape. History has a habit of changing the people who think they are changing it. History always has a few tricks up its frayed sleeve. It's been around a long time.
There's an old saying that great writing is simple but not easy, and so it is. The search for that one plain but inobvious [SIC] word that will do the work of five, the agony of untangling a complex idea that has become a mess of phrases in the writer's mind, the willingness to keep doing it over and over again until it is right--all of that plus some luck yields prose so clear that it seems a child could have written it.
You may say that I am just another outdated old man complaining about progress and the changes of time. But, you see, I have well considered that possibility myself, and am prepared o submit to correction by anybody who cares about a community, who can show me how the world is improved by that community's dying.
Ser ou não ser, eis a questão. O que é mais nobre para a alma? Sofrer as pedradas e as setas da fortuna ultrajosa ou tomar armas contra um mar de tribulações e, fazendo-lhes rosto, dar-lhes fim? Morrer... dormir... mais nada. Dizer que, por meio de um sono, acabamos com as angústias e com os mil embates naturais de que é herdeira a carne é um desfecho que se deve ardentemente desejar. Morrer... dormir... dormir! Sonhar talvez! Ah! Aqui é que está o embaraço. Pois que sonhos podem sobrevir naquele sono da morte depois de nos termos libertado deste bulício mortal? Eis o que nos obriga a fazer pausa; eis a reflexão de que procede a calamidade de uma vida tão longa. Com efeito, quem suportaria os açoites e os escárnios desta época, a injustiça do opressor, a contumélia do orgulhoso, os tormentos do amor desprezado, as dilações da lei, a insolência do poder e os maus tratos que o mérito paciente recebe de criaturas indignas, podendo com um simples punhal outorgar a si mesmo tranquilidade? Quem quereria sopesar o fardo, gemer e suar debaixo de uma vida pesadíssima, se o temor dalguma coisa depois da morte - o desconhecido país de cujas raias nenhum viajante ainda voltou - não enleasse a vontade e não fizesse antes padecer os males que temos, do que voar para outros que ignoramos? Assim, a consciência torna-nos a todos covardes; assim o fulgor natural da resolução é amortecido pelo pálido clarão do pensamento; e, assim, empresas enérgicas e de grande alcance torcem o caminho, e perdem o nome de ação.
This generation has lost the true meaning of romance. There are so many songs that disrespect women. You can’t treat the woman you love as a piece of meat. You should treat your love like a princess. Give her love songs, something with real meaning. Maybe I’m old fashioned but to respect the woman you love should be a priority.
The VoyagerWe are all lonely voyagers sailing on life's ebb tide,To a far off place were all stripling warriors have died,Sometime at eve when the tide is low,The voices call us back to the rippling water's flow,Even though our boat sailed with love in our hearts,Neither our dreams or plans would keep heaven far apart,We drift through the hush of God's twilight pale,With no response to our friendly hail,We raise our sails and search for majestic light,While finding company on this journey to the brighten our night,Then suddenly he pulls us through the reef's cutting sea,Back to the place that he asked us to be,Friendly barges that were anchored so sweetly near,In silent sorrow they drop their salted tears,Shall our soul be a feast of kelp and brine,The wasted tales of wishful time,Are we a fish on a line lured with bait,Is life the grind, a heartless fate,Suddenly, "HUSH", said the wind from afar,Have you not looked to the heavens and seen the new star,It danced on the abyss of the evening sky,The sparkle of heaven shining on high,Its whisper echoed on the ocean's spray,From the bow to the mast they heard him say,"Hope is above, not found in the deep,I am alive in your memories and dreams when you sleep,I will greet you at sunset and with the moon's evening smile,I will light your path home.. every last lonely mile,My friends, have no fear, my work was done well,In this life I broke the waves and rode the swell,I found faith in those that I called my crew,My love will be the compass that will see you through,So don't look for me on the ocean's floor to find,I've never left the weathered docks of your loving mind,For I am in the moon, the wind and the whale's evening song,I am the sailor of eternity whose voyage is not gone.
O, that this too too solid flesh would meltThaw and resolve itself into a dew!Or that the Everlasting had not fix'dHis canon 'gainst self-slaughter! O God! God!How weary, stale, flat and unprofitable,Seem to me all the uses of this world!Fie on't! ah fie! 'tis an unweeded garden,That grows to seed; things rank and gross in naturePossess it merely. That it should come to this!But two months dead: nay, not so much, not two:So excellent a king; that was, to this,Hyperion to a satyr; so loving to my motherThat he might not beteem the winds of heavenVisit her face too roughly. Heaven and earth!Must I remember? why, she would hang on him,As if increase of appetite had grownBy what it fed on: and yet, within a month--Let me not think on't--Frailty, thy name is woman!--A little month, or ere those shoes were oldWith which she follow'd my poor father's body,Like Niobe, all tears:--why she, even she--O, God! a beast, that wants discourse of reason,Would have mourn'd longer--married with my uncle,My father's brother, but no more like my fatherThan I to Hercules: within a month:Ere yet the salt of most unrighteous tearsHad left the flushing in her galled eyes,She married. O, most wicked speed, to postWith such dexterity to incestuous sheets!It is not nor it cannot come to good:But break, my heart; for I must hold my tongue.
Long before there were effective treatments, physicians dispensed prognoses, hope, and, above all, meaning. When something terrible happens-and serious disease is always terrible-people want to know why. In a pantheistic world, the explanation was simple-one god had caused the problem, another could cure it. In the time since people have been trying to get along with only one God, explaining disease and evil has become more difficult. Generations of theologians have wrestled with the problem of theodicy-how can a good God allow such bad things to happen to good people? Darwinian medicine can't offer a substitute for such explanations. It can't provide a universe in which events are part of a divine plan, much less one in which individual illness reflects individual sins. It can only show us why we are the way we are, why we are vulnerable to certain diseases. A Darwinian view of medicine simultaneously makes disease less and more meaningful. Diseases do not result from random or malevolent forces, they arise ultimately from past natural selection. Paradoxically, the same capacities that make us vulnerable to disease often confer benefits. The capacity for suffering is a useful defense. Autoimmune disease is a price of our remarkable ability to attack invaders. Cancer is the price of tissues that can repair themselves. Menopause may protect the interests of our genes in existing children. Even senescence and death are not random, but compromises struck by natural selection as it inexorably shaped out bodies to maximize the transmission of our genes. In such paradoxical benefits, some may find a gentle satisfaction, even a bit of meaning-at least the sort of meaning Dobzhansky recognized. After all, nothing in medicine makes sense except in the light of evolution.
Then a soft air, a simple melody, rose to the ears of the suddenly hushed court; and for me, it was May Day again, and I was no longer cold, for the sun burned bright and the grass smelled of its sour-sweet bruisings and an old man fashioned a ballad for the Nut-Brown maid, who would ever be true to her lover. I leaned towards the brightness and, in an abandonment of joy and because there was none to see, tore off my henin and let my nut-brown hair fall to my knees. For I would be a child again, for five minutes, and remember the time when men stopped to gaze at me, with my chaplet of flowers crowning that at which they all marvelled, and longed to touch and stroke and possess.
The Old Woman asked, "Here you are, dear Youth, you are looking at the Garden and do not know that it is an evil Garden. Here you are waiting for the Beautiful Woman and do not know that her beauty is destructive. You have been living in my room for two years and never before have you become so engrossed as you have today. Apparently your turn has come too. Go away from the window before it is too late, do not breathe the evil fragrance of these deceitful flowers and do not wait for the Beautiful Woman to appear below your window and enchant you. She will come, she will enchant you, and you will follow her against your will.Speaking thus, the Old Woman lit two candles on the table where some books were lying, banged the window shut and drew the curtain tightly across the window. The curtain rings scraped lightly along the bronze curtain rod, and the yellow linen of the curtain fluttered and once again lay motionless — and the room became cheerful, comfortable and peaceful. And it seemed that there was no longer any garden beyond the window, nor was there any sorcery in the world, and everything was simple, ordinary, and would remain so once and for all.("The Poison Garden")
A sound interrupted him; a frail quivering sound, a voice bubbling up without direction, vigour, beginning or end, running weakly and shrilly and with an absence of all human meaning intoee um fah sofoo swee too eem oo--the voice of no age or sex, the voice of an ancient spring spouting from the earth; which issued, just opposite regent's Park Tube station from a tall quivering shape, like a funnel, like a rusty pump, like a wind-beaten tree for ever barren of leaves which lets the wind run up and down its branches singingee um fah sofoo swee too eem ooand rocks and creaks and moans in the eternal breeze. Through all the ages - when the pavement was grass, when it was swamp, through the ages of tusk and mammoth, through the age of silent sunrise, the battered woman - for she wore a skirt - with her right hand exposed, her left clutching at her side, stood singing of love - love which has lasted a million years, she sang, love which prevails, and millions of years ago, her lover, who had been dead these centuries, had walked, she crooned, with her in May; but in the course of ages, long as summer days, and flaming, she remembered, with nothing but red asters, he had gone; death's enormous sickle had swept those tremendous hills, and when at last she laid her hoary and immensely aged head on the earth, now become a mere cinder of ice, she implored the Gods to lay by her side a bunch of purple heather, there on her high burial place which the last ruined rays of the last sun caressed; for then the pageant of the universe would be over.As the ancient song bubbled up opposite Regent's Park Tube station still the earth seemed green and flowery; still, though it issued from so rude a mouth, a mere hole in the earth, muddy too, matted with root fibres and tangled grasses, still the old bubbling burbling song, soaking through the knotted roots of infinite ages, and skeletons and treasure, streamed away in rivulets over the pavement and all along Marylebone Road, and down towards Euston, fertilising, leaving a damp stain.Still remembering how once in some primeval May she had walked with her lover, this rusty pump, this battered old woman with one hand exposed for coppers the other side clutching her side, would still be there in ten million years, remembering how once she had walked in May, where the sea flows now, with whom it did not matter - he was a man, oh yes, a man who had loved her. but the passage of ages had blurred the clarity of that ancient May day; the bright petalled flowers were hoar and silver frosted; and she no longer saw, when she implored him (as she did not quite clearly) "look in my eyes with thy sweet eyes intently," she no longer saw brown eyes, black whiskers or sunburnt face but only a looming shape, a shadow shape, to which, with the bird-like freshness of the very aged she still twittered "give me your hand and let me press it gently" (Peter Walsh could not help giving the poor creature a coin as he stepped into his taxi), "and if some one should see, what matter they?" she demanded; and her fist clutched at her side, and she smiled, pocketing her shilling, and all peering inquisitive eyes seemed blotted out, and the passing generations - the pavement was crowded with bustling middle-class people - vanished, like leaves, to be trodden under, to be soaked and steeped and made mould of by that eternal spring - ee um fah um soofoo swee too eem oo
Without realizing what she was doing and more on an impulse than anything else, she leaned forward and kissed him. It was a simple, yet firm kiss and she pulled back after only a moment. But it sent a thrill through her. He leaned down for another. But she put her finger on his lips to stop him. "That was my reward to you," she said as they danced. "Don't squander it." "Reward? he asked still seeming both surprised and delighted at this unexpected attention. "What for?" "Why for living, Vaelros. And for doing so much else to help me. I will have you rewarded in state as well. But that was just from me." She saw Vaelros flush and she gave him a brilliant smile. "You don't like my reward?" she asked. "I do!" he replied. "I want only to learn how to earn more." The music was fading. The song was ending. Luthiel stepped back and let her hands drop. "A mysterious thing, my heart," she said.
She loved your mother', Taliesin said gently. 'This is her farewell.' As he spoke, a chanted melody began inside the chamber, a song without words. Yet it spoke of the beauty in the heart of the flame, of the passing glory of the white bird on the wing, and the blossom of the sea spray under the shining prow. It sang of a mother with her baby, of the hard love between men and women, and the gentle rest that comes at last to all.
OctoberO love, turn from the changing sea and gaze,Down these grey slopes, upon the year grown old,A-dying 'mid the autumn-scented hazeThat hangeth o'er the hollow in the wold,Where the wind-bitten ancient elms infoldGrey church, long barn, orchard, and red-roofed stead,Wrought in dead days for men a long while dead.Come down, O love; may not our hands still meet,Since still we live today, forgetting June,Forgetting May, deeming October sweet? - - Oh, hearken! hearken! through the afternoonThe grey tower sings a strange old tinkling tune!Sweet, sweet, and sad, the toiling year's last breath,To satiate of life, to strive with death.And we too -will it not be soft and kind,That rest from life, from patience, and from pain,That rest from bliss we know not when we find,That rest from love which ne'er the end can gain?- Hark! how the tune swells, that erewhile did wane!Look up, love! -Ah! cling close, and never move!How can I have enough of life and love?
I keep my kindness in my eyes Gently folded around my iris Like a velvety, brown blanket That warms my vision I keep my shyness in my hair Tucked away into a ponytail Looking for a chance to escape On a few loose strands in the air I keep my anger on my lips Just waiting to unleash into the world But trust me; it’s never in my heart It evaporates into words I keep my dignity upon my chin Like a torch held up high For those who have betrayed me Radiating a silent, strong message I keep my gratitude in my smileA glistening waterfall in the sun Gently splashing at that personWho made me happy for some reason I keep my sensitivity in my hands Reaching out for your wet cheek Holding you, with all the love The love I want to share, and feel I keep my passion in my writing My words breathing like fire Screeching against an endless road As I continue to be inspired I keep my simplicity in my soul Spread over me like a clear sky Reflecting all that I am And all that’s ever passed me by And I hope you will look Beyond my ordinary faceMy simple, tied hairMy ordinary tastes And I hope you will see me From everyone...apart As I keep my beauty in my heart.
Flow gently, sweet Afton,amang thy green braes,Flow gently, I'll sing theea song in thy praise;My Mary's asleepby thy murmuring stream,Flow gently, sweet Afton,disturb not her dream.Thou stock dove whose echoresounds thro' the glen,Ye wild whistly blackbirdsin yon thorny den,Thou green crested lapwingthy screaming forbear,I charge you, disturb notmy slumbering fair.How lofty, sweet Afton,thy neighboring hills,Far mark'd with the coursesof clear winding rills;There daily I wanderas noon rises high,My flocks and my Mary'ssweet cot in my eye.How pleasant thy banks and green valleys below, Where, wild in the woodlands,the primroses blow;There oft, as mild eveningweeps over the lea,The sweet-scented birk shadesmy Mary and me.Thy crystal stream, Afton,how lovely it glides,And winds by the cot wheremy Mary resides;How wanton thy watersher snowy feet lave,As, gathering sweet flowerets,she stems thy clear wave.Flow gently, sweet Afton,amang thy green braes,Flow gently, sweet river,the theme of my lays; My Mary's asleepby thy murmuring stream,Flow gently, sweet Afton,disturb not her dreams.
We're so old that the winds of age echo along our ribs and pick at our eye sockets. We could be gone tomorrow. A chill, say, or a little slip on the cliff side. I feel as fragile as a dried flower. I rattle a little in the moving air, but I'm only coherent dust-a shape of what once was. My essence is going.
Simple answers to the most difficult questions:1. Why do humans find it difficult to express themselves?To relate to the movies and books, later.2. Why do humans make everything look so big, beautiful & complicated?Ego feels good.3. Why do humans want to protect the nature?Because they can't even protect themselves. Moreover, they are guilty conscious.4. What is romance?It is complicated as far as humans are concerned.5. What is love?The complicated part of the fourth question.6. What is unconditional love?Not there yet.7. Who is God?Sixth leads you to the seventh.8. Who am I?Ask yourself.9. What is loneliness?Potential energy wasted on learned answers.10. What is happiness?All of the above.
When they asked some old Roman philosopher or other how he wanted to die, he said he would open his veins in a warm bath. I thought it would be easy, lying in the tub and seeing the redness flower from my wrists, flush after flush through the clear water, till I sank to sleep under a surface gaudy of poppies.But when it came right down to it, the sink of my wrist looked so white and defenseless that I couldn't do it. It was as if what I wanted to kill wasn't in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get at.