11
" It has been observed in all ages that the advantages of nature or of fortune have contributed very little to the promotion of happiness; and that those whom the splendour of their rank, or the extent of their capacity, have placed upon the summits of human life, have not often given any just occasion to envy in those who look up to them from a lower station; whether it be that apparent superiority incites great designs, and great designs are naturally liable to fatal miscarriages; or that the general lot of mankind is misery, and the misfortunes of those whose eminence drew upon them an universal attention, have been more carefully recorded, because they were more generally observed, and have in reality only been more conspicuous than others, not more frequent, or more severe. "
― Samuel Johnson ,
14
" but as he plodded along a vague and almost hallucinatory pall hazed over his mind; he found himself at one point, with no notion of how it could be, a step from an almost certain fatal cliffside fall—falling humiliatingly and helplessly, he thought; on and on, with no one even to witness it. Here there existed no one to record his or anyone else's degradation, and any courage or pride which might manifest itself here at the end would go unmarked: the dead stones, the dust-stricken weeds dry and dying, perceived nothing, recollected nothing, about him or themselves. "
― Philip K. Dick , Do Androids Dream of Electric Sheep?
17
" BELOVED, gaze in thine own heart, The holy tree is growing there; From joy the holy branches start, And all the trembling flowers they bear. The changing colours of its fruit Have dowered the stars with merry light; The surety of its hidden root Has planted quiet in the night; The shaking of its leafy head Has given the waves their melody, And made my lips and music wed, Murmuring a wizard song for thee. There the Loves a circle go, The flaming circle of our days, Gyring, spiring to and fro In those great ignorant leafy ways; Remembering all that shaken hair And how the wingèd sandals dart, Thine eyes grow full of tender care: Beloved, gaze in thine own heart. Gaze no more in the bitter glass The demons, with their subtle guile, Lift up before us when they pass, Or only gaze a little while; For there a fatal image grows That the stormy night receives, Roots half hidden under snows, Broken boughs and blackened leaves. For all things turn to barrenness In the dim glass the demons hold, The glass of outer weariness, Made when God slept in times of old. There, through the broken branches, go The ravens of unresting thought; Flying, crying, to and fro, Cruel claw and hungry throat, Or else they stand and sniff the wind, And shake their ragged wings; alas! Thy tender eyes grow all unkind: Gaze no more in the bitter glass.- The Two Trees "
20
" 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. "