2
" You can’t, if you can’t feel it, if it never
Rises from the soul, and sways
The heart of every single hearer,
With deepest power, in simple ways.
You’ll sit forever, gluing things together,
Cooking up a stew from other’s scraps,
Blowing on a miserable fire,
Made from your heap of dying ash.
Let apes and children praise your art,
If their admiration’s to your taste,
But you’ll never speak from heart to heart,
Unless it rises up from your heart’s space. "
― Johann Wolfgang von Goethe , Faust, First Part
3
" If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise
If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the will which says to them: 'Hold on!'
If you can talk with crowds and keep your virtue,
Or walk with Kings - nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man, my son! "
― Rudyard Kipling , If: A Father's Advice to His Son
8
" Yes I have done it all. Tested the shallow waters, swam through the dangerous tides, met strangers, seen friends turn strangers, taken risks to achieve my goals, persevered to out do myself each time, rose high, fell hard, learned to climb, learned to dream and in dreaming learned to relate to reality.
I have earned respect, achieved things very young, believed in my potential, questioned it too but through it all I have never stopped to aspire. I am a human and I must adapt to the changing seasons, learn new skills and master them all.
Now as I stand and look up, I see a heap of laurels yet to achieve and chest of mysteries yet to resolve. I am not one in the crowd. I'll forever be the one whom they could never be "
― Adhish Mazumder
12
" The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail.
But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time. "
― Vladimir Nabokov , Speak, Memory
13
" from " Semele Recycled" But then your great voice rang out under the skiesmy name!-- and all those private namesfor the parts and places that had loved you best.And they stirred in their nest of hay and dung.The distraught old ladies chasing their lost altar,and the seers pursuing my skull, their lost employment,and the tumbling boys, who wanted the magic marbles,and the runaway groom, and the fisherman's thirteen children,set up such a clamor, with their cries of " Miracle!" that our two bodies met like a thunderclapin midday-- right at the corner of that wretched fieldwith its broken fenceposts and startled, skinny cattle.We fell in a heap on the compost heapand all our loving parts made love at once,while the bystanders cheered and prayed and hid their eyesand then went decently about their business.And here is is, moonlight again; we've bathed in the riverand are sweet and wholesome once more.We kneel side by side in the sand;we worship each other in whispers.But the inner parts remember fermenting hay,the comfortable odor of dung, the animal incense,and passion, its bloody labor,its birth and rebirth and decay. "
16
" You see," he continued, beginning to feel better, " once there was no time at all, and people found it very inconvenient. They never knew wether they were eating lunch or dinner, and they were always missing trains. So time was invented to help them keep track of the day and get to places where they should. When they began to count all the time that was available, what with 60 seconds in a minute and 60 minutes in an hour and 24 hours in a day and 365 days in a year, it seemed as if there was much more than could ever be used. 'If there's so much of it, it couldn't be very valuable,' was the general opinion, and it soon fell into dispute. People wasted it and even gave it away. Then we were giving the job of seeing that no one wasted time again," he said, sitting up proudly. " It's hard work but a noble calling. For you see" - and now he was standing on the seat, one foot on the windshield, shouting with his ams outstretched- " it is our most valuable possession, more precious than diamonds. It marches on, it and tide wait for no man, and-" At that point in the speech the car hit a bump in the road and the watchdog collapsed in a heap on the front seat with his alarm ringing furiously. "
20
" Rising up, rising down! History shambles on! What are we left with? A few half-shattered Greek stelae; Trotsky's eyeglasses; Gandhi's native-spun cloth, Cortes' pieces of solid gold (extorted from their original owner, Montezuma); a little heap of orange peels left on the table by the late Robespierre; John Brown's lengthily underlined letters; Lenin's bottles of invisible ink; one of Di Giovanni's suitcases, with an iron cylinder of gelignite and two glass tubes of acid inside; the Constitution of the Ku Klux Klan; a bruised ear (Napoleon pinched it with loving condescension)... And dead bodies, of course. (They sing about John Brown's body.) Memoirs, manifestoes, civil codes, trial proceedings, photographs, statues, weapons now aestheticized by that selfsame history - the sword of Frederick the Great, and God knows what else. Then dust blows out of fresh graves, and the orange peels go grey, sink, wither, rot away. Sooner or later, every murder becomes quaint. Charlemagne hanged four and a half thousand " rebels" in a single day, but he has achieved a storybook benevolence. And that's only natural: historiography begins after the orange has been sucked,; the peeler believes in the " great and beautiful things," or wants to believe; easy for us to believe likewise, since dust reduced truth and counterfeit to the same greyness - caveat emptor. But ends remain fresh, and means remain inexplicable. Rising up and rising down! And whom shall I save, and who is my enemy, and who is my neighbor? "