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Read through the most famous quotes by topic #liter
The music of revelation announces itself to the reader in somber brooding tones or in melodies light as air and one is invited to dance with the most captivating of partners: poetry. ↗
She was cuckoo about dime stores, where she bought cosmetics and pins and combs. After we locked the expensive purchases in the station wagon we went into McCory's or Kresge's and were there by the hour, up and down the aisles with the multitude, mostly of women, and in the loud-played love music. Some things Thea liked to buy cheaply, they maybe gave her the best sense of the innermost relations of pennies and nickels and explained the real depth of money. I don't know. But I didn't think myself too good to be wandering in the dime store with her. I went where and as she said and did whatever she wanted because I was threaded to her as if through the skin. So that any trifling object she took pleasure in could become important to me at once; anything at all, a comb or hairpin or piece of line, a compass inside a tin ring that she bought with great satisfaction, or a green billed baseball cap for the road, or the kitten she kept in the apartment - she would never be anywhere without an animal. ↗
#love
To transform a grimace into a sound sounds impossible, yet it is possible to transform a vision into music, to go outside an enslaved personality, to become impersonal by transforming into sand, into water, into light. ↗
Reading The Waste Land, then, is in part reading about reading in the early twentieth century. The crisis in epistemology brought on by the discrediting of objectivity is especially relevant to understanding the poem, because the problem of knowledge is itself one of its major subjects. Like Joyce, Valéry, and other contemporary writers, Eliot consciously adds a dimension in which his work is self-reflexive, a dimension in which it refers to itself and its nature as a linguistic structure, a dimension which incorporates the larger subject of the crisis in Western culture into the process of reading. The Waste Land contains, in addition to its many other gifts, a partial set of instructions on how to read in the twentieth century. We believe and shall try to demonstrate that Eliot's poem, in one of its aspects, is a brief and striking primer, a McGuffey's Eclectic Reader for the twentieth century. ↗
We have then, in the first part of The Faerie Queene, four of the seven deadly sins depicted in the more important passages of the four several books; those sins being much more elaborately and powerfully represented than the virtues, which are opposed to them, and which are personified in the titular heroes of the respective books. The alteration which made these personified virtues the centre each of a book was probably part of the reconstruction on the basis of Aristotle Ethics. The nature of the debt to Aristotle suggests that Spenser did not borrow directly from the Greek, but by way of modern translations. ↗
We are not native. We have no generations of Americans behind us. We have roots elsewhere. We are looking in from the outside. To me, that seems to be perfectly natural. ↗
It hadn’t always been this way, that’s a cliché, but it is a cliché for a reason. It’s not like anyone starts a relationship with nothing to say to the other person. No-one wants to feel like a complete stranger and live together because it’s easier than trying to remember who owns the copy of Almost Famous – which was mine by the way. ↗
