1
" To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.--Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd! "
― William Shakespeare , Hamlet
3
" Under Christianity neither morality nor religion has any point of contact with actuality. It offers purely imaginary causes (" God" " soul," " ego," " spirit," " free will" -- " unfree will" for that matter), and purely imaginary effects (" sin," " salvation," " grace," " punishment," " forgiveness of sins" ). Intercourse between imaginary beings (" God," " spirits," " souls" ); an imaginary natural science (anthropocentric; a total denial of the concept of natural causes); an imaginary psychology (misunderstandings of self, misinterpretations of agreeable or disagreeable general feelings -- for example, of the states of the nervus sympathicus with the help of the sign-language of religio-ethical balderdash -- , " repentance," " pangs of conscience," " temptation by the devil," " the presence of God" ); an imaginary teleology (the " kingdom of God," " the last judgment," " eternal life" ). -- This purely fictitious world, greatly to its disadvantage, is to be differentiated from the world of dreams; the later at least reflects reality, whereas the former falsifies it, cheapens it and denies it. Once the concept of " nature" had been opposed to the concept of " God," the word " natural" necessarily took on the meaning of " abominable" -- the whole of that fictitious world has its sources in hatred of the natural (-- the real! --), and is no more than evidence of a profound uneasiness in the presence of reality. . . . This explains everything. Who alone has any reason for lying his way out of reality? The man who suffers under it. But to suffer from reality one must be a botched reality. . . . The preponderance of pains over pleasures is the cause of this fictitious morality and religion: but such a preponderance also supplies the formula for decadence... "
4
" There are very few things in the mind which eat up as much energy as worry. It is one of the most difficult things not to worry about anything. Worry is experienced when things go wrong, but in relation to past happenings it is idle merely to wish that they might have been otherwise. The frozen past is what it is, and no amount of worrying is going to make it other than what it has been. But the limited ego-mind identifies itself with its past, gets entangled with it and keeps alive the pangs of frustrated desires. Thus worry continues to grow into the mental life of man until the ego-mind is burdened by the past. Worry is also experienced in relation to the future when this future is expected to be disagreeable in some way. In this case it seeks to justify itself as a necessary part of the attempt to prepare for coping with the anticipated situations. But, things can never be helped merely by worrying. Besides, many of the things which are anticipated never turn up, or if they do occur, they turn out to be much more acceptable than they were expected to be. Worry is the product of feverish imagination working under the stimulus of desires. It is a living through of sufferings which are mostly our own creation. Worry has never done anyone any good, and it is very much worse than mere dissipation of psychic energy, for it substantially curtails the joy and fullness of life. "
― Meher Baba , Discourses
8
" To this day when I inhale a light scent of Wrangler—its sweet sharpness—or the stronger, darker scent of Musk, I return to those hours and it ceases to be just cologne that I take in but the very scent of age, of youth at its most beautiful peak. It bears the memory of possibility, of unknown forests, unchartered territories, and a heart light and skipping, hell-bent as the captain of any of the three ships, determined at all costs to prevail to the new world. Turning back was no option. Whatever the gales, whatever the emaciation, whatever the casualty to self, onward I kept my course. My heart felt the magnetism of its own compass guiding me on—its direction constant and sure. There was no other way through. I feel it again as once it had been, before it was broken-in; its strength and resolute ardency. The years of solitude were nothing compared to what lay ahead. In sailing for the horizon that part of my life had been sealed up, a gentle eddy, a trough of gentle waves diminishing further, receding away. Whatever loneliness and
pain went with the years between the ages of 14 and 20, was closed, irretrievable—I was already cast in form and direction in a certain course.
When I open the little bottle of eau de toilette five hundred different days unfold within me, conversations so strained, breaking slowly, so painstakingly, to a comfortable place. A place so warm and inviting after the years of silence and introspect, of hiding.
A place in the sun that would burn me alive before I let it cast a shadow on me. Until that time I had not known, I had not been conscious of my loneliness. Yes, I had been taciturn in school, alone, I had set myself apart when others tried to engage. But though I was alone, I had not felt the pangs of loneliness. It had not burdened or tormented as such when I first felt the clear tang of its opposite in the form of another’s company. Of Regn’s company. We came, each in our own way, in our own need—listening, wanting, tentatively, as though we came upon each other from the side in spite of having seen each other head on for two years. It was a gradual advance, much again like a vessel waiting for its sails to catch wind, grasping hold of the ropes and learning much too quickly, all at once, how to move in a certain direction. There was no practicing. It was everything and all—for the first and last time. Everything had to be right, whether it was or not. The waters were beautiful, the work harder than anything in my life, but the very glimpse of any tempest of defeat was never in my line of vision. I’d never failed at anything. And though this may sound quite an exaggeration, I tell you earnestly, it is true. Everything to this point I’d ever set my mind to, I’d achieved. But this wasn’t about conquering some land, nor had any of my other desires ever been about proving something. It just had to be—I could not break, could not turn or retract once I’d committed myself to my course. You cannot force a clock to run backwards when it is made to persevere always, and ever, forward. Had I not been so young I’d never have had the courage to love her. "
― ,
9
" The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another. "
― George Bernard Shaw , Man and Superman
12
" Song of myself
Now I will do nothing but listen,
To accrue what I hear into this song, to let sounds contribute toward it.
I hear bravuras of birds, bustle of growing wheat, gossip of flames,
clack of sticks cooking my meals,
I hear the sound I love, the sound of the human voice,
I hear all sounds running together, combined, fused or following,
Sounds of the city and sounds out of the city, sounds of the day and night,
Talkative young ones to those that like them, the loud laugh of
work-people at their meals,
The angry base of disjointed friendship, the faint tones of the sick,
The judge with hands tight to the desk, his pallid lips pronouncing
a death-sentence,
The heave'e'yo of stevedores unlading ships by the wharves, the
refrain of the anchor-lifters,
The ring of alarm-bells, the cry of fire, the whirr of swift-streaking
engines and hose-carts with premonitory tinkles and color'd lights,
The steam-whistle, the solid roll of the train of approaching cars,
The slow march play'd at the head of the association marching two and two,
(They go to guard some corpse, the flag-tops are draped with black muslin.)
I hear the violoncello, ('tis the young man's heart's complaint,)
I hear the key'd cornet, it glides quickly in through my ears,
It shakes mad-sweet pangs through my belly and breast.
I hear the chorus, it is a grand opera,
Ah this indeed is music--this suits me. "
― Walt Whitman
16
" Those in the System, would like us to share their belief that all the changes [we are witnessing] are not connected: they are simply anomalies, isolated symptoms to be treated or preferably ignored, before the all-powerful Western capitalist patriarchal model goes on to ever greater heights and grander ejaculations. Most are numb to it, caught in fear, denial or resistance.
But we, Burning Woman, know this process intimately. Amongst Burning Women and Men, there is a fierce, quiet knowing that these are both the death pangs of the old, and the birthing pangs of the new. "
― Lucy H. Pearce , Burning Woman
17
" No worst, there is none. Pitched past pitch of grief,
More pangs will, schooled at forepangs, wilder wring.
Comforter, where, where is your comforting?
Mary, mother of us, where is your relief?
My cries heave, herds-long; huddle in a main, a chief-
woe, world-sorrow; on an age-old anvil wince and sing —
Then lull, then leave off. Fury had shrieked 'No ling-
ering! Let me be fell: force I must be brief'.
O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne'er hung there. Nor does long our small
Durance deal with that steep or deep. Here! creep,
Wretch, under a comfort serves in a whirlwind: all
Life death does end and each day dies with sleep. "
― Gerard Manley Hopkins , The Poems of Gerard Manley Hopkins
18
" And shall I pray Thee change Thy will, my Father,
Until it be according unto mine?
But, no, Lord, no, that never shall be, rather
I pray Thee blend my human will with Thine.
I pray Thee hush the hurrying, eager longing,
I pray Thee soothe the pangs of keen desire—
See in my quiet places, wishes thronging—
Forbid them, Lord, purge, though it be with fire. "
― Amy Carmichael
