When you are old and grey and full of sleep And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep
Facebooktwittergoogle_plusredditpinterestlinkedintumblr
1 Star2 Stars3 Stars4 Stars5 Stars (No Ratings Yet)
Loading...
When you are old and grey and full of sleep And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep

-W.B. Yeats

Related Quotes

I was very fond of strange stories when I was a child. In my village-school days, I used to buy stealthily popular novels and historical recitals. Fearing that my father and my teacher might punish me for this and rob me of these treasures, I carefully hid them in secret places where I could enjoy them unmolested. As I grew older, my love for strange stories became even stronger, and I learned of things stranger than what I had read in my childhood. When I was in my thirties, my memory was full of these stories accumulated through years of eager seeking. l have always admired such writers of the T'ang Dynasty as Tuan Ch'eng-shih [author of the Yu-yang tsa-tsu] and Niu Sheng [author of the Hsuan-kuai lu]. Who wrote short stories so excellent in portrayal of men and description of things. I often had the ambition to write a book (of stories) which might be compared with theirs. But I was too lazy to write, and as my laziness persisted, I gradually forgot most of the stories which I had learned. Now only these few stories, less than a score, have survived and have so successfully battled against my laziness that they are at last written down. Hence this Book of Monsters. I have sometimes laughingly said to myself that it is not I who have found these ghosts and monsters, but they, the monstrosities themselves, which have found me! ... Although my book is called a book or monsters, it is not confined to them: it also records the strange things of the human world and sometimes conveys a little bit of moral lesson.

-W.B. Yeats

1 Star2 Stars3 Stars4 Stars5 Stars (No Ratings Yet)
Loading...
When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

-John Crowley

1 Star2 Stars3 Stars4 Stars5 Stars (No Ratings Yet)
Loading...