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SORTABLE TABLE - (click on bolded headers after page loads to sort)
v. NAME .vSUBJECTSPOETIC WORKSDOBNATIONALITYCOUNTQUOTE
Abu l-Husayn al-Nuri
Abu-Said Abil-Kheir023
Aeschylus - an ancient Greek playwright, is often recognized as the father or the founder of tragedy. He is the earliest of the three Greek tragedians whose plays survive extant, the others being Sophocles and Euripides. According to Aristotle, he expanded the number of characters in plays to allow for conflict among them; previously, characters interacted only with the chorus.Playwright, SoldierAgamemnon, Prometheus Bound, Eumenides-525-456 BCGreeceWisdom comes through suffering. / Trouble, with its memories of pain, / Drips in our hearts as we try to sleep, / So men against their will / Learn to practice moderation. / Favours come to us from gods. ~ Aeschylus, Agamemnon
Aleister CrowleyOccultismCrowley - Poems1875-1947England036
Alexander PopeTranslationThe Rape of the Lock1688-1744England
Alfred Tennyson1809-1892England
Allama Muhammad IqbalIslam, Philosophy, Politics1877-1938Punjab
Aonghus of the Divinity
Baba Sheikh Farid014His grace may fall upon us at anytime, it has no rules, you see? Some don't get it after rituals, vigils: others asleep, it hits suddenly!
BasavaHinduism, Philosophy, Politics1200India
Beni
Bernart de VentadornMusic1135-1194France
BodhidharmaBuddhism, ZenBodhidharma - Poems500?010Externally keep yourself away from all relationships, / and internally have no pantings in your heart; / when your mind is like unto a straight-standing wall, / you may enter into the Path.
BoethiusChristianity0480?-0525Italy
Bulleh ShahSufism, Mysticism, Philosophy1680-1757 CEPunjab021Repeating the name of the Beloved / I have become the Beloved myself. / Whom shall I call the Beloved now?
Saint_Catherine of SienaChristianity1347-1380Siena
Charles Baudelaire1821-1867France
Chiao JanBuddhism, Zen730-799China
Chone Lama Lodro GyatsoBuddhism, TibetanIn Praise of Dependent Origination1816-1900Tibet
Choshu UedaPoetry, Haiku1853JapanThough it be broken- broken again - still it's there; the moon on the water.
Chuang TzuTaoism, PhilosophyChuang Tzu - Poems-0369-0286 BCChina006Kung Wen Hsien saw Yo Shi and exclaimed: / What kind of person is this? / How come only one foot? / Is this ordained by Heaven, / Or caused by Man? / He then said to himself: / It is Heaven, not Man. / Heavens destiny let him be crippled. / The image of Man is given by Heaven. / Therefore we know this is the work of Heaven, not Man.
Dadu DayalHinduism1544-1603India?
Dante AlighieriPhilosophyThe Divine Comedy1265-1321Italy
Saint_Dionysius the AreopagiteChristianity, Judiciary0100?-0100? ADGreece?
DogenBuddhism, ZenDogen - Poems1200-1253Japan021The whole moon and the entire sky are reflected in one dewdrop on the grass.
Edgar Allan Poe1809-1849United States077
Edward YoungPhilosophy, Theology1683-1765England
Eleazar ben Kallir
Ernest Hemingway1899-1961United States
Farid ud-Din AttarSufism1120?-1220?Iran/Persia024When you begin the Valley of the Quest / Misfortunes will deprive you of all rest, / Each moment some new trouble terrifies, / And parrots there are panic-stricken flies. / There years must vanish while you strive and grieve; / There is the heart of all you will achieve -- / Renounce the world, your power and all you own, / And in your heart's blood journey on alone. / When once your hands are empty, then your heart / Must purify itself and move apart / From everything that is -- when this is done, / The Lord's light blazes brighter than the sun, / Your heart is bathed in splendour and the quest / Expands a thousandfold within your breast. / Though fire flares up across the path, and though / A hundred monsters peer out from its glow, / The pilgrim driven on by his desire Will like a moth rush gladly on the fire. / When love inspires his heart he begs for win, / One drop to be vouchsafed him as a sign -- / And when he drinks this drop both worlds are gone; / Dry-lipped he founders in oblivion. / His zeal to know faith's mysteries will make / Him fight with dragons for salvation's sake -- / Though blasphemy and curses crowd the gate, / Until it opens he will calmly wait, / And then where is this faith? this blasphemy? / Both vanish into strenghless vacancy. ~ The Valley of the Quest
Friedrich NietzscheGermany080
Friedrich SchillerPoetry, Philosophy, FictionSchiller - Poems1759-1805Germany165
Fukuda Chiyo-ni1703-1775Japan012At the crescent moon the silence enters my heart.
George EliotTranslation1819-1880England
GorakhnathHinduism1100?India?
Guru NanakSikhism1469-1539PakistanDiscipline is the workshop; patience, the goldsmith; the anvil, one's thinking; wisdom, the hammer; Fear, the bellows; austerities, the fire; and feeling, the vessel where the deathless liquid is poured. In such a true mint is forged the Word, and those on whom He looks do their rightful deeds. Nanak says: the One who sees, sees. He observes. ~ Discipline is the workshop
HafizMysticismHafiz - Poems1315-1390Iran049A poet is someone Who can pour Light into a spoon Then raise it To nourish Your beautiful parched, holy mouth
Hakim SanaiSufismThe Walled Garden of Truth1080-1131Ghazni029Take everything away and leave me alone with You. Close every door and open the one to You. ~ Take everything away
Hakuin EkakuBuddhism, Zen1686-1769Japan The monkey is reaching For the moon in the water. Until death overtakes him He'll never give up. If he'd let go the branch and Disappear in the deep pool, The whole world would shine With dazzling pureness.
Han-shanBuddhism, Zen, TaoismHan-shan - Poems0730?-0850?China004
Hazrat Inayat KhanSufism1882-1927India
Henry David Thoreau1817-1862United States
Henry Wadsworth LongfellowEducation1807-1882United States
HomerMythologyThe Odyssey, The Illiad-700? BCEGreece
Horace-065-008 BCItaly
Hsuan Chueh of Yung ChiaBuddhism, Zen, Taoism0665-0713China070
Hung-chih Cheng-chueh
Ibn ArabiSufism, Mysticism, PhilosophyArabi - Poems1165-1240Spain036How can the heart travel to God, when it is chained by its desires?
Ibn Ata IllahThose travelling to Him are guided by the light of turning their faces toward Him. Those who have arrived have the light of face-to-face encounter. The former belong to lights, but the lights belong to the latter because they belong to Allah, and are His alone. "Say: 'Allah' then leave them plunging in their games.
IkkyuBuddhism, Zen1394-1481Japan0131). inside the koan clear mind gashes the great darkness -- 2.) Only one koan matters you
Isaac of StellaChristianity, Philosophy1100-1170England
Izumi Shikibu976?JapanAlthough the wind / blows terribly here, / the moonlight also leaks / between the roof planks / of this ruined house.
Jacopone da TodiChristianity1230-1306Umbria010
Jakushitsu GenkoBuddhism, Zen, Rinzai1290-1367JapanTo the branch's edge and the leaf's under surface be most attentive / Its pervasive aroma envelopes people far away / The realms of form and function can't contain it / Spring leaks profusely through the basket
Jalaluddin RumiSufismRumi - Poems1207-1273Afghanistan133
James JoyceFiction1882-1941Ireland... a darkness shining in brightness which brightness could not comprehend. ~ Ulysses
JayadevaHinduism1170-1245India, East
Jetsun MilarepaBuddhismMilarepa - Poems1028-1111Tibet010Deep in the wild mountains, is a strange marketplace, where you can trade the hassle and noise of everyday life, for eternal Light.
Johann Wolfgang von GoetheScience, TheologyGoethe - Poems1749-1832Germany120We all walk in mysteries. We are surrounded by an atmosphere about which we still know nothing at all.
John KeatsPoetryHyperion, Keats - Poems1795-1821England163It appears to me that almost any man may like the spider spin from his own inwards his own airy citadel.
John MiltonPoetryParadise Lost1608-1674EnglandBut hail, thou Goddess, sage and holy, Hail, divinest melancholy, Whose saintly visage is too bright To hit the Sense of human sight.
Jorge Luis BorgesPhilosophyBorges - Poems1899-1986Argentina042
Judah HaleviJudaism, Philosophy, Physician1075-1141Toledo
Jusammi ChikakoOn this summer night All the household lies asleep, And in the doorway, For once open after dark, Stands the moon, brilliant, cloudless.
KabirSufism, Hinduism, SikhismSongs of Kabir1500India101All know that the drop merges into the ocean, but few know that the ocean merges into the drop.
Kahlil GibranMysticismThe Prophet1883-1931Lebanon
Karma Trinley
Kelsang GyatsoBuddhism, Tibetan1931-Tibet?
Khwaja Abdullah Ansari
Kobayashi IssaPoetry, Haiku1763-1828Japan027On a branch / floating downriver / a cricket, singing.
Kuan Han-ChingPlaywright1241?-1320?China?
LallaMathematician, Astronomy, Astrology720-790India038Dance, Lalla, with nothing on but air: Sing, Lalla, wearing the sky. Look at this glowing day! What clothes could be so beautiful, or more sacred?
Levi Yitzchak of Berditchov
Lewis CarrollMathematics, Fiction, Education1832-1898England
Li BaiPoetryLi Bai - Poems0701-0762China127
Longchen RabjampaBuddhism, Tibetan1308-1364Tibet
Lord ByronPolitics1788-1824England
LucretiusPhilosophyOf The Nature Of Things-099-055 BCGreece033
Lu Tung PinTaoism755-805ChinaMy heart is the clear water in the stony pond. Right now it is invaded by the peach-blossom shadows. As soon as I arrive at heaven's palaces I shall settle down with my seven-stringed lute. ~ My heart is the clear water in the stony pond
Mansur al-HallajSufism, Mysticism, EducationMansur al-Hallaj - Poems858-922Iran/Persia013
Marpa LotsawaBuddhism, Tibetan1012-1097Tibet
Mizuta MasahidePoetry, Haiku, Samurai, Medicine1657-1723JapanSince my house burned down / I now own a better view / of the rising moon
Masaoka ShikiPoetry, Haiku1867-1902Japan
Matsuo BashoBuddhism, ZenBasho - Poems1644-1694Japan066How I long to see among dawn flowers, the face of God.
Mechthild of MagdeburgChristianity, Mysticism1207-1282?009
Michael MaierAlchemist, Physician1568-1622Germany
Miguel de CervantesFiction1547-1616Spanish
MirabaiHinduism1498-1573India020
Moses de LeonKabbal1240-1305Spain
Muso SosekiBuddhism, Zen, Rinzai1275-1351Japan012Year after year I dug in the earth looking for the blue of heaven only to feel the pile of dirt choking me until once in the dead of night I tripped on a broken brick and kicked it into the air and saw that without a thought I had smashed the bones of the empty sky ~ Toki-no-Ge
NachmanidesKabbal, Philosophy, Judaism, Physician1194-1270Girona
Naftali Bacharach
NamdevHinduism, Sikhism1270-1350India
Nozawa BonchoPoetry, Haiku1640-1714JapanLove. / So many different ways / to have been in love. / The maidservants / Trying to take a peep / Knock down the screen!
NukataWhile I wait for you, My lord, lost in this longing, Suddenly there comes A stirring of my window blind: The autumn wind is blowing.
Omar KhayyamPolymath, Mathematician, Astronomer, Philosophy1048-1131Iran081
Ovid-043-017 ADItaly014
Pablo NerudaPolitics1904-1973Chile
Percy Bysshe ShelleyFictionOzymandias, Prometheus Unbound, Shelley - Poems1792-1822England335And on the pedestal these words appear / "My name is Ozymandias, king of kings: / Look on my works, ye mighty, and despair!" / Nothing beside remains. Round the decay / Of that collossal wreck, boundless and bare / The lone and level sands stretch far away ~ Ozymandias
PindarHistory-0518-0438 BCGreeceFor lawless joys a bitter ending waits.
Pipa
Po Chu-iPoltics0772-0846Chinamy lute set aside on the little table lazily I meditate on cherishing feelings the reason I don't bother to strum and pluck? there's a breeze over the strings and it plays itself
Rabbi Abraham Abulafia
Rabbi Abraham Joshua HeschelJudaism1907-1972Poland
Rabindranath TagoreMysticism, Philosophy1861-1941India251I seem to have loved you in numberless forms, numberless times, in life after life, in age after age forever.
Rainer Maria RilkePoetryRilke - Poems1875-1926Austria-Hungary117
Ralph Waldo EmersonPhilosophyEmerson - Poems1803-1882United States117 Everything in creation has its appointed painter or poet and remains in bondage like the princess in the fairytale 'til its appropriate liberator comes to set it free.
RamanandaHinduism1300?-1400?India
Ramprasad021
RavidasHinduism1450-1520India, Varanasi
Robert BrowningPoetryBrowning - Poems1812-1889England099
RyuzanBuddhism, Zen1274-1358Japan
SaadiSufism, Mysticism, Logic, Ethics1210-1291ShirazRoam abroad in the world, and take thy fill of its enjoyments before the day shall come when thou must quit it for good.
SaigyoPoetry1118-1190Japan, KyotoI'd like to divide myself in order to see, among these mountains, each and every flower of every cherry tree.
Saint Clare of AssisiChristianity
Saint Francis of AssisiChristianity010
Saint Hildegard von BingenChristianity014
Saint John of the CrossChristianity
Saint Teresa of AvilaChristianityThe best thing must be to flee from all to the All.
Saint Therese of LisieuxChristianity
Saisei MuroLiterature1889-1962Japan, IshikawaBorn into the womb ::: Born into the womb of a HIPPU (a woman in a very low social position who is considered stupid and worthless) on a summer's day
Santoka TanedaPoetry1882-1940JapanI have no home / autumn deepens
SapphoPoetry-0630?-0570? BCGreece
SarahaBuddhism, Tibetan0800?India?, East?
SarmadSufism?-1659Iran012Along the road, you were my companion Seeking the path, you were my guide No matter to whom I spoke, it was you who answered When Sun called Moon to Sky, it was you who shined In the Night of aloneness, you were my comforter When I laughed, you were the smile on my lips When I cried, you were the tears on my face When I wrote, you were the verse When I sang, you were the song Rarely did my heart desire another lover Then when it did, you came to me in the other. ~ Companion
Saul WilliamsMusic1972-United States
Shankara
Shih-teBuddhism0900?China?
ShiwuBuddhism, Zen1272-1352China?
Solomon ibn GabirolJudaism, PhilosophyFons Vitae1021-1070Malaga016
Sophocles - was an ancient Greek tragedy playwright. Not many things are known about his life other than that he was wealthy, well educated and wrote about one hundred and twenty three plays (of which few are extant). One of his best known plays is 'Oedipus the King' (Oedipus Rex).Playwright, TragedyOedipus Rex, Anitgone-496-406 BCGreeceHe has the thousand-yard stare.
Sri AurobindoIntegral YogaSavitri, Collected Poems, Letters On Poetry and Art1872-1950India106
Sri Ramakrishna
Sri Ramana Maharshi
Sun Buer
SurdasHinduism1478?-1579?
Swami Vivekananda
Symeon the New TheologianChristianity, Catholism0949-1022Galatia011
Taigu RyokanBuddhism, ZenRyokan - Poems1758-1831Japan046A magnificent temple towers to heaven by the Eternal Bridge. / Priests rival in its halls the sermons of rocks and streams. / I, for one, would gladly sacrifice my brows for my brethren, /But I fear I might aggravate the war, already rank as weeds.
Tao ChienBuddhism, Taoism0365-0427China
Theophan the RecluseChristianity1815-1894Russia
Thomas CarlyleMathematician, Philosophy1795-1881Scotland
Thomas MertonChristianity, Mysticism, Theology1915-1968France013
T S EliotPlaywright1888-1965United States
ValmikiHinduismRamayana-500 BCEIndia
Victor HugoNovelist, Theatre, Philosophy1802-1885France
Vidyapati1352-1448India
VirgilMysticism, Philosophy1683-1765Roman
VoltairePhilosophy1694-1778France
VyasaHinduismVedas, Mahabharata, Puranas??
Walt WhitmanEssay, Journalist1819-1892United States, New York386
Wang WeiPolitics, Music, Paint0699-0759China090A traveler's thoughts in the night / Wander in a thousand miles of dreams.
William BlakeMysticism, Philosophy1757-1827England010
William Butler YeatsMysticism, Fiction, LiteratureYeats - Poems1865-1939Ireland379
William ShakespearePlaywright, ActorHamlet, King Lear, Romeo and Juliet, Macbeth1564-1616England
William WordsworthPoetryworks1770-1850England376
Wumen HuikaiBuddhism, ZenThe Blue Clif Records, The Gateless Gate1183-1260China005The Great Way has no gate, / A thousand roads enter it. / When one passes through this gateless gate, / He freely walks between heaven and earth.
Yamei
Yannai
Yeshe TsogyalBuddhism, Tibetan0800?TibetThe Supreme Being is the Dakini Queen of the Lake of Awareness! I have vanished into fields of lotus-light, the plenum of dynamic space, To be born in the inner sanctum of an immaculate lotus; Do not despair, have faith! When you have withdrawn attachment to this rocky defile, This barbaric Tibet, full of war and strife, Abandon unnecessary activity and rely on solitude. Practice energy control, purify your psychic nerves and seed-essence, And cultivate mahamudra and Dsokchen. The Supreme Being is the Dakini Queen of the Lake of Awareness! Attaining humility, through Guru Pema Jungne's compassion I followed him, And now I have finally gone into his presence; Do not despair, but pray! When you see your karmic body as vulnerable as a bubble, Realising the truth of impermanence, and that in death you are helpless, Disabuse yourself of fantasies of eternity, Make your life a practice of sadhana, And cultivate the experience that takes you to the place where Ati ends. ~ The Supreme Being is the Dakini Queen of the Lake of Awareness!
Yosa Buson1716-1784Japan012In a bitter wind a solitary monk bends to words cut in stone
Yose ben YoseJudaism0500?Israel/Palestine
Yuan MeiPainting1716-1798China, HangzhouA month alone behind closed doors forgotten books, remembered, clear again. Poems come, like water to the pool Welling, up and out, from perfect silence


AUTHORS



Zen, Choshu_Ueda
Zen, Izumi Shikibu (976?)
Zen, Masaoka_Shiki (1867-1902)
Zen, Nozawa Boncho
Zen, Kobayashi_Issa
Zen, Saisei Muro
Zen, Saigyo
Zen, Yosa_Buson (1716-1784)

Tu Fu ::: Buddhist, Zen / Chan, 712-770 - 6 -- https://www.poetry-chaikhana.com/Poets/T/TuFu/index.html
Wang Wei ::: (China 699?-761), [Buddhism, Taoism] - 9 -- https://www.poetry-chaikhana.com/Poets/W/WeiWang/index.html
Hsuan Chueh of Yung Chia / Yoka Genkaku ::: (China 665-713), [Buddhism, Zen / Chan, Taoism] - 70 -- https://www.poetry-chaikhana.com/Poets/H/HsuanChuehof/index.html
Hanshan (cold mountain) ::: (China 730?-850?), [Buddhsm, Zen / Chan, Taoism] - 13 -- https://www.poetry-chaikhana.com/Poets/H/HanshanColdM/index.html
P'ang Yun (Layman P'ang) ::: (China 740?-808), [Bud, Zen, Chan] - 7 -- https://www.poetry-chaikhana.com/Poets/P/PangYunLayma/index.html
Feng-kan (Big Stick) - 2 - China 750
Yeshe Tsogyel ::: (Tibet, 8th cen), [Bud, tibetan] - 3 -- https://www.poetry-chaikhana.com/Poets/T/TsogyelYeshe/index.html
Tilopa ::: (India 988-1069) [BUD-TIB], - 1 -- https://www.poetry-chaikhana.com/Poets/T/Tilopa/index.html
Farid ud-Din Attar ::: (Iran/Persia 1120?-1220?) [Muslim,Sufi] - 24 -- https://www.poetry-chaikhana.com/Poets/A/AttarFaridud/index.html
Nagarjuna ::: (india, 150?-250?) [BUD] - 4 -- https://www.poetry-chaikhana.com/Poets/N/Nagarjuna/index.html

T'ao Ch'ien
China (365 - 427) Timeline
Buddhist
Taoist
7
https://www.poetry-chaikhana.com/Poets/T/TaoChien/index.html

Kalidasa
India (350? - 430?) Timeline
Yoga / Hindu : Shakta (Goddess-oriented)
3
https://www.poetry-chaikhana.com/Poets/K/Kalidasa/index.html

Hui K'o
China (4th Century) Timeline
Buddhist : Zen / Chan
1
https://www.poetry-chaikhana.com/Poets/H/HuiKo/index.html

Hekhalot Hymns (Anonymous)
Israel/Palestine (4th Century) Timeline
Jewish
3
https://www.poetry-chaikhana.com/Poets/H/HekhalotHymn/index.html

Candaka
India (290? - 365?) Timeline
Yoga / Hindu : Vaishnava (Krishna/Rama)
1
https://www.poetry-chaikhana.com/Poets/C/Candaka/index.html

Yose ben Yose
Israel/Palestine (5th Century) Timeline
Jewish
1
https://www.poetry-chaikhana.com/Poets/B/benYoseYose/index.html


Boethius
Italy (480? - 525) Timeline
Christian : Catholic
5
https://www.poetry-chaikhana.com/Poets/B/Boethius/index.html

Mansur al- Hallaj
Iran/Persia (9th Century) Timeline
Muslim / Sufi
11
https://www.poetry-chaikhana.com/Poets/H/HallajMansur/index.html

Isaac Luria
Egypt (1534 - 1572) Timeline
Jewish
1
https://www.poetry-chaikhana.com/Poets/L/LuriaIsaac/index.html



--- LINKS
Poetseers.org
Poetseers.org - The Great Poets
Terebess.hu - Zen Literature
poetrysoup.com
allpoetry.com - same page, excellent for collection
Poetry Foundation
Poets of Modernity
Poem Hunter - often large collection, separate pages, not clean.
My poetic side

poetry-chaikhana - timeslines - 600-1100
timelines - 1100-1600
timelines - 1600-present
By Century - nice

Wikipedia - List of poets

--- AUTHORS FROM LIB
  Clough
  Frost
  Rilke




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now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [23] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
3rd_Pass_through_Savitri
6.1.01_-_Musa_Spiritus
Abu-Said_Abil-Kheir
Aeschylus_of_Alexandria
Allen_Ginsberg
allpoetry_-_auth_list
Cento
Coded_Language
Collected_Poems_(toc)
dark_heavy-metal_song_writing
Dolores
Epic_Poetry_(by_alpha)
Euripedes
Hafiz_-_Poems
Han-shan_-_Poems
Leon_Battista_Alberti
Lucan
Masaoka_Shiki
mypoeticside
Ogawa
Om_Nia_Merican
Our_Father_(Saul_Williams)
Our_Father_(Saul_Williams)
poet
poetry-chaikhana
Songs_of_God
to_God
SEE ALSO


AUTH
Abu_l-Husayn_al-Nuri
Aeschylus
Agathon
Aleister_Crowley
Alexander_Pope
Alfred_Tennyson
Algernon_Charles_Swinburne
Allama_Muhammad_Iqbal
Anacreon
Angelus_Silesius
Aonghus_of_the_Divinity
Baba_Sheikh_Farid
Basava
Beni
Bernart_de_Ventadorn
Bodhidharma
Boethius
Bulleh_Shah
Catullus
Charles_Baudelaire
Chiao_Jan
Chone_Lama_Lodro_Gyatso
Choshu_Ueda
Chuang_Tzu
Dadu_Dayal
Dante_Alighieri
Dogen
Edgar_Allan_Poe
Edward_Young
Eleazar_ben_Kallir
Eratosthenes
Ernest_Hemingway
Farid_ud-Din_Attar
Friedrich_Nietzsche
Friedrich_Schiller
Fukuda_Chiyo-ni
George_Eliot
Gorakhnath
Gottfried_Wilhelm_Leibniz
Guru_Nanak
Hafiz
Hakim_Sanai
Hakuin
Han-shan
Hazrat_Inayat_Khan
Hemachandra
Henry_David_Thoreau
Henry_Wadsworth_Longfellow
Homer
Horace
Hsuan_Chueh_of_Yung_Chia
Hung-chih_Cheng-chueh
Ibn_Arabi
Ibn_Ata_Illah
Ikkyu
Isaac_of_Stella
Izumi_Shikibu
Jacopone_da_Todi
Jakushitsu
Jalaluddin_Rumi
James_Joyce
Jayadeva
Jetsun_Milarepa
Johann_Wolfgang_von_Goethe
John_Keats
Jorge_Luis_Borges
Judah_Halevi
Jusammi_Chikako
Kabir
Kahlil_Gibran
Kalidasa
Karma_Trinley_Rinpoche
Kelsang_Gyatso
Khwaja_Abdullah_Ansari
Kobayashi_Issa
Kuan_Han-Ching
Lalla
Levi_Yitzchak_of_Berditchov
Lewis_Carroll
Li_Bai
Longchen_Rabjampa
Lord_Byron
Lucretius
Lu_Tung_Pin
Mansur_al-Hallaj
Marpa_Lotsawa
Masahide
Matsuo_Basho
Mechthild_of_Magdeburg
Michael_Maier
Miguel_de_Cervantes
Mirabai
Moses_de_Leon
Muso_Soseki
Nachmanides
Naftali_Bacharach
Namdev
Novalis
Nozawa_Boncho
Nukata
Omar_Khayyam
Oscar_Wilde
Ovid
Pablo_Neruda
Percy_Bysshe_Shelley
Pindar
Pipa
Plato
Po_Chu-i
Rabbi_Abraham_Abulafia
Rabbi_Abraham_Joshua_Heschel
Rabindranath_Tagore
Rainer_Maria_Rilke
Ralph_Waldo_Emerson
Ramananda
Ramprasad
Ravidas
Robert_Browning
Ryuzan
Saadi
Saigyo
Saint_Catherine_of_Siena
Saint_Clare_of_Assisi
Saint_Dionysius_the_Areopagite
Saint_Francis_of_Assisi
Saint_Hildegard_von_Bingen
Saint_John_of_the_Cross
Saint_Therese_of_Lisieux
Saisei_Muro
Sakai_Yamei
Santoka_Taneda
Sappho
Saraha
Sarmad
Saul_Williams
Shams_Tabrizi
Shankara
Shih-te
Shiwu
Solomon_ibn_Gabirol
Sophocles
Sri_Aurobindo
Sun_Buer
Surdas
Symeon_the_New_Theologian
Taigu_Ryokan
Tao_Chien
Theophan_the_Recluse
Thomas_Carlyle
Thomas_Merton
T_S_Eliot
Valmiki
Victor_Hugo
Vidyapati
Virgil
Voltaire
Vyasa
Walt_Whitman
Wang_Wei
Wang_Zhenyi
William_Blake
William_Butler_Yeats
William_Shakespeare
William_Wordsworth
Wumen_Huikai
Yannai
Yeshe_Tsogyal
Yosa_Buson
Yose_ben_Yose
Yuan_Mei

BOOKS
Al-Fihrist
Arabi_-_Poems
Auguries_of_Innocence
Basho_-_Poems
Bodhidharma_-_Poems
Borges_-_Poems
Browning_-_Poems
Chuang_Tzu_-_Poems
Crowley_-_Poems
DND_DM_Guide_5E
Dogen_-_Poems
Emerson_-_Poems
Enchiridion_text
Essays_Divine_And_Human
Essays_In_Philosophy_And_Yoga
Evolution_II
Faust
Full_Circle
Goethe_-_Poems
Hamlet
Heart_of_Matter
Hundred_Thousand_Songs_of_Milarepa
Hymn_of_the_Universe
Hyperion
Infinite_Library
Keats_-_Poems
Labyrinths
Leaning_Toward_the_Poet__Eavesdropping_on_the_Poetry_of_Everyday_Life
Leaves_of_Grass
Letters_On_Poetry_And_Art
Letters_On_Yoga
Letters_On_Yoga_IV
Li_Bai_-_Poems
Life_without_Death
Mansur_al-Hallaj_-_Poems
Metamorphoses
Milarepa_-_Poems
Modern_Man_in_Search_of_a_Soul
My_Burning_Heart
Of_The_Nature_Of_Things
On_Interpretation
Poetics
Process_and_Reality
Questions_And_Answers_1955
Rilke_-_Poems
Ryokan_-_Poems
Savitri
Schiller_-_Poems
Shelley_-_Poems
Sky_Above
Some_Answers_From_The_Mother
Songs_of_Kabir
Songs_of_Spiritual_Experience
Sri_Aurobindo_or_the_Adventure_of_Consciousness
Tagore_-_Poems
The_Divine_Comedy
The_Epic_of_Gilgamesh
The_Ever-Present_Origin
The_Future_Poetry
The_Gift
The_Integral_Yoga
The_Prophet
The_Republic
The_Seals_of_Wisdom
The_Tempest
The_Use_and_Abuse_of_History
The_Wit_and_Wisdom_of_Alfred_North_Whitehead
The_World_as_Will_and_Idea
The_Yoga_Sutras
Toward_the_Future
Twelfth_Night
Writings_In_Bengali_and_Sanskrit
Yeats_-_Poems

IN CHAPTERS TITLE
01.03_-_Mystic_Poetry
01.04_-_The_Poetry_in_the_Making
02.12_-_Mysticism_in_Bengali_Poetry
03.11_-_Modernist_Poetry
08.14_-_Poetry_and_Poetic_Inspiration
1.01_-_'Imitation'_the_common_principle_of_the_Arts_of_Poetry.
1.04_-_The_Origin_and_Development_of_Poetry.
1.1.2.02_-_Poetry_of_the_Material_or_Physical_Consciousness
1.2.1.03_-_Psychic_and_Esoteric_Poetry
1.2.1.04_-_Mystic_Poetry
1.2.1.11_-_Mystic_Poetry_and_Spiritual_Poetry
1.2.1.12_-_Spiritual_Poetry
1.22_-_(Poetic_Diction_continued.)_How_Poetry_combines_elevation_of_language_with_perspicuity.
1.23_-_Epic_Poetry.
1.24_-_(Epic_Poetry_continued.)_Further_points_of_agreement_with_Tragedy.
1.25_-_Critical_Objections_brought_against_Poetry,_and_the_principles_on_which_they_are_to_be_answered.
1f.lovecraft_-_Poetry_and_the_Gods
1.fs_-_The_Poetry_Of_Life
1.jk_-_Sleep_And_Poetry
1.jlb_-_The_Art_Of_Poetry
1.pbs_-_Music_And_Sweet_Poetry
2.05_-_On_Poetry
2.3.1.01_-_Three_Essentials_for_Writing_Poetry
30.05_-_Rhythm_in_Poetry
30.08_-_Poetry_and_Mantra
30.10_-_The_Greatness_of_Poetry
30.11_-_Modern_Poetry
3.4.1.01_-_Poetry_and_Sadhana

IN CHAPTERS CLASSNAME
02.04_-_The_Kingdoms_of_the_Little_Life
02.05_-_The_Godheads_of_the_Little_Life
07.04_-_The_Triple_Soul-Forces
1.00_-_PRELUDE_AT_THE_THEATRE
1.00_-_PROLOGUE_IN_HEAVEN
1.01_-_BOOK_THE_FIRST
1.01_-_NIGHT
1.01_-_ON_THE_THREE_METAMORPHOSES
1.01_-_Proem
1.01_-_The_Rape_of_the_Lock
1.02_-_BEFORE_THE_CITY-GATE
1.02_-_BOOK_THE_SECOND
1.02_-_ON_THE_TEACHERS_OF_VIRTUE
1.02_-_Substance_Is_Eternal
1.03_-_BOOK_THE_THIRD
1.03_-_ON_THE_AFTERWORLDLY
1.03_-_THE_STUDY_(The_Exorcism)
1.03_-_The_Void
1.04_-_BOOK_THE_FOURTH
1.04_-_Nothing_Exists_Per_Se_Except_Atoms_And_The_Void
1.04_-_ON_THE_DESPISERS_OF_THE_BODY
1.04_-_THE_STUDY_(The_Compact)
1.05_-_AUERBACHS_CELLAR
1.05_-_BOOK_THE_FIFTH
1.05_-_Character_Of_The_Atoms
1.05_-_ON_ENJOYING_AND_SUFFERING_THE_PASSIONS
1.06_-_BOOK_THE_SIXTH
1.06_-_Confutation_Of_Other_Philosophers
1.06_-_ON_THE_PALE_CRIMINAL
1.06_-_WITCHES_KITCHEN
1.07_-_A_STREET
1.07_-_BOOK_THE_SEVENTH
1.07_-_ON_READING_AND_WRITING
1.07_-_The_Infinity_Of_The_Universe
1.08_-_BOOK_THE_EIGHTH
1.08_-_EVENING_A_SMALL,_NEATLY_KEPT_CHAMBER
1.08_-_ON_THE_TREE_ON_THE_MOUNTAINSIDE
1.09_-_BOOK_THE_NINTH
1.09_-_ON_THE_PREACHERS_OF_DEATH
1.09_-_PROMENADE
1.10_-_BOOK_THE_TENTH
1.10_-_ON_WAR_AND_WARRIORS
1.10_-_THE_NEIGHBORS_HOUSE
1.11_-_A_STREET
1.11_-_BOOK_THE_ELEVENTH
1.11_-_ON_THE_NEW_IDOL
1.12_-_BOOK_THE_TWELFTH
1.12_-_GARDEN
1.12_-_ON_THE_FLIES_OF_THE_MARKETPLACE
1.13_-_A_GARDEN-ARBOR
1.13_-_BOOK_THE_THIRTEENTH
1.13_-_ON_CHASTITY
1.14_-_BOOK_THE_FOURTEENTH
1.14_-_FOREST_AND_CAVERN
1.14_-_ON_THE_FRIEND
1.15_-_MARGARETS_ROOM
1.15_-_ON_THE_THOUSAND_AND_ONE_GOALS
1.16_-_MARTHAS_GARDEN
1.16_-_ON_LOVE_OF_THE_NEIGHBOUR
1.17_-_AT_THE_FOUNTAIN
1.17_-_ON_THE_WAY_OF_THE_CREATOR
1.18_-_DONJON
1.18_-_ON_LITTLE_OLD_AND_YOUNG_WOMEN
1.19_-_NIGHT
1.19_-_ON_THE_ADDERS_BITE
1.20_-_CATHEDRAL
1.20_-_ON_CHILD_AND_MARRIAGE
1.21_-_ON_FREE_DEATH
1.21_-_WALPURGIS-NIGHT
1.22_-_OBERON_AND_TITANIA's_GOLDEN_WEDDING
1.22_-_ON_THE_GIFT-GIVING_VIRTUE
1.23_-_DREARY_DAY
1.24_-_NIGHT
1.25_-_DUNGEON
1.ac_-_A_Birthday
1.ac_-_Adela
1.ac_-_An_Oath
1.ac_-_At_Sea
1.ac_-_Au_Bal
1.ac_-_Colophon
1.ac_-_Happy_Dust
1.ac_-_Independence
1.ac_-_Leah_Sublime
1.ac_-_Logos
1.ac_-_Lyric_of_Love_to_Leah
1.ac_-_On_-_On_-_Poet
1.ac_-_Optimist
1.ac_-_Power
1.ac_-_Prologue_to_Rodin_in_Rime
1.ac_-_The_Atheist
1.ac_-_The_Buddhist
1.ac_-_The_Disciples
1.ac_-_The_Five_Adorations
1.ac_-_The_Four_Winds
1.ac_-_The_Garden_of_Janus
1.ac_-_The_Hawk_and_the_Babe
1.ac_-_The_Hermit
1.ac_-_The_Interpreter
1.ac_-_The_Ladder
1.ac_-_The_Mantra-Yoga
1.ac_-_The_Neophyte
1.ac_-_The_Pentagram
1.ac_-_The_Priestess_of_Panormita
1.ac_-_The_Quest
1.ac_-_The_Rose_and_the_Cross
1.ac_-_The_Tent
1.ac_-_The_Titanic
1.ac_-_The_Twins
1.ac_-_The_Wizard_Way
1.ac_-_Ut
1.ad_-_O_Christ,_protect_me!
1.ala_-_I_had_supposed_that,_having_passed_away
1.ami_-_Bright_are_Thy_tresses,_brighten_them_even_more_(from_Baal-i-Jibreel)
1.ami_-_O_Cup-bearer!_Give_me_again_that_wine_of_love_for_Thee_(from_Baal-i-Jibreel)
1.ami_-_O_wave!_Plunge_headlong_into_the_dark_seas_(from_Baal-i-Jibreel)
1.ami_-_Selfhood_can_demolish_the_magic_of_this_world_(from_Baal-i-Jibreel)
1.ami_-_The_secret_divine_my_ecstasy_has_taught_(from_Baal-i-Jibreel)
1.ami_-_To_the_Saqi_(from_Baal-i-Jibreel)
1.anon_-_A_drum_beats
1.anon_-_But_little_better
1.anon_-_Eightfold_Fence.
1.anon_-_Enuma_Elish_(When_on_high)
1.anon_-_If_this_were_a_world
1.anon_-_Less_profitable
1.anon_-_My_body,_in_its_withering
1.anon_-_Others_have_told_me
1.anon_-_Plucking_the_Rushes
1.anon_-_Song_of_Creation
1.anon_-_The_Epic_of_Gilgamesh_Tablet_II
1.anon_-_The_Epic_of_Gilgamesh_Tablet_III
1.anon_-_The_Epic_of_Gilgamesh_Tablet_IV
1.anon_-_The_Epic_of_Gilgamesh_TabletIX
1.anon_-_The_Epic_of_Gilgamesh_Tablet_VII
1.anon_-_The_Epic_of_Gilgamesh_Tablet_VIII
1.anon_-_The_Epic_of_Gilgamesh_Tablet_X
1.anon_-_The_Epic_of_Gilgamesh_Tablet_XI_The_Story_of_the_Flood
1.anon_-_The_Poem_of_Antar
1.anon_-_The_Poem_of_Imru-Ul-Quais
1.anon_-_The_Seven_Evil_Spirits
1.anon_-_The_Song_of_Songs
1.ap_-_The_Universal_Prayer
1.asak_-_A_pious_one_with_a_hundred_beads_on_your_rosary
1.asak_-_Beg_for_Love
1.asak_-_Detached_You_are,_even_from_your_being
1.asak_-_If_you_do_not_give_up_the_crowds
1.asak_-_If_you_keep_seeking_the_jewel_of_understanding
1.asak_-_In_my_heart_Thou_dwellest--else_with_blood_Ill_drench_it
1.asak_-_In_the_school_of_mind_you
1.asak_-_Love_came
1.asak_-_Love_came_and_emptied_me_of_self
1.asak_-_Mansoor,_that_whale_of_the_Oceans_of_Love
1.asak_-_My_Beloved-_dont_be_heartless_with_me
1.asak_-_My_Beloved-_this_torture_and_pain
1.asak_-_Nothing_but_burning_sobs_and_tears_tonight
1.asak_-_On_Unitys_Way
1.asak_-_Piousness_and_the_path_of_love
1.asak_-_Rise_early_at_dawn,_when_our_storytelling_begins
1.asak_-_Sorrow_looted_this_heart
1.asak_-_The_day_Love_was_illumined
1.asak_-_The_sum_total_of_our_life_is_a_breath
1.asak_-_This_is_My_Face,_said_the_Beloved
1.asak_-_Though_burning_has_become_an_old_habit_for_this_heart
1.asak_-_Whatever_road_we_take_to_You,_Joy
1.asak_-_When_the_desire_for_the_Friend_became_real
1.at_-_And_Galahad_fled_along_them_bridge_by_bridge_(from_The_Holy_Grail)
1.at_-_Crossing_the_Bar
1.at_-_Flower_in_the_crannied_wall
1.at_-_If_thou_wouldst_hear_the_Nameless_(from_The_Ancient_Sage)
1.at_-_St._Agnes_Eve
1.at_-_The_Higher_Pantheism
1.at_-_The_Human_Cry
1.bd_-_A_deluded_Mind
1.bd_-_Endless_Ages
1.bd_-_The_Greatest_Gift
1.bd_-_You_may_enter
1.bni_-_Raga_Ramkali
1.bs_-_Bulleh_has_no_identity
1.bs_-_Bulleh!_to_me,_I_am_not_known
1.bs_-_Chanting,_chanting_the_Beloveds_name
1.bsf_-_Do_not_speak_a_hurtful_word
1.bsf_-_Fathom_the_ocean
1.bsf_-_For_evil_give_good
1.bsf_-_His_grace_may_fall_upon_us_at_anytime
1.bsf_-_I_thought_I_was_alone_who_suffered
1.bsf_-_Like_a_deep_sea
1.bsf_-_On_the_bank_of_a_pool_in_the_moor
1.bsf_-_Raga_Asa
1.bsf_-_The_lanes_are_muddy_and_far_is_the_house
1.bsf_-_Turn_cheek
1.bsf_-_Wear_whatever_clothes_you_must
1.bsf_-_Why_do_you_roam_the_jungles?
1.bsf_-_You_are_my_protection_O_Lord
1.bsf_-_You_must_fathom_the_ocean
1.bs_-_He_Who_is_Stricken_by_Love
1.bs_-_If_the_divine_is_found_through_ablutions
1.bs_-_I_have_been_pierced_by_the_arrow_of_love,_what_shall_I_do?
1.bs_-_I_have_got_lost_in_the_city_of_love
1.bs_-_Look_into_Yourself
1.bs_-_Love_Springs_Eternal
1.bs_-_One_Point_Contains_All
1.bs_-_One_Thread_Only
1.bs_-_Remove_duality_and_do_away_with_all_disputes
1.bs_-_Seek_the_spirit,_forget_the_form
1.bs_-_The_moment_I_bowed_down
1.bs_-_The_preacher_and_the_torch_bearer
1.bs_-_The_soil_is_in_ferment,_O_friend
1.bs_-_this_love_--_O_Bulleh_--_tormenting,_unique
1.bsv_-_Dont_make_me_hear_all_day
1.bsv_-_Make_of_my_body_the_beam_of_a_lute
1.bsv_-_The_eating_bowl_is_not_one_bronze
1.bsv_-_The_pot_is_a_God
1.bsv_-_The_Temple_and_the_Body
1.bsv_-_The_waters_of_joy
1.bsv_-_Where_they_feed_the_fire
1.bs_-_What_a_carefree_game_He_plays!
1.bs_-_You_alone_exist-_I_do_not,_O_Beloved!
1.bs_-_Your_love_has_made_me_dance_all_over
1.bs_-_Your_passion_stirs_me
1.bts_-_Invocation
1.bts_-_Love_is_Lord_of_All
1.bts_-_The_Bent_of_Nature
1.bts_-_The_Mists_Dispelled
1.bts_-_The_Souls_Flight
1.bv_-_When_I_see_the_lark_beating
1.cj_-_Inscribed_on_the_Wall_of_the_Hut_by_the_Lake
1.cj_-_To_Be_Shown_to_the_Monks_at_a_Certain_Temple
1.cllg_-_A_Dance_of_Unwavering_Devotion
1.cs_-_Consumed_in_Grace
1.cs_-_We_were_enclosed_(from_Prayer_20)
1.ct_-_Creation_and_Destruction
1.ct_-_Distinguishing_Ego_from_Self
1.ct_-_Goods_and_Possessions
1.ct_-_Letting_go_of_thoughts
1.ct_-_One_Legged_Man
1.ct_-_Surrendering
1.da_-_All_Being_within_this_order,_by_the_laws_(from_The_Paradiso,_Canto_I)
1.da_-_And_as_a_ray_descending_from_the_sky_(from_The_Paradiso,_Canto_I)
1.da_-_Lead_us_up_beyond_light
1.da_-_The_glory_of_Him_who_moves_all_things_rays_forth_(from_The_Paradiso,_Canto_I)
1.da_-_The_love_of_God,_unutterable_and_perfect
1.dd_-_As_many_as_are_the_waves_of_the_sea
1.dd_-_So_priceless_is_the_birth,_O_brother
1.dd_-_The_Creator_Plays_His_Cosmic_Instrument_In_Perfect_Harmony
1.dz_-_A_Zen_monk_asked_for_a_verse_-
1.dz_-_Ching-chings_raindrop_sound
1.dz_-_Coming_or_Going
1.dz_-_Enlightenment_is_like_the_moon
1.dz_-_Impermanence
1.dz_-_In_the_stream
1.dz_-_I_wont_even_stop
1.dz_-_Joyful_in_this_mountain_retreat
1.dz_-_Like_tangled_hair
1.dz_-_One_of_fifteen_verses_on_Dogens_mountain_retreat
1.dz_-_One_of_six_verses_composed_in_Anyoin_Temple_in_Fukakusa,_1230
1.dz_-_On_Non-Dependence_of_Mind
1.dz_-_The_track_of_the_swan_through_the_sky
1.dz_-_The_Western_Patriarchs_doctrine_is_transplanted!
1.dz_-_The_whirlwind_of_birth_and_death
1.dz_-_Treading_along_in_this_dreamlike,_illusory_realm
1.dz_-_True_person_manifest_throughout_the_ten_quarters_of_the_world
1.dz_-_Viewing_Peach_Blossoms_and_Realizing_the_Way
1.dz_-_Wonderous_nirvana-mind
1.dz_-_Worship
1.dz_-_Zazen
1.ey_-_Socrates
1.fcn_-_a_dandelion
1.fcn_-_Airing_out_kimonos
1.fcn_-_cool_clear_water
1.fcn_-_From_the_mind
1.fcn_-_hands_drop
1.fcn_-_loneliness
1.fcn_-_on_the_road
1.fcn_-_skylark_in_the_heavens
1.fcn_-_spring_rain
1.fcn_-_To_the_one_breaking_it
1.fcn_-_whatever_I_pick_up
1.fcn_-_without_a_voice
1.fs_-_A_Funeral_Fantasie
1.fs_-_Amalia
1.fs_-_A_Peculiar_Ideal
1.fs_-_A_Problem
1.fs_-_Archimedes
1.fs_-_Astronomical_Writings
1.fs_-_Beauteous_Individuality
1.fs_-_Breadth_And_Depth
1.fs_-_Carthage
1.fs_-_Cassandra
1.fs_-_Columbus
1.fs_-_Count_Eberhard,_The_Groaner_Of_Wurtembert._A_War_Song
1.fs_-_Dangerous_Consequences
1.fs_-_Difference_Of_Station
1.fs_-_Different_Destinies
1.fs_-_Dithyramb
1.fs_-_Elegy_On_The_Death_Of_A_Young_Man
1.fs_-_Elysium
1.fs_-_Evening
1.fs_-_Fame_And_Duty
1.fs_-_Fantasie_--_To_Laura
1.fs_-_Feast_Of_Victory
1.fs_-_Female_Judgment
1.fs_-_Fortune_And_Wisdom
1.fs_-_Fridolin_(The_Walk_To_The_Iron_Factory)
1.fs_-_Friend_And_Foe
1.fs_-_Friendship
1.fs_-_Geniality
1.fs_-_Genius
1.fs_-_German_Faith
1.fs_-_Germany_And_Her_Princes
1.fs_-_Greekism
1.fs_-_Group_From_Tartarus
1.fs_-_Hero_And_Leander
1.fs_-_Honors
1.fs_-_Honor_To_Woman
1.fs_-_Hope
1.fs_-_Human_Knowledge
1.fs_-_Hymn_To_Joy
1.fs_-_Inside_And_Outside
1.fs_-_Jove_To_Hercules
1.fs_-_Light_And_Warmth
1.fs_-_Longing
1.fs_-_Love_And_Desire
1.fs_-_Majestas_Populi
1.fs_-_Melancholy_--_To_Laura
1.fs_-_My_Antipathy
1.fs_-_My_Faith
1.fs_-_Nadowessian_Death-Lament
1.fs_-_Naenia
1.fs_-_Ode_an_die_Freude
1.fs_-_Ode_To_Joy
1.fs_-_Ode_To_Joy_-_With_Translation
1.fs_-_Odysseus
1.fs_-_Parables_And_Riddles
1.fs_-_Participation
1.fs_-_Political_Precept
1.fs_-_Pompeii_And_Herculaneum
1.fs_-_Punch_Song
1.fs_-_Punch_Song_(To_be_sung_in_the_Northern_Countries)
1.fs_-_Rapture_--_To_Laura
1.fs_-_Resignation
1.fs_-_Rousseau
1.fs_-_Shakespeare's_Ghost_-_A_Parody
1.fs_-_The_Agreement
1.fs_-_The_Alpine_Hunter
1.fs_-_The_Animating_Principle
1.fs_-_The_Antiques_At_Paris
1.fs_-_The_Antique_To_The_Northern_Wanderer
1.fs_-_The_Artists
1.fs_-_The_Assignation
1.fs_-_The_Bards_Of_Olden_Time
1.fs_-_The_Battle
1.fs_-_The_Best_State
1.fs_-_The_Best_State_Constitution
1.fs_-_The_Celebrated_Woman_-_An_Epistle_By_A_Married_Man
1.fs_-_The_Circle_Of_Nature
1.fs_-_The_Complaint_Of_Ceres
1.fs_-_The_Conflict
1.fs_-_The_Count_Of_Hapsburg
1.fs_-_The_Cranes_Of_Ibycus
1.fs_-_The_Dance
1.fs_-_The_Difficult_Union
1.fs_-_The_Division_Of_The_Earth
1.fs_-_The_Driver
1.fs_-_The_Duty_Of_All
1.fs_-_The_Eleusinian_Festival
1.fs_-_The_Fairest_Apparition
1.fs_-_The_Favor_Of_The_Moment
1.fs_-_The_Fight_With_The_Dragon
1.fs_-_The_Flowers
1.fs_-_The_Fortune-Favored
1.fs_-_The_Forum_Of_Woman
1.fs_-_The_Four_Ages_Of_The_World
1.fs_-_The_Fugitive
1.fs_-_The_Genius_With_The_Inverted_Torch
1.fs_-_The_German_Art
1.fs_-_The_Glove_-_A_Tale
1.fs_-_The_Gods_Of_Greece
1.fs_-_The_Greatness_Of_The_World
1.fs_-_The_Honorable
1.fs_-_The_Hostage
1.fs_-_The_Ideal_And_The_Actual_Life
1.fs_-_The_Ideals
1.fs_-_The_Iliad
1.fs_-_The_Imitator
1.fs_-_The_Immutable
1.fs_-_The_Infanticide
1.fs_-_The_Invincible_Armada
1.fs_-_The_Key
1.fs_-_Thekla_-_A_Spirit_Voice
1.fs_-_The_Knight_Of_Toggenburg
1.fs_-_The_Knights_Of_St._John
1.fs_-_The_Lay_Of_The_Bell
1.fs_-_The_Lay_Of_The_Mountain
1.fs_-_The_Learned_Workman
1.fs_-_The_Maiden_From_Afar
1.fs_-_The_Maiden's_Lament
1.fs_-_The_Maid_Of_Orleans
1.fs_-_The_Meeting
1.fs_-_The_Merchant
1.fs_-_The_Moral_Force
1.fs_-_The_Observer
1.fs_-_The_Philosophical_Egotist
1.fs_-_The_Pilgrim
1.fs_-_The_Playing_Infant
1.fs_-_The_Poetry_Of_Life
1.fs_-_The_Power_Of_Song
1.fs_-_The_Power_Of_Woman
1.fs_-_The_Present_Generation
1.fs_-_The_Proverbs_Of_Confucius
1.fs_-_The_Ring_Of_Polycrates_-_A_Ballad
1.fs_-_The_Secret
1.fs_-_The_Sexes
1.fs_-_The_Sower
1.fs_-_The_Triumph_Of_Love
1.fs_-_The_Two_Guides_Of_Life_-_The_Sublime_And_The_Beautiful
1.fs_-_The_Two_Paths_Of_Virtue
1.fs_-_The_Veiled_Statue_At_Sais
1.fs_-_The_Virtue_Of_Woman
1.fs_-_The_Walk
1.fs_-_The_Words_Of_Belief
1.fs_-_The_Words_Of_Error
1.fs_-_The_Youth_By_The_Brook
1.fs_-_To_A_Moralist
1.fs_-_To_Astronomers
1.fs_-_To_A_World-Reformer
1.fs_-_To_Emma
1.fs_-_To_Laura_At_The_Harpsichord
1.fs_-_To_Laura_(Mystery_Of_Reminiscence)
1.fs_-_To_Minna
1.fs_-_To_My_Friends
1.fs_-_To_Mystics
1.fs_-_To_Proselytizers
1.fs_-_To_The_Muse
1.fs_-_To_The_Spring
1.fs_-_Two_Descriptions_Of_Action
1.fs_-_Untitled_01
1.fs_-_Untitled_02
1.fs_-_Untitled_03
1.fs_-_Variety
1.fs_-_Votive_Tablets
1.fs_-_Wisdom_And_Prudence
1.fs_-_Worth_And_The_Worthy
1.fs_-_Written_In_A_Young_Lady's_Album
1.fua_-_A_dervish_in_ecstasy
1.fua_-_All_who,_reflecting_as_reflected_see
1.fua_-_A_slaves_freedom
1.fua_-_God_Speaks_to_David
1.fua_-_God_Speaks_to_Moses
1.fua_-_How_long_then_will_you_seek_for_beauty_here?
1.fua_-_Invocation
1.fua_-_I_shall_grasp_the_souls_skirt_with_my_hand
1.fua_-_Look_--_I_do_nothing-_He_performs_all_deeds
1.fua_-_Looking_for_your_own_face
1.fua_-_Mysticism
1.fua_-_The_angels_have_bowed_down_to_you_and_drowned
1.fua_-_The_Birds_Find_Their_King
1.fua_-_The_Dullard_Sage
1.fua_-_The_Eternal_Mirror
1.fua_-_The_Hawk
1.fua_-_The_Lover
1.fua_-_The_moths_and_the_flame
1.fua_-_The_Nightingale
1.fua_-_The_peacocks_excuse
1.fua_-_The_pilgrim_sees_no_form_but_His_and_knows
1.fua_-_The_Pupil_asks-_the_Master_answers
1.fua_-_The_Simurgh
1.fua_-_The_Valley_of_the_Quest
1.gmh_-_The_Alchemist_In_The_City
1.gnk_-_Ek_Omkar
1.gnk_-_Japji_15_-_If_you_ponder_it
1.gnk_-_Japji_38_-_Discipline_is_the_workshop
1.gnk_-_Japji_8_-_From_listening
1.gnk_-_Siri_ragu_9.3_-_The_guru_is_the_stepping_stone
1.grh_-_Gorakh_Bani
1.hccc_-_Silently_and_serenely_one_forgets_all_words
1.hcyc_-_10_-_The_rays_shining_from_this_perfect_Mani-jewel_(from_The_Shodoka)
1.hcyc_-_11_-_Always_working_alone,_always_walking_alone_(from_The_Shodoka)
1.hcyc_-_12_-_We_know_that_Shakyas_sons_and_daughters_(from_The_Shodoka)
1.hcyc_-_13_-_This_jewel_of_no_price_can_never_be_used_up_(from_The_Shodoka)
1.hcyc_-_14_-_The_best_student_goes_directly_to_the_ultimate_(from_The_Shodoka)
1.hcyc_-_15_-_Some_may_slander,_some_may_abuse_(from_The_Shodoka)
1.hcyc_-_16_-_When_I_consider_the_virtue_of_abusive_words_(from_The_Shodoka)
1.hcyc_-_17_-_The_incomparable_lion-roar_of_doctrine_(from_The_Shodoka)
1.hcyc_-_18_-_I_wandered_over_rivers_and_seas,_crossing_mountains_and_streams_(from_The_Shodoka)
1.hcyc_-_19_-_Walking_is_Zen,_sitting_is_Zen_(from_The_Shodoka)
1.hcyc_-_1_-_There_is_the_leisurely_one_(from_The_Shodoka)
1.hcyc_-_20_-_Our_teacher,_Shakyamuni,_met_Dipankara_Buddha_(from_The_Shodoka)
1.hcyc_-_21_-_Since_I_abruptly_realized_the_unborn_(from_The_Shodoka)
1.hcyc_-_22_-_I_have_entered_the_deep_mountains_to_silence_and_beauty_(from_The_Shodoka)
1.hcyc_-_23_-_When_you_truly_awaken_(from_The_Shodoka)
1.hcyc_-_24_-_Why_should_this_be_better_(from_The_Shodoka)
1.hcyc_-_25_-_Just_take_hold_of_the_source_(from_The_Shodoka)
1.hcyc_-_26_-_The_moon_shines_on_the_river_(from_The_Shodoka)
1.hcyc_-_27_-_A_bowl_once_calmed_dragons_(from_The_Shodoka)
1.hcyc_-_28_-_The_awakened_one_does_not_seek_truth_(from_The_Shodoka)
1.hcyc_-_29_-_The_mind-mirror_is_clear,_so_there_are_no_obstacles_(from_The_Shodoka)
1.hcyc_-_2_-_When_the_Dharma_body_awakens_completely_(from_The_Shodoka)
1.hcyc_-_30_-_To_live_in_nothingness_is_to_ignore_cause_and_effect_(from_The_Shodoka)
1.hcyc_-_31_-_Holding_truth_and_rejecting_delusion_(from_The_Shodoka)
1.hcyc_-_32_-_They_miss_the_Dharma-treasure_(from_The_Shodoka)
1.hcyc_-_33_-_Students_of_vigorous_will_hold_the_sword_of_wisdom_(from_The_Shodoka)
1.hcyc_-_34_-_They_roar_with_Dharma-thunder_(from_The_Shodoka)
1.hcyc_-_35_-_High_in_the_Himalayas,_only_fei-ni_grass_grows_(from_The_Shodoka)
1.hcyc_-_36_-_One_moon_is_reflected_in_many_waters_(from_The_Shodoka)
1.hcyc_-_37_-_One_level_completely_contains_all_levels_(from_The_Shodoka)
1.hcyc_-_38_-_All_categories_are_no_category_(from_The_Shodoka)
1.hcyc_-_39_-_Right_here_it_is_eternally_full_and_serene_(from_The_Shodoka)
1.hcyc_-_3_-_When_we_realize_actuality_(from_The_Shodoka)
1.hcyc_-_40_-_It_speaks_in_silence_(from_The_Shodoka)
1.hcyc_-_41_-_People_say_it_is_positive_(from_The_Shodoka)
1.hcyc_-_42_-_I_raise_the_Dharma-banner_and_set_forth_our_teaching_(from_The_Shodoka)
1.hcyc_-_43_-_The_truth_is_not_set_forth_(from_The_Shodoka)
1.hcyc_-_44_-_Mind_is_the_base,_phenomena_are_dust_(from_The_Shodoka)
1.hcyc_-_45_-_Ah,_the_degenerate_materialistic_world!_(from_The_Shodoka)
1.hcyc_-_46_-_People_hear_the_Buddhas_doctrine_of_immediacy_(from_The_Shodoka)
1.hcyc_-_47_-_Your_mind_is_the_source_of_action_(from_The_Shodoka)
1.hcyc_-_48_-_In_the_sandalwood_forest,_there_is_no_other_tree_(from_The_Shodoka)
1.hcyc_-_49_-_Just_baby_lions_follow_the_parent_(from_The_Shodoka)
1.hcyc_-_4_-_Once_we_awaken_to_the_Tathagata-Zen_(from_The_Shodoka)
1.hcyc_-_50_-_The_Buddhas_doctrine_of_directness_(from_The_Shodoka)
1.hcyc_-_51_-_Being_is_not_being-_non-being_is_not_non-being_(from_The_Shodoka)
1.hcyc_-_52_-_From_my_youth_I_piled_studies_upon_studies_(from_The_Shodoka)
1.hcyc_-_53_-_If_the_seed-nature_is_wrong,_misunderstandings_arise_(from_The_Shodoka)
1.hcyc_-_54_-_Stupid_ones,_childish_ones_(from_The_Shodoka)
1.hcyc_-_55_-_When_all_is_finally_seen_as_it_is,_(from_The_Shodoka)
1.hcyc_-_56_-_The_hungry_are_served_a_kings_repast_(from_The_Shodoka)
1.hcyc_-_57_-_Pradhanashura_broke_the_gravest_precepts_(from_The_Shodoka)
1.hcyc_-_58_-_The_incomparable_lion_roar_of_the_doctrine!_(from_The_Shodoka)
1.hcyc_-_59_-_Two_monks_were_guilty_of_murder_and_carnality_(from_The_Shodoka)
1.hcyc_-_5_-_No_bad_fortune,_no_good_fortune,_no_loss,_no_gain_(from_The_Shodoka)
1.hcyc_-_60_-_The_remarkable_power_of_emancipation_(from_The_Shodoka)
1.hcyc_-_61_-_The_King_of_the_Dharma_deserves_our_highest_respect_(from_The_Shodoka)
1.hcyc_-_62_-_When_we_see_truly,_there_is_nothing_at_all_(from_The_Shodoka)
1.hcyc_-_63_-_However_the_burning_iron_ring_revolves_around_my_head_(from_The_Shodoka)
1.hcyc_-_64_-_The_great_elephant_does_not_loiter_on_the_rabbits_path_(from_The_Shodoka)
1.hcyc_-_6_-_Who_has_no-thought?_Who_is_not-born?_(from_The_Shodoka)
1.hcyc_-_7_-_Release_your_hold_on_earth,_water,_fire,_wind_(from_The_Shodoka)
1.hcyc_-_8_-_Transience,_emptiness_and_enlightenment_(from_The_Shodoka)
1.hcyc_-_9_-_People_do_not_recognize_the_Mani-jewel_(from_The_Shodoka)
1.hcyc_-_In_my_early_years,_I_set_out_to_acquire_learning_(from_The_Song_of_Enlightenment)
1.hcyc_-_It_is_clearly_seen_(from_The_Song_of_Enlightenment)
1.hcyc_-_Let_others_slander_me_(from_The_Song_of_Enlightenment)
1.hcyc_-_Roll_the_Dharma_thunder_(from_The_Song_of_Enlightenment)
1.hcyc_-_Who_is_without_thought?_(from_The_Song_of_Enlightenment)
1.hcyc_-_With_Sudden_enlightened_understanding_(from_The_Song_of_Enlightenment)
1.he_-_Hakuins_Song_of_Zazen
1.he_-_Past,_present,_future-_unattainable
1.he_-_The_Form_of_the_Formless_(from_Hakuins_Song_of_Zazen)
1.he_-_The_monkey_is_reaching
1.he_-_You_no_sooner_attain_the_great_void
1.hs_-_A_Golden_Compass
1.hs_-_And_if,_my_friend,_you_ask_me_the_way
1.hs_-_A_New_World
1.hs_-_Arise_And_Fill_A_Golden_Goblet
1.hs_-_At_his_door,_what_is_the_difference
1.hs_-_Beauty_Radiated_in_Eternity
1.hs_-_Belief_and_unbelief
1.hs_-_Belief_brings_me_close_to_You
1.hs_-_Bloom_Like_a_Rose
1.hs_-_Bold_Souls
1.hs_-_Bring_all_of_yourself_to_his_door
1.hs_-_Bring_Perfumes_Sweet_To_Me
1.hs_-_Cupbearer,_it_is_morning,_fill_my_cup_with_wine
1.hs_-_Cypress_And_Tulip
1.hs_-_Hair_disheveled,_smiling_lips,_sweating_and_tipsy
1.hs_-_Heres_A_Message_for_the_Faithful
1.hs_-_If_life_remains,_I_shall_go_back_to_the_tavern
1.hs_-_I_Know_The_Way_You_Can_Get
1.hs_-_I_settled_at_Cold_Mountain_long_ago,
1.hs_-_It_Is_Time_to_Wake_Up!
1.hs_-_Its_your_own_self
1.hs_-_Lady_That_Hast_My_Heart
1.hs_-_Lifes_Mighty_Flood
1.hs_-_Loves_conqueror_is_he
1.hs_-_Meditation
1.hs_-_Melt_yourself_down_in_this_search
1.hs_-_My_Brilliant_Image
1.hs_-_My_friend,_everything_existing
1.hs_-_Mystic_Chat
1.hs_-_Naked_in_the_Bee-House
1.hs_-_No_tongue_can_tell_Your_secret
1.hs_-_Not_Worth_The_Toil!
1.hs_-_O_Cup_Bearer
1.hs_-_O_Saghi,_pass_around_that_cup_of_wine,_then_bring_it_to_me
1.hs_-_Rubys_Heart
1.hs_-_Several_Times_In_The_Last_Week
1.hs_-_Silence
1.hs_-_Slaves_Of_Thy_Shining_Eyes
1.hs_-_Someone_Should_Start_Laughing
1.hs_-_Spring_and_all_its_flowers
1.hs_-_Stop_Being_So_Religious
1.hs_-_Stop_weaving_a_net_about_yourself
1.hs_-_Streaming
1.hs_-_Sun_Rays
1.hs_-_Sweet_Melody
1.hs_-_Take_everything_away
1.hs_-_The_Beloved
1.hs_-_The_Bird_Of_Gardens
1.hs_-_The_Day_Of_Hope
1.hs_-_The_Essence_of_Grace
1.hs_-_The_Garden
1.hs_-_The_Glow_of_Your_Presence
1.hs_-_The_Good_Darkness
1.hs_-_The_Great_Secret
1.hs_-_The_Lute_Will_Beg
1.hs_-_The_Margin_Of_A_Stream
1.hs_-_Then_through_that_dim_murkiness
1.hs_-_The_Only_One
1.hs_-_The_path_consists_of_neither_words_nor_deeds
1.hs_-_The_Pearl_on_the_Ocean_Floor
1.hs_-_There_is_no_place_for_place!
1.hs_-_The_Road_To_Cold_Mountain
1.hs_-_The_Rose_Has_Flushed_Red
1.hs_-_The_Rose_Is_Not_Fair
1.hs_-_The_Secret_Draught_Of_Wine
1.hs_-_The_Tulip
1.hs_-_The_way_is_not_far
1.hs_-_The_Way_of_the_Holy_Ones
1.hs_-_The_way_to_You
1.hs_-_The_Wild_Rose_of_Praise
1.hs_-_Tidings_Of_Union
1.hs_-_To_Linger_In_A_Garden_Fair
1.hs_-_True_Love
1.hs_-_Until_you_are_complete
1.hs_-_We_tried_reasoning
1.hs_-_When_he_admits_you_to_his_presence
1.hs_-_Where_Is_My_Ruined_Life?
1.hs_-_Why_Carry?
1.hs_-_Will_Beat_You_Up
1.hs_-_With_Madness_Like_To_Mine
1.hs_-_Your_intellect_is_just_a_hotch-potch
1.ia_-_A_Garden_Among_The_Flames
1.ia_-_Allah
1.ia_-_An_Ocean_Without_Shore
1.ia_-_Approach_The_Dwellings_Of_The_Dear_Ones
1.ia_-_As_Night_Let_its_Curtains_Down_in_Folds
1.ia_-_At_Night_Lets_Its_Curtains_Down_In_Folds
1.ia_-_Fire
1.ia_-_He_Saw_The_Lightning_In_The_East
1.iai_-_A_feeling_of_discouragement_when_you_slip_up
1.ia_-_If_What_She_Says_Is_True
1.ia_-_If_what_she_says_is_true
1.iai_-_How_can_you_imagine_that_something_else_veils_Him
1.iai_-_How_utterly_amazing_is_someone_who_flees_from_something_he_cannot_escape
1.ia_-_I_Laid_My_Little_Daughter_To_Rest
1.ia_-_In_Memory_Of_Those
1.ia_-_In_Memory_of_Those_Who_Melt_the_Soul_Forever
1.ia_-_In_The_Mirror_Of_A_Man
1.ia_-_In_the_Mirror_of_a_Man
1.iai_-_The_best_you_can_seek_from_Him
1.iai_-_The_light_of_the_inner_eye_lets_you_see_His_nearness_to_you
1.iai_-_Those_travelling_to_Him
1.ia_-_Listen,_O_Dearly_Beloved
1.ia_-_Modification_Of_The_R_Poem
1.ia_-_My_Heart_Has_Become_Able
1.ia_-_My_heart_wears_all_forms
1.ia_-_My_Journey
1.ia_-_Oh-_Her_Beauty-_The_Tender_Maid!
1.ia_-_Reality
1.ia_-_Silence
1.ia_-_The_Hand_Of_Trial
1.ia_-_The_Invitation
1.ia_-_True_Knowledge
1.ia_-_Turmoil_In_Your_Hearts
1.ia_-_When_My_Beloved_Appears
1.ia_-_When_my_Beloved_appears
1.ia_-_When_The_Suns_Eye_Rules_My_Sight
1.ia_-_When_We_Came_Together
1.ia_-_When_we_came_together
1.ia_-_While_the_suns_eye_rules_my_sight
1.ia_-_Wild_Is_She,_None_Can_Make_Her_His_Friend
1.ia_-_With_My_Very_Own_Hands
1.ia_-_Wonder
1.is_-_A_Fisherman
1.is_-_Although_I_Try
1.is_-_Although_The_Wind
1.is_-_a_well_nobody_dug_filled_with_no_water
1.is_-_Every_day,_priests_minutely_examine_the_Law
1.is_-_Form_in_Void
1.is_-_If_The_One_Ive_Waited_For
1.is_-_I_Hate_Incense
1.is_-_Ikkyu_this_body_isnt_yours_I_say_to_myself
1.is_-_inside_the_koan_clear_mind
1.is_-_Like_vanishing_dew
1.is_-_Love
1.is_-_Many_paths_lead_from_the_foot_of_the_mountain,
1.is_-_only_one_koan_matters
1.is_-_plum_blossom
1.is_-_sick_of_it_whatever_its_called_sick_of_the_names
1.is_-_The_vast_flood
1.is_-_To_write_something_and_leave_it_behind_us
1.is_-_Watching_The_Moon
1.jc_-_On_this_summer_night
1.jda_-_My_heart_values_his_vulgar_ways_(from_The_Gitagovinda)
1.jda_-_Raga_Gujri
1.jda_-_Raga_Maru
1.jda_-_When_he_quickens_all_things_(from_The_Gitagovinda)
1.jda_-_When_spring_came,_tender-limbed_Radha_wandered_(from_The_Gitagovinda)
1.jda_-_You_rest_on_the_circle_of_Sris_breast_(from_The_Gitagovinda)
1.jh_-_Lord,_Where_Shall_I_Find_You?
1.jh_-_O_My_Lord,_Your_dwelling_places_are_lovely
1.jk_-_Acrostic__-_Georgiana_Augusta_Keats
1.jk_-_A_Draught_Of_Sunshine
1.jk_-_A_Galloway_Song
1.jk_-_An_Extempore
1.jk_-_Answer_To_A_Sonnet_By_J.H.Reynolds
1.jk_-_A_Party_Of_Lovers
1.jk_-_Apollo_And_The_Graces
1.jk_-_A_Prophecy_-_To_George_Keats_In_America
1.jk_-_Asleep!_O_Sleep_A_Little_While,_White_Pearl!
1.jk_-_A_Song_About_Myself
1.jk_-_A_Thing_Of_Beauty_(Endymion)
1.jk_-_Ben_Nevis_-_A_Dialogue
1.jk_-_Bright_Star
1.jk_-_Calidore_-_A_Fragment
1.jk_-_Character_Of_Charles_Brown
1.jk_-_Daisys_Song
1.jk_-_Dawlish_Fair
1.jk_-_Dedication_To_Leigh_Hunt,_Esq.
1.jk_-_Endymion_-_Book_I
1.jk_-_Endymion_-_Book_II
1.jk_-_Endymion_-_Book_III
1.jk_-_Endymion_-_Book_IV
1.jk_-_Epistle_To_John_Hamilton_Reynolds
1.jk_-_Epistle_To_My_Brother_George
1.jk_-_Extracts_From_An_Opera
1.jk_-_Faery_Songs
1.jk_-_Fancy
1.jk_-_Fill_For_Me_A_Brimming_Bowl
1.jk_-_Fragment_-_Modern_Love
1.jk_-_Fragment_Of_An_Ode_To_Maia._Written_On_May_Day_1818
1.jk_-_Fragment_Of_The_Castle_Builder
1.jk_-_Fragment._Welcome_Joy,_And_Welcome_Sorrow
1.jk_-_Fragment._Wheres_The_Poet?
1.jk_-_Give_Me_Women,_Wine,_And_Snuff
1.jk_-_Hither,_Hither,_Love
1.jkhu_-_A_Visit_to_Hattoji_Temple
1.jkhu_-_Gathering_Tea
1.jkhu_-_Living_in_the_Mountains
1.jkhu_-_Rain_in_Autumn
1.jkhu_-_Sitting_in_the_Mountains
1.jk_-_Hymn_To_Apollo
1.jk_-_Hyperion,_A_Vision_-_Attempted_Reconstruction_Of_The_Poem
1.jk_-_Hyperion._Book_I
1.jk_-_Hyperion._Book_II
1.jk_-_Hyperion._Book_III
1.jk_-_Imitation_Of_Spenser
1.jk_-_Isabella;_Or,_The_Pot_Of_Basil_-_A_Story_From_Boccaccio
1.jk_-_I_Stood_Tip-Toe_Upon_A_Little_Hill
1.jk_-_King_Stephen
1.jk_-_La_Belle_Dame_Sans_Merci
1.jk_-_La_Belle_Dame_Sans_Merci_(Original_version_)
1.jk_-_Lamia._Part_I
1.jk_-_Lamia._Part_II
1.jk_-_Lines
1.jk_-_Lines_On_Seeing_A_Lock_Of_Miltons_Hair
1.jk_-_Lines_On_The_Mermaid_Tavern
1.jk_-_Lines_Rhymed_In_A_Letter_From_Oxford
1.jk_-_Lines_To_Fanny
1.jk_-_Lines_Written_In_The_Highlands_After_A_Visit_To_Burnss_Country
1.jk_-_Meg_Merrilies
1.jk_-_Ode_On_A_Grecian_Urn
1.jk_-_Ode_On_Indolence
1.jk_-_Ode_On_Melancholy
1.jk_-_Ode_To_A_Nightingale
1.jk_-_Ode_To_Apollo
1.jk_-_Ode_To_Autumn
1.jk_-_Ode_To_Fanny
1.jk_-_Ode_To_Psyche
1.jk_-_Ode._Written_On_The_Blank_Page_Before_Beaumont_And_Fletchers_Tragi-Comedy_The_Fair_Maid_Of_The_In
1.jk_-_On_A_Dream
1.jk_-_On_Death
1.jk_-_On_Hearing_The_Bag-Pipe_And_Seeing_The_Stranger_Played_At_Inverary
1.jk_-_On_Receiving_A_Curious_Shell
1.jk_-_On_Receiving_A_Laurel_Crown_From_Leigh_Hunt
1.jk_-_On_Seeing_The_Elgin_Marbles_For_The_First_Time
1.jk_-_On_Visiting_The_Tomb_Of_Burns
1.jk_-_Otho_The_Great_-_Act_I
1.jk_-_Otho_The_Great_-_Act_II
1.jk_-_Otho_The_Great_-_Act_III
1.jk_-_Otho_The_Great_-_Act_IV
1.jk_-_Otho_The_Great_-_Act_V
1.jk_-_Robin_Hood
1.jk_-_Sharing_Eves_Apple
1.jk_-_Sleep_And_Poetry
1.jk_-_Song._Hush,_Hush!_Tread_Softly!
1.jk_-_Song._I_Had_A_Dove
1.jk_-_Song_Of_Four_Faries
1.jk_-_Song_Of_The_Indian_Maid,_From_Endymion
1.jk_-_Song._Written_On_A_Blank_Page_In_Beaumont_And_Fletchers_Works
1.jk_-_Sonnet._A_Dream,_After_Reading_Dantes_Episode_Of_Paulo_And_Francesca
1.jk_-_Sonnet_-_After_Dark_Vapors_Have_Oppressd_Our_Plains
1.jk_-_Sonnet_-_As_From_The_Darkening_Gloom_A_Silver_Dove
1.jk_-_Sonnet_-_Before_He_Went
1.jk_-_Sonnet._If_By_Dull_Rhymes_Our_English_Must_Be_Chaind
1.jk_-_Sonnet_III._Written_On_The_Day_That_Mr._Leigh_Hunt_Left_Prison
1.jk_-_Sonnet_II._To_.........
1.jk_-_Sonnet_I._To_My_Brother_George
1.jk_-_Sonnet_IV._How_Many_Bards_Gild_The_Lapses_Of_Time!
1.jk_-_Sonnet_IX._Keen,_Fitful_Gusts_Are
1.jk_-_Sonnet_-_Oh!_How_I_Love,_On_A_Fair_Summers_Eve
1.jk_-_Sonnet._On_A_Picture_Of_Leander
1.jk_-_Sonnet._On_Leigh_Hunts_Poem_The_Story_of_Rimini
1.jk_-_Sonnet._On_Peace
1.jk_-_Sonnet_On_Sitting_Down_To_Read_King_Lear_Once_Again
1.jk_-_Sonnet._On_The_Sea
1.jk_-_Sonnet._The_Day_Is_Gone
1.jk_-_Sonnet._The_Human_Seasons
1.jk_-_Sonnet._To_A_Lady_Seen_For_A_Few_Moments_At_Vauxhall
1.jk_-_Sonnet._To_A_Young_Lady_Who_Sent_Me_A_Laurel_Crown
1.jk_-_Sonnet_To_Byron
1.jk_-_Sonnet_To_Chatterton
1.jk_-_Sonnet_To_George_Keats_-_Written_In_Sickness
1.jk_-_Sonnet_To_Homer
1.jk_-_Sonnet_To_John_Hamilton_Reynolds
1.jk_-_Sonnet_To_Mrs._Reynoldss_Cat
1.jk_-_Sonnet_To_Sleep
1.jk_-_Sonnet_To_Spenser
1.jk_-_Sonnet_To_The_Nile
1.jk_-_Sonnet_VIII._To_My_Brothers
1.jk_-_Sonnet_VII._To_Solitude
1.jk_-_Sonnet_VI._To_G._A._W.
1.jk_-_Sonnet_V._To_A_Friend_Who_Sent_Me_Some_Roses
1.jk_-_Sonnet_-_When_I_Have_Fears_That_I_May_Cease_To_Be
1.jk_-_Sonnet._Why_Did_I_Laugh_Tonight?
1.jk_-_Sonnet._Written_Before_Re-Read_King_Lear
1.jk_-_Sonnet._Written_In_Answer_To_A_Sonnet_By_J._H._Reynolds
1.jk_-_Sonnet._Written_In_Disgust_Of_Vulgar_Superstition
1.jk_-_Sonnet._Written_On_A_Blank_Page_In_Shakespeares_Poems,_Facing_A_Lovers_Complaint
1.jk_-_Sonnet._Written_On_A_Blank_Space_At_The_End_Of_Chaucers_Tale_Of_The_Floure_And_The_Lefe
1.jk_-_Sonnet._Written_Upon_The_Top_Of_Ben_Nevis
1.jk_-_Sonnet_XIII._Addressed_To_Haydon
1.jk_-_Sonnet_XII._On_Leaving_Some_Friends_At_An_Early_Hour
1.jk_-_Sonnet_XI._On_First_Looking_Into_Chapmans_Homer
1.jk_-_Sonnet_XIV._Addressed_To_The_Same_(Haydon)
1.jk_-_Sonnet_X._To_One_Who_Has_Been_Long_In_City_Pent
1.jk_-_Sonnet_XVII._Happy_Is_England
1.jk_-_Sonnet_XVI._To_Kosciusko
1.jk_-_Sonnet_XV._On_The_Grasshopper_And_Cricket
1.jk_-_Specimen_Of_An_Induction_To_A_Poem
1.jk_-_Spenserian_Stanzas_On_Charles_Armitage_Brown
1.jk_-_Spenserian_Stanza._Written_At_The_Close_Of_Canto_II,_Book_V,_Of_The_Faerie_Queene
1.jk_-_Staffa
1.jk_-_Stanzas._In_A_Drear-Nighted_December
1.jk_-_Stanzas_To_Miss_Wylie
1.jk_-_Teignmouth_-_Some_Doggerel,_Sent_In_A_Letter_To_B._R._Haydon
1.jk_-_The_Cap_And_Bells;_Or,_The_Jealousies_-_A_Faery_Tale_.._Unfinished
1.jk_-_The_Devon_Maid_-_Stanzas_Sent_In_A_Letter_To_B._R._Haydon
1.jk_-_The_Eve_Of_Saint_Mark._A_Fragment
1.jk_-_The_Eve_Of_St._Agnes
1.jk_-_The_Gadfly
1.jk_-_This_Living_Hand
1.jk_-_To_......
1.jk_-_To_.......
1.jk_-_To_Ailsa_Rock
1.jk_-_To_Charles_Cowden_Clarke
1.jk_-_To_Fanny
1.jk_-_To_George_Felton_Mathew
1.jk_-_To_Hope
1.jk_-_To_Some_Ladies
1.jk_-_To_The_Ladies_Who_Saw_Me_Crowned
1.jk_-_Translated_From_A_Sonnet_Of_Ronsard
1.jk_-_Two_Or_Three
1.jk_-_Two_Sonnets_On_Fame
1.jk_-_Two_Sonnets._To_Haydon,_With_A_Sonnet_Written_On_Seeing_The_Elgin_Marbles
1.jk_-_What_The_Thrush_Said._Lines_From_A_Letter_To_John_Hamilton_Reynolds
1.jk_-_Woman!_When_I_Behold_Thee_Flippant,_Vain
1.jk_-_Written_In_The_Cottage_Where_Burns_Was_Born
1.jk_-_You_Say_You_Love
1.jlb_-_Adam_Cast_Forth
1.jlb_-_Afterglow
1.jlb_-_At_the_Butchers
1.jlb_-_Browning_Decides_To_Be_A_Poet
1.jlb_-_Chess
1.jlb_-_Cosmogonia_(&_translation)
1.jlb_-_Daybreak
1.jlb_-_Elegy
1.jlb_-_Emanuel_Swedenborg
1.jlb_-_Emerson
1.jlb_-_Empty_Drawing_Room
1.jlb_-_Everness
1.jlb_-_Everness_(&_interpretation)
1.jlb_-_History_Of_The_Night
1.jlb_-_Inscription_on_any_Tomb
1.jlb_-_Instants
1.jlb_-_Limits
1.jlb_-_Oedipus_and_the_Riddle
1.jlb_-_Parting
1.jlb_-_Patio
1.jlb_-_Plainness
1.jlb_-_Remorse_for_any_Death
1.jlb_-_Rosas
1.jlb_-_Sepulchral_Inscription
1.jlb_-_Shinto
1.jlb_-_Simplicity
1.jlb_-_Spinoza
1.jlb_-_Susana_Soca
1.jlb_-_That_One
1.jlb_-_The_Art_Of_Poetry
1.jlb_-_The_Cyclical_Night
1.jlb_-_The_Enigmas
1.jlb_-_The_Golem
1.jlb_-_The_instant
1.jlb_-_The_Labyrinth
1.jlb_-_The_Other_Tiger
1.jlb_-_The_Recoleta
1.jlb_-_The_suicide
1.jlb_-_To_a_Cat
1.jlb_-_Unknown_Street
1.jlb_-_We_Are_The_Time._We_Are_The_Famous
1.jlb_-_When_sorrow_lays_us_low
1.jm_-_I_Have_forgotten
1.jm_-_Response_to_a_Logician
1.jm_-_Song_to_the_Rock_Demoness
1.jm_-_The_Profound_Definitive_Meaning
1.jm_-_The_Song_of_Food_and_Dwelling
1.jm_-_The_Song_of_Perfect_Assurance_(to_the_Demons)
1.jm_-_The_Song_of_the_Twelve_Deceptions
1.jm_-_The_Song_of_View,_Practice,_and_Action
1.jm_-_The_Song_on_Reaching_the_Mountain_Peak
1.jm_-_Upon_this_earth,_the_land_of_the_Victorious_Ones
1.jr_-_Ah,_what_was_there_in_that_light-giving_candle_that_it_set_fire_to_the_heart,_and_snatched_the_heart_away?
1.jr_-_All_Through_Eternity
1.jr_-_A_Moment_Of_Happiness
1.jr_-_Any_Lifetime
1.jr_-_Any_Soul_That_Drank_The_Nectar
1.jr_-_At_night_we_fall_into_each_other_with_such_grace
1.jr_-_A_World_with_No_Boundaries_(Ghazal_363)
1.jr_-_Because_I_Cannot_Sleep
1.jr_-_Birdsong
1.jr_-_Body_of_earth,_dont_talk_of_earth
1.jr_-_Book_1_-_Prologue
1.jr_-_Bring_Wine
1.jr_-_By_the_God_who_was_in_pre-eternity_living_and_moving_and_omnipotent,_everlasting
1.jr_-_come
1.jr_-_Come,_Come,_Whoever_You_Are
1.jr_-_Description_Of_Love
1.jr_-_Did_I_Not_Say_To_You
1.jr_-_During_the_day_I_was_singing_with_you
1.jr_-_Every_day_I_Bear_A_Burden
1.jr_-_Fasting
1.jr_-_Ghazal_Of_Rumi
1.jr_-_God_is_what_is_nearer_to_you_than_your_neck-vein,
1.jr_-_How_Long
1.jr_-_How_long_will_you_say,_I_will_conquer_the_whole_world
1.jr_-_I_Am_A_Sculptor,_A_Molder_Of_Form
1.jr_-_I_Am_Only_The_House_Of_Your_Beloved
1.jr_-_I_Closed_My_Eyes_To_Creation
1.jr_-_I_drink_streamwater_and_the_air
1.jr_-_If_continually_you_keep_your_hope
1.jr_-_If_I_Weep
1.jr_-_If_You_Show_Patience
1.jr_-_If_You_Want_What_Visable_Reality
1.jr_-_I_Have_A_Fire_For_You_In_My_Mouth
1.jr_-_I_Have_Been_Tricked_By_Flying_Too_Close
1.jr_-_I_Have_Fallen_Into_Unconsciousness
1.jr_-_I_lost_my_world,_my_fame,_my_mind
1.jr_-_Im_neither_beautiful_nor_ugly
1.jr_-_In_Love
1.jr_-_Inner_Wakefulness
1.jr_-_In_The_Arc_Of_Your_Mallet
1.jr_-_In_The_End
1.jr_-_In_The_Waters_Of_Purity
1.jr_-_I_regard_not_the_outside_and_the_words
1.jr_-_I_See_So_Deeply_Within_Myself
1.jr_-_I_smile_like_a_flower_not_only_with_my_lips
1.jr_-_I_Swear
1.jr_-_I_Will_Beguile_Him_With_The_Tongue
1.jr_-_Keep_on_knocking
1.jr_-_Laila_And_The_Khalifa
1.jr_-_Last_Night_My_Soul_Cried_O_Exalted_Sphere_Of_Heaven
1.jr_-_Last_Night_You_Left_Me_And_Slept
1.jr_-_Late,_By_Myself
1.jr_-_Let_Go_Of_Your_Worries
1.jr_-_Like_This
1.jr_-_look_at_love
1.jr_-_Lord,_What_A_Beloved_Is_Mine!
1.jr_-_Love_Has_Nothing_To_Do_With_The_Five_Senses
1.jr_-_Love_is_Here
1.jr_-_Love_Is_Reckless
1.jr_-_Love_Is_The_Water_Of_Life
1.jr_-_Lovers
1.jr_-_Moving_Water
1.jr_-_My_Mother_Was_Fortune,_My_Father_Generosity_And_Bounty
1.jr_-_No_end_to_the_journey
1.jr_-_No_One_Here_but_Him
1.jr_-_Not_Here
1.jr_-_Now_comes_the_final_merging
1.jr_-_On_Love
1.jr_-_Only_Breath
1.jr_-_On_the_Night_of_Creation_I_was_awake
1.jr_-_Out_Beyond_Ideas
1.jr_-_Reason,_leave_now!_Youll_not_find_wisdom_here!
1.jr_-_Rise,_Lovers
1.jr_-_Sacrifice_your_intellect_in_love_for_the_Friend
1.jr_-_Secret_Language
1.jr_-_Secretly_we_spoke
1.jr_-_Seeking_the_Source
1.jr_-_Seizing_my_life_in_your_hands,_you_thrashed_me_clean
1.jr_-_Shadow_And_Light_Source_Both
1.jr_-_Shall_I_tell_you_our_secret?
1.jr_-_Suddenly,_in_the_sky_at_dawn,_a_moon_appeared
1.jr_-_That_moon_which_the_sky_never_saw
1.jr_-_The_Absolute_works_with_nothing
1.jr_-_The_Beauty_Of_The_Heart
1.jr_-_The_Breeze_At_Dawn
1.jr_-_The_glow_of_the_light_of_daybreak_is_in_your_emerald_vault,_the_goblet_of_the_blood_of_twilight_is_your_blood-measuring_bowl
1.jr_-_The_grapes_of_my_body_can_only_become_wine
1.jr_-_The_Guest_House
1.jr_-_The_Intellectual_Is_Always_Showing_Off
1.jr_-_The_minute_I_heard_my_first_love_story
1.jr_-_The_minute_Im_disappointed,_I_feel_encouraged
1.jr_-_The_Ravings_Which_My_Enemy_Uttered_I_Heard_Within_My_Heart
1.jr_-_The_real_work_belongs_to_someone_who_desires_God
1.jr_-_There_Are_A_Hundred_Kinds_Of_Prayer
1.jr_-_There_Is_A_Candle
1.jr_-_There_Is_A_Community_Of_Spirit
1.jr_-_There_Is_A_Life-Force_Within_Your_Soul
1.jr_-_There_Is_A_Way
1.jr_-_There_is_some_kiss_we_want
1.jr_-_The_Seed_Market
1.jr_-_The_Self_We_Share
1.jr_-_The_Springtime_Of_Lovers_Has_Come
1.jr_-_The_Sun_Must_Come
1.jr_-_The_Taste_Of_Morning
1.jr_-_The_Thirsty
1.jr_-_The_Time_Has_Come_For_Us_To_Become_Madmen_In_Your_Chain
1.jr_-_This_Aloneness
1.jr_-_This_Is_Love
1.jr_-_This_love_sacrifices_all_souls,_however_wise,_however_awakened
1.jr_-_This_moment
1.jr_-_This_We_Have_Now
1.jr_-_Today_Im_out_wandering,_turning_my_skull
1.jr_-_Today,_like_every_other_day,_we_wake_up_empty
1.jr_-_Two_Friends
1.jr_-_Two_Kinds_Of_Intelligence
1.jr_-_Until_You've_Found_Pain
1.jr_-_We_are_the_mirror_as_well_as_the_face_in_it
1.jr_-_Weary_Not_Of_Us,_For_We_Are_Very_Beautiful
1.jr_-_What_can_I_do,_Muslims?_I_do_not_know_myself
1.jr_-_What_Hidden_Sweetness_Is_There
1.jr_-_What_I_want_is_to_see_your_face
1.jr_-_When_I_Am_Asleep_And_Crumbling_In_The_Tomb
1.jr_-_Whoever_finds_love
1.jr_-_Who_Is_At_My_Door?
1.jr_-_Who_makes_these_changes?
1.jr_-_Who_Says_Words_With_My_Mouth?
1.jr_-_With_Us
1.jr_-_You_and_I_have_spoken_all_these_words
1.jr_-_You_are_closer_to_me_than_myself_(Ghazal_2798)
1.jr_-_You_have_fallen_in_love_my_dear_heart
1.jr_-_You_only_need_smell_the_wine
1.jr_-_You_Personify_Gods_Message
1.jr_-_Zero_Circle
1.jt_-_As_air_carries_light_poured_out_by_the_rising_sun
1.jt_-_At_the_cross_her_station_keeping_(from_Stabat_Mater_Dolorosa)
1.jt_-_How_the_Soul_Through_the_Senses_Finds_God_in_All_Creatures
1.jt_-_In_losing_all,_the_soul_has_risen_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jt_-_Love_beyond_all_telling_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jt_-_Love-_infusing_with_light_all_who_share_Your_splendor_(from_In_Praise_of_Divine_Love)
1.jt_-_Love-_where_did_You_enter_the_heart_unseen?_(from_In_Praise_of_Divine_Love)
1.jt_-_Now,_a_new_creature
1.jt_-_Oh,_the_futility_of_seeking_to_convey_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jt_-_When_you_no_longer_love_yourself_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jwvg_-_Admonition
1.jwvg_-_After_Sensations
1.jwvg_-_A_Legacy
1.jwvg_-_Anacreons_Grave
1.jwvg_-_Anniversary_Song
1.jwvg_-_Another
1.jwvg_-_Answers_In_A_Game_Of_Questions
1.jwvg_-_A_Parable
1.jwvg_-_A_Plan_the_Muses_Entertained
1.jwvg_-_Apparent_Death
1.jwvg_-_April
1.jwvg_-_As_Broad_As_Its_Long
1.jwvg_-_A_Symbol
1.jwvg_-_At_Midnight
1.jwvg_-_Authors
1.jwvg_-_Autumn_Feel
1.jwvg_-_Book_Of_Proverbs
1.jwvg_-_By_The_River
1.jwvg_-_Calm_At_Sea
1.jwvg_-_Departure
1.jwvg_-_Epiphanias
1.jwvg_-_Epitaph
1.jwvg_-_Ever_And_Everywhere
1.jwvg_-_Faithful_Eckhart
1.jwvg_-_For_ever
1.jwvg_-_Found
1.jwvg_-_From
1.jwvg_-_From_The_Mountain
1.jwvg_-_Ganymede
1.jwvg_-_General_Confession
1.jwvg_-_Gipsy_Song
1.jwvg_-_Growth
1.jwvg_-_Happiness_And_Vision
1.jwvg_-_Human_Feelings
1.jwvg_-_In_A_Word
1.jwvg_-_In_Summer
1.jwvg_-_It_Is_Good
1.jwvg_-_Joy
1.jwvg_-_Joy_And_Sorrow
1.jwvg_-_June
1.jwvg_-_Legend
1.jwvg_-_Like_And_Like
1.jwvg_-_Living_Remembrance
1.jwvg_-_Longing
1.jwvg_-_Lover_In_All_Shapes
1.jwvg_-_Mahomets_Song
1.jwvg_-_Measure_Of_Time
1.jwvg_-_My_Goddess
1.jwvg_-_Nemesis
1.jwvg_-_Night_Thoughts
1.jwvg_-_Playing_At_Priests
1.jwvg_-_Presence
1.jwvg_-_Prometheus
1.jwvg_-_Proximity_Of_The_Beloved_One
1.jwvg_-_Reciprocal_Invitation_To_The_Dance
1.jwvg_-_Royal_Prayer
1.jwvg_-_Self-Deceit
1.jwvg_-_Solitude
1.jwvg_-_Symbols
1.jwvg_-_The_Beautiful_Night
1.jwvg_-_The_Best
1.jwvg_-_The_Bliss_Of_Absence
1.jwvg_-_The_Bliss_Of_Sorrow
1.jwvg_-_The_Bridegroom
1.jwvg_-_The_Buyers
1.jwvg_-_The_Drops_Of_Nectar
1.jwvg_-_The_Exchange
1.jwvg_-_The_Faithless_Boy
1.jwvg_-_The_Friendly_Meeting
1.jwvg_-_The_Godlike
1.jwvg_-_The_Instructors
1.jwvg_-_The_Mountain_Village
1.jwvg_-_The_Muses_Mirror
1.jwvg_-_The_Muses_Son
1.jwvg_-_The_Prosperous_Voyage
1.jwvg_-_The_Pupil_In_Magic
1.jwvg_-_The_Reckoning
1.jwvg_-_The_Remembrance_Of_The_Good
1.jwvg_-_The_Rule_Of_Life
1.jwvg_-_The_Sea-Voyage
1.jwvg_-_The_Treasure_Digger
1.jwvg_-_The_Visit
1.jwvg_-_The_Wanderer
1.jwvg_-_The_Warning
1.jwvg_-_The_Way_To_Behave
1.jwvg_-_To_My_Friend_-_Ode_I
1.jwvg_-_To_The_Chosen_One
1.jwvg_-_To_The_Distant_One
1.jwvg_-_To_The_Kind_Reader
1.jwvg_-_True_Enjoyment
1.jwvg_-_Welcome_And_Farewell
1.jwvg_-_Wholl_Buy_Gods_Of_Love
1.jwvg_-_Wont_And_Done
1.kaa_-_A_Path_of_Devotion
1.kaa_-_Devotion_for_Thee
1.kaa_-_Empty_Me_of_Everything_But_Your_Love
1.kaa_-_Give_Me
1.kaa_-_I_Came
1.kaa_-_In_Each_Breath
1.kaa_-_The_Beauty_of_Oneness
1.kaa_-_The_Friend_Beside_Me
1.kaa_-_The_one_You_kill
1.kbr_-_Abode_Of_The_Beloved
1.kbr_-_Are_you_looking_for_me?
1.kbr_-_Between_the_conscious_and_the_unconscious,_the_mind_has_put_up_a_swing
1.kbr_-_Between_the_Poles_of_the_Conscious
1.kbr_-_Brother,_I've_Seen_Some
1.kbr_-_Chewing_Slowly
1.kbr_-_Dohas_(Couplets)_I_(with_translation)
1.kbr_-_Dohas_II_(with_translation)
1.kbr_-_Do_Not_Go_To_The_Garden_Of_Flowers
1.kbr_-_Do_not_go_to_the_garden_of_flowers!
1.kbr_-_Friend,_Wake_Up!_Why_Do_You_Go_On_Sleeping?
1.kbr_-_Hang_Up_The_Swing_Of_Love_Today!
1.kbr_-_Hang_up_the_swing_of_love_today!
1.kbr_-_Having_Crossed_The_River
1.kbr_-_Having_crossed_the_river
1.kbr_-_He's_That_Rascally_Kind_Of_Yogi
1.kbr_-_Hes_that_rascally_kind_of_yogi
1.kbr_-_Hey_Brother,_Why_Do_You_Want_Me_To_Talk?
1.kbr_-_Hey_brother,_why_do_you_want_me_to_talk?
1.kbr_-_Hiding_In_This_Cage
1.kbr_-_hiding_in_this_cage
1.kbr_-_His_Death_In_Benares
1.kbr_-_Hope_For_Him
1.kbr_-_How_Do_You
1.kbr_-_How_Humble_Is_God
1.kbr_-_I_Burst_Into_Laughter
1.kbr_-_I_burst_into_laughter
1.kbr_-_I_Have_Attained_The_Eternal_Bliss
1.kbr_-_I_have_attained_the_Eternal_Bliss
1.kbr_-_I_have_been_thinking
1.kbr_-_I_Laugh_When_I_Hear_That_The_Fish_In_The_Water_Is_Thirsty
1.kbr_-_Illusion_and_Reality
1.kbr_-_I_Said_To_The_Wanting-Creature_Inside_Me
1.kbr_-_I_Talk_To_My_Inner_Lover,_And_I_Say,_Why_Such_Rush?
1.kbr_-_It_Is_Needless_To_Ask_Of_A_Saint
1.kbr_-_Ive_Burned_My_Own_House_Down
1.kbr_-_Ive_burned_my_own_house_down
1.kbr_-_I_Wont_Come
1.kbr_-_Knowing_Nothing_Shuts_The_Iron_Gates
1.kbr_-_Lift_The_Veil
1.kbr_-_lift_the_veil
1.kbr_-_Looking_At_The_Grinding_Stones_-_Dohas_(Couplets)_I
1.kbr_-_maddh_akas_ap_jahan_baithe
1.kbr_-_Many_Hoped
1.kbr_-_Many_hoped
1.kbr_-_My_Body_And_My_Mind
1.kbr_-_My_Body_Is_Flooded
1.kbr_-_My_body_is_flooded
1.kbr_-_My_Swan,_Let_Us_Fly
1.kbr_-_O_Friend
1.kbr_-_Oh_Friend,_I_Love_You,_Think_This_Over
1.kbr_-_O_how_may_I_ever_express_that_secret_word?
1.kbr_-_O_Servant_Where_Dost_Thou_Seek_Me
1.kbr_-_O_Slave,_liberate_yourself
1.kbr_-_Plucking_Your_Eyebrows
1.kbr_-_Poem_13
1.kbr_-_Poem_14
1.kbr_-_Poem_15
1.kbr_-_Poem_2
1.kbr_-_Poem_3
1.kbr_-_Poem_4
1.kbr_-_Poem_5
1.kbr_-_Poem_6
1.kbr_-_Poem_7
1.kbr_-_Poem_8
1.kbr_-_Poem_9
1.kbr_-_still_the_body
1.kbr_-_Tell_me_Brother
1.kbr_-_Tell_me,_O_Swan,_your_ancient_tale
1.kbr_-_Tentacles_of_Time
1.kbr_-_The_bhakti_path...
1.kbr_-_The_bhakti_path_winds_in_a_delicate_way
1.kbr_-_The_Bride-Soul
1.kbr_-_The_Drop_and_the_Sea
1.kbr_-_The_Dropp_And_The_Sea
1.kbr_-_The_Guest_Is_Inside_You,_And_Also_Inside_Me
1.kbr_-_The_Guest_is_inside_you,_and_also_inside_me
1.kbr_-_The_Impossible_Pass
1.kbr_-_The_impossible_pass
1.kbr_-_The_Light_of_the_Sun
1.kbr_-_The_light_of_the_sun,_the_moon,_and_the_stars_shines_bright
1.kbr_-_The_Lord_Is_In_Me
1.kbr_-_The_Lord_is_in_Me
1.kbr_-_The_moon_shines_in_my_body
1.kbr_-_Theres_A_Moon_Inside_My_Body
1.kbr_-_The_Self_Forgets_Itself
1.kbr_-_The_self_forgets_itself
1.kbr_-_The_Spiritual_Athlete_Often_Changes_The_Color_Of_His_Clothes
1.kbr_-_The_Swan_flies_away
1.kbr_-_The_Time_Before_Death
1.kbr_-_The_Word
1.kbr_-_To_Thee_Thou_Hast_Drawn_My_Love
1.kbr_-_What_Kind_Of_God?
1.kbr_-_When_I_Found_The_Boundless_Knowledge
1.kbr_-_When_I_found_the_boundless_knowledge
1.kbr_-_When_The_Day_Came
1.kbr_-_When_the_Day_Came
1.kbr_-_When_You_Were_Born_In_This_World_-_Dohas_Ii
1.kbr_-_Where_dost_thou_seem_me?
1.kbr_-_Where_do_you_search_me
1.kbr_-_Within_this_earthen_vessel
1.kg_-_Little_Tiger
1.khc_-_Idle_Wandering
1.khc_-_this_autumn_scenes_worth_words_paint
1.ki_-_Autumn_wind
1.ki_-_blown_to_the_big_river
1.ki_-_Buddha_Law
1.ki_-_Buddhas_body
1.ki_-_by_the_light_of_graveside_lanterns
1.ki_-_does_the_woodpecker
1.ki_-_Dont_weep,_insects
1.ki_-_even_poorly_planted
1.ki_-_First_firefly
1.ki_-_From_burweed
1.ki_-_In_my_hut
1.ki_-_into_morning-glories
1.ki_-_Just_by_being
1.ki_-_mountain_temple
1.ki_-_Never_forget
1.ki_-_now_begins
1.ki_-_Reflected
1.ki_-_rice_seedlings
1.ki_-_serene_and_still
1.ki_-_spring_begins
1.ki_-_spring_day
1.ki_-_stillness
1.ki_-_swatting_a_fly
1.ki_-_the_distant_mountains
1.ki_-_the_dragonflys_tail,_too
1.ki_-_Where_there_are_humans
1.ki_-_without_seeing_sunlight
1.kt_-_A_Song_on_the_View_of_Voidness
1.lb_-_A_Farewell_To_Secretary_Shuyun_At_The_Xietiao_Villa_In_Xuanzhou
1.lb_-_Alone_And_Drinking_Under_The_Moon
1.lb_-_Alone_and_Drinking_Under_the_Moon
1.lb_-_Alone_Looking_At_The_Mountain
1.lb_-_Alone_Looking_at_the_Mountain
1.lb_-_Amidst_the_Flowers_a_Jug_of_Wine
1.lb_-_A_Mountain_Revelry
1.lb_-_Amusing_Myself
1.lb_-_Ancient_Air_(39)
1.lb_-_A_Song_Of_An_Autumn_Midnight
1.lb_-_A_Song_Of_Changgan
1.lb_-_Atop_Green_Mountains_by_Li_Po
1.lb_-_Autumn_Air
1.lb_-_Autumn_Air_by_Li_Po
1.lb_-_Autumn_River_Song
1.lb_-_A_Vindication
1.lb_-_Ballads_Of_Four_Seasons:_Spring
1.lb_-_Ballads_Of_Four_Seasons:_Winter
1.lb_-_Bathed_And_Washed
1.lb_-_Bathed_and_Washed
1.lb_-_Before_The_Cask_of_Wine
1.lb_-_Bitter_Love_by_Li_Po
1.lb_-_Bringing_in_the_Wine
1.lb_-_Changgan_Memories
1.lb_-_Chiang_Chin_Chiu
1.lb_-_Ch'ing_P'ing_Tiao
1.lb_-_Chuang_Tzu_And_The_Butterfly
1.lb_-_Clearing_At_Dawn
1.lb_-_Clearing_at_Dawn
1.lb_-_Climbing_West_Of_Lotus_Flower_Peak
1.lb_-_Climbing_West_of_Lotus_Flower_Peak
1.lb_-_Confessional
1.lb_-_Crows_Calling_At_Night
1.lb_-_Down_From_The_Mountain
1.lb_-_Down_Zhongnan_Mountain
1.lb_-_Drinking_Alone_in_the_Moonlight
1.lb_-_Drinking_in_the_Mountains
1.lb_-_Drinking_With_Someone_In_The_Mountains
1.lb_-_Endless_Yearning_by_Li_Po
1.lb_-_Exile's_Letter
1.lb_-_[Facing]_Wine
1.lb_-_Facing_Wine
1.lb_-_Farewell
1.lb_-_Farewell_to_Meng_Hao-jan
1.lb_-_Farewell_to_Meng_Hao-jan_at_Yellow_Crane_Tower_by_Li_Po
1.lb_-_Farewell_to_Secretary_Shu-yun_at_the_Hsieh_Tiao_Villa_in_Hsuan-Chou
1.lb_-_For_Wang_Lun
1.lb_-_For_Wang_Lun_by_Li_Po
1.lb_-_Gazing_At_The_Cascade_On_Lu_Mountain
1.lb_-_Going_Up_Yoyang_Tower
1.lb_-_Gold_painted_jars_-_wines_worth_a_thousand
1.lb_-_Green_Mountain
1.lb_-_Hard_Is_The_Journey
1.lb_-_Hard_Journey
1.lb_-_Hearing_A_Flute_On_A_Spring_Night_In_Luoyang
1.lb_-_His_Dream_Of_Skyland
1.lb_-_Ho_Chih-chang
1.lb_-_In_Spring
1.lb_-_I_say_drinking
1.lb_-_Jade_Stairs_Grievance
1.lb_-_Lament_for_Mr_Tai
1.lb_-_Lament_of_the_Frontier_Guard
1.lb_-_Lament_On_an_Autumn_Night
1.lb_-_Leave-Taking_Near_Shoku
1.lb_-_Leaving_White_King_City
1.lb_-_Lines_For_A_Taoist_Adept
1.lb_-_Listening_to_a_Flute_in_Yellow_Crane_Pavillion
1.lb_-_Looking_For_A_Monk_And_Not_Finding_Him
1.lb_-_Lu_Mountain,_Kiangsi
1.lb_-_Marble_Stairs_Grievance
1.lb_-_Mng_Hao-jan
1.lb_-_Moon_at_the_Fortified_Pass_by_Li_Po
1.lb_-_Moon_Over_Mountain_Pass
1.lb_-_Mountain_Drinking_Song
1.lb_-_Nefarious_War
1.lb_-_Old_Poem
1.lb_-_On_A_Picture_Screen
1.lb_-_On_Climbing_In_Nan-King_To_The_Terrace_Of_Phoenixes
1.lb_-_On_Dragon_Hill
1.lb_-_On_Kusu_Terrace
1.lb_-_Poem_by_The_Bridge_at_Ten-Shin
1.lb_-_Question_And_Answer_On_The_Mountain
1.lb_-_Quiet_Night_Thoughts
1.lb_-_Reaching_the_Hermitage
1.lb_-_Remembering_the_Springs_at_Chih-chou
1.lb_-_Resentment_Near_the_Jade_Stairs
1.lb_-_Seeing_Off_Meng_Haoran_For_Guangling_At_Yellow_Crane_Tower
1.lb_-_Self-Abandonment
1.lb_-_She_Spins_Silk
1.lb_-_Sitting_Alone_On_Jingting_Mountain_by_Li_Po
1.lb_-_Song_of_an_Autumn_Midnight_by_Li_Po
1.lb_-_Song_of_the_Forge
1.lb_-_Song_Of_The_Jade_Cup
1.lb_-_South-Folk_in_Cold_Country
1.lb_-_Spring_Night_In_Lo-Yang_Hearing_A_Flute
1.lb_-_Staying_The_Night_At_A_Mountain_Temple
1.lb_-_Summer_Day_in_the_Mountains
1.lb_-_Summer_in_the_Mountains
1.lb_-_Taking_Leave_of_a_Friend_by_Li_Po
1.lb_-_Taking_Leave_of_a_Friend_by_Li_Po_Tr._by_Ezra_Pound
1.lb_-_Talk_in_the_Mountains_[Question_&_Answer_on_the_Mountain]
1.lb_-_The_Ching-Ting_Mountain
1.lb_-_The_City_of_Choan
1.lb_-_The_Cold_Clear_Spring_At_Nanyang
1.lb_-_The_Moon_At_The_Fortified_Pass
1.lb_-_The_Old_Dust
1.lb_-_The_River-Captains_Wife__A_Letter
1.lb_-_The_River-Merchant's_Wife:_A_Letter
1.lb_-_The_River_Song
1.lb_-_The_Roosting_Crows
1.lb_-_The_Solitude_Of_Night
1.lb_-_Thoughts_In_A_Tranquil_Night
1.lb_-_Thoughts_On_a_Quiet_Night_by_Li_Po
1.lb_-_Thoughts_On_A_Still_Night
1.lb_-_Three_Poems_on_Wine
1.lb_-_Through_The_Yangzi_Gorges
1.lb_-_To_His_Two_Children
1.lb_-_To_My_Wife_on_Lu-shan_Mountain
1.lb_-_To_Tan-Ch'iu
1.lb_-_To_Tu_Fu_from_Shantung
1.lb_-_Viewing_Heaven's_Gate_Mountains
1.lb_-_Visiting_a_Taoist_Master_on_Tai-T'ien_Mountain_by_Li_Po
1.lb_-_Visiting_A_Taoist_On_Tiatien_Mountain
1.lb_-_Waking_from_Drunken_Sleep_on_a_Spring_Day_by_Li_Po
1.lb_-_We_Fought_for_-_South_of_the_Walls
1.lb_-_Yearning
1.lb_-_Ziyi_Song
1.lc_-_Jabberwocky
1.lla_-_A_thousand_times_I_asked_my_guru
1.lla_-_At_the_end_of_a_crazy-moon_night
1.lla_-_Coursing_in_emptiness
1.lla_-_Dance,_Lalla,_with_nothing_on
1.lla_-_Day_will_be_erased_in_night
1.lla_-_Dont_flail_about_like_a_man_wearing_a_blindfold
1.lla_-_Drifter,_on_your_feet,_get_moving!
1.lla_-_Dying_and_giving_birth_go_on
1.lla_-_Fool,_you_wont_find_your_way_out_by_praying_from_a_book
1.lla_-_Forgetful_one,_get_up!
1.lla_-_If_youve_melted_your_desires
1.lla_-_I_hacked_my_way_through_six_forests
1.lla_-_I,_Lalla,_willingly_entered_through_the_garden-gate
1.lla_-_I_made_pilgrimages,_looking_for_God
1.lla_-_Intense_cold_makes_water_ice
1.lla_-_I_searched_for_my_Self
1.lla_-_I_trapped_my_breath_in_the_bellows_of_my_throat
1.lla_-_I_traveled_a_long_way_seeking_God
1.lla_-_Its_so_much_easier_to_study_than_act
1.lla_-_I_wore_myself_out,_looking_for_myself
1.lla_-_Just_for_a_moment,_flowers_appear
1.lla_-_Learning_the_scriptures_is_easy
1.lla_-_Meditate_within_eternity
1.lla_-_Neither_You_nor_I,_neither_object_nor_meditation
1.lla_-_New_mind,_new_moon
1.lla_-_O_infinite_Consciousness
1.lla_-_One_shrine_to_the_next,_the_hermit_cant_stop_for_breath
1.lla_-_Playfully,_you_hid_from_me
1.lla_-_There_is_neither_you,_nor_I
1.lla_-_The_soul,_like_the_moon
1.lla_-_The_way_is_difficult_and_very_intricate
1.lla_-_To_learn_the_scriptures_is_easy
1.lla_-_Wear_the_robe_of_wisdom
1.lla_-_What_is_worship?_Who_are_this_man
1.lla_-_When_my_mind_was_cleansed_of_impurities
1.lla_-_When_Siddhanath_applied_lotion_to_my_eyes
1.lla_-_Word,_Thought,_Kula_and_Akula_cease_to_be_there!
1.lla_-_Your_way_of_knowing_is_a_private_herb_garden
1.lovecraft_-_An_American_To_Mother_England
1.lovecraft_-_An_Epistle_To_Rheinhart_Kleiner,_Esq.,_Poet-Laureate,_And_Author_Of_Another_Endless_Day
1.lovecraft_-_Arcadia
1.lovecraft_-_Astrophobos
1.lovecraft_-_Christmas_Blessings
1.lovecraft_-_Christmas_Snows
1.lovecraft_-_Christmastide
1.lovecraft_-_Despair
1.lovecraft_-_Egyptian_Christmas
1.lovecraft_-_Ex_Oblivione
1.lovecraft_-_Fact_And_Fancy
1.lovecraft_-_Festival
1.lovecraft_-_Fungi_From_Yuggoth
1.lovecraft_-_Good_Saint_Nick
1.lovecraft_-_Halcyon_Days
1.lovecraft_-_Halloween_In_A_Suburb
1.lovecraft_-_Laeta-_A_Lament
1.lovecraft_-_Lifes_Mystery
1.lovecraft_-_Lines_On_General_Robert_Edward_Lee
1.lovecraft_-_Little_Tiger
1.lovecraft_-_March
1.lovecraft_-_Nathicana
1.lovecraft_-_Nemesis
1.lovecraft_-_Ode_For_July_Fourth,_1917
1.lovecraft_-_On_Reading_Lord_Dunsanys_Book_Of_Wonder
1.lovecraft_-_On_Receiving_A_Picture_Of_Swans
1.lovecraft_-_Pacifist_War_Song_-_1917
1.lovecraft_-_Poemata_Minora-_Volume_II
1.lovecraft_-_Providence
1.lovecraft_-_Psychopompos-_A_Tale_in_Rhyme
1.lovecraft_-_Revelation
1.lovecraft_-_St._John
1.lovecraft_-_Sunset
1.lovecraft_-_The_Ancient_Track
1.lovecraft_-_The_Bride_Of_The_Sea
1.lovecraft_-_The_Cats
1.lovecraft_-_The_City
1.lovecraft_-_The_Conscript
1.lovecraft_-_The_Garden
1.lovecraft_-_The_House
1.lovecraft_-_The_Messenger
1.lovecraft_-_Theodore_Roosevelt
1.lovecraft_-_The_Outpost
1.lovecraft_-_The_Peace_Advocate
1.lovecraft_-_The_Poe-ets_Nightmare
1.lovecraft_-_The_Rose_Of_England
1.lovecraft_-_The_Teutons_Battle-Song
1.lovecraft_-_The_Wood
1.lovecraft_-_To_Alan_Seeger-
1.lovecraft_-_To_Edward_John_Moreton_Drax_Plunkelt,
1.lovecraft_-_Tosh_Bosh
1.lovecraft_-_Waste_Paper-_A_Poem_Of_Profound_Insignificance
1.lovecraft_-_Where_Once_Poe_Walked
1.lr_-_An_Adamantine_Song_on_the_Ever-Present
1.ltp_-_My_heart_is_the_clear_water_in_the_stony_pond
1.ltp_-_People_may_sit_till_the_cushion_is_worn_through
1.ltp_-_Sojourning_in_Ta-yu_mountains
1.ltp_-_The_Hundred_Character_Tablet_(Bai_Zi_Bei)
1.ltp_-_What_is_Tao?
1.ltp_-_When_the_moon_is_high_Ill_take_my_cane_for_a_walk
1.lyb_-_Where_I_wander_--_You!
1.mah_-_I_am_the_One_Whom_I_Love
1.mah_-_I_am_the_One_whom_I_love
1.mah_-_If_They_Only_Knew
1.mah_-_I_Witnessed_My_Maker
1.mah_-_Kill_me-_my_faithful_friends
1.mah_-_My_One_and_Only,_only_You_can_make_me
1.mah_-_Seeking_Truth,_I_studied_religion
1.mah_-_Stillness
1.mah_-_To_Reach_God
1.mah_-_You_glide_between_the_heart_and_its_casing
1.mah_-_You_live_inside_my_heart-_in_there_are_secrets_about_You
1.mah_-_Your_spirit_is_mingled_with_mine
1.mah_-_You_Went_Away_but_Remained_in_Me
1.mb_-_a_bee
1.mb_-_a_caterpillar
1.mb_-_a_cicada_shell
1.mb_-_a_cold_rain_starting
1.mb_-_a_field_of_cotton
1.mb_-_All_I_Was_Doing_Was_Breathing
1.mb_-_all_the_day_long
1.mb_-_a_monk_sips_morning_tea
1.mb_-_a_snowy_morning
1.mb_-_as_they_begin_to_rise_again
1.mb_-_a_strange_flower
1.mb_-_autumn_moonlight
1.mb_-_awake_at_night
1.mb_-_Bitter-tasting_ice_-
1.mb_-_blowing_stones
1.mb_-_by_the_old_temple
1.mb_-_Clouds
1.mb_-_cold_night_-_the_wild_duck
1.mb_-_Collection_of_Six_Haiku
1.mb_-_coolness_of_the_melons
1.mb_-_Dark_Friend,_what_can_I_say?
1.mb_-_dont_imitate_me
1.mb_-_first_day_of_spring
1.mb_-_first_snow
1.mb_-_Fleas,_lice
1.mb_-_four_haiku
1.mb_-_Friend,_without_that_Dark_raptor
1.mb_-_from_time_to_time
1.mb_-_heat_waves_shimmering
1.mb_-_how_admirable
1.mb_-_how_wild_the_sea_is
1.mb_-_I_am_pale_with_longing_for_my_beloved
1.mb_-_I_am_true_to_my_Lord
1.mb_-_I_have_heard_that_today_Hari_will_come
1.mb_-_im_a_wanderer
1.mb_-_In_this_world_of_ours,
1.mb_-_it_is_with_awe
1.mb_-_Its_True_I_Went_to_the_Market
1.mb_-_long_conversations
1.mb_-_midfield
1.mb_-_Mira_is_Steadfast
1.mb_-_moonlight_slanting
1.mb_-_morning_and_evening
1.mbn_-_From_the_beginning,_before_the_world_ever_was_(from_Before_the_World_Ever_Was)
1.mb_-_None_is_travelling
1.mb_-_No_one_knows_my_invisible_life
1.mb_-_now_the_swinging_bridge
1.mbn_-_Prayers_for_the_Protection_and_Opening_of_the_Heart
1.mbn_-_The_Soul_Speaks_(from_Hymn_on_the_Fate_of_the_Soul)
1.mb_-_O_I_saw_witchcraft_tonight
1.mb_-_old_pond
1.mb_-_O_my_friends
1.mb_-_on_buddhas_deathbed
1.mb_-_on_the_white_poppy
1.mb_-_on_this_road
1.mb_-_Out_in_a_downpour
1.mb_-_passing_through_the_world
1.mb_-_souls_festival
1.mb_-_spring_rain
1.mb_-_staying_at_an_inn
1.mb_-_stillness
1.mb_-_taking_a_nap
1.mb_-_temple_bells_die_out
1.mb_-_The_Beloved_Comes_Home
1.mb_-_the_butterfly
1.mb_-_the_clouds_come_and_go
1.mb_-_The_Dagger
1.mb_-_The_Five-Coloured_Garment
1.mb_-_The_Heat_of_Midnight_Tears
1.mb_-_the_morning_glory_also
1.mb_-_The_Music
1.mb_-_The_Narrow_Road_to_the_Deep_North_-_Prologue
1.mb_-_the_oak_tree
1.mb_-_the_passing_spring
1.mb_-_the_petals_tremble
1.mb_-_the_squid_sellers_call
1.mb_-_the_winter_storm
1.mb_-_this_old_village
1.mb_-_Unbreakable,_O_Lord
1.mb_-_under_my_tree-roof
1.mb_-_ungraciously
1.mb_-_what_fish_feel
1.mb_-_when_the_winter_chysanthemums_go
1.mb_-_Why_Mira_Cant_Come_Back_to_Her_Old_House
1.mb_-_winter_garden
1.mb_-_with_every_gust_of_wind
1.mb_-_wont_you_come_and_see
1.mb_-_wrapping_the_rice_cakes
1.mb_-_you_make_the_fire
1.mdl_-_Inside_the_hidden_nexus_(from_Jacobs_Journey)
1.mdl_-_The_Creation_of_Elohim
1.mdl_-_The_Gates_(from_Openings)
1.ml_-_Realisation_of_Dreams_and_Mind
1.mm_-_A_fish_cannot_drown_in_water
1.mm_-_Effortlessly
1.mm_-_If_BOREAS_can_in_his_own_Wind_conceive_(from_Atalanta_Fugiens)
1.mm_-_In_pride_I_so_easily_lost_Thee
1.mm_-_Of_the_voices_of_the_Godhead
1.mm_-_Set_Me_on_Fire
1.mm_-_The_devil_also_offers_his_spirit
1.mm_-_Then_shall_I_leap_into_love
1.mm_-_The_Stone_that_is_Mercury,_is_cast_upon_the_(from_Atalanta_Fugiens)
1.mm_-_Three_Golden_Apples_from_the_Hesperian_grove_(from_Atalanta_Fugiens)
1.mm_-_Wouldst_thou_know_my_meaning?
1.mm_-_Yea!_I_shall_drink_from_Thee
1.ms_-_At_the_Nachi_Kannon_Hall
1.ms_-_Beyond_the_World
1.ms_-_Buddhas_Satori
1.ms_-_Clear_Valley
1.msd_-_Barns_burnt_down
1.msd_-_Masahides_Death_Poem
1.msd_-_When_bird_passes_on
1.ms_-_Hui-nengs_Pond
1.ms_-_Incomparable_Verse_Valley
1.ms_-_No_End_Point
1.ms_-_Old_Creek
1.ms_-_Snow_Garden
1.ms_-_Temple_of_Eternal_Light
1.ms_-_The_Gate_of_Universal_Light
1.ms_-_Toki-no-Ge_(Satori_Poem)
1.nb_-_A_Poem_for_the_Sefirot_as_a_Wheel_of_Light
1.nkt_-_Autumn_Wind
1.nkt_-_Lets_Get_to_Rowing
1.nmdv_-_He_is_the_One_in_many
1.nmdv_-_Laughing_and_playing,_I_came_to_Your_Temple,_O_Lord
1.nmdv_-_The_drum_with_no_drumhead_beats
1.nmdv_-_The_thundering_resonance_of_the_Word
1.nmdv_-_Thou_art_the_Creator,_Thou_alone_art_my_friend
1.nmdv_-_When_I_see_His_ways,_I_sing
1.nrpa_-_Advice_to_Marpa_Lotsawa
1.nrpa_-_The_Summary_of_Mahamudra
1.nrpa_-_The_Viewm_Concisely_Put
1.okym_-_10_-_With_me_along_the_strip_of_Herbage_strown
1.okym_-_11_-_Here_with_a_Loaf_of_Bread_beneath_the_Bough
1.okym_-_12_-_How_sweet_is_mortal_Sovranty!_--_think_some
1.okym_-_13_-_Look_to_the_Rose_that_blows_about_us_--_Lo
1.okym_-_14_-_The_Worldly_Hope_men_set_their_Hearts_upon
1.okym_-_15_-_And_those_who_husbanded_the_Golden_Grain
1.okym_-_16_-_Think,_in_this_batterd_Caravanserai
1.okym_-_17_-_They_say_the_Lion_and_the_Lizard_keep
1.okym_-_18_-_I_sometimes_think_that_never_blows_so_red
1.okym_-_19_-_And_this_delightful_Herb_whose_tender_Green
1.okym_-_1_-_AWAKE!_for_Morning_in_the_Bowl_of_Night
1.okym_-_20_-_Ah,_my_Beloved,_fill_the_Cup_that_clears
1.okym_-_21_-_Lo!_some_we_loved,_the_loveliest_and_best
1.okym_-_22_-_And_we,_that_now_make_merry_in_the_Room
1.okym_-_23_-_Ah,_make_the_most_of_what_we_may_yet_spend
1.okym_-_24_-_Alike_for_those_who_for_To-day_prepare
1.okym_-_25_-_Why,_all_the_Saints_and_Sages_who_discussd
1.okym_-_26_-_Oh,_come_with_old_Khayyam,_and_leave_the_Wise
1.okym_-_27_-_Myself_when_young_did_eagerly_frequent
1.okym_-_28_-_With_them_the_Seed_of_Wisdom_did_I_sow
1.okym_-_29_-_Into_this_Universe,_and_Why_not_knowing
1.okym_-_2_-_Dreaming_when_Dawns_Left_Hand_was_in_the_Sky
1.okym_-_30_-_What,_without_asking,_hither_hurried_whence?
1.okym_-_31_-_Up_from_Earths_Centre_through_the_Seventh_Gate
1.okym_-_32_-_There_was_a_Door_to_which_I_found_no_Key
1.okym_-_33_-_Then_to_the_rolling_Heavn_itself_I_cried
1.okym_-_34_-_Then_to_this_earthen_Bowl_did_I_adjourn
1.okym_-_35_-_I_think_the_Vessel,_that_with_fugitive
1.okym_-_36_-_For_in_the_Market-place,_one_Dusk_of_Day
1.okym_-_37_-_Ah,_fill_the_Cup-_--_what_boots_it_to_repeat
1.okym_-_38_-_One_Moment_in_Annihilations_Waste
1.okym_-_39_-_How_long,_how_long,_in_infinite_Pursuit
1.okym_-_3_-_And,_as_the_Cock_crew,_those_who_stood_before
1.okym_-_40_-_You_know,_my_Friends,_how_long_since_in_my_House
1.okym_-_41_-_For_Is_and_Is-not_though_with_Rule_and_Line
1.okym_-_41_-_later_edition_-_Perplext_no_more_with_Human_or_Divine_Perplext_no_more_with_Human_or_Divine
1.okym_-_42_-_And_lately,_by_the_Tavern_Door_agape
1.okym_-_42_-_later_edition_-_Waste_not_your_Hour,_nor_in_the_vain_pursuit_Waste_not_your_Hour,_nor_in_the_vain_pursuit
1.okym_-_43_-_The_Grape_that_can_with_Logic_absolute
1.okym_-_44_-_The_mighty_Mahmud,_the_victorious_Lord
1.okym_-_45_-_But_leave_the_Wise_to_wrangle,_and_with_me
1.okym_-_46_-_For_in_and_out,_above,_about,_below
1.okym_-_46_-_later_edition_-_Why,_be_this_Juice_the_growth_of_God,_who_dare_Why,_be_this_Juice_the_growth_of_God,_who_dare
1.okym_-_47_-_And_if_the_Wine_you_drink,_the_Lip_you_press
1.okym_-_48_-_While_the_Rose_blows_along_the_River_Brink
1.okym_-_49_-_Tis_all_a_Chequer-board_of_Nights_and_Days
1.okym_-_4_-_Now_the_New_Year_reviving_old_Desires
1.okym_-_50_-_The_Ball_no_Question_makes_of_Ayes_and_Noes
1.okym_-_51_-_later_edition_-_Why,_if_the_Soul_can_fling_the_Dust_aside
1.okym_-_51_-_The_Moving_Finger_writes-_and,_having_writ
1.okym_-_52_-_And_that_inverted_Bowl_we_call_The_Sky
1.okym_-_52_-_later_edition_-_But_that_is_but_a_Tent_wherein_may_rest
1.okym_-_53_-_later_edition_-_I_sent_my_Soul_through_the_Invisible
1.okym_-_53_-_With_Earths_first_Clay_They_did_the_Last_Man_knead
1.okym_-_54_-_I_tell_Thee_this_--_When,_starting_from_the_Goal
1.okym_-_55_-_The_Vine_has_struck_a_fiber-_which_about
1.okym_-_56_-_And_this_I_know-_whether_the_one_True_Light
1.okym_-_57_-_Oh_Thou,_who_didst_with_Pitfall_and_with_gin
1.okym_-_58_-_Oh,_Thou,_who_Man_of_baser_Earth_didst_make
1.okym_-_59_-_Listen_again
1.okym_-_5_-_Iram_indeed_is_gone_with_all_its_Rose
1.okym_-_60_-_And,_strange_to_tell,_among_that_Earthen_Lot
1.okym_-_61_-_Then_said_another_--_Surely_not_in_vain
1.okym_-_62_-_Another_said_--_Why,_neer_a_peevish_Boy
1.okym_-_63_-_None_answerd_this-_but_after_Silence_spake
1.okym_-_64_-_Said_one_--_Folks_of_a_surly_Tapster_tell
1.okym_-_65_-_Then_said_another_with_a_long-drawn_Sigh
1.okym_-_66_-_So_while_the_Vessels_one_by_one_were_speaking
1.okym_-_67_-_Ah,_with_the_Grape_my_fading_Life_provide
1.okym_-_68_-_That_evn_my_buried_Ashes_such_a_Snare
1.okym_-_69_-_Indeed_the_Idols_I_have_loved_so_long
1.okym_-_6_-_And_Davids_Lips_are_lockt-_but_in_divine
1.okym_-_70_-_Indeed,_indeed,_Repentance_oft_before
1.okym_-_71_-_And_much_as_Wine_has_playd_the_Infidel
1.okym_-_72_-_Alas,_that_Spring_should_vanish_with_the_Rose!
1.okym_-_73_-_Ah_Love!_could_thou_and_I_with_Fate_conspire
1.okym_-_74_-_Ah,_Moon_of_my_Delight_who_knowst_no_wane
1.okym_-_75_-_And_when_Thyself_with_shining_Foot_shall_pass
1.okym_-_7_-_Come,_fill_the_Cup,_and_in_the_Fire_of_Spring
1.okym_-_8_-_And_look_--_a_thousand_Blossoms_with_the_Day
1.okym_-_9_-_But_come_with_old_Khayyam,_and_leave_the_Lot
1.pbs_-_A_Bridal_Song
1.pbs_-_A_Dialogue
1.pbs_-_A_Dirge
1.pbs_-_Adonais_-_An_elegy_on_the_Death_of_John_Keats
1.pbs_-_A_Fragment_-_To_Music
1.pbs_-_A_Hate-Song
1.pbs_-_A_Lament
1.pbs_-_Alas!_This_Is_Not_What_I_Thought_Life_Was
1.pbs_-_Alastor_-_or,_the_Spirit_of_Solitude
1.pbs_-_An_Allegory
1.pbs_-_And_like_a_Dying_Lady,_Lean_and_Pale
1.pbs_-_And_That_I_Walk_Thus_Proudly_Crowned_Withal
1.pbs_-_A_New_National_Anthem
1.pbs_-_An_Exhortation
1.pbs_-_An_Ode,_Written_October,_1819,_Before_The_Spaniards_Had_Recovered_Their_Liberty
1.pbs_-_Another_Fragment_to_Music
1.pbs_-_Archys_Song_From_Charles_The_First_(A_Widow_Bird_Sate_Mourning_For_Her_Love)
1.pbs_-_Arethusa
1.pbs_-_A_Romans_Chamber
1.pbs_-_Art_Thou_Pale_For_Weariness
1.pbs_-_A_Serpent-Face
1.pbs_-_Asia_-_From_Prometheus_Unbound
1.pbs_-_A_Summer_Evening_Churchyard_-_Lechlade,_Gloucestershire
1.pbs_-_A_Tale_Of_Society_As_It_Is_-_From_Facts,_1811
1.pbs_-_Autumn_-_A_Dirge
1.pbs_-_A_Vision_Of_The_Sea
1.pbs_-_A_Widow_Bird_Sate_Mourning_For_Her_Love
1.pbs_-_Beautys_Halo
1.pbs_-_Bereavement
1.pbs_-_Bigotrys_Victim
1.pbs_-_Catalan
1.pbs_-_Charles_The_First
1.pbs_-_Chorus_from_Hellas
1.pbs_-_Dark_Spirit_of_the_Desart_Rude
1.pbs_-_Death
1.pbs_-_Death_In_Life
1.pbs_-_Death_Is_Here_And_Death_Is_There
1.pbs_-_Despair
1.pbs_-_Dirge_For_The_Year
1.pbs_-_English_translationItalian
1.pbs_-_Epigram_III_-_Spirit_of_Plato
1.pbs_-_Epigram_II_-_Kissing_Helena
1.pbs_-_Epigram_I_-_To_Stella
1.pbs_-_Epigram_IV_-_Circumstance
1.pbs_-_Epipsychidion
1.pbs_-_Epipsychidion_(Excerpt)
1.pbs_-_Epipsychidion_-_Passages_Of_The_Poem,_Or_Connected_Therewith
1.pbs_-_Epitaph
1.pbs_-_Epithalamium
1.pbs_-_Epithalamium_-_Another_Version
1.pbs_-_Evening_-_Ponte_Al_Mare,_Pisa
1.pbs_-_Evening._To_Harriet
1.pbs_-_Eyes_-_A_Fragment
1.pbs_-_Faint_With_Love,_The_Lady_Of_The_South
1.pbs_-_Feelings_Of_A_Republican_On_The_Fall_Of_Bonaparte
1.pbs_-_Fiordispina
1.pbs_-_Fragment_-_A_Gentle_Story_Of_Two_Lovers_Young
1.pbs_-_Fragment_-_"Amor_Aeternus"
1.pbs_-_Fragment_-_Apostrophe_To_Silence
1.pbs_-_Fragment_-_A_Wanderer
1.pbs_-_Fragment_-_Follow_To_The_Deep_Woods_Weeds
1.pbs_-_Fragment_From_The_Wandering_Jew
1.pbs_-_Fragment_-_Great_Spirit
1.pbs_-_Fragment_-_Home
1.pbs_-_Fragment_-_"Igniculus_Desiderii"
1.pbs_-_Fragment_-_Is_It_That_In_Some_Brighter_Sphere
1.pbs_-_Fragment_-_Love_The_Universe_To-Day
1.pbs_-_Fragment_-_Miltons_Spirit
1.pbs_-_Fragment_-_My_Head_Is_Wild_With_Weeping
1.pbs_-_Fragment_Of_A_Ghost_Story
1.pbs_-_Fragment_Of_A_Satire_On_Satire
1.pbs_-_Fragment_Of_A_Sonnet._Farewell_To_North_Devon
1.pbs_-_Fragment_Of_A_Sonnet_-_To_Harriet
1.pbs_-_Fragment_Of_The_Elegy_On_The_Death_Of_Adonis
1.pbs_-_Fragment_Of_The_Elegy_On_The_Death_Of_Bion
1.pbs_-_Fragment_-_Omens
1.pbs_-_Fragment,_Or_The_Triumph_Of_Conscience
1.pbs_-_Fragment_-_Rain
1.pbs_-_Fragment_-_Satan_Broken_Loose
1.pbs_-_Fragments_Of_An_Unfinished_Drama
1.pbs_-_Fragments_Supposed_To_Be_Parts_Of_Otho
1.pbs_-_Fragment_-_Such_Hope,_As_Is_The_Sick_Despair_Of_Good
1.pbs_-_Fragment_-_Sufficient_Unto_The_Day
1.pbs_-_Fragment_-_Supposed_To_Be_An_Epithalamium_Of_Francis_Ravaillac_And_Charlotte_Corday
1.pbs_-_Fragments_Written_For_Hellas
1.pbs_-_Fragment_-_The_Lakes_Margin
1.pbs_-_Fragment_-_There_Is_A_Warm_And_Gentle_Atmosphere
1.pbs_-_Fragment_-_The_Vine-Shroud
1.pbs_-_Fragment_-_Thoughts_Come_And_Go_In_Solitude
1.pbs_-_Fragment_-_To_A_Friend_Released_From_Prison
1.pbs_-_Fragment_-_To_Byron
1.pbs_-_Fragment_-_To_One_Singing
1.pbs_-_Fragment_-_To_The_Moon
1.pbs_-_Fragment_-_To_The_People_Of_England
1.pbs_-_Fragment_-_Wedded_Souls
1.pbs_-_Fragment_-_What_Mary_Is_When_She_A_Little_Smiles
1.pbs_-_Fragment_-_What_Men_Gain_Fairly
1.pbs_-_Fragment_-_Ye_Gentle_Visitations_Of_Calm_Thought
1.pbs_-_Fragment_-_Yes!_All_Is_Past
1.pbs_-_From
1.pbs_-_From_The_Arabic_-_An_Imitation
1.pbs_-_From_the_Arabic,_an_Imitation
1.pbs_-_From_The_Greek_Of_Moschus
1.pbs_-_From_The_Greek_Of_Moschus_-_Pan_Loved_His_Neighbour_Echo
1.pbs_-_From_The_Original_Draft_Of_The_Poem_To_William_Shelley
1.pbs_-_From_Vergils_Fourth_Georgic
1.pbs_-_From_Vergils_Tenth_Eclogue
1.pbs_-_Ghasta_Or,_The_Avenging_Demon!!!
1.pbs_-_Ginevra
1.pbs_-_Good-Night
1.pbs_-_Hellas_-_A_Lyrical_Drama
1.pbs_-_HERE_I_sit_with_my_paper
1.pbs_-_Homers_Hymn_To_Castor_And_Pollux
1.pbs_-_Homers_Hymn_To_Minerva
1.pbs_-_Homers_Hymn_To_The_Earth_-_Mother_Of_All
1.pbs_-_Homers_Hymn_To_The_Moon
1.pbs_-_Homers_Hymn_To_The_Sun
1.pbs_-_Homers_Hymn_To_Venus
1.pbs_-_Hymn_of_Apollo
1.pbs_-_Hymn_of_Pan
1.pbs_-_Hymn_to_Intellectual_Beauty
1.pbs_-_Hymn_To_Mercury
1.pbs_-_I_Arise_from_Dreams_of_Thee
1.pbs_-_I_Faint,_I_Perish_With_My_Love!
1.pbs_-_Invocation
1.pbs_-_Invocation_To_Misery
1.pbs_-_I_Stood_Upon_A_Heaven-cleaving_Turret
1.pbs_-_I_Would_Not_Be_A_King
1.pbs_-_Julian_and_Maddalo_-_A_Conversation
1.pbs_-_Letter_To_Maria_Gisborne
1.pbs_-_Liberty
1.pbs_-_Life_Rounded_With_Sleep
1.pbs_-_Lines_--_Far,_Far_Away,_O_Ye
1.pbs_-_Lines_-_That_time_is_dead_for_ever,_child!
1.pbs_-_Lines_-_The_cold_earth_slept_below
1.pbs_-_Lines_To_A_Critic
1.pbs_-_Lines_To_A_Reviewer
1.pbs_-_Lines_-_We_Meet_Not_As_We_Parted
1.pbs_-_Lines_Written_Among_The_Euganean_Hills
1.pbs_-_Lines_Written_During_The_Castlereagh_Administration
1.pbs_-_Lines_Written_in_the_Bay_of_Lerici
1.pbs_-_Lines_Written_On_Hearing_The_News_Of_The_Death_Of_Napoleon
1.pbs_-_Love
1.pbs_-_Love-_Hope,_Desire,_And_Fear
1.pbs_-_Loves_Philosophy
1.pbs_-_Loves_Rose
1.pbs_-_Marenghi
1.pbs_-_Mariannes_Dream
1.pbs_-_Matilda_Gathering_Flowers
1.pbs_-_May_The_Limner
1.pbs_-_Melody_To_A_Scene_Of_Former_Times
1.pbs_-_Methought_I_Was_A_Billow_In_The_Crowd
1.pbs_-_Mighty_Eagle
1.pbs_-_Mont_Blanc_-_Lines_Written_In_The_Vale_of_Chamouni
1.pbs_-_Music
1.pbs_-_Music(2)
1.pbs_-_Music_And_Sweet_Poetry
1.pbs_-_Mutability
1.pbs_-_Mutability_-_II.
1.pbs_-_Ode_To_Heaven
1.pbs_-_Ode_To_Liberty
1.pbs_-_Ode_To_Naples
1.pbs_-_Ode_to_the_West_Wind
1.pbs_-_Oedipus_Tyrannus_or_Swellfoot_The_Tyrant
1.pbs_-_On_A_Faded_Violet
1.pbs_-_On_A_Fete_At_Carlton_House_-_Fragment
1.pbs_-_On_An_Icicle_That_Clung_To_The_Grass_Of_A_Grave
1.pbs_-_On_Death
1.pbs_-_One_sung_of_thee_who_left_the_tale_untold
1.pbs_-_On_Fanny_Godwin
1.pbs_-_On_Keats,_Who_Desired_That_On_His_Tomb_Should_Be_Inscribed--
1.pbs_-_On_Leaving_London_For_Wales
1.pbs_-_On_Robert_Emmets_Grave
1.pbs_-_On_The_Dark_Height_of_Jura
1.pbs_-_On_The_Medusa_Of_Leonardo_da_Vinci_In_The_Florentine_Gallery
1.pbs_-_Orpheus
1.pbs_-_O_That_A_Chariot_Of_Cloud_Were_Mine!
1.pbs_-_Otho
1.pbs_-_O_Thou_Immortal_Deity
1.pbs_-_Ozymandias
1.pbs_-_Passage_Of_The_Apennines
1.pbs_-_Pater_Omnipotens
1.pbs_-_Peter_Bell_The_Third
1.pbs_-_Poetical_Essay
1.pbs_-_Prince_Athanase
1.pbs_-_Prometheus_Unbound
1.pbs_-_Queen_Mab_-_Part_I.
1.pbs_-_Queen_Mab_-_Part_II.
1.pbs_-_Queen_Mab_-_Part_III.
1.pbs_-_Queen_Mab_-_Part_IV.
1.pbs_-_Queen_Mab_-_Part_IX.
1.pbs_-_Queen_Mab_-_Part_V.
1.pbs_-_Queen_Mab_-_Part_VI.
1.pbs_-_Queen_Mab_-_Part_Vi_(Excerpts)
1.pbs_-_Queen_Mab_-_Part_VII.
1.pbs_-_Queen_Mab_-_Part_VIII.
1.pbs_-_Remembrance
1.pbs_-_Revenge
1.pbs_-_Rome_And_Nature
1.pbs_-_Rosalind_and_Helen_-_a_Modern_Eclogue
1.pbs_-_Saint_Edmonds_Eve
1.pbs_-_Scene_From_Tasso
1.pbs_-_Scenes_From_The_Faust_Of_Goethe
1.pbs_-_Similes_For_Two_Political_Characters_of_1819
1.pbs_-_Sister_Rosa_-_A_Ballad
1.pbs_-_Song
1.pbs_-_Song._Cold,_Cold_Is_The_Blast_When_December_Is_Howling
1.pbs_-_Song._Come_Harriet!_Sweet_Is_The_Hour
1.pbs_-_Song._Despair
1.pbs_-_Song._--_Fierce_Roars_The_Midnight_Storm
1.pbs_-_Song_For_Tasso
1.pbs_-_Song_From_The_Wandering_Jew
1.pbs_-_Song._Hope
1.pbs_-_Song_Of_Proserpine_While_Gathering_Flowers_On_The_Plain_Of_Enna
1.pbs_-_Song._Sorrow
1.pbs_-_Song._To_--_[Harriet]
1.pbs_-_Song._To_[Harriet]
1.pbs_-_Song_To_The_Men_Of_England
1.pbs_-_Song._Translated_From_The_German
1.pbs_-_Song._Translated_From_The_Italian
1.pbs_-_Sonnet_-_England_in_1819
1.pbs_-_Sonnet_-_From_The_Italian_Of_Cavalcanti
1.pbs_-_Sonnet_-_From_The_Italian_Of_Dante
1.pbs_-_Sonnet_-_Lift_Not_The_Painted_Veil_Which_Those_Who_Live
1.pbs_-_Sonnet_-_On_Launching_Some_Bottles_Filled_With_Knowledge_Into_The_Bristol_Channel
1.pbs_-_Sonnet_-_Political_Greatness
1.pbs_-_Sonnet_-_To_A_Balloon_Laden_With_Knowledge
1.pbs_-_Sonnet_To_Byron
1.pbs_-_Sonnet_--_Ye_Hasten_To_The_Grave!
1.pbs_-_Stanza
1.pbs_-_Stanza_From_A_Translation_Of_The_Marseillaise_Hymn
1.pbs_-_Stanzas._--_April,_1814
1.pbs_-_Stanzas_From_Calderons_Cisma_De_Inglaterra
1.pbs_-_Stanzas_Written_in_Dejection,_Near_Naples
1.pbs_-_Stanza-_Written_At_Bracknell
1.pbs_-_St._Irvynes_Tower
1.pbs_-_Summer_And_Winter
1.pbs_-_The_Aziola
1.pbs_-_The_Birth_Place_of_Pleasure
1.pbs_-_The_Boat_On_The_Serchio
1.pbs_-_The_Cenci_-_A_Tragedy_In_Five_Acts
1.pbs_-_The_Cloud
1.pbs_-_The_Cyclops
1.pbs_-_The_Daemon_Of_The_World
1.pbs_-_The_Death_Knell_Is_Ringing
1.pbs_-_The_Deserts_Of_Dim_Sleep
1.pbs_-_The_Devils_Walk._A_Ballad
1.pbs_-_The_Drowned_Lover
1.pbs_-_The_False_Laurel_And_The_True
1.pbs_-_The_First_Canzone_Of_The_Convito
1.pbs_-_The_Fitful_Alternations_of_the_Rain
1.pbs_-_The_Fugitives
1.pbs_-_The_Indian_Serenade
1.pbs_-_The_Irishmans_Song
1.pbs_-_The_Isle
1.pbs_-_The_Magnetic_Lady_To_Her_Patient
1.pbs_-_The_Mask_Of_Anarchy
1.pbs_-_The_Past
1.pbs_-_The_Pine_Forest_Of_The_Cascine_Near_Pisa
1.pbs_-_The_Question
1.pbs_-_The_Retrospect_-_CWM_Elan,_1812
1.pbs_-_The_Revolt_Of_Islam_-_Canto_I-XII
1.pbs_-_The_Rude_Wind_Is_Singing
1.pbs_-_The_Sensitive_Plant
1.pbs_-_The_Sepulchre_Of_Memory
1.pbs_-_The_Solitary
1.pbs_-_The_Spectral_Horseman
1.pbs_-_The_Sunset
1.pbs_-_The_Tower_Of_Famine
1.pbs_-_The_Triumph_Of_Life
1.pbs_-_The_Two_Spirits_-_An_Allegory
1.pbs_-_The_Viewless_And_Invisible_Consequence
1.pbs_-_The_Wandering_Jews_Soliloquy
1.pbs_-_The_Waning_Moon
1.pbs_-_The_Witch_Of_Atlas
1.pbs_-_The_Woodman_And_The_Nightingale
1.pbs_-_The_Worlds_Wanderers
1.pbs_-_The_Zucca
1.pbs_-_Time
1.pbs_-_Time_Long_Past
1.pbs_-_To--
1.pbs_-_To_A_Skylark
1.pbs_-_To_A_Star
1.pbs_-_To_Coleridge
1.pbs_-_To_Constantia
1.pbs_-_To_Constantia-_Singing
1.pbs_-_To_Death
1.pbs_-_To_Edward_Williams
1.pbs_-_To_Emilia_Viviani
1.pbs_-_To_Harriet
1.pbs_-_To_Harriet_--_It_Is_Not_Blasphemy_To_Hope_That_Heaven
1.pbs_-_To_Ianthe
1.pbs_-_To--_I_Fear_Thy_Kisses,_Gentle_Maiden
1.pbs_-_To_Ireland
1.pbs_-_To_Italy
1.pbs_-_To_Jane_-_The_Invitation
1.pbs_-_To_Jane_-_The_Keen_Stars_Were_Twinkling
1.pbs_-_To_Jane_-_The_Recollection
1.pbs_-_To_Mary_-
1.pbs_-_To_Mary_Shelley
1.pbs_-_To_Mary_Shelley_(2)
1.pbs_-_To_Mary_Who_Died_In_This_Opinion
1.pbs_-_To_Mary_Wollstonecraft_Godwin
1.pbs_-_To-morrow
1.pbs_-_To--_Music,_when_soft_voices_die
1.pbs_-_To_Night
1.pbs_-_To--_Oh!_there_are_spirits_of_the_air
1.pbs_-_To--_One_word_is_too_often_profaned
1.pbs_-_To_Sophia_(Miss_Stacey)
1.pbs_-_To_The_Lord_Chancellor
1.pbs_-_To_The_Men_Of_England
1.pbs_-_To_The_Mind_Of_Man
1.pbs_-_To_the_Moon
1.pbs_-_To_The_Moonbeam
1.pbs_-_To_The_Nile
1.pbs_-_To_The_Queen_Of_My_Heart
1.pbs_-_To_The_Republicans_Of_North_America
1.pbs_-_To_William_Shelley
1.pbs_-_To_William_Shelley.
1.pbs_-_To_William_Shelley._Thy_Little_Footsteps_On_The_Sands
1.pbs_-_To_Wordsworth
1.pbs_-_To--_Yet_look_on_me
1.pbs_-_Ugolino
1.pbs_-_Unrisen_Splendour_Of_The_Brightest_Sun
1.pbs_-_Verses_On_A_Cat
1.pbs_-_Wake_The_Serpent_Not
1.pbs_-_War
1.pbs_-_When_A_Lover_Clasps_His_Fairest
1.pbs_-_When_Soft_Winds_And_Sunny_Skies
1.pbs_-_When_The_Lamp_Is_Shattered
1.pbs_-_Wine_Of_The_Fairies
1.pbs_-_With_A_Guitar,_To_Jane
1.pbs_-_Written_At_Bracknell
1.pbs_-_Zephyrus_The_Awakener
1.pc_-_Autumns_Cold
1.pc_-_Lute
1.pc_-_Staying_at_Bamboo_Lodge
1.poe_-_A_Dream
1.poe_-_A_Dream_Within_A_Dream
1.poe_-_Al_Aaraaf-_Part_1
1.poe_-_Al_Aaraaf-_Part_2
1.poe_-_Alone
1.poe_-_An_Acrostic
1.poe_-_An_Enigma
1.poe_-_Annabel_Lee
1.poe_-_A_Paean
1.poe_-_A_Valentine
1.poe_-_Dreamland
1.poe_-_Dreams
1.poe_-_Eldorado
1.poe_-_Elizabeth
1.poe_-_Enigma
1.poe_-_Epigram_For_Wall_Street
1.poe_-_Eulalie
1.poe_-_Eureka_-_A_Prose_Poem
1.poe_-_Evening_Star
1.poe_-_Fairy-Land
1.poe_-_For_Annie
1.poe_-_Hymn
1.poe_-_Hymn_To_Aristogeiton_And_Harmodius
1.poe_-_Imitation
1.poe_-_Impromptu_-_To_Kate_Carol
1.poe_-_In_Youth_I_have_Known_One
1.poe_-_Israfel
1.poe_-_Lenore
1.poe_-_Romance
1.poe_-_Sancta_Maria
1.poe_-_Serenade
1.poe_-_Song
1.poe_-_Sonnet-_Silence
1.poe_-_Sonnet_-_To_Science
1.poe_-_Sonnet-_To_Zante
1.poe_-_Spirits_Of_The_Dead
1.poe_-_Tamerlane
1.poe_-_The_Bells
1.poe_-_The_Bells_-_A_collaboration
1.poe_-_The_Bridal_Ballad
1.poe_-_The_City_In_The_Sea
1.poe_-_The_City_Of_Sin
1.poe_-_The_Coliseum
1.poe_-_The_Conqueror_Worm
1.poe_-_The_Conversation_Of_Eiros_And_Charmion
1.poe_-_The_Divine_Right_Of_Kings
1.poe_-_The_Forest_Reverie
1.poe_-_The_Happiest_Day-The_Happiest_Hour
1.poe_-_The_Haunted_Palace
1.poe_-_The_Power_Of_Words_Oinos.
1.poe_-_The_Raven
1.poe_-_The_Sleeper
1.poe_-_The_Valley_Of_Unrest
1.poe_-_The_Village_Street
1.poe_-_To_--
1.poe_-_To_--_(2)
1.poe_-_To_--_(3)
1.poe_-_To_F--
1.poe_-_To_Frances_S._Osgood
1.poe_-_To_Helen_-_1831
1.poe_-_To_Helen_-_1848
1.poe_-_To_Isadore
1.poe_-_To_M--
1.poe_-_To_Marie_Louise_(Shew)
1.poe_-_To_My_Mother
1.poe_-_To_One_Departed
1.poe_-_To_One_In_Paradise
1.poe_-_To_The_Lake
1.poe_-_To_The_River
1.poe_-_Ulalume
1.pp_-_Raga_Dhanashri
1.raa_-_A_Holy_Tabernacle_in_the_Heart_(from_Life_of_the_Future_World)
1.raa_-_And_the_letter_is_longing
1.raa_-_And_YHVH_spoke_to_me_when_I_saw_His_name
1.raa_-_Circles_1_(from_Life_of_the_Future_World)
1.raa_-_Circles_2_(from_Life_of_the_Future_World)
1.raa_-_Circles_3_(from_Life_of_the_Future_World)
1.raa_-_Circles_4_(from_Life_of_the_Future_World)
1.raa_-_Their_mystery_is_(from_Life_of_the_Future_World)
1.rajh_-_God_Pursues_Me_Everywhere
1.rajh_-_Intimate_Hymn
1.rajh_-_The_Word_Most_Precious
1.rb_-_Abt_Vogler
1.rb_-_A_Cavalier_Song
1.rb_-_After
1.rb_-_A_Grammarian's_Funeral_Shortly_After_The_Revival_Of_Learning
1.rb_-_Aix_In_Provence
1.rb_-_A_Light_Woman
1.rb_-_A_Lovers_Quarrel
1.rb_-_Among_The_Rocks
1.rb_-_Andrea_del_Sarto
1.rb_-_An_Epistle_Containing_the_Strange_Medical_Experience_of_Kar
1.rb_-_Another_Way_Of_Love
1.rb_-_Any_Wife_To_Any_Husband
1.rb_-_A_Pretty_Woman
1.rb_-_A_Serenade_At_The_Villa
1.rb_-_A_Toccata_Of_Galuppi's
1.rb_-_A_Womans_Last_Word
1.rb_-_Before
1.rb_-_Bishop_Blougram's_Apology
1.rb_-_Bishop_Orders_His_Tomb_at_Saint_Praxed's_Church,_Rome,_The
1.rb_-_By_The_Fire-Side
1.rb_-_Caliban_upon_Setebos_or,_Natural_Theology_in_the_Island
1.rb_-_Childe_Roland_To_The_Dark_Tower_Came
1.rb_-_Cleon
1.rb_-_Confessions
1.rb_-_Cristina
1.rb_-_De_Gustibus
1.rb_-_Earth's_Immortalities
1.rb_-_Evelyn_Hope
1.rb_-_Fra_Lippo_Lippi
1.rb_-_Garden_Francies
1.rb_-_Holy-Cross_Day
1.rb_-_Home_Thoughts,_from_the_Sea
1.rb_-_How_They_Brought_The_Good_News_From_Ghent_To_Aix
1.rb_-_In_A_Gondola
1.rb_-_In_A_Year
1.rb_-_Incident_Of_The_French_Camp
1.rb_-_In_Three_Days
1.rb_-_Introduction:_Pippa_Passes
1.rbk_-_Epithalamium
1.rbk_-_He_Shall_be_King!
1.rb_-_Life_In_A_Love
1.rb_-_Love_Among_The_Ruins
1.rb_-_Love_In_A_Life
1.rb_-_Master_Hugues_Of_Saxe-Gotha
1.rb_-_Meeting_At_Night
1.rb_-_Memorabilia
1.rb_-_Mesmerism
1.rb_-_My_Last_Duchess
1.rb_-_My_Star
1.rb_-_Nationality_In_Drinks
1.rb_-_Never_the_Time_and_the_Place
1.rb_-_Now!
1.rb_-_Old_Pictures_In_Florence
1.rb_-_O_Lyric_Love
1.rb_-_One_Way_Of_Love
1.rb_-_Paracelsus_-_Part_III_-_Paracelsus
1.rb_-_Paracelsus_-_Part_II_-_Paracelsus_Attains
1.rb_-_Paracelsus_-_Part_I_-_Paracelsus_Aspires
1.rb_-_Paracelsus_-_Part_IV_-_Paracelsus_Aspires
1.rb_-_Paracelsus_-_Part_V_-_Paracelsus_Attains
1.rb_-_Parting_At_Morning
1.rb_-_Pauline,_A_Fragment_of_a_Question
1.rb_-_Pippa_Passes_-_Part_III_-_Evening
1.rb_-_Pippa_Passes_-_Part_II_-_Noon
1.rb_-_Pippa_Passes_-_Part_I_-_Morning
1.rb_-_Pippa_Passes_-_Part_IV_-_Night
1.rb_-_Pippas_Song
1.rb_-_Popularity
1.rb_-_Porphyrias_Lover
1.rb_-_Prospice
1.rb_-_Protus
1.rb_-_Rabbi_Ben_Ezra
1.rb_-_Respectability
1.rb_-_Rhyme_for_a_Child_Viewing_a_Naked_Venus_in_a_Painting_of_'The_Judgement_of_Paris'
1.rb_-_Soliloquy_Of_The_Spanish_Cloister
1.rb_-_Song
1.rb_-_Sordello_-_Book_the_Fifth
1.rb_-_Sordello_-_Book_the_First
1.rb_-_Sordello_-_Book_the_Fourth
1.rb_-_Sordello_-_Book_the_Second
1.rb_-_Sordello_-_Book_the_Sixth
1.rb_-_Sordello_-_Book_the_Third
1.rb_-_The_Boy_And_the_Angel
1.rb_-_The_Englishman_In_Italy
1.rb_-_The_Flight_Of_The_Duchess
1.rb_-_The_Glove
1.rb_-_The_Guardian-Angel
1.rb_-_The_Italian_In_England
1.rb_-_The_Laboratory-Ancien_Rgime
1.rb_-_The_Last_Ride_Together
1.rb_-_The_Lost_Leader
1.rb_-_The_Lost_Mistress
1.rb_-_The_Patriot
1.rb_-_The_Pied_Piper_Of_Hamelin
1.rb_-_The_Twins
1.rb_-_Times_Revenges
1.rb_-_Two_In_The_Campagna
1.rb_-_Waring
1.rb_-_Why_I_Am_a_Liberal
1.rb_-_Women_And_Roses
1.rb_-_Youll_Love_Me_Yet
1.rmd_-_Raga_Basant
1.rmpsd_-_Come,_let_us_go_for_a_walk,_O_mind
1.rmpsd_-_Conquer_Death_with_the_drumbeat_Ma!_Ma!_Ma!
1.rmpsd_-_I_drink_no_ordinary_wine
1.rmpsd_-_In_the_worlds_busy_market-place,_O_Shyama
1.rmpsd_-_Its_value_beyond_assessment_by_the_mind
1.rmpsd_-_Kulakundalini,_Goddess_Full_of_Brahman,_Tara
1.rmpsd_-_Love_Her,_Mind
1.rmpsd_-_Ma,_Youre_inside_me
1.rmpsd_-_Meditate_on_Kali!_Why_be_anxious?
1.rmpsd_-_Mother,_am_I_Thine_eight-months_child?
1.rmpsd_-_Mother_this_is_the_grief_that_sorely_grieves_my_heart
1.rmpsd_-_O_Death!_Get_away-_what_canst_thou_do?
1.rmpsd_-_Of_what_use_is_my_going_to_Kasi_any_more?
1.rmpsd_-_O_Mother,_who_really
1.rmpsd_-_Once_for_all,_this_time
1.rmpsd_-_So_I_say-_Mind,_dont_you_sleep
1.rmpsd_-_Tell_me,_brother,_what_happens_after_death?
1.rmpsd_-_This_time_I_shall_devour_Thee_utterly,_Mother_Kali!
1.rmpsd_-_Who_in_this_world
1.rmpsd_-_Who_is_that_Syama_woman
1.rmpsd_-_Why_disappear_into_formless_trance?
1.rmr_-_Abishag
1.rmr_-_Adam
1.rmr_-_Again_and_Again
1.rmr_-_Along_the_Sun-Drenched_Roadside
1.rmr_-_As_Once_the_Winged_Energy_of_Delight
1.rmr_-_A_Sybil
1.rmr_-_Autumn
1.rmr_-_Autumn_Day
1.rmr_-_A_Walk
1.rmr_-_Before_Summer_Rain
1.rmr_-_Black_Cat_(Schwarze_Katze)
1.rmr_-_Blank_Joy
1.rmr_-_Buddha_in_Glory
1.rmr_-_Childhood
1.rmr_-_Child_In_Red
1.rmr_-_Death
1.rmr_-_Dedication
1.rmr_-_Dedication_To_M...
1.rmr_-_Early_Spring
1.rmr_-_Elegy_I
1.rmr_-_Elegy_IV
1.rmr_-_Elegy_X
1.rmr_-_Encounter_In_The_Chestnut_Avenue
1.rmr_-_English_translationGerman
1.rmr_-_Eve
1.rmr_-_Evening
1.rmr_-_Evening_Love_Song
1.rmr_-_Exposed_on_the_cliffs_of_the_heart
1.rmr_-_Extinguish_Thou_My_Eyes
1.rmr_-_Falconry
1.rmr_-_Falling_Stars
1.rmr_-_Fear_of_the_Inexplicable
1.rmr_-_Fire's_Reflection
1.rmr_-_For_Hans_Carossa
1.rmr_-_Girl_in_Love
1.rmr_-_Girl's_Lament
1.rmr_-_God_Speaks_To_Each_Of_Us
1.rmr_-_Going_Blind
1.rmr_-_Greek_Love-Talk
1.rmr_-_Growing_Old
1.rmr_-_Heartbeat
1.rmr_-_Ignorant_Before_The_Heavens_Of_My_Life
1.rmr_-_Interior_Portrait
1.rmr_-_In_The_Beginning
1.rmr_-_Lady_At_A_Mirror
1.rmr_-_Lady_On_A_Balcony
1.rmr_-_Lament
1.rmr_-_Lament_(O_how_all_things_are_far_removed)
1.rmr_-_Lament_(Whom_will_you_cry_to,_heart?)
1.rmr_-_Little_Tear-Vase
1.rmr_-_Loneliness
1.rmr_-_Losing
1.rmr_-_Love_Song
1.rmr_-_Moving_Forward
1.rmr_-_Music
1.rmr_-_My_Life
1.rmr_-_Narcissus
1.rmr_-_Night_(O_you_whose_countenance)
1.rmr_-_Night_(This_night,_agitated_by_the_growing_storm)
1.rmr_-_On_Hearing_Of_A_Death
1.rmr_-_Palm
1.rmr_-_Parting
1.rmr_-_Portrait_of_my_Father_as_a_Young_Man
1.rmr_-_Put_Out_My_Eyes
1.rmr_-_Rememberance
1.rmr_-_Sacrifice
1.rmr_-_Self-Portrait
1.rmr_-_Sense_Of_Something_Coming
1.rmr_-_Slumber_Song
1.rmr_-_Solemn_Hour
1.rmr_-_Song
1.rmr_-_Song_Of_The_Orphan
1.rmr_-_Song_Of_The_Sea
1.rmr_-_Song_Of_The_Women_To_The_Poet
1.rmr_-_Spanish_Dancer
1.rmr_-_Sunset
1.rmr_-_Telling_You_All
1.rmr_-_The_Alchemist
1.rmr_-_The_Apple_Orchard
1.rmr_-_The_Future
1.rmr_-_The_Grown-Up
1.rmr_-_The_Last_Evening
1.rmr_-_The_Lovers
1.rmr_-_The_Neighbor
1.rmr_-_The_Panther
1.rmr_-_The_Poet
1.rmr_-_The_Sisters
1.rmr_-_The_Song_Of_The_Beggar
1.rmr_-_The_Sonnets_To_Orpheus_-_Book_2_-_I
1.rmr_-_The_Sonnets_To_Orpheus_-_Book_2_-_VI
1.rmr_-_The_Sonnets_To_Orpheus_-_Book_2_-_XIII
1.rmr_-_The_Sonnets_To_Orpheus_-_I
1.rmr_-_The_Sonnets_To_Orpheus_-_IV
1.rmr_-_The_Sonnets_To_Orpheus_-_X
1.rmr_-_The_Sonnets_To_Orpheus_-_XIX
1.rmr_-_The_Sonnets_To_Orpheus_-_XXV
1.rmr_-_The_Spanish_Dancer
1.rmr_-_The_Swan
1.rmr_-_The_Unicorn
1.rmr_-_The_Voices
1.rmr_-_The_Wait
1.rmr_-_Time_and_Again
1.rmr_-_To_Lou_Andreas-Salome
1.rmr_-_To_Music
1.rmr_-_Torso_of_an_Archaic_Apollo
1.rmr_-_To_Say_Before_Going_to_Sleep
1.rmr_-_Venetian_Morning
1.rmr_-_Water_Lily
1.rmr_-_What_Birds_Plunge_Through_Is_Not_The_Intimate_Space
1.rmr_-_What_Fields_Are_As_Fragrant_As_Your_Hands?
1.rmr_-_What_Survives
1.rmr_-_Woman_in_Love
1.rmr_-_World_Was_In_The_Face_Of_The_Beloved
1.rmr_-_You_Must_Not_Understand_This_Life_(with_original_German)
1.rmr_-_You_Who_Never_Arrived
1.rmr_-_You,_you_only,_exist
1.rt_-_(101)_Ever_in_my_life_have_I_sought_thee_with_my_songs_(from_Gitanjali)
1.rt_-_(103)_In_one_salutation_to_thee,_my_God_(from_Gitanjali)
1.rt_-_(1)_Thou_hast_made_me_endless_(from_Gitanjali)
1.rt_-_(38)_I_want_thee,_only_thee_(from_Gitanjali)
1.rt_-_(63)_Thou_hast_made_me_known_to_friends_whom_I_knew_not_(from_Gitanjali)
1.rt_-_(75)_Thy_gifts_to_us_mortals_fulfil_all_our_needs_(from_Gitanjali)
1.rt_-_(80)_I_am_like_a_remnant_of_a_cloud_of_autumn_(from_Gitanjali)
1.rt_-_(84)_It_is_the_pang_of_separation_that_spreads_throughout_the_world_(from_Gitanjali)
1.rt_-_Accept_me,_my_lord,_accept_me_for_this_while
1.rt_-_A_Dream
1.rt_-_A_Hundred_Years_Hence
1.rt_-_Akash_Bhara_Surya_Tara_Biswabhara_Pran_(Translation)
1.rt_-_All_These_I_Loved
1.rt_-_Along_The_Way
1.rt_-_And_In_Wonder_And_Amazement_I_Sing
1.rt_-_At_The_End_Of_The_Day
1.rt_-_At_The_Last_Watch
1.rt_-_Authorship
1.rt_-_Babys_Way
1.rt_-_Babys_World
1.rt_-_Beggarly_Heart
1.rt_-_Benediction
1.rt_-_Birth_Story
1.rt_-_Brahm,_Viu,_iva
1.rt_-_Brink_Of_Eternity
1.rt_-_Broken_Song
1.rt_-_Chain_Of_Pearls
1.rt_-_Closed_Path
1.rt_-_Clouds_And_Waves
1.rt_-_Colored_Toys
1.rt_-_Compensation
1.rt_-_Cruel_Kindness
1.rt_-_Death
1.rt_-_Defamation
1.rt_-_Distant_Time
1.rt_-_Dream_Girl
1.rt_-_Dungeon
1.rt_-_Endless_Time
1.rt_-_Face_To_Face
1.rt_-_Fairyland
1.rt_-_Farewell
1.rt_-_Fireflies
1.rt_-_Flower
1.rt_-_Fool
1.rt_-_Freedom
1.rt_-_Friend
1.rt_-_From_Afar
1.rt_-_Gift_Of_The_Great
1.rt_-_Gitanjali
1.rt_-_Give_Me_Strength
1.rt_-_Hard_Times
1.rt_-_Hes_there_among_the_scented_trees_(from_The_Lover_of_God)
1.rt_-_I
1.rt_-_I_Am_Restless
1.rt_-_I_Cast_My_Net_Into_The_Sea
1.rt_-_I_Found_A_Few_Old_Letters
1.rt_-_Innermost_One
1.rt_-_In_The_Country
1.rt_-_In_The_Dusky_Path_Of_A_Dream
1.rt_-_I_touch_God_in_my_song
1.rt_-_Journey_Home
1.rt_-_Keep_Me_Fully_Glad
1.rt_-_Kinu_Goalas_Alley
1.rt_-_Krishnakali
1.rt_-_Lamp_Of_Love
1.rt_-_Last_Curtain
1.rt_-_Leave_This
1.rt_-_Let_Me_Not_Forget
1.rt_-_Light
1.rt_-_Listen,_can_you_hear_it?_(from_The_Lover_of_God)
1.rt_-_Little_Flute
1.rt_-_Little_Of_Me
1.rt_-_Lord_Of_My_Life
1.rt_-_Lost_Star
1.rt_-_Lost_Time
1.rt_-_Lotus
1.rt_-_Lovers_Gifts_II_-_Come_To_My_Garden_Walk
1.rt_-_Lovers_Gifts_IV_-_She_Is_Near_To_My_Heart
1.rt_-_Lovers_Gifts_LII_-_Tired_Of_Waiting
1.rt_-_Lovers_Gifts_LIV_-_In_The_Beginning_Of_Time
1.rt_-_Lovers_Gifts_LVIII_-_Things_Throng_And_Laugh
1.rt_-_Lovers_Gifts_LVI_-_The_Evening_Was_Lonely
1.rt_-_Lovers_Gifts_LXX_-_Take_Back_Your_Coins
1.rt_-_Lovers_Gifts_VIII_-_There_Is_Room_For_You
1.rt_-_Lovers_Gifts_V_-_I_Would_Ask_For_Still_More
1.rt_-_Lovers_Gifts_XIII_-_Last_Night_In_The_Garden
1.rt_-_Lovers_Gifts_XIX_-_It_Is_Written_In_The_Book
1.rt_-_Lovers_Gifts_XL_-_A_Message_Came
1.rt_-_Lovers_Gifts_XLII_-_Are_You_A_Mere_Picture
1.rt_-_Lovers_Gifts_XLIII_-_Dying,_You_Have_Left_Behind
1.rt_-_Lovers_Gifts_XLIV_-_Where_Is_Heaven
1.rt_-_Lovers_Gifts_XLVIII_-_I_Travelled_The_Old_Road
1.rt_-_Lovers_Gifts_XLVII_-_The_Road_Is
1.rt_-_Lovers_Gifts_XVIII_-_Your_Days
1.rt_-_Lovers_Gifts_XVI_-_She_Dwelt_Here_By_The_Pool
1.rt_-_Lovers_Gifts_XXII_-_I_Shall_Gladly_Suffer
1.rt_-_Lovers_Gifts_XXVIII_-_I_Dreamt
1.rt_-_Lovers_Gifts_XXXIX_-_There_Is_A_Looker-On
1.rt_-_Maran-Milan_(Death-Wedding)
1.rt_-_Maya
1.rt_-_Meeting
1.rt_-_Moments_Indulgence
1.rt_-_My_Dependence
1.rt_-_My_Friend,_Come_In_These_Rains
1.rt_-_My_Polar_Star
1.rt_-_My_Pole_Star
1.rt_-_My_Present
1.rt_-_My_Song
1.rt_-_Ocean_Of_Forms
1.rt_-_Old_And_New
1.rt_-_Old_Letters_
1.rt_-_One_Day_In_Spring....
1.rt_-_Only_Thee
1.rt_-_On_many_an_idle_day_have_I_grieved_over_lost_time_(from_Gitanjali)
1.rt_-_On_The_Nature_Of_Love
1.rt_-_On_The_Seashore
1.rt_-_Our_Meeting
1.rt_-_Palm_Tree
1.rt_-_Paper_Boats
1.rt_-_Parting_Words
1.rt_-_Passing_Breeze
1.rt_-_Patience
1.rt_-_Playthings
1.rt_-_Poems_On_Beauty
1.rt_-_Poems_On_Life
1.rt_-_Poems_On_Man
1.rt_-_Poems_On_Time
1.rt_-_Prisoner
1.rt_-_Purity
1.rt_-_Rare
1.rt_-_Religious_Obsession_--_translation_from_Dharmamoha
1.rt_-_Roaming_Cloud
1.rt_-_Sail_Away
1.rt_-_Salutation
1.rt_-_Senses
1.rt_-_She
1.rt_-_Shyama
1.rt_-_Signet_Of_Eternity
1.rt_-_Silent_Steps
1.rt_-_Sit_Smiling
1.rt_-_Sleep
1.rt_-_Sleep-Stealer
1.rt_-_Song_Unsung
1.rt_-_Still_Heart
1.rt_-_Stray_Birds_01_-_10
1.rt_-_Stray_Birds_11-_20
1.rt_-_Stray_Birds_21_-_30
1.rt_-_Stray_Birds_31_-_40
1.rt_-_Stray_Birds_51_-_60
1.rt_-_Stray_Birds_61_-_70
1.rt_-_Stray_Birds_71_-_80
1.rt_-_Stray_Birds_81_-_90
1.rt_-_Stream_Of_Life
1.rt_-_Strong_Mercy
1.rt_-_Superior
1.rt_-_Sympathy
1.rt_-_The_Astronomer
1.rt_-_The_Banyan_Tree
1.rt_-_The_Beginning
1.rt_-_The_Boat
1.rt_-_The_Call_Of_The_Far
1.rt_-_The_Champa_Flower
1.rt_-_The_Child-Angel
1.rt_-_The_End
1.rt_-_The_First_Jasmines
1.rt_-_The_Flower-School
1.rt_-_The_Further_Bank
1.rt_-_The_Gardener_IV_-_Ah_Me
1.rt_-_The_Gardener_IX_-_When_I_Go_Alone_At_Night
1.rt_-_The_Gardener_LI_-_Then_Finish_The_Last_Song
1.rt_-_The_Gardener_LIX_-_O_Woman
1.rt_-_The_Gardener_LVII_-_I_Plucked_Your_Flower
1.rt_-_The_Gardener_LV_-_It_Was_Mid-Day
1.rt_-_The_Gardener_LXI_-_Peace,_My_Heart
1.rt_-_The_Gardener_LXIV_-_I_Spent_My_Day
1.rt_-_The_Gardener_LXIX_-_I_Hunt_For_The_Golden_Stag
1.rt_-_The_Gardener_LXVIII_-_None_Lives_For_Ever,_Brother
1.rt_-_The_Gardener_LXXIX_-_I_Often_Wonder
1.rt_-_The_Gardener_LXXV_-_At_Midnight
1.rt_-_The_Gardener_LXXXIII_-_She_Dwelt_On_The_Hillside
1.rt_-_The_Gardener_LXXXIV_-_Over_The_Green
1.rt_-_The_Gardener_LXXXI_-_Why_Do_You_Whisper_So_Faintly
1.rt_-_The_Gardener_XI_-_Come_As_You_Are
1.rt_-_The_Gardener_XIII_-_I_Asked_Nothing
1.rt_-_The_Gardener_XIV_-_I_Was_Walking_By_The_Road
1.rt_-_The_Gardener_XIX_-_You_Walked
1.rt_-_The_Gardener_XL_-_An_Unbelieving_Smile
1.rt_-_The_Gardener_X_-_Let_Your_Work_Be,_Bride
1.rt_-_The_Gardener_XLIII_-_No,_My_Friends
1.rt_-_The_Gardener_XLII_-_O_Mad,_Superbly_Drunk
1.rt_-_The_Gardener_XLIV_-_Reverend_Sir,_Forgive
1.rt_-_The_Gardener_XLVIII_-_Free_Me
1.rt_-_The_Gardener_XLVI_-_You_Left_Me
1.rt_-_The_Gardener_XLV_-_To_The_Guests
1.rt_-_The_Gardener_XVI_-_Hands_Cling_To_Eyes
1.rt_-_The_Gardener_XVIII_-_When_Two_Sisters
1.rt_-_The_Gardener_XX_-_Day_After_Day_He_Comes
1.rt_-_The_Gardener_XXII_-_When_She_Passed_By_Me
1.rt_-_The_Gardener_XXIV_-_Do_Not_Keep_To_Yourself
1.rt_-_The_Gardener_XXI_-_Why_Did_He_Choose
1.rt_-_The_Gardener_XXIX_-_Speak_To_Me_My_Love
1.rt_-_The_Gardener_XXVIII_-_Your_Questioning_Eyes
1.rt_-_The_Gardener_XXVII_-_Trust_Love
1.rt_-_The_Gardener_XXVI_-_What_Comes_From_Your_Willing_Hands
1.rt_-_The_Gardener_XXXIV_-_Do_Not_Go,_My_Love
1.rt_-_The_Gardener_XXXVIII_-_My_Love,_Once_Upon_A_Time
1.rt_-_The_Gift
1.rt_-_The_Golden_Boat
1.rt_-_The_Hero
1.rt_-_The_Hero(2)
1.rt_-_The_Home
1.rt_-_The_Homecoming
1.rt_-_The_Journey
1.rt_-_The_Judge
1.rt_-_The_Kiss
1.rt_-_The_Kiss(2)
1.rt_-_The_Land_Of_The_Exile
1.rt_-_The_Last_Bargain
1.rt_-_The_Little_Big_Man
1.rt_-_The_Lost_Star
1.rt_-_The_Merchant
1.rt_-_The_Music_Of_The_Rains
1.rt_-_The_Portrait
1.rt_-_The_Rainy_Day
1.rt_-_The_Recall
1.rt_-_The_Sailor
1.rt_-_The_Source
1.rt_-_The_Sun_Of_The_First_Day
1.rt_-_The_Tame_Bird_Was_In_A_Cage
1.rt_-_The_Unheeded_Pageant
1.rt_-_The_Wicked_Postman
1.rt_-_This_Dog
1.rt_-_Threshold
1.rt_-_Tumi_Sandhyar_Meghamala_-_You_Are_A_Cluster_Of_Clouds_-_Translation
1.rt_-_Twelve_OClock
1.rt_-_Unending_Love
1.rt_-_Ungrateful_Sorrow
1.rt_-_Untimely_Leave
1.rt_-_Unyielding
1.rt_-_Urvashi
1.rt_-_Vocation
1.rt_-_Waiting
1.rt_-_Waiting_For_The_Beloved
1.rt_-_We_Are_To_Play_The_Game_Of_Death
1.rt_-_When_And_Why
1.rt_-_When_Day_Is_Done
1.rt_-_When_I_Go_Alone_At_Night
1.rt_-_When_the_Two_Sister_Go_To_Fetch_Water
1.rt_-_Where_Shadow_Chases_Light
1.rt_-_Where_The_Mind_Is_Without_Fear
1.rt_-_Who_are_You,_who_keeps_my_heart_awake?_(from_The_Lover_of_God)
1.rt_-_Who_Is_This?
1.rt_-_Your_flute_plays_the_exact_notes_of_my_pain._(from_The_Lover_of_God)
1.rvd_-_How_to_Escape?
1.rvd_-_If_You_are_a_mountain
1.rvd_-_The_Name_alone_is_the_Truth
1.rvd_-_Upon_seeing_poverty
1.rvd_-_When_I_existed
1.rvd_-_You_are_me,_and_I_am_You
1.rwe_-_Alphonso_Of_Castile
1.rwe_-_A_Nations_Strength
1.rwe_-_Art
1.rwe_-_Astrae
1.rwe_-_Bacchus
1.rwe_-_Beauty
1.rwe_-_Berrying
1.rwe_-_Blight
1.rwe_-_Boston
1.rwe_-_Boston_Hymn
1.rwe_-_Brahma
1.rwe_-_Celestial_Love
1.rwe_-_Character
1.rwe_-_Compensation
1.rwe_-_Concord_Hymn
1.rwe_-_Culture
1.rwe_-_Days
1.rwe_-_Dirge
1.rwe_-_Dmonic_Love
1.rwe_-_Each_And_All
1.rwe_-_Eros
1.rwe_-_Etienne_de_la_Boce
1.rwe_-_Experience
1.rwe_-_Fable
1.rwe_-_Fate
1.rwe_-_Flower_Chorus
1.rwe_-_Forebearance
1.rwe_-_Forerunners
1.rwe_-_Freedom
1.rwe_-_Friendship
1.rwe_-_From_the_Persian_of_Hafiz_I
1.rwe_-_From_the_Persian_of_Hafiz_II
1.rwe_-_Gnothi_Seauton
1.rwe_-_Good-bye
1.rwe_-_Grace
1.rwe_-_Guy
1.rwe_-_Hamatreya
1.rwe_-_Heroism
1.rwe_-_Initial_Love
1.rwe_-_In_Memoriam
1.rwe_-_Letters
1.rwe_-_Life_Is_Great
1.rwe_-_Loss_And_Gain
1.rwe_-_Love_And_Thought
1.rwe_-_Lover's_Petition
1.rwe_-_Manners
1.rwe_-_May-Day
1.rwe_-_Merlin_I
1.rwe_-_Merlin_II
1.rwe_-_Merlin's_Song
1.rwe_-_Merops
1.rwe_-_Mithridates
1.rwe_-_Monadnoc
1.rwe_-_Musketaquid
1.rwe_-_My_Garden
1.rwe_-_Nature
1.rwe_-_Nemesis
1.rwe_-_Ode_-_Inscribed_to_W.H._Channing
1.rwe_-_Ode_To_Beauty
1.rwe_-_Poems
1.rwe_-_Politics
1.rwe_-_Quatrains
1.rwe_-_Rubies
1.rwe_-_Saadi
1.rwe_-_Seashore
1.rwe_-_Self_Reliance
1.rwe_-_Solution
1.rwe_-_Song_of_Nature
1.rwe_-_Spiritual_Laws
1.rwe_-_Sursum_Corda
1.rwe_-_Suum_Cuique
1.rwe_-_Tact
1.rwe_-_Teach_Me_I_Am_Forgotten_By_The_Dead
1.rwe_-_Terminus
1.rwe_-_The_Adirondacs
1.rwe_-_The_Amulet
1.rwe_-_The_Apology
1.rwe_-_The_Bell
1.rwe_-_The_Chartist's_Complaint
1.rwe_-_The_Cumberland
1.rwe_-_The_Days_Ration
1.rwe_-_The_Enchanter
1.rwe_-_The_Forerunners
1.rwe_-_The_Gods_Walk_In_The_Breath_Of_The_Woods
1.rwe_-_The_Humble_Bee
1.rwe_-_The_Lords_of_Life
1.rwe_-_The_Park
1.rwe_-_The_Past
1.rwe_-_The_Poet
1.rwe_-_The_Problem
1.rwe_-_The_Rhodora_-_On_Being_Asked,_Whence_Is_The_Flower?
1.rwe_-_The_River_Note
1.rwe_-_The_Romany_Girl
1.rwe_-_The_Snowstorm
1.rwe_-_The_Sphinx
1.rwe_-_The_Test
1.rwe_-_The_Titmouse
1.rwe_-_The_Visit
1.rwe_-_The_World-Soul
1.rwe_-_Threnody
1.rwe_-_To-day
1.rwe_-_To_Ellen,_At_The_South
1.rwe_-_To_Eva
1.rwe_-_To_J.W.
1.rwe_-_To_Laugh_Often_And_Much
1.rwe_-_To_Rhea
1.rwe_-_Two_Rivers
1.rwe_-_Una
1.rwe_-_Unity
1.rwe_-_Uriel
1.rwe_-_Voluntaries
1.rwe_-_Wakdeubsankeit
1.rwe_-_Water
1.rwe_-_Waves
1.rwe_-_Wealth
1.rwe_-_Woodnotes
1.rwe_-_Worship
1.ryz_-_Clear_in_the_blue,_the_moon!
1.sb_-_Cut_brambles_long_enough
1.sb_-_Gathering_the_Mind
1.sb_-_Precious_Treatise_on_Preservation_of_Unity_on_the_Great_Way
1.sb_-_Refining_the_Spirit
1.sb_-_Spirit_and_energy_should_be_clear_as_the_night_air
1.sb_-_The_beginning_of_the_sustenance_of_life
1.sca_-_Draw_me_after_You!
1.sca_-_Happy,_indeed,_is_she_whom_it_is_given_to_share_this_sacred_banquet
1.sca_-_O_blessed_poverty
1.sca_-_Place_your_mind_before_the_mirror_of_eternity!
1.sca_-_What_a_great_laudable_exchange
1.sca_-_What_you_hold,_may_you_always_hold
1.sca_-_When_You_have_loved,_You_shall_be_chaste
1.sdi_-_All_Adams_offspring_form_one_family_tree
1.sdi_-_Have_no_doubts_because_of_trouble_nor_be_thou_discomfited
1.sdi_-_How_could_I_ever_thank_my_Friend?
1.sdi_-_If_one_His_praise_of_me_would_learn
1.sdi_-_In_Love
1.sdi_-_The_man_of_God_with_half_his_loaf_content
1.sdi_-_The_world,_my_brother!_will_abide_with_none
1.sdi_-_To_the_wall_of_the_faithful_what_sorrow,_when_pillared_securely_on_thee?
1.sfa_-_Exhortation_to_St._Clare_and_Her_Sisters
1.sfa_-_How_Virtue_Drives_Out_Vice
1.sfa_-_Let_the_whole_of_mankind_tremble
1.sfa_-_Let_us_desire_nothing_else
1.sfa_-_Prayer_from_A_Letter_to_the_Entire_Order
1.sfa_-_Prayer_Inspired_by_the_Our_Father
1.sfa_-_The_Canticle_of_Brother_Sun
1.sfa_-_The_Praises_of_God
1.sfa_-_The_Prayer_Before_the_Crucifix
1.sfa_-_The_Salutation_of_the_Virtues
1.shvb_-_Ave_generosa_-_Hymn_to_the_Virgin
1.shvb_-_Columba_aspexit_-_Sequence_for_Saint_Maximin
1.shvb_-_De_Spiritu_Sancto_-_To_the_Holy_Spirit
1.shvb_-_Laus_Trinitati_-_Antiphon_for_the_Trinity
1.shvb_-_O_Euchari_in_leta_via_-_Sequence_for_Saint_Eucharius
1.shvb_-_O_ignee_Spiritus_-_Hymn_to_the_Holy_Spirit
1.shvb_-_O_ignis_Spiritus_Paracliti
1.shvb_-_O_magne_Pater_-_Antiphon_for_God_the_Father
1.shvb_-_O_mirum_admirandum_-_Antiphon_for_Saint_Disibod
1.shvb_-_O_most_noble_Greenness,_rooted_in_the_sun
1.shvb_-_O_nobilissima_viriditas
1.shvb_-_O_spectabiles_viri_-_Antiphon_for_Patriarchs_and_Prophets
1.shvb_-_O_virga_mediatrix_-_Alleluia-verse_for_the_Virgin
1.shvb_-_O_Virtus_Sapientiae_-_O_Moving_Force_of_Wisdom
1.sig_-_Before_I_was,_Thy_mercy_came_to_me
1.sig_-_Come_to_me_at_dawn,_my_beloved,_and_go_with_me
1.sig_-_Ecstasy
1.sig_-_Humble_of_Spirit
1.sig_-_I_look_for_you_early
1.sig_-_I_Sought_Thee_Daily
1.sig_-_Lord_of_the_World
1.sig_-_Rise_and_open_the_door_that_is_shut
1.sig_-_The_Sun
1.sig_-_Thou_art_One
1.sig_-_Thou_art_the_Supreme_Light
1.sig_-_Thou_Livest
1.sig_-_Where_Will_I_Find_You
1.sig_-_Who_can_do_as_Thy_deeds
1.sig_-_Who_could_accomplish_what_youve_accomplished
1.sig_-_You_are_wise_(from_From_Kingdoms_Crown)
1.sjc_-_Dark_Night
1.sjc_-_Full_of_Hope_I_Climbed_the_Day
1.sjc_-_I_Entered_the_Unknown
1.sjc_-_I_Live_Yet_Do_Not_Live_in_Me
1.sjc_-_Loves_Living_Flame
1.sjc_-_Not_for_All_the_Beauty
1.sjc_-_On_the_Communion_of_the_Three_Persons_(from_Romance_on_the_Gospel)
1.sjc_-_Song_of_the_Soul_That_Delights_in_Knowing_God_by_Faith
1.sjc_-_The_Fountain
1.sjc_-_The_Sum_of_Perfection
1.sjc_-_Without_a_Place_and_With_a_Place
1.sk_-_Is_there_anyone_in_the_universe
1.snk_-_Endless_is_my_Wealth
1.snk_-_In_Praise_of_the_Goddess
1.snk_-_Nirvana_Shatakam
1.snk_-_The_Shattering_of_Illusion_(Moha_Mudgaram_from_The_Crest_Jewel_of_Discrimination)
1.snk_-_You_are_my_true_self,_O_Lord
1.snt_-_As_soon_as_your_mind_has_experienced
1.snt_-_By_what_boundless_mercy,_my_Savior
1.snt_-_How_are_You_at_once_the_source_of_fire
1.snt_-_How_is_it_I_can_love_You
1.snt_-_In_the_midst_of_that_night,_in_my_darkness
1.snt_-_O_totally_strange_and_inexpressible_marvel!
1.snt_-_The_fire_rises_in_me
1.snt_-_The_Light_of_Your_Way
1.snt_-_We_awaken_in_Christs_body
1.snt_-_What_is_this_awesome_mystery
1.snt_-_You,_oh_Christ,_are_the_Kingdom_of_Heaven
1.srd_-_Krishna_Awakes
1.srd_-_Shes_found_him,_she_has,_but_Radha_disbelieves
1.srh_-_The_Royal_Song_of_Saraha_(Dohakosa)
1.srmd_-_Companion
1.srmd_-_Every_man_who_knows_his_secret
1.srmd_-_He_and_I_are_one
1.srmd_-_He_dwells_not_only_in_temples_and_mosques
1.srmd_-_He_is_happy_on_account_of_my_humble_self
1.srmd_-_Hundreds_of_my_friends_became_enemies
1.srm_-_Disrobe,_show_Your_beauty_(from_The_Marital_Garland_of_Letters)
1.srmd_-_My_friend,_engage_your_heart_in_his_embrace
1.srmd_-_My_heart_searched_for_your_fragrance
1.srmd_-_Once_I_was_bathed_in_the_Light_of_Truth_within
1.srmd_-_The_ocean_of_his_generosity_has_no_shore
1.srmd_-_The_universe
1.srmd_-_To_the_dignified_station_of_love_I_was_raised
1.srm_-_The_Marital_Garland_of_Letters
1.srm_-_The_Necklet_of_Nine_Gems
1.srm_-_The_Song_of_the_Poppadum
1.ss_-_Its_something_no_on_can_force
1.ss_-_Most_of_the_time_I_smile
1.ss_-_Outside_the_door_I_made_but_dont_close
1.ss_-_Paper_windows_bamboo_walls_hedge_of_hibiscus
1.ss_-_This_bodys_lifetime_is_like_a_bubbles
1.ss_-_To_glorify_the_Way_what_should_people_turn_to
1.ss_-_Trying_to_become_a_Buddha_is_easy
1.stav_-_I_Live_Without_Living_In_Me
1.stav_-_In_the_Hands_of_God
1.stav_-_Let_nothing_disturb_thee
1.stav_-_My_Beloved_One_is_Mine
1.stav_-_Oh_Exceeding_Beauty
1.stav_-_On_Those_Words_I_am_for_My_Beloved
1.stav_-_You_are_Christs_Hands
1.st_-_Behold_the_glow_of_the_moon
1.st_-_Doesnt_anyone_see
1.st_-_I_live_in_a_place_without_limits
1.stl_-_My_Song_for_Today
1.stl_-_The_Atom_of_Jesus-Host
1.stl_-_The_Divine_Dew
1.sv_-_In_dense_darkness,_O_Mother
1.sv_-_Kali_the_Mother
1.sv_-_Song_of_the_Sanyasin
1.tc_-_After_Liu_Chai-Sangs_Poem
1.tc_-_Around_my_door_and_yard_no_dust_or_noise
1.tc_-_Autumn_chrysanthemums_have_beautiful_color
1.tc_-_I_built_my_hut_within_where_others_live
1.tc_-_In_youth_I_could_not_do_what_everyone_else_did
1.tc_-_Success_and_failure?_No_known_address
1.tc_-_Unsettled,_a_bird_lost_from_the_flock
1.tm_-_A_Messenger_from_the_Horizon
1.tm_-_A_Practical_Program_for_Monks
1.tm_-_A_Psalm
1.tm_-_Aubade_--_The_City
1.tm_-_Follow_my_ways_and_I_will_lead_you
1.tm_-_In_Silence
1.tm_-_Night-Flowering_Cactus
1.tm_-_O_Sweet_Irrational_Worship
1.tm_-_Song_for_Nobody
1.tm_-_Stranger
1.tm_-_The_Fall
1.tm_-_The_Sowing_of_Meanings
1.tm_-_When_in_the_soul_of_the_serene_disciple
1.tr_-_At_Dusk
1.tr_-_At_Master_Do's_Country_House
1.tr_-_Begging
1.tr_-_Blending_With_The_Wind
1.tr_-_Descend_from_your_head_into_your_heart
1.tr_-_Down_In_The_Village
1.tr_-_Dreams
1.tr_-_First_Days_Of_Spring_-_The_sky
1.tr_-_For_Children_Killed_In_A_Smallpox_Epidemic
1.tr_-_Have_You_Forgotten_Me
1.tr_-_How_Can_I_Possibly_Sleep
1.tr_-_Images,_however_sacred
1.tr_-_In_A_Dilapidated_Three-Room_Hut
1.tr_-_In_My_Youth_I_Put_Aside_My_Studies
1.tr_-_In_The_Morning
1.tr_-_I_Watch_People_In_The_World
1.tr_-_Like_The_Little_Stream
1.tr_-_Midsummer
1.tr_-_My_Cracked_Wooden_Bowl
1.tr_-_My_legacy
1.tr_-_No_Luck_Today_On_My_Mendicant_Rounds
1.tr_-_No_Mind
1.tr_-_Orchid
1.tr_-_Reply_To_A_Friend
1.tr_-_Returning_To_My_Native_Village
1.tr_-_Rise_Above
1.tr_-_Slopes_Of_Mount_Kugami
1.tr_-_Stretched_Out
1.tr_-_Teishin
1.tr_-_The_Lotus
1.tr_-_The_Plants_And_Flowers
1.tr_-_The_Thief_Left_It_Behind
1.tr_-_The_Way_Of_The_Holy_Fool
1.tr_-_The_Wind_Has_Settled
1.tr_-_The_Winds_Have_Died
1.tr_-_This_World
1.tr_-_Though_Frosts_come_down
1.tr_-_Three_Thousand_Worlds
1.tr_-_To_Kindle_A_Fire
1.tr_-_To_My_Teacher
1.tr_-_Too_Lazy_To_Be_Ambitious
1.tr_-_When_All_Thoughts
1.tr_-_When_I_Was_A_Lad
1.tr_-_White_Hair
1.tr_-_Wild_Roses
1.tr_-_Yes,_Im_Truly_A_Dunce
1.tr_-_You_Do_Not_Need_Many_Things
1.tr_-_You_Stop_To_Point_At_The_Moon_In_The_Sky
1.vpt_-_All_my_inhibition_left_me_in_a_flash
1.vpt_-_As_the_mirror_to_my_hand
1.vpt_-_He_promised_hed_return_tomorrow
1.vpt_-_My_friend,_I_cannot_answer_when_you_ask_me_to_explain
1.vpt_-_The_moon_has_shone_upon_me
1.wb_-_Auguries_of_Innocence
1.wb_-_Awake!_awake_O_sleeper_of_the_land_of_shadows
1.wb_-_Eternity
1.wb_-_Hear_the_voice_of_the_Bard!
1.wb_-_Of_the_Sleep_of_Ulro!_and_of_the_passage_through
1.wb_-_Reader!_of_books!_of_heaven
1.wb_-_The_Divine_Image
1.wb_-_The_Errors_of_Sacred_Codes_(from_The_Marriage_of_Heaven_and_Hell)
1.wb_-_To_see_a_world_in_a_grain_of_sand_(from_Auguries_of_Innocence)
1.wb_-_Trembling_I_sit_day_and_night
1.wby_-_A_Bronze_Head
1.wby_-_A_Coat
1.wby_-_A_Cradle_Song
1.wby_-_A_Crazed_Girl
1.wby_-_Adams_Curse
1.wby_-_A_Deep_Sworn_Vow
1.wby_-_A_Dialogue_Of_Self_And_Soul
1.wby_-_A_Dramatic_Poem
1.wby_-_A_Dream_Of_A_Blessed_Spirit
1.wby_-_A_Dream_Of_Death
1.wby_-_A_Drinking_Song
1.wby_-_A_Drunken_Mans_Praise_Of_Sobriety
1.wby_-_Aedh_Wishes_For_The_Cloths_Of_Heaven
1.wby_-_A_Faery_Song
1.wby_-_A_First_Confession
1.wby_-_A_Friends_Illness
1.wby_-_After_Long_Silence
1.wby_-_Against_Unworthy_Praise
1.wby_-_A_Last_Confession
1.wby_-_All_Souls_Night
1.wby_-_A_Lovers_Quarrel_Among_the_Fairies
1.wby_-_Alternative_Song_For_The_Severed_Head_In_The_King_Of_The_Great_Clock_Tower
1.wby_-_A_Man_Young_And_Old_-_Complete
1.wby_-_A_Man_Young_And_Old_-_I._First_Love
1.wby_-_A_Man_Young_And_Old_-_II._Human_Dignity
1.wby_-_A_Man_Young_And_Old_-_III._The_Mermaid
1.wby_-_A_Man_Young_And_Old_-_IV._The_Death_Of_The_Hare
1.wby_-_A_Man_Young_And_Old_-_IX._The_Secrets_Of_The_Old
1.wby_-_A_Man_Young_And_Old_-_VI._His_Memories
1.wby_-_A_Man_Young_And_Old_-_VIII._Summer_And_Spring
1.wby_-_A_Man_Young_And_Old_-_VII._The_Friends_Of_His_Youth
1.wby_-_A_Man_Young_And_Old_-_V._The_Empty_Cup
1.wby_-_A_Man_Young_And_Old_-_X._His_Wildness
1.wby_-_A_Man_Young_And_Old_-_XI._From_Oedipus_At_Colonus
1.wby_-_A_Meditation_in_Time_of_War
1.wby_-_A_Memory_Of_Youth
1.wby_-_A_Model_For_The_Laureate
1.wby_-_Among_School_Children
1.wby_-_An_Acre_Of_Grass
1.wby_-_An_Appointment
1.wby_-_Anashuya_And_Vijaya
1.wby_-_A_Nativity
1.wby_-_An_Image_From_A_Past_Life
1.wby_-_An_Irish_Airman_Foresees_His_Death
1.wby_-_Another_Song_Of_A_Fool
1.wby_-_Another_Song_of_a_Fool
1.wby_-_A_Poet_To_His_Beloved
1.wby_-_A_Prayer_For_My_Daughter
1.wby_-_A_Prayer_For_My_Son
1.wby_-_A_Prayer_For_Old_Age
1.wby_-_A_Prayer_On_Going_Into_My_House
1.wby_-_Are_You_Content?
1.wby_-_A_Song
1.wby_-_A_Song_From_The_Player_Queen
1.wby_-_A_Stick_Of_Incense
1.wby_-_At_Algeciras_-_A_Meditaton_Upon_Death
1.wby_-_At_Galway_Races
1.wby_-_A_Thought_From_Propertius
1.wby_-_At_The_Abbey_Theatre
1.wby_-_A_Woman_Homer_Sung
1.wby_-_A_Woman_Young_And_Old
1.wby_-_Baile_And_Aillinn
1.wby_-_Beautiful_Lofty_Things
1.wby_-_Before_The_World_Was_Made
1.wby_-_Beggar_To_Beggar_Cried
1.wby_-_Blood_And_The_Moon
1.wby_-_Broken_Dreams
1.wby_-_Brown_Penny
1.wby_-_Byzantium
1.wby_-_Colonel_Martin
1.wby_-_Colonus_Praise
1.wby_-_Come_Gather_Round_Me,_Parnellites
1.wby_-_Consolation
1.wby_-_Coole_Park_1929
1.wby_-_Coole_Park_And_Ballylee,_1931
1.wby_-_Crazy_Jane_And_Jack_The_Journeyman
1.wby_-_Crazy_Jane_And_The_Bishop
1.wby_-_Crazy_Jane_Grown_Old_Looks_At_The_Dancers
1.wby_-_Crazy_Jane_On_God
1.wby_-_Crazy_Jane_On_The_Day_Of_Judgment
1.wby_-_Crazy_Jane_On_The_Mountain
1.wby_-_Crazy_Jane_Reproved
1.wby_-_Crazy_Jane_Talks_With_The_Bishop
1.wby_-_Cuchulains_Fight_With_The_Sea
1.wby_-_Death
1.wby_-_Demon_And_Beast
1.wby_-_Do_Not_Love_Too_Long
1.wby_-_Down_By_The_Salley_Gardens
1.wby_-_Easter_1916
1.wby_-_Ego_Dominus_Tuus
1.wby_-_Ephemera
1.wby_-_Fallen_Majesty
1.wby_-_Father_And_Child
1.wby_-_Fergus_And_The_Druid
1.wby_-_Fiddler_Of_Dooney
1.wby_-_For_Anne_Gregory
1.wby_-_Fragments
1.wby_-_Friends
1.wby_-_From_A_Full_Moon_In_March
1.wby_-_From_The_Antigone
1.wby_-_Girls_Song
1.wby_-_Gratitude_To_The_Unknown_Instructors
1.wby_-_He_Bids_His_Beloved_Be_At_Peace
1.wby_-_He_Gives_His_Beloved_Certain_Rhymes
1.wby_-_He_Hears_The_Cry_Of_The_Sedge
1.wby_-_He_Mourns_For_The_Change_That_Has_Come_Upon_Him_And_His_Beloved,_And_Longs_For_The_End_Of_The_World
1.wby_-_Her_Anxiety
1.wby_-_Her_Dream
1.wby_-_He_Remembers_Forgotten_Beauty
1.wby_-_He_Reproves_The_Curlew
1.wby_-_Her_Praise
1.wby_-_Her_Triumph
1.wby_-_Her_Vision_In_The_Wood
1.wby_-_He_Tells_Of_A_Valley_Full_Of_Lovers
1.wby_-_He_Tells_Of_The_Perfect_Beauty
1.wby_-_He_Thinks_Of_His_Past_Greatness_When_A_Part_Of_The_Constellations_Of_Heaven
1.wby_-_He_Thinks_Of_Those_Who_Have_Spoken_Evil_Of_His_Beloved
1.wby_-_He_Wishes_His_Beloved_Were_Dead
1.wby_-_High_Talk
1.wby_-_His_Bargain
1.wby_-_His_Confidence
1.wby_-_His_Dream
1.wby_-_Hound_Voice
1.wby_-_I_Am_Of_Ireland
1.wby_-_Imitated_From_The_Japanese
1.wby_-_In_Memory_Of_Alfred_Pollexfen
1.wby_-_In_Memory_Of_Eva_Gore-Booth_And_Con_Markiewicz
1.wby_-_In_Memory_Of_Major_Robert_Gregory
1.wby_-_In_Taras_Halls
1.wby_-_In_The_Seven_Woods
1.wby_-_Into_The_Twilight
1.wby_-_John_Kinsellas_Lament_For_Mr._Mary_Moore
1.wby_-_King_And_No_King
1.wby_-_Lapis_Lazuli
1.wby_-_Leda_And_The_Swan
1.wby_-_Lines_Written_In_Dejection
1.wby_-_Long-Legged_Fly
1.wby_-_Loves_Loneliness
1.wby_-_Love_Song
1.wby_-_Lullaby
1.wby_-_Mad_As_The_Mist_And_Snow
1.wby_-_Maid_Quiet
1.wby_-_Meditations_In_Time_Of_Civil_War
1.wby_-_Meeting
1.wby_-_Memory
1.wby_-_Men_Improve_With_The_Years
1.wby_-_Meru
1.wby_-_Michael_Robartes_And_The_Dancer
1.wby_-_Mohini_Chatterjee
1.wby_-_Never_Give_All_The_Heart
1.wby_-_News_For_The_Delphic_Oracle
1.wby_-_Nineteen_Hundred_And_Nineteen
1.wby_-_No_Second_Troy
1.wby_-_Now_as_at_all_times
1.wby_-_Oil_And_Blood
1.wby_-_Old_Memory
1.wby_-_Old_Tom_Again
1.wby_-_On_A_Picture_Of_A_Black_Centaur_By_Edmund_Dulac
1.wby_-_On_A_Political_Prisoner
1.wby_-_On_Being_Asked_For_A_War_Poem
1.wby_-_On_Hearing_That_The_Students_Of_Our_New_University_Have_Joined_The_Agitation_Against_Immoral_Literat
1.wby_-_On_Those_That_Hated_The_Playboy_Of_The_Western_World,_1907
1.wby_-_On_Woman
1.wby_-_Owen_Aherne_And_His_Dancers
1.wby_-_Parnell
1.wby_-_Parnells_Funeral
1.wby_-_Parting
1.wby_-_Paudeen
1.wby_-_Peace
1.wby_-_Politics
1.wby_-_Presences
1.wby_-_Quarrel_In_Old_Age
1.wby_-_Reconciliation
1.wby_-_Red_Hanrahans_Song_About_Ireland
1.wby_-_Remorse_For_Intemperate_Speech
1.wby_-_Responsibilities_-_Closing
1.wby_-_Responsibilities_-_Introduction
1.wby_-_Roger_Casement
1.wby_-_Running_To_Paradise
1.wby_-_Sailing_to_Byzantium
1.wby_-_September_1913
1.wby_-_Shepherd_And_Goatherd
1.wby_-_Sixteen_Dead_Men
1.wby_-_Slim_adolescence_that_a_nymph_has_stripped,
1.wby_-_Solomon_And_The_Witch
1.wby_-_Solomon_To_Sheba
1.wby_-_Spilt_Milk
1.wby_-_Statistics
1.wby_-_Stream_And_Sun_At_Glendalough
1.wby_-_Supernatural_Songs
1.wby_-_Sweet_Dancer
1.wby_-_Swifts_Epitaph
1.wby_-_Symbols
1.wby_-_That_The_Night_Come
1.wby_-_The_Apparitions
1.wby_-_The_Arrow
1.wby_-_The_Attack_On_the_Playboy_Of_The_Western_World,_1907
1.wby_-_The_Ballad_Of_Father_Gilligan
1.wby_-_The_Ballad_Of_Father_OHart
1.wby_-_The_Ballad_Of_Moll_Magee
1.wby_-_The_Ballad_Of_The_Foxhunter
1.wby_-_The_Balloon_Of_The_Mind
1.wby_-_The_Black_Tower
1.wby_-_The_Blessed
1.wby_-_The_Cap_And_Bells
1.wby_-_The_Cat_And_The_Moon
1.wby_-_The_Chambermaids_First_Song
1.wby_-_The_Chambermaids_Second_Song
1.wby_-_The_Choice
1.wby_-_The_Chosen
1.wby_-_The_Circus_Animals_Desertion
1.wby_-_The_Cloak,_The_Boat_And_The_Shoes
1.wby_-_The_Cold_Heaven
1.wby_-_The_Collar-Bone_Of_A_Hare
1.wby_-_The_Coming_Of_Wisdom_With_Time
1.wby_-_The_Countess_Cathleen_In_Paradise
1.wby_-_The_Crazed_Moon
1.wby_-_The_Curse_Of_Cromwell
1.wby_-_The_Dancer_At_Cruachan_And_Cro-Patrick
1.wby_-_The_Dawn
1.wby_-_The_Death_of_Cuchulain
1.wby_-_The_Dedication_To_A_Book_Of_Stories_Selected_From_The_Irish_Novelists
1.wby_-_The_Delphic_Oracle_Upon_Plotinus
1.wby_-_The_Dolls
1.wby_-_The_Double_Vision_Of_Michael_Robartes
1.wby_-_The_Everlasting_Voices
1.wby_-_The_Fairy_Pendant
1.wby_-_The_Falling_Of_The_Leaves
1.wby_-_The_Fascination_Of_Whats_Difficult
1.wby_-_The_Fish
1.wby_-_The_Fisherman
1.wby_-_The_Folly_Of_Being_Comforted
1.wby_-_The_Fool_By_The_Roadside
1.wby_-_The_Ghost_Of_Roger_Casement
1.wby_-_The_Gift_Of_Harun_Al-Rashid
1.wby_-_The_Great_Day
1.wby_-_The_Grey_Rock
1.wby_-_The_Gyres
1.wby_-_The_Happy_Townland
1.wby_-_The_Hawk
1.wby_-_The_Heart_Of_The_Woman
1.wby_-_The_Hosting_Of_The_Sidhe
1.wby_-_The_Host_Of_The_Air
1.wby_-_The_Hour_Before_Dawn
1.wby_-_The_Indian_To_His_Love
1.wby_-_The_Indian_Upon_God
1.wby_-_The_Ladys_First_Song
1.wby_-_The_Ladys_Second_Song
1.wby_-_The_Ladys_Third_Song
1.wby_-_The_Lake_Isle_Of_Innisfree
1.wby_-_The_Lamentation_Of_The_Old_Pensioner
1.wby_-_The_Leaders_Of_The_Crowd
1.wby_-_The_Living_Beauty
1.wby_-_The_Lover_Asks_Forgiveness_Because_Of_His_Many_Moods
1.wby_-_The_Lover_Mourns_For_The_Loss_Of_Love
1.wby_-_The_Lover_Pleads_With_His_Friend_For_Old_Friends
1.wby_-_The_Lover_Speaks_To_The_Hearers_Of_His_Songs_In_Coming_Days
1.wby_-_The_Lovers_Song
1.wby_-_The_Lover_Tells_Of_The_Rose_In_His_Heart
1.wby_-_The_Madness_Of_King_Goll
1.wby_-_The_Magi
1.wby_-_The_Man_And_The_Echo
1.wby_-_The_Man_Who_Dreamed_Of_Faeryland
1.wby_-_The_Mask
1.wby_-_The_Meditation_Of_The_Old_Fisherman
1.wby_-_The_Moods
1.wby_-_The_Mother_Of_God
1.wby_-_The_Mountain_Tomb
1.wby_-_The_Municipal_Gallery_Revisited
1.wby_-_The_New_Faces
1.wby_-_The_Nineteenth_Century_And_After
1.wby_-_The_Old_Age_Of_Queen_Maeve
1.wby_-_The_Old_Men_Admiring_Themselves_In_The_Water
1.wby_-_The_Old_Pensioner.
1.wby_-_The_Old_Stone_Cross
1.wby_-_The_ORahilly
1.wby_-_The_Peacock
1.wby_-_The_People
1.wby_-_The_Phases_Of_The_Moon
1.wby_-_The_Pilgrim
1.wby_-_The_Pity_Of_Love
1.wby_-_The_Players_Ask_For_A_Blessing_On_The_Psalteries_And_On_Themselves
1.wby_-_The_Poet_Pleads_With_The_Elemental_Powers
1.wby_-_The_Ragged_Wood
1.wby_-_The_Realists
1.wby_-_The_Results_Of_Thought
1.wby_-_The_Rose_In_The_Deeps_Of_His_Heart
1.wby_-_The_Rose_Of_Battle
1.wby_-_The_Rose_Of_Peace
1.wby_-_The_Rose_Of_The_World
1.wby_-_The_Rose_Tree
1.wby_-_The_Sad_Shepherd
1.wby_-_The_Saint_And_The_Hunchback
1.wby_-_The_Scholars
1.wby_-_These_Are_The_Clouds
1.wby_-_The_Second_Coming
1.wby_-_The_Secret_Rose
1.wby_-_The_Seven_Sages
1.wby_-_The_Shadowy_Waters_-_Introduction
1.wby_-_The_Shadowy_Waters_-_The_Harp_Of_Aengus
1.wby_-_The_Shadowy_Waters_-_The_Shadowy_Waters
1.wby_-_The_Song_Of_The_Happy_Shepherd
1.wby_-_The_Song_Of_The_Old_Mother
1.wby_-_The_Song_Of_Wandering_Aengus
1.wby_-_The_Sorrow_Of_Love
1.wby_-_The_Spirit_Medium
1.wby_-_The_Spur
1.wby_-_The_Statesmans_Holiday
1.wby_-_The_Statues
1.wby_-_The_Stolen_Child
1.wby_-_The_Three_Beggars
1.wby_-_The_Three_Bushes
1.wby_-_The_Three_Hermits
1.wby_-_The_Three_Monuments
1.wby_-_The_Tower
1.wby_-_The_Travail_Of_Passion
1.wby_-_The_Two_Kings
1.wby_-_The_Two_Trees
1.wby_-_The_Unappeasable_Host
1.wby_-_The_Valley_Of_The_Black_Pig
1.wby_-_The_Wanderings_Of_Oisin_-_Book_I
1.wby_-_The_Wanderings_Of_Oisin_-_Book_II
1.wby_-_The_Wanderings_Of_Oisin_-_Book_III
1.wby_-_The_Wheel
1.wby_-_The_White_Birds
1.wby_-_The_Wild_Old_Wicked_Man
1.wby_-_The_Wild_Swans_At_Coole
1.wby_-_The_Winding_Stair
1.wby_-_The_Witch
1.wby_-_The_Withering_Of_The_Boughs
1.wby_-_Those_Dancing_Days_Are_Gone
1.wby_-_Those_Images
1.wby_-_Three_Marching_Songs
1.wby_-_Three_Movements
1.wby_-_Three_Songs_To_The_One_Burden
1.wby_-_Three_Songs_To_The_Same_Tune
1.wby_-_Three_Things
1.wby_-_To_A_Child_Dancing_In_The_Wind
1.wby_-_To_A_Friend_Whose_Work_Has_Come_To_Nothing
1.wby_-_To_An_Isle_In_The_Water
1.wby_-_To_A_Poet,_Who_Would_Have_Me_Praise_Certain_Bad_Poets,_Imitators_Of_His_And_Mine
1.wby_-_To_A_Shade
1.wby_-_To_A_Squirrel_At_Kyle-Na-No
1.wby_-_To_A_Wealthy_Man_Who_Promised_A_Second_Subscription_To_The_Dublin_Municipal_Gallery_If_It_Were_Prove
1.wby_-_To_A_Young_Beauty
1.wby_-_To_A_Young_Girl
1.wby_-_To_Be_Carved_On_A_Stone_At_Thoor_Ballylee
1.wby_-_To_Dorothy_Wellesley
1.wby_-_To_His_Heart,_Bidding_It_Have_No_Fear
1.wby_-_To_Ireland_In_The_Coming_Times
1.wby_-_Tom_At_Cruachan
1.wby_-_Tom_ORoughley
1.wby_-_Tom_The_Lunatic
1.wby_-_To_Some_I_Have_Talked_With_By_The_Fire
1.wby_-_To_The_Rose_Upon_The_Rood_Of_Time
1.wby_-_Towards_Break_Of_Day
1.wby_-_Two_Songs_From_A_Play
1.wby_-_Two_Songs_Of_A_Fool
1.wby_-_Two_Songs_Rewritten_For_The_Tunes_Sake
1.wby_-_Two_Years_Later
1.wby_-_Under_Ben_Bulben
1.wby_-_Under_Saturn
1.wby_-_Under_The_Moon
1.wby_-_Under_The_Round_Tower
1.wby_-_Upon_A_Dying_Lady
1.wby_-_Upon_A_House_Shaken_By_The_Land_Agitation
1.wby_-_Vacillation
1.wby_-_Veronicas_Napkin
1.wby_-_What_Then?
1.wby_-_What_Was_Lost
1.wby_-_When_Helen_Lived
1.wby_-_When_You_Are_Old
1.wby_-_Where_My_Books_go
1.wby_-_Who_Goes_With_Fergus?
1.wby_-_Why_Should_Not_Old_Men_Be_Mad?
1.wby_-_Wisdom
1.wby_-_Words
1.wby_-_Young_Mans_Song
1.wby_-_Youth_And_Age
1.whitman_-_1861
1.whitman_-_Aboard_At_A_Ships_Helm
1.whitman_-_A_Boston_Ballad
1.whitman_-_A_Broadway_Pageant
1.whitman_-_A_Carol_Of_Harvest_For_1867
1.whitman_-_A_child_said,_What_is_the_grass?
1.whitman_-_A_Childs_Amaze
1.whitman_-_A_Clear_Midnight
1.whitman_-_Adieu_To_A_Solider
1.whitman_-_A_Farm-Picture
1.whitman_-_After_an_Interval
1.whitman_-_After_The_Sea-Ship
1.whitman_-_Ages_And_Ages,_Returning_At_Intervals
1.whitman_-_A_Glimpse
1.whitman_-_A_Hand-Mirror
1.whitman_-_Ah_Poverties,_Wincings_Sulky_Retreats
1.whitman_-_A_Leaf_For_Hand_In_Hand
1.whitman_-_All_Is_Truth
1.whitman_-_A_March_In_The_Ranks,_Hard-prest
1.whitman_-_American_Feuillage
1.whitman_-_Among_The_Multitude
1.whitman_-_An_Army_Corps_On_The_March
1.whitman_-_A_Noiseless_Patient_Spider
1.whitman_-_A_Paumanok_Picture
1.whitman_-_Apostroph
1.whitman_-_A_Promise_To_California
1.whitman_-_Are_You_The_New_Person,_Drawn_Toward_Me?
1.whitman_-_A_Riddle_Song
1.whitman_-_As_Adam,_Early_In_The_Morning
1.whitman_-_As_A_Strong_Bird_On_Pinious_Free
1.whitman_-_As_At_Thy_Portals_Also_Death
1.whitman_-_As_Consequent,_Etc.
1.whitman_-_Ashes_Of_Soldiers
1.whitman_-_As_I_Ebbd_With_the_Ocean_of_Life
1.whitman_-_As_If_A_Phantom_Caressd_Me
1.whitman_-_A_Sight_in_Camp_in_the_Daybreak_Gray_and_Dim
1.whitman_-_As_I_Lay_With_My_Head_in_Your_Lap,_Camerado
1.whitman_-_As_I_Ponderd_In_Silence
1.whitman_-_As_I_Sat_Alone_By_Blue_Ontarios_Shores
1.whitman_-_As_I_Walk_These_Broad,_Majestic_Days
1.whitman_-_As_I_Watched_The_Ploughman_Ploughing
1.whitman_-_A_Song
1.whitman_-_Assurances
1.whitman_-_As_The_Time_Draws_Nigh
1.whitman_-_As_Toilsome_I_Wanderd
1.whitman_-_A_Woman_Waits_For_Me
1.whitman_-_Bathed_In_Wars_Perfume
1.whitman_-_Beat!_Beat!_Drums!
1.whitman_-_Beautiful_Women
1.whitman_-_Beginners
1.whitman_-_Beginning_My_Studies
1.whitman_-_Behavior
1.whitman_-_Behold_This_Swarthy_Face
1.whitman_-_Bivouac_On_A_Mountain_Side
1.whitman_-_Broadway
1.whitman_-_Brother_Of_All,_With_Generous_Hand
1.whitman_-_By_Broad_Potomacs_Shore
1.whitman_-_By_The_Bivouacs_Fitful_Flame
1.whitman_-_Camps_Of_Green
1.whitman_-_Carol_Of_Occupations
1.whitman_-_Carol_Of_Words
1.whitman_-_Cavalry_Crossing_A_Ford
1.whitman_-_Chanting_The_Square_Deific
1.whitman_-_City_Of_Orgies
1.whitman_-_City_Of_Ships
1.whitman_-_Come,_Said_My_Soul
1.whitman_-_Come_Up_From_The_Fields,_Father
1.whitman_-_Crossing_Brooklyn_Ferry
1.whitman_-_Darest_Thou_Now_O_Soul
1.whitman_-_Debris
1.whitman_-_Delicate_Cluster
1.whitman_-_Despairing_Cries
1.whitman_-_Dirge_For_Two_Veterans
1.whitman_-_Drum-Taps
1.whitman_-_Earth!_my_Likeness!
1.whitman_-_Eidolons
1.whitman_-_Election_Day,_November_1884
1.whitman_-_Elemental_Drifts
1.whitman_-_Ethiopia_Saluting_The_Colors
1.whitman_-_Europe,_The_72d_And_73d_Years_Of_These_States
1.whitman_-_Excelsior
1.whitman_-_Faces
1.whitman_-_Facing_West_From_Californias_Shores
1.whitman_-_Fast_Anchord,_Eternal,_O_Love
1.whitman_-_For_Him_I_Sing
1.whitman_-_For_You,_O_Democracy
1.whitman_-_France,_The_18th_Year_Of_These_States
1.whitman_-_From_Far_Dakotas_Canons
1.whitman_-_From_My_Last_Years
1.whitman_-_From_Paumanok_Starting
1.whitman_-_From_Pent-up_Aching_Rivers
1.whitman_-_Full_Of_Life,_Now
1.whitman_-_Germs
1.whitman_-_Give_Me_The_Splendid,_Silent_Sun
1.whitman_-_Gliding_Over_All
1.whitman_-_God
1.whitman_-_Good-Bye_My_Fancy!
1.whitman_-_Great_Are_The_Myths
1.whitman_-_Had_I_the_Choice
1.whitman_-_Hast_Never_Come_To_Thee_An_Hour
1.whitman_-_Here,_Sailor
1.whitman_-_Here_The_Frailest_Leaves_Of_Me
1.whitman_-_Hours_Continuing_Long
1.whitman_-_How_Solemn_As_One_By_One
1.whitman_-_Hushd_Be_the_Camps_Today
1.whitman_-_I_Am_He_That_Aches_With_Love
1.whitman_-_I_Dreamd_In_A_Dream
1.whitman_-_I_Hear_America_Singing
1.whitman_-_I_Heard_You,_Solemn-sweep_Pipes_Of_The_Organ
1.whitman_-_I_Hear_It_Was_Charged_Against_Me
1.whitman_-_In_Cabind_Ships_At_Sea
1.whitman_-_In_Former_Songs
1.whitman_-_In_Midnight_Sleep
1.whitman_-_In_Paths_Untrodden
1.whitman_-_Inscription
1.whitman_-_In_The_New_Garden_In_All_The_Parts
1.whitman_-_I_Saw_In_Louisiana_A_Live_Oak_Growing
1.whitman_-_I_Saw_Old_General_At_Bay
1.whitman_-_I_Sing_The_Body_Electric
1.whitman_-_I_Sit_And_Look_Out
1.whitman_-_Italian_Music_In_Dakota
1.whitman_-_I_Thought_I_Was_Not_Alone
1.whitman_-_I_Was_Looking_A_Long_While
1.whitman_-_I_Will_Take_An_Egg_Out_Of_The_Robins_Nest
1.whitman_-_Joy,_Shipmate,_Joy!
1.whitman_-_Kosmos
1.whitman_-_Laws_For_Creations
1.whitman_-_Lessons
1.whitman_-_Locations_And_Times
1.whitman_-_Longings_For_Home
1.whitman_-_Long_I_Thought_That_Knowledge
1.whitman_-_Long,_Too_Long_America
1.whitman_-_Look_Down,_Fair_Moon
1.whitman_-_Lo!_Victress_On_The_Peaks
1.whitman_-_Manhattan_Streets_I_Saunterd,_Pondering
1.whitman_-_Mannahatta
1.whitman_-_Mediums
1.whitman_-_Me_Imperturbe
1.whitman_-_Miracles
1.whitman_-_Mother_And_Babe
1.whitman_-_My_Picture-Gallery
1.whitman_-_Myself_And_Mine
1.whitman_-_Native_Moments
1.whitman_-_Night_On_The_Prairies
1.whitman_-_No_Labor-Saving_Machine
1.whitman_-_Not_Heat_Flames_Up_And_Consumes
1.whitman_-_Not_Heaving_From_My_Ribbd_Breast_Only
1.whitman_-_Not_My_Enemies_Ever_Invade_Me
1.whitman_-_Not_The_Pilot
1.whitman_-_Not_Youth_Pertains_To_Me
1.whitman_-_Now_Finale_To_The_Shore
1.whitman_-_Now_List_To_My_Mornings_Romanza
1.whitman_-_O_Bitter_Sprig!_Confession_Sprig!
1.whitman_-_O_Captain!_My_Captain!
1.whitman_-_Offerings
1.whitman_-_Of_Him_I_Love_Day_And_Night
1.whitman_-_Of_The_Terrible_Doubt_Of_Apperarances
1.whitman_-_Of_The_Visage_Of_Things
1.whitman_-_O_Hymen!_O_Hymenee!
1.whitman_-_Old_Ireland
1.whitman_-_O_Living_Always--Always_Dying
1.whitman_-_O_Me!_O_Life!
1.whitman_-_Once_I_Passd_Through_A_Populous_City
1.whitman_-_One_Hour_To_Madness_And_Joy
1.whitman_-_One_Song,_America,_Before_I_Go
1.whitman_-_Ones_Self_I_Sing
1.whitman_-_One_Sweeps_By
1.whitman_-_On_Journeys_Through_The_States
1.whitman_-_On_Old_Mans_Thought_Of_School
1.whitman_-_On_The_Beach_At_Night
1.whitman_-_Or_From_That_Sea_Of_Time
1.whitman_-_O_Star_Of_France
1.whitman_-_O_Sun_Of_Real_Peace
1.whitman_-_O_Tan-faced_Prairie_Boy
1.whitman_-_Other_May_Praise_What_They_Like
1.whitman_-_Out_From_Behind_His_Mask
1.whitman_-_Out_of_the_Cradle_Endlessly_Rocking
1.whitman_-_Out_of_the_Rolling_Ocean,_The_Crowd
1.whitman_-_Over_The_Carnage
1.whitman_-_O_You_Whom_I_Often_And_Silently_Come
1.whitman_-_Passage_To_India
1.whitman_-_Patroling_Barnegat
1.whitman_-_Pensive_And_Faltering
1.whitman_-_Pensive_On_Her_Dead_Gazing,_I_Heard_The_Mother_Of_All
1.whitman_-_Perfections
1.whitman_-_Pioneers!_O_Pioneers!
1.whitman_-_Poem_Of_Remembrance_For_A_Girl_Or_A_Boy
1.whitman_-_Poems_Of_Joys
1.whitman_-_Poets_to_Come
1.whitman_-_Portals
1.whitman_-_Prayer_Of_Columbus
1.whitman_-_Primeval_My_Love_For_The_Woman_I_Love
1.whitman_-_Proud_Music_Of_The_Storm
1.whitman_-_Quicksand_Years
1.whitman_-_Race_Of_Veterans
1.whitman_-_Reconciliation
1.whitman_-_Recorders_Ages_Hence
1.whitman_-_Red_Jacket_(From_Aloft)
1.whitman_-_Respondez!
1.whitman_-_Rise,_O_Days
1.whitman_-_Roaming_In_Thought
1.whitman_-_Roots_And_Leaves_Themselves_Alone
1.whitman_-_Salut_Au_Monde
1.whitman_-_Savantism
1.whitman_-_Says
1.whitman_-_Scented_Herbage_Of_My_Breast
1.whitman_-_Sea-Shore_Memories
1.whitman_-_Self-Contained
1.whitman_-_Shut_Not_Your_Doors
1.whitman_-_Sing_Of_The_Banner_At_Day-Break
1.whitman_-_So_Far_And_So_Far,_And_On_Toward_The_End
1.whitman_-_Solid,_Ironical,_Rolling_Orb
1.whitman_-_So_Long
1.whitman_-_Sometimes_With_One_I_Love
1.whitman_-_Song_At_Sunset
1.whitman_-_Song_For_All_Seas,_All_Ships
1.whitman_-_Song_of_Myself
1.whitman_-_Song_Of_Myself-_II
1.whitman_-_Song_Of_Myself-_III
1.whitman_-_Song_Of_Myself-_IV
1.whitman_-_Song_Of_Myself-_IX
1.whitman_-_Song_Of_Myself-_L
1.whitman_-_Song_Of_Myself-_LI
1.whitman_-_Song_Of_Myself-_LII
1.whitman_-_Song_Of_Myself-_V
1.whitman_-_Song_Of_Myself-_VII
1.whitman_-_Song_Of_Myself-_VIII
1.whitman_-_Song_Of_Myself-_X
1.whitman_-_Song_Of_Myself-_XI
1.whitman_-_Song_Of_Myself-_XII
1.whitman_-_Song_Of_Myself-_XIII
1.whitman_-_Song_Of_Myself-_XIV
1.whitman_-_Song_Of_Myself-_XIX
1.whitman_-_Song_Of_Myself-_XL
1.whitman_-_Song_Of_Myself-_XLI
1.whitman_-_Song_Of_Myself-_XLII
1.whitman_-_Song_Of_Myself-_XLIII
1.whitman_-_Song_Of_Myself-_XLIV
1.whitman_-_Song_Of_Myself-_XLIX
1.whitman_-_Song_Of_Myself-_XLV
1.whitman_-_Song_Of_Myself-_XLVI
1.whitman_-_Song_Of_Myself-_XLVII
1.whitman_-_Song_Of_Myself-_XLVIII
1.whitman_-_Song_Of_Myself-_XV
1.whitman_-_Song_Of_Myself-_XVI
1.whitman_-_Song_Of_Myself-_XVII
1.whitman_-_Song_Of_Myself-_XVIII
1.whitman_-_Song_Of_Myself-_XX
1.whitman_-_Song_Of_Myself-_XXI
1.whitman_-_Song_Of_Myself-_XXII
1.whitman_-_Song_Of_Myself-_XXIII
1.whitman_-_Song_Of_Myself-_XXIV
1.whitman_-_Song_Of_Myself-_XXIX
1.whitman_-_Song_Of_Myself-_XXV
1.whitman_-_Song_Of_Myself-_XXVI
1.whitman_-_Song_Of_Myself-_XXVII
1.whitman_-_Song_Of_Myself-_XXVIII
1.whitman_-_Song_Of_Myself-_XXX
1.whitman_-_Song_Of_Myself-_XXXI
1.whitman_-_Song_Of_Myself-_XXXIII
1.whitman_-_Song_Of_Myself-_XXXIV
1.whitman_-_Song_Of_Myself-_XXXIX
1.whitman_-_Song_Of_Myself-_XXXV
1.whitman_-_Song_Of_Myself-_XXXVI
1.whitman_-_Song_Of_Myself-_XXXVII
1.whitman_-_Song_Of_Myself-_XXXVIII
1.whitman_-_Song_Of_The_Broad-Axe
1.whitman_-_Song_Of_The_Exposition
1.whitman_-_Song_Of_The_Open_Road
1.whitman_-_Song_Of_The_Redwood-Tree
1.whitman_-_Song_Of_The_Universal
1.whitman_-_Souvenirs_Of_Democracy
1.whitman_-_Spain_1873-74
1.whitman_-_Sparkles_From_The_Wheel
1.whitman_-_Spirit_That_Formd_This_Scene
1.whitman_-_Spirit_Whose_Work_Is_Done
1.whitman_-_Spontaneous_Me
1.whitman_-_Starting_From_Paumanok
1.whitman_-_States!
1.whitman_-_Still,_Though_The_One_I_Sing
1.whitman_-_Tears
1.whitman_-_Tests
1.whitman_-_That_Last_Invocation
1.whitman_-_That_Music_Always_Round_Me
1.whitman_-_That_Shadow,_My_Likeness
1.whitman_-_The_Artillerymans_Vision
1.whitman_-_The_Base_Of_All_Metaphysics
1.whitman_-_The_Centerarians_Story
1.whitman_-_The_City_Dead-House
1.whitman_-_The_Dalliance_Of_The_Eagles
1.whitman_-_The_Death_And_Burial_Of_McDonald_Clarke-_A_Parody
1.whitman_-_The_Great_City
1.whitman_-_The_Indications
1.whitman_-_The_Last_Invocation
1.whitman_-_The_Mystic_Trumpeter
1.whitman_-_The_Ox_tamer
1.whitman_-_The_Prairie-Grass_Dividing
1.whitman_-_The_Prairie_States
1.whitman_-_There_Was_A_Child_Went_Forth
1.whitman_-_The_Runner
1.whitman_-_These_Carols
1.whitman_-_These,_I,_Singing_In_Spring
1.whitman_-_The_Ship_Starting
1.whitman_-_The_Singer_In_The_Prison
1.whitman_-_The_Sleepers
1.whitman_-_The_Sobbing_Of_The_Bells
1.whitman_-_The_Torch
1.whitman_-_The_Unexpressed
1.whitman_-_The_Untold_Want
1.whitman_-_The_Voice_of_the_Rain
1.whitman_-_The_World_Below_The_Brine
1.whitman_-_The_Wound_Dresser
1.whitman_-_Thick-Sprinkled_Bunting
1.whitman_-_Think_Of_The_Soul
1.whitman_-_This_Compost
1.whitman_-_This_Day,_O_Soul
1.whitman_-_This_Dust_Was_Once_The_Man
1.whitman_-_This_Moment,_Yearning_And_Thoughtful
1.whitman_-_Thought
1.whitman_-_Thoughts
1.whitman_-_Thoughts_(2)
1.whitman_-_Thou_Orb_Aloft_Full-Dazzling
1.whitman_-_Thou_Reader
1.whitman_-_To_A_Certain_Cantatrice
1.whitman_-_To_A_Certain_Civilian
1.whitman_-_To_A_Common_Prostitute
1.whitman_-_To_A_Foild_European_Revolutionaire
1.whitman_-_To_A_Historian
1.whitman_-_To_A_Locomotive_In_Winter
1.whitman_-_To_A_President
1.whitman_-_To_A_Pupil
1.whitman_-_To_A_Stranger
1.whitman_-_To_A_Western_Boy
1.whitman_-_To_Foreign_Lands
1.whitman_-_To_Him_That_Was_Crucified
1.whitman_-_To_Old_Age
1.whitman_-_To_One_Shortly_To_Die
1.whitman_-_To_Oratists
1.whitman_-_To_Rich_Givers
1.whitman_-_To_The_East_And_To_The_West
1.whitman_-_To_Thee,_Old_Cause!
1.whitman_-_To_The_Garden_The_World
1.whitman_-_To_The_Leavend_Soil_They_Trod
1.whitman_-_To_The_Man-of-War-Bird
1.whitman_-_To_The_Reader_At_Parting
1.whitman_-_To_The_States
1.whitman_-_To_Think_Of_Time
1.whitman_-_To_You
1.whitman_-_Trickle,_Drops
1.whitman_-_Turn,_O_Libertad
1.whitman_-_Two_Rivulets
1.whitman_-_Unfolded_Out_Of_The_Folds
1.whitman_-_Unnamed_Lands
1.whitman_-_Vigil_Strange_I_Kept_on_the_Field_one_Night
1.whitman_-_Virginia--The_West
1.whitman_-_Visord
1.whitman_-_Voices
1.whitman_-_Walt_Whitmans_Caution
1.whitman_-_Wandering_At_Morn
1.whitman_-_Warble_Of_Lilac-Time
1.whitman_-_Washingtons_Monument,_February,_1885
1.whitman_-_Weave_In,_Weave_In,_My_Hardy_Life
1.whitman_-_We_Two_Boys_Together_Clinging
1.whitman_-_We_Two-How_Long_We_Were_Foold
1.whitman_-_What_Am_I_After_All
1.whitman_-_What_Best_I_See_In_Thee
1.whitman_-_What_General_Has_A_Good_Army
1.whitman_-_What_Place_Is_Besieged?
1.whitman_-_What_Think_You_I_Take_My_Pen_In_Hand?
1.whitman_-_What_Weeping_Face
1.whitman_-_When_I_Heard_At_The_Close_Of_The_Day
1.whitman_-_When_I_Heard_the_Learnd_Astronomer
1.whitman_-_When_I_Peruse_The_Conquerd_Fame
1.whitman_-_When_I_Read_The_Book
1.whitman_-_When_Lilacs_Last_in_the_Dooryard_Bloomd
1.whitman_-_Whispers_Of_Heavenly_Death
1.whitman_-_Whoever_You_Are,_Holding_Me_Now_In_Hand
1.whitman_-_Who_Is_Now_Reading_This?
1.whitman_-_Who_Learns_My_Lesson_Complete?
1.whitman_-_With_All_Thy_Gifts
1.whitman_-_With_Antecedents
1.whitman_-_World,_Take_Good_Notice
1.whitman_-_Year_Of_Meteors,_1859_60
1.whitman_-_Years_Of_The_Modern
1.whitman_-_Year_That_Trembled
1.whitman_-_Yet,_Yet,_Ye_Downcast_Hours
1.wh_-_Moon_and_clouds_are_the_same
1.wh_-_One_instant_is_eternity
1.wh_-_Ten_thousand_flowers_in_spring,_the_moon_in_autumn
1.wh_-_The_Great_Way_has_no_gate
1.ww_-_0-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons_-_Dedication
1.ww_-_10_-_Alone_far_in_the_wilds_and_mountains_I_hunt
1.ww_-_17_-_These_are_really_the_thoughts_of_all_men_in_all_ages_and_lands,_they_are_not_original_with_me
1.ww_-_18_-_With_music_strong_I_come,_with_my_cornets_and_my_drums
1.ww_-_1_-_I_celebrate_myself,_and_sing_myself
1.ww_-_1-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_20_-_Who_goes_there?_hankering,_gross,_mystical,_nude
1.ww_-_24_-_Walt_Whitman,_a_cosmos,_of_Manhattan_the_son
1.ww_-_2_-_Houses_and_rooms_are_full_of_perfumes,_the_shelves_are_crowded_with_perfumes
1.ww_-_2-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_3_-_I_have_heard_what_the_talkers_were_talking,_the_talk_of_the_beginning_and_the_end
1.ww_-_3-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_44_-_It_is_time_to_explain_myself_--_let_us_stand_up
1.ww_-_4-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_4_-_Trippers_and_askers_surround_me
1.ww_-_5_-_I_believe_in_you_my_soul,_the_other_I_am_must_not_abase_itself_to_you
1.ww_-_5-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_6_-_A_child_said_What_is_the_grass?_fetching_it_to_me_with_full_hands
1.ww_-_6-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_7_-_Has_anyone_supposed_it_lucky_to_be_born?
1.ww_-_7-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_8_-_The_little_one_sleeps_in_its_cradle
1.ww_-_9_-_The_big_doors_of_the_country_barn_stand_open_and_ready
1.ww_-_A_Character
1.ww_-_A_Complaint
1.ww_-_Address_To_A_Child_During_A_Boisterous_Winter_By_My_Sister
1.ww_-_Address_To_Kilchurn_Castle,_Upon_Loch_Awe
1.ww_-_Address_To_My_Infant_Daughter
1.ww_-_Address_To_The_Scholars_Of_The_Village_School_Of_---
1.ww_-_Admonition
1.ww_-_Advance__Come_Forth_From_Thy_Tyrolean_Ground
1.ww_-_A_Fact,_And_An_Imagination,_Or,_Canute_And_Alfred,_On_The_Seashore
1.ww_-_A_Farewell
1.ww_-_A_Flower_Garden_At_Coleorton_Hall,_Leicestershire.
1.ww_-_After-Thought
1.ww_-_A_Gravestone_Upon_The_Floor_In_The_Cloisters_Of_Worcester_Cathedral
1.ww_-_Ah!_Where_Is_Palafox?_Nor_Tongue_Nor_Pen
1.ww_-_A_Jewish_Family_In_A_Small_Valley_Opposite_St._Goar,_Upon_The_Rhine
1.ww_-_Alas!_What_Boots_The_Long_Laborious_Quest
1.ww_-_Alice_Fell,_Or_Poverty
1.ww_-_Among_All_Lovely_Things_My_Love_Had_Been
1.ww_-_A_Morning_Exercise
1.ww_-_A_Narrow_Girdle_Of_Rough_Stones_And_Crags,
1.ww_-_And_Is_It_Among_Rude_Untutored_Dales
1.ww_-_Andrew_Jones
1.ww_-_Anecdote_For_Fathers
1.ww_-_An_Evening_Walk
1.ww_-_A_Night-Piece
1.ww_-_A_Night_Thought
1.ww_-_Animal_Tranquility_And_Decay
1.ww_-_A_noiseless_patient_spider
1.ww_-_Anticipation,_October_1803
1.ww_-_A_Parsonage_In_Oxfordshire
1.ww_-_A_Poet!_He_Hath_Put_His_Heart_To_School
1.ww_-_A_Poet's_Epitaph
1.ww_-_A_Prophecy._February_1807
1.ww_-_Argument_For_Suicide
1.ww_-_Artegal_And_Elidure
1.ww_-_As_faith_thus_sanctified_the_warrior's_crest
1.ww_-_A_Sketch
1.ww_-_A_Slumber_did_my_Spirit_Seal
1.ww_-_At_Applewaite,_Near_Keswick_1804
1.ww_-_Avaunt_All_Specious_Pliancy_Of_Mind
1.ww_-_A_Whirl-Blast_From_Behind_The_Hill
1.ww_-_A_Wren's_Nest
1.ww_-_Bamboo_Cottage
1.ww_-_Beggars
1.ww_-_Behold_Vale!_I_Said,_When_I_Shall_Con
1.ww_-_Book_Eighth-_Retrospect--Love_Of_Nature_Leading_To_Love_Of_Man
1.ww_-_Book_Eleventh-_France_[concluded]
1.ww_-_Book_Fifth-Books
1.ww_-_Book_First_[Introduction-Childhood_and_School_Time]
1.ww_-_Book_Fourteenth_[conclusion]
1.ww_-_Book_Fourth_[Summer_Vacation]
1.ww_-_Book_Ninth_[Residence_in_France]
1.ww_-_Book_Second_[School-Time_Continued]
1.ww_-_Book_Seventh_[Residence_in_London]
1.ww_-_Book_Sixth_[Cambridge_and_the_Alps]
1.ww_-_Book_Tenth_{Residence_in_France_continued]
1.ww_-_Book_Third_[Residence_at_Cambridge]
1.ww_-_Book_Thirteenth_[Imagination_And_Taste,_How_Impaired_And_Restored_Concluded]
1.ww_-_Book_Twelfth_[Imagination_And_Taste,_How_Impaired_And_Restored_]
1.ww_-_Bothwell_Castle
1.ww_-_Brave_Schill!_By_Death_Delivered
1.ww_-_British_Freedom
1.ww_-_Brook!_Whose_Society_The_Poet_Seeks
1.ww_-_By_Moscow_Self-Devoted_To_A_Blaze
1.ww_-_By_The_Seaside
1.ww_-_By_The_Side_Of_The_Grave_Some_Years_After
1.ww_-_Calais-_August_15,_1802
1.ww_-_Calais-_August_1802
1.ww_-_Call_Not_The_Royal_Swede_Unfortunate
1.ww_-_Calm_is_all_Nature_as_a_Resting_Wheel.
1.ww_-_Characteristics_Of_A_Child_Three_Years_Old
1.ww_-_Character_Of_The_Happy_Warrior
1.ww_-_Composed_After_A_Journey_Across_The_Hambleton_Hills,_Yorkshire
1.ww_-_Composed_At_The_Same_Time_And_On_The_Same_Occasion
1.ww_-_Composed_By_The_Sea-Side,_Near_Calais,_August_1802
1.ww_-_Composed_By_The_Side_Of_Grasmere_Lake_1806
1.ww_-_Composed_During_A_Storm
1.ww_-_Composed_In_The_Valley_Near_Dover,_On_The_Day_Of_Landing
1.ww_-_Composed_Near_Calais,_On_The_Road_Leading_To_Ardres,_August_7,_1802
1.ww_-_Composed_on_The_Eve_Of_The_Marriage_Of_A_Friend_In_The_Vale_Of_Grasmere
1.ww_-_Composed_Upon_Westminster_Bridge,_September_3,_1802
1.ww_-_Composed_While_The_Author_Was_Engaged_In_Writing_A_Tract_Occasioned_By_The_Convention_Of_Cintra
1.ww_-_Cooling_Off
1.ww_-_Crusaders
1.ww_-_Daffodils
1.ww_-_Deer_Fence
1.ww_-_Dion_[See_Plutarch]
1.ww_-_Drifting_on_the_Lake
1.ww_-_Elegiac_Stanzas_In_Memory_Of_My_Brother,_John_Commander_Of_The_E._I._Companys_Ship_The_Earl_Of_Aber
1.ww_-_Elegiac_Stanzas_Suggested_By_A_Picture_Of_Peele_Castle
1.ww_-_Ellen_Irwin_Or_The_Braes_Of_Kirtle
1.ww_-_Emperors_And_Kings,_How_Oft_Have_Temples_Rung
1.ww_-_England!_The_Time_Is_Come_When_Thou_Shouldst_Wean
1.ww_-_Epitaphs_Translated_From_Chiabrera
1.ww_-_Even_As_A_Dragons_Eye_That_Feels_The_Stress
1.ww_-_Expostulation_and_Reply
1.ww_-_Extempore_Effusion_upon_the_Death_of_James_Hogg
1.ww_-_Extract_From_The_Conclusion_Of_A_Poem_Composed_In_Anticipation_Of_Leaving_School
1.ww_-_Feelings_of_A_French_Royalist,_On_The_Disinterment_Of_The_Remains_Of_The_Duke_DEnghien
1.ww_-_Feelings_Of_A_Noble_Biscayan_At_One_Of_Those_Funerals
1.ww_-_Feelings_Of_The_Tyrolese
1.ww_-_Fidelity
1.ww_-_Fields_and_Gardens_by_the_River_Qi
1.ww_-_Foresight
1.ww_-_For_The_Spot_Where_The_Hermitage_Stood_On_St._Herbert's_Island,_Derwentwater.
1.ww_-_From_The_Cuckoo_And_The_Nightingale
1.ww_-_From_The_Dark_Chambers_Of_Dejection_Freed
1.ww_-_From_The_Italian_Of_Michael_Angelo
1.ww_-_George_and_Sarah_Green
1.ww_-_Gipsies
1.ww_-_Goody_Blake_And_Harry_Gill
1.ww_-_Grand_is_the_Seen
1.ww_-_Great_Men_Have_Been_Among_Us
1.ww_-_Guilt_And_Sorrow,_Or,_Incidents_Upon_Salisbury_Plain
1.ww_-_Hail-_Twilight,_Sovereign_Of_One_Peaceful_Hour
1.ww_-_Hail-_Zaragoza!_If_With_Unwet_eye
1.ww_-_Hart-Leap_Well
1.ww_-_Here_Pause-_The_Poet_Claims_At_Least_This_Praise
1.ww_-_Her_Eyes_Are_Wild
1.ww_-_Hint_From_The_Mountains_For_Certain_Political_Pretenders
1.ww_-_Hoffer
1.ww_-_How_Sweet_It_Is,_When_Mother_Fancy_Rocks
1.ww_-_I_Grieved_For_Buonaparte
1.ww_-_I_Know_an_Aged_Man_Constrained_to_Dwell
1.ww_-_Incident_Characteristic_Of_A_Favorite_Dog
1.ww_-_Indignation_Of_A_High-Minded_Spaniard
1.ww_-_In_Due_Observance_Of_An_Ancient_Rite
1.ww_-_Influence_of_Natural_Objects
1.ww_-_Inscriptions_For_A_Seat_In_The_Groves_Of_Coleorton
1.ww_-_Inscriptions_In_The_Ground_Of_Coleorton,_The_Seat_Of_Sir_George_Beaumont,_Bart.,_Leicestershire
1.ww_-_Inscriptions_Written_with_a_Slate_Pencil_upon_a_Stone
1.ww_-_Inside_of_King's_College_Chapel,_Cambridge
1.ww_-_In_The_Pass_Of_Killicranky
1.ww_-_Invocation_To_The_Earth,_February_1816
1.ww_-_Is_There_A_Power_That_Can_Sustain_And_Cheer
1.ww_-_I_think_I_could_turn_and_live_with_animals
1.ww_-_It_Is_a_Beauteous_Evening
1.ww_-_It_Is_No_Spirit_Who_From_Heaven_Hath_Flown
1.ww_-_I_Travelled_among_Unknown_Men
1.ww_-_It_was_an_April_morning-_fresh_and_clear
1.ww_-_Lament_Of_Mary_Queen_Of_Scots
1.ww_-_Laodamia
1.ww_-_Lines_Composed_a_Few_Miles_above_Tintern_Abbey
1.ww_-_Lines_Left_Upon_The_Seat_Of_A_Yew-Tree,
1.ww_-_Lines_On_The_Expected_Invasion,_1803
1.ww_-_Lines_Written_As_A_School_Exercise_At_Hawkshead,_Anno_Aetatis_14
1.ww_-_Lines_Written_In_Early_Spring
1.ww_-_Lines_Written_On_A_Blank_Leaf_In_A_Copy_Of_The_Authors_Poem_The_Excursion,
1.ww_-_Living_in_the_Mountain_on_an_Autumn_Night
1.ww_-_London,_1802
1.ww_-_Look_Now_On_That_Adventurer_Who_Hath_Paid
1.ww_-_Louisa-_After_Accompanying_Her_On_A_Mountain_Excursion
1.ww_-_Lucy
1.ww_-_Lucy_Gray_[or_Solitude]
1.ww_-_Mark_The_Concentrated_Hazels_That_Enclose
1.ww_-_Maternal_Grief
1.ww_-_Matthew
1.ww_-_Memorials_Of_A_Tour_In_Scotland
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803
1.ww_-_Memorials_of_A_Tour_In_Scotland-_1803_I._Departure_From_The_Vale_Of_Grasmere,_August_1803
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_XII._Sonnet_Composed_At_----_Castle
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_XII._Yarrow_Unvisited
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_XIV._Fly,_Some_Kind_Haringer,_To_Grasmere-Dale
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_X._Rob_Roys_Grave
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1814_I._Suggested_By_A_Beautiful_Ruin_Upon_One_Of_The_Islands_Of_Lo
1.ww_-_Memorials_Of_A_Tour_Of_Scotland-_1803_VI._Glen-Almain,_Or,_The_Narrow_Glen
1.ww_-_Memory
1.ww_-_Methought_I_Saw_The_Footsteps_Of_A_Throne
1.ww_-_Michael_Angelo_In_Reply_To_The_Passage_Upon_His_Staute_Of_Sleeping_Night
1.ww_-_Michael-_A_Pastoral_Poem
1.ww_-_Minstrels
1.ww_-_Most_Sweet_it_is
1.ww_-_Mutability
1.ww_-_My_Cottage_at_Deep_South_Mountain
1.ww_-_November,_1806
1.ww_-_November_1813
1.ww_-_Nuns_Fret_Not_at_Their_Convent's_Narrow_Room
1.ww_-_Nutting
1.ww_-_O_Captain!_my_Captain!
1.ww_-_Occasioned_By_The_Battle_Of_Waterloo_February_1816
1.ww_-_October,_1803
1.ww_-_October_1803
1.ww_-_Ode
1.ww_-_Ode_Composed_On_A_May_Morning
1.ww_-_Ode_on_Intimations_of_Immortality
1.ww_-_Ode_to_Duty
1.ww_-_Ode_To_Lycoris._May_1817
1.ww_-_Oer_The_Wide_Earth,_On_Mountain_And_On_Plain
1.ww_-_Oerweening_Statesmen_Have_Full_Long_Relied
1.ww_-_O_Me!_O_life!
1.ww_-_On_A_Celebrated_Event_In_Ancient_History
1.ww_-_O_Nightingale!_Thou_Surely_Art
1.ww_-_On_the_Departure_of_Sir_Walter_Scott_from_Abbotsford
1.ww_-_On_the_Extinction_of_the_Venetian_Republic
1.ww_-_On_The_Final_Submission_Of_The_Tyrolese
1.ww_-_On_The_Same_Occasion
1.ww_-_Personal_Talk
1.ww_-_Picture_of_Daniel_in_the_Lion's_Den_at_Hamilton_Palace
1.ww_-_Power_Of_Music
1.ww_-_Remembrance_Of_Collins
1.ww_-_Repentance
1.ww_-_Resolution_And_Independence
1.ww_-_Rural_Architecture
1.ww_-_Ruth
1.ww_-_Say,_What_Is_Honour?--Tis_The_Finest_Sense
1.ww_-_Scorn_Not_The_Sonnet
1.ww_-_September_1,_1802
1.ww_-_September_1815
1.ww_-_September,_1819
1.ww_-_She_Was_A_Phantom_Of_Delight
1.ww_-_Siege_Of_Vienna_Raised_By_Jihn_Sobieski
1.ww_-_Simon_Lee-_The_Old_Huntsman
1.ww_-_Song_at_the_Feast_of_Brougham_Castle
1.ww_-_Song_Of_The_Spinning_Wheel
1.ww_-_Song_Of_The_Wandering_Jew
1.ww_-_Sonnet-_It_is_not_to_be_thought_of
1.ww_-_Sonnet-_On_seeing_Miss_Helen_Maria_Williams_weep_at_a_tale_of_distress
1.ww_-_Spanish_Guerillas
1.ww_-_Stanzas
1.ww_-_Stanzas_Written_In_My_Pocket_Copy_Of_Thomsons_Castle_Of_Indolence
1.ww_-_Star-Gazers
1.ww_-_Stepping_Westward
1.ww_-_Stone_Gate_Temple_in_the_Blue_Field_Mountains
1.ww_-_Strange_Fits_of_Passion_Have_I_Known
1.ww_-_Stray_Pleasures
1.ww_-_Surprised_By_Joy
1.ww_-_Sweet_Was_The_Walk
1.ww_-_Temple_Tree_Path
1.ww_-_The_Affliction_Of_Margaret
1.ww_-_The_Birth_Of_Love
1.ww_-_The_Brothers
1.ww_-_The_Childless_Father
1.ww_-_The_Complaint_Of_A_Forsaken_Indian_Woman
1.ww_-_The_Cottager_To_Her_Infant
1.ww_-_The_Danish_Boy
1.ww_-_The_Eagle_and_the_Dove
1.ww_-_The_Emigrant_Mother
1.ww_-_The_Excursion-_I-_Dedication-_To_the_Right_Hon.William,_Earl_of_Lonsdalee,_K.G.
1.ww_-_The_Excursion-_II-_Book_First-_The_Wanderer
1.ww_-_The_Excursion-_IV-_Book_Third-_Despondency
1.ww_-_The_Excursion-_IX-_Book_Eighth-_The_Parsonage
1.ww_-_The_Excursion-_V-_Book_Fouth-_Despondency_Corrected
1.ww_-_The_Excursion-_VII-_Book_Sixth-_The_Churchyard_Among_the_Mountains
1.ww_-_The_Excursion-_X-_Book_Ninth-_Discourse_of_the_Wanderer,_and_an_Evening_Visit_to_the_Lake
1.ww_-_The_Fairest,_Brightest,_Hues_Of_Ether_Fade
1.ww_-_The_Farmer_Of_Tilsbury_Vale
1.ww_-_The_Fary_Chasm
1.ww_-_The_Force_Of_Prayer,_Or,_The_Founding_Of_Bolton,_A_Tradition
1.ww_-_The_Forsaken
1.ww_-_The_Fountain
1.ww_-_The_French_And_the_Spanish_Guerillas
1.ww_-_The_French_Army_In_Russia,_1812-13
1.ww_-_The_French_Revolution_as_it_appeared_to_Enthusiasts
1.ww_-_The_Germans_On_The_Heighs_Of_Hochheim
1.ww_-_The_Green_Linnet
1.ww_-_The_Happy_Warrior
1.ww_-_The_Highland_Broach
1.ww_-_The_Horn_Of_Egremont_Castle
1.ww_-_The_Idiot_Boy
1.ww_-_The_Idle_Shepherd_Boys
1.ww_-_The_King_Of_Sweden
1.ww_-_The_Kitten_And_Falling_Leaves
1.ww_-_The_Last_Of_The_Flock
1.ww_-_The_Last_Supper,_by_Leonardo_da_Vinci,_in_the_Refectory_of_the_Convent_of_Maria_della_GraziaMilan
1.ww_-_The_Longest_Day
1.ww_-_The_Martial_Courage_Of_A_Day_Is_Vain
1.ww_-_The_Morning_Of_The_Day_Appointed_For_A_General_Thanksgiving._January_18,_1816
1.ww_-_The_Mother's_Return
1.ww_-_The_Oak_And_The_Broom
1.ww_-_The_Oak_Of_Guernica_Supposed_Address_To_The_Same
1.ww_-_The_Old_Cumberland_Beggar
1.ww_-_The_Passing_of_the_Elder_Bards
1.ww_-_The_Pet-Lamb
1.ww_-_The_Power_of_Armies_is_a_Visible_Thing
1.ww_-_The_Prelude,_Book_1-_Childhood_And_School-Time
1.ww_-_The_Primrose_of_the_Rock
1.ww_-_The_Prioresss_Tale_[from_Chaucer]
1.ww_-_The_Recluse_-_Book_First
1.ww_-_The_Redbreast_Chasing_The_Butterfly
1.ww_-_There_Is_A_Bondage_Worse,_Far_Worse,_To_Bear
1.ww_-_There_is_an_Eminence,--of_these_our_hills
1.ww_-_The_Reverie_of_Poor_Susan
1.ww_-_There_Was_A_Boy
1.ww_-_The_Sailor's_Mother
1.ww_-_The_Seven_Sisters
1.ww_-_The_Shepherd,_Looking_Eastward,_Softly_Said
1.ww_-_The_Simplon_Pass
1.ww_-_The_Solitary_Reaper
1.ww_-_The_Sonnet_Ii
1.ww_-_The_Sparrow's_Nest
1.ww_-_The_Stars_Are_Mansions_Built_By_Nature's_Hand
1.ww_-_The_Sun_Has_Long_Been_Set
1.ww_-_The_Tables_Turned
1.ww_-_The_Thorn
1.ww_-_The_Trosachs
1.ww_-_The_Two_April_Mornings
1.ww_-_The_Two_Thieves-_Or,_The_Last_Stage_Of_Avarice
1.ww_-_The_Vaudois
1.ww_-_The_Virgin
1.ww_-_The_Waggoner_-_Canto_First
1.ww_-_The_Waggoner_-_Canto_Fourth
1.ww_-_The_Waggoner_-_Canto_Second
1.ww_-_The_Waggoner_-_Canto_Third
1.ww_-_The_Waterfall_And_The_Eglantine
1.ww_-_The_Wishing_Gate_Destroyed
1.ww_-_The_World_Is_Too_Much_With_Us
1.ww_-_Those_Words_Were_Uttered_As_In_Pensive_Mood
1.ww_-_Though_Narrow_Be_That_Old_Mans_Cares_.
1.ww_-_Thought_Of_A_Briton_On_The_Subjugation_Of_Switzerland
1.ww_-_Three_Years_She_Grew_in_Sun_and_Shower
1.ww_-_To_A_Butterfly
1.ww_-_To_A_Butterfly_(2)
1.ww_-_To_A_Distant_Friend
1.ww_-_To_a_Highland_Girl_(At_Inversneyde,_upon_Loch_Lomond)
1.ww_-_To_A_Sexton
1.ww_-_To_a_Sky-Lark
1.ww_-_To_a_Skylark
1.ww_-_To_A_Young_Lady_Who_Had_Been_Reproached_For_Taking_Long_Walks_In_The_Country
1.ww_-_To_B._R._Haydon
1.ww_-_To_Dora
1.ww_-_To_H._C.
1.ww_-_To_Joanna
1.ww_-_To_Lady_Beaumont
1.ww_-_To_Lady_Eleanor_Butler_and_the_Honourable_Miss_Ponsonby,
1.ww_-_To_Mary
1.ww_-_To_May
1.ww_-_To_M.H.
1.ww_-_To_My_Sister
1.ww_-_To--_On_Her_First_Ascent_To_The_Summit_Of_Helvellyn
1.ww_-_To_Sir_George_Howland_Beaumont,_Bart_From_the_South-West_Coast_Or_Cumberland_1811
1.ww_-_To_Sleep
1.ww_-_To_The_Cuckoo
1.ww_-_To_The_Daisy
1.ww_-_To_The_Daisy_(2)
1.ww_-_To_The_Daisy_(Fourth_Poem)
1.ww_-_To_The_Daisy_(Third_Poem)
1.ww_-_To_The_Memory_Of_Raisley_Calvert
1.ww_-_To_The_Men_Of_Kent
1.ww_-_To_The_Poet,_John_Dyer
1.ww_-_To_The_Same_Flower
1.ww_-_To_The_Same_Flower_(Second_Poem)
1.ww_-_To_The_Same_(John_Dyer)
1.ww_-_To_The_Small_Celandine
1.ww_-_To_The_Spade_Of_A_Friend_(An_Agriculturist)
1.ww_-_To_The_Supreme_Being_From_The_Italian_Of_Michael_Angelo
1.ww_-_To_Thomas_Clarkson
1.ww_-_To_Toussaint_LOuverture
1.ww_-_Translation_Of_Part_Of_The_First_Book_Of_The_Aeneid
1.ww_-_Tribute_To_The_Memory_Of_The_Same_Dog
1.ww_-_Troilus_And_Cresida
1.ww_-_Upon_Perusing_The_Forgoing_Epistle_Thirty_Years_After_Its_Composition
1.ww_-_Upon_The_Punishment_Of_Death
1.ww_-_Upon_The_Same_Event
1.ww_-_Upon_The_Sight_Of_A_Beautiful_Picture_Painted_By_Sir_G._H._Beaumont,_Bart
1.ww_-_Vaudracour_And_Julia
1.ww_-_Vernal_Ode
1.ww_-_View_From_The_Top_Of_Black_Comb
1.ww_-_Waldenses
1.ww_-_Water-Fowl_Observed_Frequently_Over_The_Lakes_Of_Rydal_And_Grasmere
1.ww_-_Weak_Is_The_Will_Of_Man,_His_Judgement_Blind
1.ww_-_We_Are_Seven
1.ww_-_When_I_Have_Borne_In_Memory
1.ww_-_When_To_The_Attractions_Of_The_Busy_World
1.ww_-_Where_Lies_The_Land_To_Which_Yon_Ship_Must_Go?
1.ww_-_Who_Fancied_What_A_Pretty_Sight
1.ww_-_With_How_Sad_Steps,_O_Moon,_Thou_Climb'st_the_Sky
1.ww_-_With_Ships_the_Sea_was_Sprinkled_Far_and_Nigh
1.ww_-_Written_In_A_Blank_Leaf_Of_Macpherson's_Ossian
1.ww_-_Written_In_Germany_On_One_Of_The_Coldest_Days_Of_The_Century
1.ww_-_Written_in_London._September,_1802
1.ww_-_Written_in_March
1.ww_-_Written_In_Very_Early_Youth
1.ww_-_Written_Upon_A_Blank_Leaf_In_The_Complete_Angler.
1.ww_-_Written_With_A_Pencil_Upon_A_Stone_In_The_Wall_Of_The_House,_On_The_Island_At_Grasmere
1.ww_-_Written_With_A_Slate_Pencil_On_A_Stone,_On_The_Side_Of_The_Mountain_Of_Black_Comb
1.ww_-_Yarrow_Revisited
1.ww_-_Yarrow_Unvisited
1.ww_-_Yarrow_Visited
1.ww_-_Yes,_It_Was_The_Mountain_Echo
1.ww_-_Yes!_Thou_Art_Fair,_Yet_Be_Not_Moved
1.ww_-_Yew-Trees
1.ww_-_Young_England--What_Is_Then_Become_Of_Old
1.yb_-_a_moment
1.yb_-_Clinging_to_the_bell
1.yb_-_In_a_bitter_wind
1.yb_-_Miles_of_frost
1.yb_-_Mountains_of_Yoshino
1.yb_-_On_these_southern_roads
1.yb_-_Short_nap
1.yb_-_spring_rain
1.yb_-_The_late_evening_crow
1.yb_-_This_cold_winter_night
1.yb_-_white_lotus
1.yb_-_winter_moon
1.yby_-_In_Praise_of_God_(from_Avoda)
1.ym_-_Climbing_the_Mountain
1.ym_-_Gone_Again_to_Gaze_on_the_Cascade
1.ymi_-_at_the_end_of_the_smoke
1.ymi_-_Swallowing
1.ym_-_Just_Done
1.ym_-_Mad_Words
1.ym_-_Motto
1.ym_-_Nearing_Hao-pa
1.ym_-_Pu-to_Temple
1.ym_-_Wrapped,_surrounded_by_ten_thousand_mountains
1.yni_-_Hymn_from_the_Heavens
1.yni_-_The_Celestial_Fire
1.yt_-_Now_until_the_dualistic_identity_mind_melts_and_dissolves
1.yt_-_The_Supreme_Being_is_the_Dakini_Queen_of_the_Lake_of_Awareness!
1.yt_-_This_self-sufficient_black_lady_has_shaken_things_up
2.01_-_Proem
2.01_-_THE_CHILD_WITH_THE_MIRROR
2.02_-_Atomic_Motions
2.02_-_UPON_THE_BLESSED_ISLES
2.03_-_Atomic_Forms_And_Their_Combinations
2.03_-_ON_THE_PITYING
2.04_-_Absence_Of_Secondary_Qualities
2.04_-_ON_PRIESTS
2.05_-_Infinite_Worlds
2.05_-_ON_THE_VIRTUOUS
2.06_-_ON_THE_RABBLE
2.07_-_ON_THE_TARANTULAS
2.08_-_ON_THE_FAMOUS_WISE_MEN
2.09_-_THE_NIGHT_SONG
2.1.02_-_Love_and_Death
2.10_-_THE_DANCING_SONG
2.11_-_THE_TOMB_SONG
2.12_-_ON_SELF-OVERCOMING
2.13_-_ON_THOSE_WHO_ARE_SUBLIME
2.14_-_ON_THE_LAND_OF_EDUCATION
2.15_-_ON_IMMACULATE_PERCEPTION
2.16_-_ON_SCHOLARS
2.17_-_ON_POETS
2.18_-_ON_GREAT_EVENTS
2.19_-_THE_SOOTHSAYER
2.20_-_ON_REDEMPTION
2.21_-_ON_HUMAN_PRUDENCE
2.22_-_THE_STILLEST_HOUR
2.3.08_-_I_have_a_hundred_lives
3.01_-_Proem
3.01_-_THE_WANDERER
3.02_-_Nature_And_Composition_Of_The_Mind
3.02_-_ON_THE_VISION_AND_THE_RIDDLE
3.03_-_ON_INVOLUNTARY_BLISS
3.03_-_The_Soul_Is_Mortal
3.04_-_BEFORE_SUNRISE
3.04_-_Folly_Of_The_Fear_Of_Death
3.05_-_Cerberus_And_Furies,_And_That_Lack_Of_Light
3.05_-_ON_VIRTUE_THAT_MAKES_SMALL
3.06_-_UPON_THE_MOUNT_OF_OLIVES
3.07_-_ON_PASSING_BY
3.08_-_ON_APOSTATES
3.09_-_THE_RETURN_HOME
3.1.01_-_Invitation
3.1.02_-_Who
3.1.03_-_Miracles
3.1.04_-_Reminiscence
3.1.05_-_A_Vision_of_Science
3.1.06_-_Immortal_Love
3.1.07_-_A_Tree
3.1.08_-_To_the_Sea
3.1.09_-_Revelation
3.10_-_ON_THE_THREE_EVILS
3.1.10_-_Karma
3.1.11_-_Appeal
3.1.12_-_A_Child.s_Imagination
3.1.13_-_The_Sea_at_Night
3.1.14_-_Vedantin.s_Prayer
3.1.15_-_Rebirth
3.1.16_-_The_Triumph-Song_of_Trishuncou
3.1.17_-_Life_and_Death
3.1.18_-_Evening
3.1.19_-_Parabrahman
3.11_-_ON_THE_SPIRIT_OF_GRAVITY
3.1.20_-_God
3.1.23_-_The_Rishi
3.1.24_-_In_the_Moonlight
3.12_-_ON_OLD_AND_NEW_TABLETS
3.13_-_THE_CONVALESCENT
3.14_-_ON_THE_GREAT_LONGING
3.15_-_THE_OTHER_DANCING_SONG
3.16_-_THE_SEVEN_SEALS_OR_THE_YES_AND_AMEN_SONG
3.2.03_-_To_the_Ganges
3.2.04_-_Suddenly_out_from_the_wonderful_East
4.01_-_Proem
4.01_-_THE_HONEY_SACRIFICE
4.02_-_Existence_And_Character_Of_The_Images
4.02_-_THE_CRY_OF_DISTRESS
4.03_-_CONVERSATION_WITH_THE_KINGS
4.03_-_The_Senses_And_Mental_Pictures
4.04_-_Some_Vital_Functions
4.04_-_THE_LEECH
4.05_-_THE_MAGICIAN
4.05_-_The_Passion_Of_Love
4.06_-_RETIRED
4.07_-_THE_UGLIEST_MAN
4.08_-_THE_VOLUNTARY_BEGGAR
4.09_-_THE_SHADOW
4.10_-_AT_NOON
4.11_-_THE_WELCOME
4.12_-_THE_LAST_SUPPER
4.13_-_ON_THE_HIGHER_MAN
4.14_-_THE_SONG_OF_MELANCHOLY
4.15_-_ON_SCIENCE
4.16_-_AMONG_DAUGHTERS_OF_THE_WILDERNESS
4.17_-_THE_AWAKENING
4.18_-_THE_ASS_FESTIVAL
4.19_-_THE_DRUNKEN_SONG
4.2.01_-_The_Mother_of_Dreams
4.2.02_-_An_Image
4.2.03_-_The_Birth_of_Sin
4.2.04_-_Epiphany
4.20_-_THE_SIGN
5.01_-_Proem
5.02_-_Against_Teleological_Concept
5.03_-_The_World_Is_Not_Eternal
5.04_-_Formation_Of_The_World
5.05_-_Origins_Of_Vegetable_And_Animal_Life
5.06_-_Origins_And_Savage_Period_Of_Mankind
5.07_-_Beginnings_Of_Civilization
5.1.01.1_-_The_Book_of_the_Herald
5.1.01.2_-_The_Book_of_the_Statesman
5.1.01.3_-_The_Book_of_the_Assembly
5.1.01.4_-_The_Book_of_Partings
5.1.01.5_-_The_Book_of_Achilles
5.1.01.6_-_The_Book_of_the_Chieftains
5.1.01.7_-_The_Book_of_the_Woman
5.1.01.8_-_The_Book_of_the_Gods
5.1.01.9_-_Book_IX
5.1.01_-_Ilion
5.1.02_-_Ahana
5.2.01_-_The_Descent_of_Ahana
5.2.02_-_The_Meditations_of_Mandavya
6.01_-_Proem
6.02_-_Great_Meteorological_Phenomena,_Etc
6.03_-_Extraordinary_And_Paradoxical_Telluric_Phenomena
6.04_-_The_Plague_Athens
6.1.07_-_Life
6.1.08_-_One_Day
7.2.03_-_The_Other_Earths
7.2.04_-_Thought_the_Paraclete
7.2.05_-_Moon_of_Two_Hemispheres
7.2.06_-_Rose_of_God
7.3.10_-_The_Lost_Boat
7.3.13_-_Ascent
7.3.14_-_The_Tiger_and_the_Deer
7.4.01_-_Man_the_Enigma
7.4.02_-_The_Infinitismal_Infinite
7.4.03_-_The_Cosmic_Dance
7.5.20_-_The_Hidden_Plan
7.5.21_-_The_Pilgrim_of_the_Night
7.5.26_-_The_Golden_Light
7.5.27_-_The_Infinite_Adventure
7.5.28_-_The_Greater_Plan
7.5.29_-_The_Universal_Incarnation
7.5.30_-_The_Godhead
7.5.31_-_The_Stone_Goddess
7.5.32_-_Krishna
7.5.33_-_Shiva
7.5.37_-_Lila
7.5.51_-_Light
7.5.52_-_The_Unseen_Infinite
7.5.56_-_Omnipresence
7.5.59_-_The_Hill-top_Temple
7.5.60_-_Divine_Hearing
7.5.61_-_Because_Thou_Art
7.5.62_-_Divine_Sight
7.5.63_-_Divine_Sense
7.5.64_-_The_Iron_Dictators
7.5.65_-_Form
7.5.66_-_Immortality
7.5.69_-_The_Inner_Fields
7.6.01_-_Symbol_Moon
7.6.02_-_The_World_Game
7.6.03_-_Who_art_thou_that_camest
7.6.04_-_One
7.6.09_-_Despair_on_the_Staircase
7.6.12_-_The_Mother_of_God
7.6.13_-_The_End?
7.9.20_-_Soul,_my_soul
A_God's_Labour
Medea_-_A_Vergillian_Cento
Ultima_Thule_-_Dedication_to_G._W._G.

IN CHAPTERS TEXT
00.00_-_Publishers_Note
00.01_-_The_Mother_on_Savitri
0.00_-_INTRODUCTION
0.00_-_The_Book_of_Lies_Text
0.05_-_Letters_to_a_Child
01.02_-_Sri_Aurobindo_-_Ahana_and_Other_Poems
01.03_-_Mystic_Poetry
01.04_-_The_Intuition_of_the_Age
01.04_-_The_Poetry_in_the_Making
01.05_-_Rabindranath_Tagore:_A_Great_Poet,_a_Great_Man
01.12_-_Goethe
01.13_-_T._S._Eliot:_Four_Quartets
0.11_-_Letters_to_a_Sadhak
0_1960-08-10_-_questions_from_center_of_Education_-_reading_Sri_Aurobindo
0_1960-10-02b
0_1960-11-08
0_1961-07-04
0_1961-09-23
0_1961-11-12
0_1962-07-21
0_1962-09-18
0_1962-10-12
0_1963-01-30
0_1963-03-13
0_1964-01-08
0_1964-04-19
0_1965-12-28
0_1966-02-23
0_1966-03-04
0_1966-06-15
0_1970-09-12
02.01_-_The_World-Stair
02.01_-_The_World_War
02.03_-_The_Shakespearean_Word
02.04_-_The_Kingdoms_of_the_Little_Life
02.05_-_The_Godheads_of_the_Little_Life
02.06_-_Boris_Pasternak
02.07_-_George_Seftris
02.08_-_Jules_Supervielle
02.09_-_Two_Mystic_Poems_in_Modern_French
02.11_-_Hymn_to_Darkness
02.12_-_Mysticism_in_Bengali_Poetry
02.13_-_Rabindranath_and_Sri_Aurobindo
02.14_-_Appendix
03.08_-_The_Standpoint_of_Indian_Art
03.09_-_Art_and_Katharsis
03.10_-_Hamlet:_A_Crisis_of_the_Evolving_Soul
03.11_-_Modernist_Poetry
03.12_-_TagorePoet_and_Seer
04.07_-_Matter_Aspires
05.04_-_Of_Beauty_and_Ananda
07.04_-_The_Triple_Soul-Forces
07.43_-_Music_Its_Origin_and_Nature
08.13_-_Thought_and_Imagination
08.14_-_Poetry_and_Poetic_Inspiration
08.15_-_Divine_Living
09.13_-_On_Teachers_and_Teaching
10.04_-_Lord_of_Time
1.00_-_PRELUDE_AT_THE_THEATRE
1.00_-_PROLOGUE_IN_HEAVEN
10.15_-_The_Evolution_of_Language
1.01_-_An_Accomplished_Westerner
1.01_-_BOOK_THE_FIRST
1.01_-_Economy
1.01_-_Foreward
1.01_-_'Imitation'_the_common_principle_of_the_Arts_of_Poetry.
1.01_-_NIGHT
1.01_-_ON_THE_THREE_METAMORPHOSES
1.01_-_Proem
1.01_-_The_Cycle_of_Society
1.01_-_The_Rape_of_the_Lock
10.23_-_Prayers_and_Meditations_of_the_Mother
1.02_-_BEFORE_THE_CITY-GATE
1.02_-_BOOK_THE_SECOND
1.02_-_MAPS_OF_MEANING_-_THREE_LEVELS_OF_ANALYSIS
1.02_-_ON_THE_TEACHERS_OF_VIRTUE
1.02_-_Substance_Is_Eternal
1.02_-_The_Development_of_Sri_Aurobindos_Thought
1.02_-_The_Great_Process
1.02_-_The_Stages_of_Initiation
1.02_-_The_Three_European_Worlds
1.02_-_Where_I_Lived,_and_What_I_Lived_For
1.036_-_Ya-Seen
10.37_-_The_Golden_Bridge
1.03_-_BOOK_THE_THIRD
1.03_-_ON_THE_AFTERWORLDLY
1.03_-_PERSONALITY,_SANCTITY,_DIVINE_INCARNATION
1.03_-_Preparing_for_the_Miraculous
1.03_-_Reading
1.03_-_The_House_Of_The_Lord
1.03_-_THE_STUDY_(The_Exorcism)
1.03_-_The_Void
1.03_-_VISIT_TO_VIDYASAGAR
1.04_-_BOOK_THE_FOURTH
1.04_-_GOD_IN_THE_WORLD
1.04_-_Nothing_Exists_Per_Se_Except_Atoms_And_The_Void
1.04_-_ON_THE_DESPISERS_OF_THE_BODY
1.04_-_Sounds
1.04_-_THE_APPEARANCE_OF_ANOMALY_-_CHALLENGE_TO_THE_SHARED_MAP
1.04_-_The_Gods_of_the_Veda
1.04_-_The_Origin_and_Development_of_Poetry.
1.04_-_The_Paths
1.04_-_THE_STUDY_(The_Compact)
1.04_-_Vital_Education
1.05_-_AUERBACHS_CELLAR
1.05_-_BOOK_THE_FIFTH
1.05_-_Character_Of_The_Atoms
1.05_-_CHARITY
1.05_-_Definition_of_the_Ludicrous,_and_a_brief_sketch_of_the_rise_of_Comedy.
1.05_-_ON_ENJOYING_AND_SUFFERING_THE_PASSIONS
1.05_-_Ritam
1.05_-_The_Universe__The_0_=_2_Equation
1.06_-_BOOK_THE_SIXTH
1.06_-_Confutation_Of_Other_Philosophers
1.06_-_Definition_of_Tragedy.
1.06_-_Dhyana
1.06_-_Dhyana_and_Samadhi
1.06_-_ON_THE_PALE_CRIMINAL
1.06_-_The_Ascent_of_the_Sacrifice_2_The_Works_of_Love_-_The_Works_of_Life
1.06_-_WITCHES_KITCHEN
1.07_-_A_STREET
1.07_-_BOOK_THE_SEVENTH
1.07_-_ON_READING_AND_WRITING
1.07_-_Savitri
1.07_-_The_Farther_Reaches_of_Human_Nature
1.07_-_The_Infinity_Of_The_Universe
1.08_-_Attendants
1.08_-_BOOK_THE_EIGHTH
1.08_-_Civilisation_and_Barbarism
1.08_-_EVENING_A_SMALL,_NEATLY_KEPT_CHAMBER
1.08_-_ON_THE_TREE_ON_THE_MOUNTAINSIDE
1.08_-_Sri_Aurobindos_Descent_into_Death
1.08_-_The_Depths_of_the_Divine
1.08_-_The_Gods_of_the_Veda_-_The_Secret_of_the_Veda
1.09_-_A_System_of_Vedic_Psychology
1.09_-_BOOK_THE_NINTH
1.09_-_Civilisation_and_Culture
1.09_-_ON_THE_PREACHERS_OF_DEATH
1.09_-_(Plot_continued.)_Dramatic_Unity.
1.09_-_PROMENADE
1.09_-_Saraswati_and_Her_Consorts
1.09_-_SKIRMISHES_IN_A_WAY_WITH_THE_AGE
1.09_-_Sri_Aurobindo_and_the_Big_Bang
1.1.01_-_Seeking_the_Divine
1.10_-_Aesthetic_and_Ethical_Culture
1.10_-_BOOK_THE_TENTH
1.10_-_Laughter_Of_The_Gods
1.10_-_ON_WAR_AND_WARRIORS
1.10_-_The_Image_of_the_Oceans_and_the_Rivers
1.10_-_THE_NEIGHBORS_HOUSE
1.10_-_The_Revolutionary_Yogi
1.10_-_The_Scolex_School
1.10_-_The_Secret_of_the_Veda
1.10_-_THINGS_I_OWE_TO_THE_ANCIENTS
1.1.1.01_-_Three_Elements_of_Poetic_Creation
1.1.1.02_-_Creation_by_the_Word
1.1.1.03_-_Creative_Power_and_the_Human_Instrument
1.1.1.04_-_Joy_of_Poetic_Creation
1.1.1.05_-_Essence_of_Inspiration
1.1.1.06_-_Inspiration_and_Effort
1.1.1.07_-_Aspiration,_Opening,_Recognition
1.1.1.08_-_Self-criticism
1.1.1.09_-_Correction_by_Second_Inspiration
1.11_-_A_STREET
1.11_-_BOOK_THE_ELEVENTH
1.11_-_Correspondence_and_Interviews
1.11_-_Higher_Laws
1.11_-_ON_THE_NEW_IDOL
1.1.2.01_-_Sources_of_Inspiration_and_Variety
1.1.2.02_-_Poetry_of_the_Material_or_Physical_Consciousness
1.12_-_BOOK_THE_TWELFTH
1.12_-_Delight_of_Existence_-_The_Solution
1.12_-_GARDEN
1.12_-_God_Departs
1.12_-_ON_THE_FLIES_OF_THE_MARKETPLACE
1.12_-_The_Sacred_Marriage
1.12_-_The_Superconscient
1.13_-_A_GARDEN-ARBOR
1.13_-_BOOK_THE_THIRTEENTH
1.1.3_-_Mental_Difficulties_and_the_Need_of_Quietude
1.13_-_ON_CHASTITY
1.13_-_SALVATION,_DELIVERANCE,_ENLIGHTENMENT
1.13_-_Under_the_Auspices_of_the_Gods
1.14_-_BOOK_THE_FOURTEENTH
1.14_-_FOREST_AND_CAVERN
1.14_-_ON_THE_FRIEND
1.14_-_(Plot_continued.)_The_tragic_emotions_of_pity_and_fear_should_spring_out_of_the_Plot_itself.
1.14_-_The_Suprarational_Beauty
1.15_-_Index
1.15_-_MARGARETS_ROOM
1.15_-_ON_THE_THOUSAND_AND_ONE_GOALS
1.15_-_The_element_of_Character_in_Tragedy.
1.15_-_The_Suprarational_Good
1.1.5_-_Thought_and_Knowledge
1.16_-_Man,_A_Transitional_Being
1.16_-_MARTHAS_GARDEN
1.16_-_On_Concentration
1.16_-_ON_LOVE_OF_THE_NEIGHBOUR
1.16_-_The_Suprarational_Ultimate_of_Life
1.17_-_AT_THE_FOUNTAIN
1.17_-_DOES_MANKIND_MOVE_BIOLOGICALLY_UPON_ITSELF?
1.17_-_ON_THE_WAY_OF_THE_CREATOR
1.17_-_Practical_rules_for_the_Tragic_Poet.
1.17_-_The_Divine_Birth_and_Divine_Works
1.17_-_The_Transformation
1.18_-_DONJON
1.18_-_ON_LITTLE_OLD_AND_YOUNG_WOMEN
1.18_-_The_Perils_of_the_Soul
1.19_-_NIGHT
1.19_-_ON_THE_ADDERS_BITE
1.19_-_Thought,_or_the_Intellectual_element,_and_Diction_in_Tragedy.
1.201_-_Socrates
12.06_-_The_Hero_and_the_Nymph
1.20_-_CATHEDRAL
1.20_-_ON_CHILD_AND_MARRIAGE
1.20_-_The_Hound_of_Heaven
1.2.1.03_-_Psychic_and_Esoteric_Poetry
1.2.1.04_-_Mystic_Poetry
1.2.1.06_-_Symbolism_and_Allegory
1.2.1.11_-_Mystic_Poetry_and_Spiritual_Poetry
1.2.1.12_-_Spiritual_Poetry
1.2.11_-_Patience_and_Perseverance
1.2.1_-_Mental_Development_and_Sadhana
1.21_-_ON_FREE_DEATH
1.21_-_WALPURGIS-NIGHT
1.2.2.01_-_The_Poet,_the_Yogi_and_the_Rishi
1.2.2.06_-_Genius
1.22_-_OBERON_AND_TITANIA's_GOLDEN_WEDDING
1.22_-_ON_THE_GIFT-GIVING_VIRTUE
1.22_-_(Poetic_Diction_continued.)_How_Poetry_combines_elevation_of_language_with_perspicuity.
1.23_-_Conditions_for_the_Coming_of_a_Spiritual_Age
1.23_-_DREARY_DAY
1.23_-_Epic_Poetry.
1.2.3_-_The_Power_of_Expression_and_Yoga
1.240_-_1.300_Talks
1.240_-_Talks_2
1.24_-_(Epic_Poetry_continued.)_Further_points_of_agreement_with_Tragedy.
1.24_-_NIGHT
1.24_-_PUNDIT_SHASHADHAR
1.25_-_Critical_Objections_brought_against_Poetry,_and_the_principles_on_which_they_are_to_be_answered.
1.25_-_DUNGEON
1.27_-_CONTEMPLATION,_ACTION_AND_SOCIAL_UTILITY
1.3.03_-_Quiet_and_Calm
1.4.01_-_The_Divine_Grace_and_Guidance
1.4.2.02_-_The_English_Bible
1.44_-_Serious_Style_of_A.C.,_or_the_Apparent_Frivolity_of_Some_of_my_Remarks
15.06_-_Words,_Words,_Words...
1.68_-_The_Golden_Bough
1.69_-_Original_Sin
1.72_-_Education
1953-05-27
1954-10-20_-_Stand_back_-_Asking_questions_to_Mother_-_Seeing_images_in_meditation_-_Berlioz_-Music_-_Mothers_organ_music_-_Destiny
1956-05-30_-_Forms_as_symbols_of_the_Force_behind_-_Art_as_expression_of_contact_with_the_Divine_-_Supramental_psychological_perfection_-_Division_of_works_-_The_Ashram,_idle_stupidities
1956-08-29_-_To_live_spontaneously_-_Mental_formations_Absolute_sincerity_-_Balance_is_indispensable,_the_middle_path_-_When_in_difficulty,_widen_the_consciousness_-_Easiest_way_of_forgetting_oneself
1956-09-05_-_Material_life,_seeing_in_the_right_way_-_Effect_of_the_Supermind_on_the_earth_-_Emergence_of_the_Supermind_-_Falling_back_into_the_same_mistaken_ways
1956-11-14_-_Conquering_the_desire_to_appear_good_-_Self-control_and_control_of_the_life_around_-_Power_of_mastery_-_Be_a_great_yogi_to_be_a_good_teacher_-_Organisation_of_the_Ashram_school_-_Elementary_discipline_of_regularity
1957-04-24_-_Perfection,_lower_and_higher
1965_12_26?
1.ac_-_A_Birthday
1.ac_-_Adela
1.ac_-_An_Oath
1.ac_-_At_Sea
1.ac_-_Au_Bal
1.ac_-_Colophon
1.ac_-_Happy_Dust
1.ac_-_Independence
1.ac_-_Leah_Sublime
1.ac_-_Logos
1.ac_-_Lyric_of_Love_to_Leah
1.ac_-_On_-_On_-_Poet
1.ac_-_Optimist
1.ac_-_Power
1.ac_-_Prologue_to_Rodin_in_Rime
1.ac_-_The_Atheist
1.ac_-_The_Buddhist
1.ac_-_The_Disciples
1.ac_-_The_Five_Adorations
1.ac_-_The_Four_Winds
1.ac_-_The_Garden_of_Janus
1.ac_-_The_Hawk_and_the_Babe
1.ac_-_The_Hermit
1.ac_-_The_Interpreter
1.ac_-_The_Ladder
1.ac_-_The_Mantra-Yoga
1.ac_-_The_Neophyte
1.ac_-_The_Pentagram
1.ac_-_The_Priestess_of_Panormita
1.ac_-_The_Quest
1.ac_-_The_Rose_and_the_Cross
1.ac_-_The_Tent
1.ac_-_The_Titanic
1.ac_-_The_Twins
1.ac_-_The_Wizard_Way
1.ac_-_Ut
1.ad_-_O_Christ,_protect_me!
1.ala_-_I_had_supposed_that,_having_passed_away
1.ami_-_Bright_are_Thy_tresses,_brighten_them_even_more_(from_Baal-i-Jibreel)
1.ami_-_O_Cup-bearer!_Give_me_again_that_wine_of_love_for_Thee_(from_Baal-i-Jibreel)
1.ami_-_O_wave!_Plunge_headlong_into_the_dark_seas_(from_Baal-i-Jibreel)
1.ami_-_Selfhood_can_demolish_the_magic_of_this_world_(from_Baal-i-Jibreel)
1.ami_-_The_secret_divine_my_ecstasy_has_taught_(from_Baal-i-Jibreel)
1.ami_-_To_the_Saqi_(from_Baal-i-Jibreel)
1.anon_-_A_drum_beats
1.anon_-_But_little_better
1.anon_-_Eightfold_Fence.
1.anon_-_Enuma_Elish_(When_on_high)
1.anon_-_If_this_were_a_world
1.anon_-_Less_profitable
1.anon_-_My_body,_in_its_withering
1.anon_-_Others_have_told_me
1.anon_-_Plucking_the_Rushes
1.anon_-_Song_of_Creation
1.anon_-_The_Epic_of_Gilgamesh_Tablet_II
1.anon_-_The_Epic_of_Gilgamesh_Tablet_III
1.anon_-_The_Epic_of_Gilgamesh_Tablet_IV
1.anon_-_The_Epic_of_Gilgamesh_TabletIX
1.anon_-_The_Epic_of_Gilgamesh_Tablet_VII
1.anon_-_The_Epic_of_Gilgamesh_Tablet_VIII
1.anon_-_The_Epic_of_Gilgamesh_Tablet_X
1.anon_-_The_Epic_of_Gilgamesh_Tablet_XI_The_Story_of_the_Flood
1.anon_-_The_Poem_of_Antar
1.anon_-_The_Poem_of_Imru-Ul-Quais
1.anon_-_The_Seven_Evil_Spirits
1.anon_-_The_Song_of_Songs
1.ap_-_The_Universal_Prayer
1.asak_-_A_pious_one_with_a_hundred_beads_on_your_rosary
1.asak_-_Beg_for_Love
1.asak_-_Detached_You_are,_even_from_your_being
1.asak_-_If_you_do_not_give_up_the_crowds
1.asak_-_If_you_keep_seeking_the_jewel_of_understanding
1.asak_-_In_my_heart_Thou_dwellest--else_with_blood_Ill_drench_it
1.asak_-_In_the_school_of_mind_you
1.asak_-_Love_came
1.asak_-_Love_came_and_emptied_me_of_self
1.asak_-_Mansoor,_that_whale_of_the_Oceans_of_Love
1.asak_-_My_Beloved-_dont_be_heartless_with_me
1.asak_-_My_Beloved-_this_torture_and_pain
1.asak_-_Nothing_but_burning_sobs_and_tears_tonight
1.asak_-_On_Unitys_Way
1.asak_-_Piousness_and_the_path_of_love
1.asak_-_Rise_early_at_dawn,_when_our_storytelling_begins
1.asak_-_Sorrow_looted_this_heart
1.asak_-_The_day_Love_was_illumined
1.asak_-_The_sum_total_of_our_life_is_a_breath
1.asak_-_This_is_My_Face,_said_the_Beloved
1.asak_-_Though_burning_has_become_an_old_habit_for_this_heart
1.asak_-_Whatever_road_we_take_to_You,_Joy
1.asak_-_When_the_desire_for_the_Friend_became_real
1.at_-_And_Galahad_fled_along_them_bridge_by_bridge_(from_The_Holy_Grail)
1.at_-_Crossing_the_Bar
1.at_-_Flower_in_the_crannied_wall
1.at_-_If_thou_wouldst_hear_the_Nameless_(from_The_Ancient_Sage)
1.at_-_St._Agnes_Eve
1.at_-_The_Higher_Pantheism
1.at_-_The_Human_Cry
1.bd_-_A_deluded_Mind
1.bd_-_Endless_Ages
1.bd_-_The_Greatest_Gift
1.bd_-_You_may_enter
1.bni_-_Raga_Ramkali
1.bs_-_Bulleh_has_no_identity
1.bs_-_Bulleh!_to_me,_I_am_not_known
1.bs_-_Chanting,_chanting_the_Beloveds_name
1.bsf_-_Do_not_speak_a_hurtful_word
1.bsf_-_Fathom_the_ocean
1.bsf_-_For_evil_give_good
1.bsf_-_His_grace_may_fall_upon_us_at_anytime
1.bsf_-_I_thought_I_was_alone_who_suffered
1.bsf_-_Like_a_deep_sea
1.bsf_-_On_the_bank_of_a_pool_in_the_moor
1.bsf_-_Raga_Asa
1.bsf_-_The_lanes_are_muddy_and_far_is_the_house
1.bsf_-_Turn_cheek
1.bsf_-_Wear_whatever_clothes_you_must
1.bsf_-_Why_do_you_roam_the_jungles?
1.bsf_-_You_are_my_protection_O_Lord
1.bsf_-_You_must_fathom_the_ocean
1.bs_-_He_Who_is_Stricken_by_Love
1.bs_-_If_the_divine_is_found_through_ablutions
1.bs_-_I_have_been_pierced_by_the_arrow_of_love,_what_shall_I_do?
1.bs_-_I_have_got_lost_in_the_city_of_love
1.bs_-_Look_into_Yourself
1.bs_-_Love_Springs_Eternal
1.bs_-_One_Point_Contains_All
1.bs_-_One_Thread_Only
1.bs_-_Remove_duality_and_do_away_with_all_disputes
1.bs_-_Seek_the_spirit,_forget_the_form
1.bs_-_The_moment_I_bowed_down
1.bs_-_The_preacher_and_the_torch_bearer
1.bs_-_The_soil_is_in_ferment,_O_friend
1.bs_-_this_love_--_O_Bulleh_--_tormenting,_unique
1.bsv_-_Dont_make_me_hear_all_day
1.bsv_-_Make_of_my_body_the_beam_of_a_lute
1.bsv_-_The_eating_bowl_is_not_one_bronze
1.bsv_-_The_pot_is_a_God
1.bsv_-_The_Temple_and_the_Body
1.bsv_-_The_waters_of_joy
1.bsv_-_Where_they_feed_the_fire
1.bs_-_What_a_carefree_game_He_plays!
1.bs_-_You_alone_exist-_I_do_not,_O_Beloved!
1.bs_-_Your_love_has_made_me_dance_all_over
1.bs_-_Your_passion_stirs_me
1.bts_-_Invocation
1.bts_-_Love_is_Lord_of_All
1.bts_-_The_Bent_of_Nature
1.bts_-_The_Mists_Dispelled
1.bts_-_The_Souls_Flight
1.bv_-_When_I_see_the_lark_beating
1.cj_-_Inscribed_on_the_Wall_of_the_Hut_by_the_Lake
1.cj_-_To_Be_Shown_to_the_Monks_at_a_Certain_Temple
1.cllg_-_A_Dance_of_Unwavering_Devotion
1.cs_-_Consumed_in_Grace
1.cs_-_We_were_enclosed_(from_Prayer_20)
1.ct_-_Creation_and_Destruction
1.ct_-_Distinguishing_Ego_from_Self
1.ct_-_Goods_and_Possessions
1.ct_-_Letting_go_of_thoughts
1.ct_-_One_Legged_Man
1.ct_-_Surrendering
1.da_-_All_Being_within_this_order,_by_the_laws_(from_The_Paradiso,_Canto_I)
1.da_-_And_as_a_ray_descending_from_the_sky_(from_The_Paradiso,_Canto_I)
1.da_-_Lead_us_up_beyond_light
1.da_-_The_glory_of_Him_who_moves_all_things_rays_forth_(from_The_Paradiso,_Canto_I)
1.da_-_The_love_of_God,_unutterable_and_perfect
1.dd_-_As_many_as_are_the_waves_of_the_sea
1.dd_-_So_priceless_is_the_birth,_O_brother
1.dd_-_The_Creator_Plays_His_Cosmic_Instrument_In_Perfect_Harmony
1.dz_-_A_Zen_monk_asked_for_a_verse_-
1.dz_-_Ching-chings_raindrop_sound
1.dz_-_Coming_or_Going
1.dz_-_Enlightenment_is_like_the_moon
1.dz_-_Impermanence
1.dz_-_In_the_stream
1.dz_-_I_wont_even_stop
1.dz_-_Joyful_in_this_mountain_retreat
1.dz_-_Like_tangled_hair
1.dz_-_One_of_fifteen_verses_on_Dogens_mountain_retreat
1.dz_-_One_of_six_verses_composed_in_Anyoin_Temple_in_Fukakusa,_1230
1.dz_-_On_Non-Dependence_of_Mind
1.dz_-_The_track_of_the_swan_through_the_sky
1.dz_-_The_Western_Patriarchs_doctrine_is_transplanted!
1.dz_-_The_whirlwind_of_birth_and_death
1.dz_-_Treading_along_in_this_dreamlike,_illusory_realm
1.dz_-_True_person_manifest_throughout_the_ten_quarters_of_the_world
1.dz_-_Viewing_Peach_Blossoms_and_Realizing_the_Way
1.dz_-_Wonderous_nirvana-mind
1.dz_-_Worship
1.dz_-_Zazen
1.ey_-_Socrates
1.fcn_-_a_dandelion
1.fcn_-_Airing_out_kimonos
1.fcn_-_cool_clear_water
1.fcn_-_From_the_mind
1.fcn_-_hands_drop
1.fcn_-_loneliness
1.fcn_-_on_the_road
1.fcn_-_skylark_in_the_heavens
1.fcn_-_spring_rain
1.fcn_-_To_the_one_breaking_it
1.fcn_-_whatever_I_pick_up
1.fcn_-_without_a_voice
1f.lovecraft_-_A_Reminiscence_of_Dr._Samuel_Johnson
1f.lovecraft_-_At_the_Mountains_of_Madness
1f.lovecraft_-_Deaf,_Dumb,_and_Blind
1f.lovecraft_-_He
1f.lovecraft_-_In_the_Walls_of_Eryx
1f.lovecraft_-_Medusas_Coil
1f.lovecraft_-_Old_Bugs
1f.lovecraft_-_Poetry_and_the_Gods
1f.lovecraft_-_The_Call_of_Cthulhu
1f.lovecraft_-_The_Descendant
1f.lovecraft_-_The_Little_Glass_Bottle
1f.lovecraft_-_The_Secret_Cave
1f.lovecraft_-_Till_A_the_Seas
1.fs_-_A_Funeral_Fantasie
1.fs_-_Amalia
1.fs_-_A_Peculiar_Ideal
1.fs_-_A_Problem
1.fs_-_Archimedes
1.fs_-_Astronomical_Writings
1.fs_-_Beauteous_Individuality
1.fs_-_Breadth_And_Depth
1.fs_-_Carthage
1.fs_-_Cassandra
1.fs_-_Columbus
1.fs_-_Count_Eberhard,_The_Groaner_Of_Wurtembert._A_War_Song
1.fs_-_Dangerous_Consequences
1.fs_-_Difference_Of_Station
1.fs_-_Different_Destinies
1.fs_-_Dithyramb
1.fs_-_Elegy_On_The_Death_Of_A_Young_Man
1.fs_-_Elysium
1.fs_-_Evening
1.fs_-_Fame_And_Duty
1.fs_-_Fantasie_--_To_Laura
1.fs_-_Feast_Of_Victory
1.fs_-_Female_Judgment
1.fs_-_Fortune_And_Wisdom
1.fs_-_Fridolin_(The_Walk_To_The_Iron_Factory)
1.fs_-_Friend_And_Foe
1.fs_-_Friendship
1.fs_-_Geniality
1.fs_-_Genius
1.fs_-_German_Faith
1.fs_-_Germany_And_Her_Princes
1.fs_-_Greekism
1.fs_-_Group_From_Tartarus
1.fs_-_Hero_And_Leander
1.fs_-_Honors
1.fs_-_Honor_To_Woman
1.fs_-_Hope
1.fs_-_Human_Knowledge
1.fs_-_Hymn_To_Joy
1.fs_-_Inside_And_Outside
1.fs_-_Jove_To_Hercules
1.fs_-_Light_And_Warmth
1.fs_-_Longing
1.fs_-_Love_And_Desire
1.fs_-_Majestas_Populi
1.fs_-_Melancholy_--_To_Laura
1.fs_-_My_Antipathy
1.fs_-_My_Faith
1.fs_-_Nadowessian_Death-Lament
1.fs_-_Naenia
1.fs_-_Ode_an_die_Freude
1.fs_-_Ode_To_Joy
1.fs_-_Ode_To_Joy_-_With_Translation
1.fs_-_Odysseus
1.fs_-_Parables_And_Riddles
1.fs_-_Participation
1.fs_-_Political_Precept
1.fs_-_Pompeii_And_Herculaneum
1.fs_-_Punch_Song
1.fs_-_Punch_Song_(To_be_sung_in_the_Northern_Countries)
1.fs_-_Rapture_--_To_Laura
1.fs_-_Resignation
1.fs_-_Rousseau
1.fs_-_Shakespeare's_Ghost_-_A_Parody
1.fs_-_The_Agreement
1.fs_-_The_Alpine_Hunter
1.fs_-_The_Animating_Principle
1.fs_-_The_Antiques_At_Paris
1.fs_-_The_Antique_To_The_Northern_Wanderer
1.fs_-_The_Artists
1.fs_-_The_Assignation
1.fs_-_The_Bards_Of_Olden_Time
1.fs_-_The_Battle
1.fs_-_The_Best_State
1.fs_-_The_Best_State_Constitution
1.fs_-_The_Celebrated_Woman_-_An_Epistle_By_A_Married_Man
1.fs_-_The_Circle_Of_Nature
1.fs_-_The_Complaint_Of_Ceres
1.fs_-_The_Conflict
1.fs_-_The_Count_Of_Hapsburg
1.fs_-_The_Cranes_Of_Ibycus
1.fs_-_The_Dance
1.fs_-_The_Difficult_Union
1.fs_-_The_Division_Of_The_Earth
1.fs_-_The_Driver
1.fs_-_The_Duty_Of_All
1.fs_-_The_Eleusinian_Festival
1.fs_-_The_Fairest_Apparition
1.fs_-_The_Favor_Of_The_Moment
1.fs_-_The_Fight_With_The_Dragon
1.fs_-_The_Flowers
1.fs_-_The_Fortune-Favored
1.fs_-_The_Forum_Of_Woman
1.fs_-_The_Four_Ages_Of_The_World
1.fs_-_The_Fugitive
1.fs_-_The_Genius_With_The_Inverted_Torch
1.fs_-_The_German_Art
1.fs_-_The_Glove_-_A_Tale
1.fs_-_The_Gods_Of_Greece
1.fs_-_The_Greatness_Of_The_World
1.fs_-_The_Honorable
1.fs_-_The_Hostage
1.fs_-_The_Ideal_And_The_Actual_Life
1.fs_-_The_Ideals
1.fs_-_The_Iliad
1.fs_-_The_Imitator
1.fs_-_The_Immutable
1.fs_-_The_Infanticide
1.fs_-_The_Invincible_Armada
1.fs_-_The_Key
1.fs_-_Thekla_-_A_Spirit_Voice
1.fs_-_The_Knight_Of_Toggenburg
1.fs_-_The_Knights_Of_St._John
1.fs_-_The_Lay_Of_The_Bell
1.fs_-_The_Lay_Of_The_Mountain
1.fs_-_The_Learned_Workman
1.fs_-_The_Maiden_From_Afar
1.fs_-_The_Maiden's_Lament
1.fs_-_The_Maid_Of_Orleans
1.fs_-_The_Meeting
1.fs_-_The_Merchant
1.fs_-_The_Moral_Force
1.fs_-_The_Observer
1.fs_-_The_Philosophical_Egotist
1.fs_-_The_Pilgrim
1.fs_-_The_Playing_Infant
1.fs_-_The_Poetry_Of_Life
1.fs_-_The_Power_Of_Song
1.fs_-_The_Power_Of_Woman
1.fs_-_The_Present_Generation
1.fs_-_The_Proverbs_Of_Confucius
1.fs_-_The_Ring_Of_Polycrates_-_A_Ballad
1.fs_-_The_Secret
1.fs_-_The_Sexes
1.fs_-_The_Sower
1.fs_-_The_Triumph_Of_Love
1.fs_-_The_Two_Guides_Of_Life_-_The_Sublime_And_The_Beautiful
1.fs_-_The_Two_Paths_Of_Virtue
1.fs_-_The_Veiled_Statue_At_Sais
1.fs_-_The_Virtue_Of_Woman
1.fs_-_The_Walk
1.fs_-_The_Words_Of_Belief
1.fs_-_The_Words_Of_Error
1.fs_-_The_Youth_By_The_Brook
1.fs_-_To_A_Moralist
1.fs_-_To_Astronomers
1.fs_-_To_A_World-Reformer
1.fs_-_To_Emma
1.fs_-_To_Laura_At_The_Harpsichord
1.fs_-_To_Laura_(Mystery_Of_Reminiscence)
1.fs_-_To_Minna
1.fs_-_To_My_Friends
1.fs_-_To_Mystics
1.fs_-_To_Proselytizers
1.fs_-_To_The_Muse
1.fs_-_To_The_Spring
1.fs_-_Two_Descriptions_Of_Action
1.fs_-_Untitled_01
1.fs_-_Untitled_02
1.fs_-_Untitled_03
1.fs_-_Variety
1.fs_-_Votive_Tablets
1.fs_-_Wisdom_And_Prudence
1.fs_-_Worth_And_The_Worthy
1.fs_-_Written_In_A_Young_Lady's_Album
1.fua_-_A_dervish_in_ecstasy
1.fua_-_All_who,_reflecting_as_reflected_see
1.fua_-_A_slaves_freedom
1.fua_-_God_Speaks_to_David
1.fua_-_God_Speaks_to_Moses
1.fua_-_How_long_then_will_you_seek_for_beauty_here?
1.fua_-_Invocation
1.fua_-_I_shall_grasp_the_souls_skirt_with_my_hand
1.fua_-_Look_--_I_do_nothing-_He_performs_all_deeds
1.fua_-_Looking_for_your_own_face
1.fua_-_Mysticism
1.fua_-_The_angels_have_bowed_down_to_you_and_drowned
1.fua_-_The_Birds_Find_Their_King
1.fua_-_The_Dullard_Sage
1.fua_-_The_Eternal_Mirror
1.fua_-_The_Hawk
1.fua_-_The_Lover
1.fua_-_The_moths_and_the_flame
1.fua_-_The_Nightingale
1.fua_-_The_peacocks_excuse
1.fua_-_The_pilgrim_sees_no_form_but_His_and_knows
1.fua_-_The_Pupil_asks-_the_Master_answers
1.fua_-_The_Simurgh
1.fua_-_The_Valley_of_the_Quest
1.gmh_-_The_Alchemist_In_The_City
1.gnk_-_Ek_Omkar
1.gnk_-_Japji_15_-_If_you_ponder_it
1.gnk_-_Japji_38_-_Discipline_is_the_workshop
1.gnk_-_Japji_8_-_From_listening
1.gnk_-_Siri_ragu_9.3_-_The_guru_is_the_stepping_stone
1.grh_-_Gorakh_Bani
1.hccc_-_Silently_and_serenely_one_forgets_all_words
1.hcyc_-_10_-_The_rays_shining_from_this_perfect_Mani-jewel_(from_The_Shodoka)
1.hcyc_-_11_-_Always_working_alone,_always_walking_alone_(from_The_Shodoka)
1.hcyc_-_12_-_We_know_that_Shakyas_sons_and_daughters_(from_The_Shodoka)
1.hcyc_-_13_-_This_jewel_of_no_price_can_never_be_used_up_(from_The_Shodoka)
1.hcyc_-_14_-_The_best_student_goes_directly_to_the_ultimate_(from_The_Shodoka)
1.hcyc_-_15_-_Some_may_slander,_some_may_abuse_(from_The_Shodoka)
1.hcyc_-_16_-_When_I_consider_the_virtue_of_abusive_words_(from_The_Shodoka)
1.hcyc_-_17_-_The_incomparable_lion-roar_of_doctrine_(from_The_Shodoka)
1.hcyc_-_18_-_I_wandered_over_rivers_and_seas,_crossing_mountains_and_streams_(from_The_Shodoka)
1.hcyc_-_19_-_Walking_is_Zen,_sitting_is_Zen_(from_The_Shodoka)
1.hcyc_-_1_-_There_is_the_leisurely_one_(from_The_Shodoka)
1.hcyc_-_20_-_Our_teacher,_Shakyamuni,_met_Dipankara_Buddha_(from_The_Shodoka)
1.hcyc_-_21_-_Since_I_abruptly_realized_the_unborn_(from_The_Shodoka)
1.hcyc_-_22_-_I_have_entered_the_deep_mountains_to_silence_and_beauty_(from_The_Shodoka)
1.hcyc_-_23_-_When_you_truly_awaken_(from_The_Shodoka)
1.hcyc_-_24_-_Why_should_this_be_better_(from_The_Shodoka)
1.hcyc_-_25_-_Just_take_hold_of_the_source_(from_The_Shodoka)
1.hcyc_-_26_-_The_moon_shines_on_the_river_(from_The_Shodoka)
1.hcyc_-_27_-_A_bowl_once_calmed_dragons_(from_The_Shodoka)
1.hcyc_-_28_-_The_awakened_one_does_not_seek_truth_(from_The_Shodoka)
1.hcyc_-_29_-_The_mind-mirror_is_clear,_so_there_are_no_obstacles_(from_The_Shodoka)
1.hcyc_-_2_-_When_the_Dharma_body_awakens_completely_(from_The_Shodoka)
1.hcyc_-_30_-_To_live_in_nothingness_is_to_ignore_cause_and_effect_(from_The_Shodoka)
1.hcyc_-_31_-_Holding_truth_and_rejecting_delusion_(from_The_Shodoka)
1.hcyc_-_32_-_They_miss_the_Dharma-treasure_(from_The_Shodoka)
1.hcyc_-_33_-_Students_of_vigorous_will_hold_the_sword_of_wisdom_(from_The_Shodoka)
1.hcyc_-_34_-_They_roar_with_Dharma-thunder_(from_The_Shodoka)
1.hcyc_-_35_-_High_in_the_Himalayas,_only_fei-ni_grass_grows_(from_The_Shodoka)
1.hcyc_-_36_-_One_moon_is_reflected_in_many_waters_(from_The_Shodoka)
1.hcyc_-_37_-_One_level_completely_contains_all_levels_(from_The_Shodoka)
1.hcyc_-_38_-_All_categories_are_no_category_(from_The_Shodoka)
1.hcyc_-_39_-_Right_here_it_is_eternally_full_and_serene_(from_The_Shodoka)
1.hcyc_-_3_-_When_we_realize_actuality_(from_The_Shodoka)
1.hcyc_-_40_-_It_speaks_in_silence_(from_The_Shodoka)
1.hcyc_-_41_-_People_say_it_is_positive_(from_The_Shodoka)
1.hcyc_-_42_-_I_raise_the_Dharma-banner_and_set_forth_our_teaching_(from_The_Shodoka)
1.hcyc_-_43_-_The_truth_is_not_set_forth_(from_The_Shodoka)
1.hcyc_-_44_-_Mind_is_the_base,_phenomena_are_dust_(from_The_Shodoka)
1.hcyc_-_45_-_Ah,_the_degenerate_materialistic_world!_(from_The_Shodoka)
1.hcyc_-_46_-_People_hear_the_Buddhas_doctrine_of_immediacy_(from_The_Shodoka)
1.hcyc_-_47_-_Your_mind_is_the_source_of_action_(from_The_Shodoka)
1.hcyc_-_48_-_In_the_sandalwood_forest,_there_is_no_other_tree_(from_The_Shodoka)
1.hcyc_-_49_-_Just_baby_lions_follow_the_parent_(from_The_Shodoka)
1.hcyc_-_4_-_Once_we_awaken_to_the_Tathagata-Zen_(from_The_Shodoka)
1.hcyc_-_50_-_The_Buddhas_doctrine_of_directness_(from_The_Shodoka)
1.hcyc_-_51_-_Being_is_not_being-_non-being_is_not_non-being_(from_The_Shodoka)
1.hcyc_-_52_-_From_my_youth_I_piled_studies_upon_studies_(from_The_Shodoka)
1.hcyc_-_53_-_If_the_seed-nature_is_wrong,_misunderstandings_arise_(from_The_Shodoka)
1.hcyc_-_54_-_Stupid_ones,_childish_ones_(from_The_Shodoka)
1.hcyc_-_55_-_When_all_is_finally_seen_as_it_is,_(from_The_Shodoka)
1.hcyc_-_56_-_The_hungry_are_served_a_kings_repast_(from_The_Shodoka)
1.hcyc_-_57_-_Pradhanashura_broke_the_gravest_precepts_(from_The_Shodoka)
1.hcyc_-_58_-_The_incomparable_lion_roar_of_the_doctrine!_(from_The_Shodoka)
1.hcyc_-_59_-_Two_monks_were_guilty_of_murder_and_carnality_(from_The_Shodoka)
1.hcyc_-_5_-_No_bad_fortune,_no_good_fortune,_no_loss,_no_gain_(from_The_Shodoka)
1.hcyc_-_60_-_The_remarkable_power_of_emancipation_(from_The_Shodoka)
1.hcyc_-_61_-_The_King_of_the_Dharma_deserves_our_highest_respect_(from_The_Shodoka)
1.hcyc_-_62_-_When_we_see_truly,_there_is_nothing_at_all_(from_The_Shodoka)
1.hcyc_-_63_-_However_the_burning_iron_ring_revolves_around_my_head_(from_The_Shodoka)
1.hcyc_-_64_-_The_great_elephant_does_not_loiter_on_the_rabbits_path_(from_The_Shodoka)
1.hcyc_-_6_-_Who_has_no-thought?_Who_is_not-born?_(from_The_Shodoka)
1.hcyc_-_7_-_Release_your_hold_on_earth,_water,_fire,_wind_(from_The_Shodoka)
1.hcyc_-_8_-_Transience,_emptiness_and_enlightenment_(from_The_Shodoka)
1.hcyc_-_9_-_People_do_not_recognize_the_Mani-jewel_(from_The_Shodoka)
1.hcyc_-_In_my_early_years,_I_set_out_to_acquire_learning_(from_The_Song_of_Enlightenment)
1.hcyc_-_It_is_clearly_seen_(from_The_Song_of_Enlightenment)
1.hcyc_-_Let_others_slander_me_(from_The_Song_of_Enlightenment)
1.hcyc_-_Roll_the_Dharma_thunder_(from_The_Song_of_Enlightenment)
1.hcyc_-_Who_is_without_thought?_(from_The_Song_of_Enlightenment)
1.hcyc_-_With_Sudden_enlightened_understanding_(from_The_Song_of_Enlightenment)
1.he_-_Hakuins_Song_of_Zazen
1.he_-_Past,_present,_future-_unattainable
1.he_-_The_Form_of_the_Formless_(from_Hakuins_Song_of_Zazen)
1.he_-_The_monkey_is_reaching
1.he_-_You_no_sooner_attain_the_great_void
1.hs_-_A_Golden_Compass
1.hs_-_And_if,_my_friend,_you_ask_me_the_way
1.hs_-_A_New_World
1.hs_-_Arise_And_Fill_A_Golden_Goblet
1.hs_-_At_his_door,_what_is_the_difference
1.hs_-_Beauty_Radiated_in_Eternity
1.hs_-_Belief_and_unbelief
1.hs_-_Belief_brings_me_close_to_You
1.hs_-_Bloom_Like_a_Rose
1.hs_-_Bold_Souls
1.hs_-_Bring_all_of_yourself_to_his_door
1.hs_-_Bring_Perfumes_Sweet_To_Me
1.hs_-_Cupbearer,_it_is_morning,_fill_my_cup_with_wine
1.hs_-_Cypress_And_Tulip
1.hs_-_Hair_disheveled,_smiling_lips,_sweating_and_tipsy
1.hs_-_Heres_A_Message_for_the_Faithful
1.hs_-_If_life_remains,_I_shall_go_back_to_the_tavern
1.hs_-_I_Know_The_Way_You_Can_Get
1.hs_-_I_settled_at_Cold_Mountain_long_ago,
1.hs_-_It_Is_Time_to_Wake_Up!
1.hs_-_Its_your_own_self
1.hs_-_Lady_That_Hast_My_Heart
1.hs_-_Lifes_Mighty_Flood
1.hs_-_Loves_conqueror_is_he
1.hs_-_Meditation
1.hs_-_Melt_yourself_down_in_this_search
1.hs_-_My_Brilliant_Image
1.hs_-_My_friend,_everything_existing
1.hs_-_Mystic_Chat
1.hs_-_Naked_in_the_Bee-House
1.hs_-_No_tongue_can_tell_Your_secret
1.hs_-_Not_Worth_The_Toil!
1.hs_-_O_Cup_Bearer
1.hs_-_O_Saghi,_pass_around_that_cup_of_wine,_then_bring_it_to_me
1.hs_-_Rubys_Heart
1.hs_-_Several_Times_In_The_Last_Week
1.hs_-_Silence
1.hs_-_Slaves_Of_Thy_Shining_Eyes
1.hs_-_Someone_Should_Start_Laughing
1.hs_-_Spring_and_all_its_flowers
1.hs_-_Stop_Being_So_Religious
1.hs_-_Stop_weaving_a_net_about_yourself
1.hs_-_Streaming
1.hs_-_Sun_Rays
1.hs_-_Sweet_Melody
1.hs_-_Take_everything_away
1.hs_-_The_Beloved
1.hs_-_The_Bird_Of_Gardens
1.hs_-_The_Day_Of_Hope
1.hs_-_The_Essence_of_Grace
1.hs_-_The_Garden
1.hs_-_The_Glow_of_Your_Presence
1.hs_-_The_Good_Darkness
1.hs_-_The_Great_Secret
1.hs_-_The_Lute_Will_Beg
1.hs_-_The_Margin_Of_A_Stream
1.hs_-_Then_through_that_dim_murkiness
1.hs_-_The_Only_One
1.hs_-_The_path_consists_of_neither_words_nor_deeds
1.hs_-_The_Pearl_on_the_Ocean_Floor
1.hs_-_There_is_no_place_for_place!
1.hs_-_The_Road_To_Cold_Mountain
1.hs_-_The_Rose_Has_Flushed_Red
1.hs_-_The_Rose_Is_Not_Fair
1.hs_-_The_Secret_Draught_Of_Wine
1.hs_-_The_Tulip
1.hs_-_The_way_is_not_far
1.hs_-_The_Way_of_the_Holy_Ones
1.hs_-_The_way_to_You
1.hs_-_The_Wild_Rose_of_Praise
1.hs_-_Tidings_Of_Union
1.hs_-_To_Linger_In_A_Garden_Fair
1.hs_-_True_Love
1.hs_-_Until_you_are_complete
1.hs_-_We_tried_reasoning
1.hs_-_When_he_admits_you_to_his_presence
1.hs_-_Where_Is_My_Ruined_Life?
1.hs_-_Why_Carry?
1.hs_-_Will_Beat_You_Up
1.hs_-_With_Madness_Like_To_Mine
1.hs_-_Your_intellect_is_just_a_hotch-potch
1.ia_-_A_Garden_Among_The_Flames
1.ia_-_Allah
1.ia_-_An_Ocean_Without_Shore
1.ia_-_Approach_The_Dwellings_Of_The_Dear_Ones
1.ia_-_As_Night_Let_its_Curtains_Down_in_Folds
1.ia_-_At_Night_Lets_Its_Curtains_Down_In_Folds
1.ia_-_Fire
1.ia_-_He_Saw_The_Lightning_In_The_East
1.iai_-_A_feeling_of_discouragement_when_you_slip_up
1.ia_-_If_What_She_Says_Is_True
1.ia_-_If_what_she_says_is_true
1.iai_-_How_can_you_imagine_that_something_else_veils_Him
1.iai_-_How_utterly_amazing_is_someone_who_flees_from_something_he_cannot_escape
1.ia_-_I_Laid_My_Little_Daughter_To_Rest
1.ia_-_In_Memory_Of_Those
1.ia_-_In_Memory_of_Those_Who_Melt_the_Soul_Forever
1.ia_-_In_The_Mirror_Of_A_Man
1.ia_-_In_the_Mirror_of_a_Man
1.iai_-_The_best_you_can_seek_from_Him
1.iai_-_The_light_of_the_inner_eye_lets_you_see_His_nearness_to_you
1.iai_-_Those_travelling_to_Him
1.ia_-_Listen,_O_Dearly_Beloved
1.ia_-_Modification_Of_The_R_Poem
1.ia_-_My_Heart_Has_Become_Able
1.ia_-_My_heart_wears_all_forms
1.ia_-_My_Journey
1.ia_-_Oh-_Her_Beauty-_The_Tender_Maid!
1.ia_-_Reality
1.ia_-_Silence
1.ia_-_The_Hand_Of_Trial
1.ia_-_The_Invitation
1.ia_-_True_Knowledge
1.ia_-_Turmoil_In_Your_Hearts
1.ia_-_When_My_Beloved_Appears
1.ia_-_When_my_Beloved_appears
1.ia_-_When_The_Suns_Eye_Rules_My_Sight
1.ia_-_When_We_Came_Together
1.ia_-_When_we_came_together
1.ia_-_While_the_suns_eye_rules_my_sight
1.ia_-_Wild_Is_She,_None_Can_Make_Her_His_Friend
1.ia_-_With_My_Very_Own_Hands
1.ia_-_Wonder
1.is_-_A_Fisherman
1.is_-_Although_I_Try
1.is_-_Although_The_Wind
1.is_-_a_well_nobody_dug_filled_with_no_water
1.is_-_Every_day,_priests_minutely_examine_the_Law
1.is_-_Form_in_Void
1.is_-_If_The_One_Ive_Waited_For
1.is_-_I_Hate_Incense
1.is_-_Ikkyu_this_body_isnt_yours_I_say_to_myself
1.is_-_inside_the_koan_clear_mind
1.is_-_Like_vanishing_dew
1.is_-_Love
1.is_-_Many_paths_lead_from_the_foot_of_the_mountain,
1.is_-_only_one_koan_matters
1.is_-_plum_blossom
1.is_-_sick_of_it_whatever_its_called_sick_of_the_names
1.is_-_The_vast_flood
1.is_-_To_write_something_and_leave_it_behind_us
1.is_-_Watching_The_Moon
1.jc_-_On_this_summer_night
1.jda_-_My_heart_values_his_vulgar_ways_(from_The_Gitagovinda)
1.jda_-_Raga_Gujri
1.jda_-_Raga_Maru
1.jda_-_When_he_quickens_all_things_(from_The_Gitagovinda)
1.jda_-_When_spring_came,_tender-limbed_Radha_wandered_(from_The_Gitagovinda)
1.jda_-_You_rest_on_the_circle_of_Sris_breast_(from_The_Gitagovinda)
1.jh_-_Lord,_Where_Shall_I_Find_You?
1.jh_-_O_My_Lord,_Your_dwelling_places_are_lovely
1.jk_-_Acrostic__-_Georgiana_Augusta_Keats
1.jk_-_A_Draught_Of_Sunshine
1.jk_-_A_Galloway_Song
1.jk_-_An_Extempore
1.jk_-_Answer_To_A_Sonnet_By_J.H.Reynolds
1.jk_-_A_Party_Of_Lovers
1.jk_-_Apollo_And_The_Graces
1.jk_-_A_Prophecy_-_To_George_Keats_In_America
1.jk_-_Asleep!_O_Sleep_A_Little_While,_White_Pearl!
1.jk_-_A_Song_About_Myself
1.jk_-_A_Thing_Of_Beauty_(Endymion)
1.jk_-_Ben_Nevis_-_A_Dialogue
1.jk_-_Bright_Star
1.jk_-_Calidore_-_A_Fragment
1.jk_-_Character_Of_Charles_Brown
1.jk_-_Daisys_Song
1.jk_-_Dawlish_Fair
1.jk_-_Dedication_To_Leigh_Hunt,_Esq.
1.jk_-_Endymion_-_Book_I
1.jk_-_Endymion_-_Book_II
1.jk_-_Endymion_-_Book_III
1.jk_-_Endymion_-_Book_IV
1.jk_-_Epistle_To_John_Hamilton_Reynolds
1.jk_-_Epistle_To_My_Brother_George
1.jk_-_Extracts_From_An_Opera
1.jk_-_Faery_Songs
1.jk_-_Fancy
1.jk_-_Fill_For_Me_A_Brimming_Bowl
1.jk_-_Fragment_-_Modern_Love
1.jk_-_Fragment_Of_An_Ode_To_Maia._Written_On_May_Day_1818
1.jk_-_Fragment_Of_The_Castle_Builder
1.jk_-_Fragment._Welcome_Joy,_And_Welcome_Sorrow
1.jk_-_Fragment._Wheres_The_Poet?
1.jk_-_Give_Me_Women,_Wine,_And_Snuff
1.jk_-_Hither,_Hither,_Love
1.jkhu_-_A_Visit_to_Hattoji_Temple
1.jkhu_-_Gathering_Tea
1.jkhu_-_Living_in_the_Mountains
1.jkhu_-_Rain_in_Autumn
1.jkhu_-_Sitting_in_the_Mountains
1.jk_-_Hymn_To_Apollo
1.jk_-_Hyperion,_A_Vision_-_Attempted_Reconstruction_Of_The_Poem
1.jk_-_Hyperion._Book_I
1.jk_-_Hyperion._Book_II
1.jk_-_Hyperion._Book_III
1.jk_-_Imitation_Of_Spenser
1.jk_-_Isabella;_Or,_The_Pot_Of_Basil_-_A_Story_From_Boccaccio
1.jk_-_I_Stood_Tip-Toe_Upon_A_Little_Hill
1.jk_-_King_Stephen
1.jk_-_La_Belle_Dame_Sans_Merci
1.jk_-_La_Belle_Dame_Sans_Merci_(Original_version_)
1.jk_-_Lamia._Part_I
1.jk_-_Lamia._Part_II
1.jk_-_Lines
1.jk_-_Lines_On_Seeing_A_Lock_Of_Miltons_Hair
1.jk_-_Lines_On_The_Mermaid_Tavern
1.jk_-_Lines_Rhymed_In_A_Letter_From_Oxford
1.jk_-_Lines_To_Fanny
1.jk_-_Lines_Written_In_The_Highlands_After_A_Visit_To_Burnss_Country
1.jk_-_Meg_Merrilies
1.jk_-_Ode_On_A_Grecian_Urn
1.jk_-_Ode_On_Indolence
1.jk_-_Ode_On_Melancholy
1.jk_-_Ode_To_A_Nightingale
1.jk_-_Ode_To_Apollo
1.jk_-_Ode_To_Autumn
1.jk_-_Ode_To_Fanny
1.jk_-_Ode_To_Psyche
1.jk_-_Ode._Written_On_The_Blank_Page_Before_Beaumont_And_Fletchers_Tragi-Comedy_The_Fair_Maid_Of_The_In
1.jk_-_On_A_Dream
1.jk_-_On_Death
1.jk_-_On_Hearing_The_Bag-Pipe_And_Seeing_The_Stranger_Played_At_Inverary
1.jk_-_On_Receiving_A_Curious_Shell
1.jk_-_On_Receiving_A_Laurel_Crown_From_Leigh_Hunt
1.jk_-_On_Seeing_The_Elgin_Marbles_For_The_First_Time
1.jk_-_On_Visiting_The_Tomb_Of_Burns
1.jk_-_Otho_The_Great_-_Act_I
1.jk_-_Otho_The_Great_-_Act_II
1.jk_-_Otho_The_Great_-_Act_III
1.jk_-_Otho_The_Great_-_Act_IV
1.jk_-_Otho_The_Great_-_Act_V
1.jk_-_Robin_Hood
1.jk_-_Sharing_Eves_Apple
1.jk_-_Sleep_And_Poetry
1.jk_-_Song._Hush,_Hush!_Tread_Softly!
1.jk_-_Song._I_Had_A_Dove
1.jk_-_Song_Of_Four_Faries
1.jk_-_Song_Of_The_Indian_Maid,_From_Endymion
1.jk_-_Song._Written_On_A_Blank_Page_In_Beaumont_And_Fletchers_Works
1.jk_-_Sonnet._A_Dream,_After_Reading_Dantes_Episode_Of_Paulo_And_Francesca
1.jk_-_Sonnet_-_After_Dark_Vapors_Have_Oppressd_Our_Plains
1.jk_-_Sonnet_-_As_From_The_Darkening_Gloom_A_Silver_Dove
1.jk_-_Sonnet_-_Before_He_Went
1.jk_-_Sonnet._If_By_Dull_Rhymes_Our_English_Must_Be_Chaind
1.jk_-_Sonnet_III._Written_On_The_Day_That_Mr._Leigh_Hunt_Left_Prison
1.jk_-_Sonnet_II._To_.........
1.jk_-_Sonnet_I._To_My_Brother_George
1.jk_-_Sonnet_IV._How_Many_Bards_Gild_The_Lapses_Of_Time!
1.jk_-_Sonnet_IX._Keen,_Fitful_Gusts_Are
1.jk_-_Sonnet_-_Oh!_How_I_Love,_On_A_Fair_Summers_Eve
1.jk_-_Sonnet._On_A_Picture_Of_Leander
1.jk_-_Sonnet._On_Leigh_Hunts_Poem_The_Story_of_Rimini
1.jk_-_Sonnet._On_Peace
1.jk_-_Sonnet_On_Sitting_Down_To_Read_King_Lear_Once_Again
1.jk_-_Sonnet._On_The_Sea
1.jk_-_Sonnet._The_Day_Is_Gone
1.jk_-_Sonnet._The_Human_Seasons
1.jk_-_Sonnet._To_A_Lady_Seen_For_A_Few_Moments_At_Vauxhall
1.jk_-_Sonnet._To_A_Young_Lady_Who_Sent_Me_A_Laurel_Crown
1.jk_-_Sonnet_To_Byron
1.jk_-_Sonnet_To_Chatterton
1.jk_-_Sonnet_To_George_Keats_-_Written_In_Sickness
1.jk_-_Sonnet_To_Homer
1.jk_-_Sonnet_To_John_Hamilton_Reynolds
1.jk_-_Sonnet_To_Mrs._Reynoldss_Cat
1.jk_-_Sonnet_To_Sleep
1.jk_-_Sonnet_To_Spenser
1.jk_-_Sonnet_To_The_Nile
1.jk_-_Sonnet_VIII._To_My_Brothers
1.jk_-_Sonnet_VII._To_Solitude
1.jk_-_Sonnet_VI._To_G._A._W.
1.jk_-_Sonnet_V._To_A_Friend_Who_Sent_Me_Some_Roses
1.jk_-_Sonnet_-_When_I_Have_Fears_That_I_May_Cease_To_Be
1.jk_-_Sonnet._Why_Did_I_Laugh_Tonight?
1.jk_-_Sonnet._Written_Before_Re-Read_King_Lear
1.jk_-_Sonnet._Written_In_Answer_To_A_Sonnet_By_J._H._Reynolds
1.jk_-_Sonnet._Written_In_Disgust_Of_Vulgar_Superstition
1.jk_-_Sonnet._Written_On_A_Blank_Page_In_Shakespeares_Poems,_Facing_A_Lovers_Complaint
1.jk_-_Sonnet._Written_On_A_Blank_Space_At_The_End_Of_Chaucers_Tale_Of_The_Floure_And_The_Lefe
1.jk_-_Sonnet._Written_Upon_The_Top_Of_Ben_Nevis
1.jk_-_Sonnet_XIII._Addressed_To_Haydon
1.jk_-_Sonnet_XII._On_Leaving_Some_Friends_At_An_Early_Hour
1.jk_-_Sonnet_XI._On_First_Looking_Into_Chapmans_Homer
1.jk_-_Sonnet_XIV._Addressed_To_The_Same_(Haydon)
1.jk_-_Sonnet_X._To_One_Who_Has_Been_Long_In_City_Pent
1.jk_-_Sonnet_XVII._Happy_Is_England
1.jk_-_Sonnet_XVI._To_Kosciusko
1.jk_-_Sonnet_XV._On_The_Grasshopper_And_Cricket
1.jk_-_Specimen_Of_An_Induction_To_A_Poem
1.jk_-_Spenserian_Stanzas_On_Charles_Armitage_Brown
1.jk_-_Spenserian_Stanza._Written_At_The_Close_Of_Canto_II,_Book_V,_Of_The_Faerie_Queene
1.jk_-_Staffa
1.jk_-_Stanzas._In_A_Drear-Nighted_December
1.jk_-_Stanzas_To_Miss_Wylie
1.jk_-_Teignmouth_-_Some_Doggerel,_Sent_In_A_Letter_To_B._R._Haydon
1.jk_-_The_Cap_And_Bells;_Or,_The_Jealousies_-_A_Faery_Tale_.._Unfinished
1.jk_-_The_Devon_Maid_-_Stanzas_Sent_In_A_Letter_To_B._R._Haydon
1.jk_-_The_Eve_Of_Saint_Mark._A_Fragment
1.jk_-_The_Eve_Of_St._Agnes
1.jk_-_The_Gadfly
1.jk_-_This_Living_Hand
1.jk_-_To_......
1.jk_-_To_.......
1.jk_-_To_Ailsa_Rock
1.jk_-_To_Charles_Cowden_Clarke
1.jk_-_To_Fanny
1.jk_-_To_George_Felton_Mathew
1.jk_-_To_Hope
1.jk_-_To_Some_Ladies
1.jk_-_To_The_Ladies_Who_Saw_Me_Crowned
1.jk_-_Translated_From_A_Sonnet_Of_Ronsard
1.jk_-_Two_Or_Three
1.jk_-_Two_Sonnets_On_Fame
1.jk_-_Two_Sonnets._To_Haydon,_With_A_Sonnet_Written_On_Seeing_The_Elgin_Marbles
1.jk_-_What_The_Thrush_Said._Lines_From_A_Letter_To_John_Hamilton_Reynolds
1.jk_-_Woman!_When_I_Behold_Thee_Flippant,_Vain
1.jk_-_Written_In_The_Cottage_Where_Burns_Was_Born
1.jk_-_You_Say_You_Love
1.jlb_-_Adam_Cast_Forth
1.jlb_-_Afterglow
1.jlb_-_At_the_Butchers
1.jlb_-_Browning_Decides_To_Be_A_Poet
1.jlb_-_Chess
1.jlb_-_Cosmogonia_(&_translation)
1.jlb_-_Daybreak
1.jlb_-_Elegy
1.jlb_-_Emanuel_Swedenborg
1.jlb_-_Emerson
1.jlb_-_Empty_Drawing_Room
1.jlb_-_Everness
1.jlb_-_Everness_(&_interpretation)
1.jlb_-_History_Of_The_Night
1.jlb_-_Inscription_on_any_Tomb
1.jlb_-_Instants
1.jlb_-_Limits
1.jlb_-_Oedipus_and_the_Riddle
1.jlb_-_Parting
1.jlb_-_Patio
1.jlb_-_Plainness
1.jlb_-_Remorse_for_any_Death
1.jlb_-_Rosas
1.jlb_-_Sepulchral_Inscription
1.jlb_-_Shinto
1.jlb_-_Simplicity
1.jlb_-_Spinoza
1.jlb_-_Susana_Soca
1.jlb_-_That_One
1.jlb_-_The_Art_Of_Poetry
1.jlb_-_The_Cyclical_Night
1.jlb_-_The_Enigmas
1.jlb_-_The_Golem
1.jlb_-_The_instant
1.jlb_-_The_Labyrinth
1.jlb_-_The_Other_Tiger
1.jlb_-_The_Recoleta
1.jlb_-_The_suicide
1.jlb_-_To_a_Cat
1.jlb_-_Unknown_Street
1.jlb_-_We_Are_The_Time._We_Are_The_Famous
1.jlb_-_When_sorrow_lays_us_low
1.jm_-_I_Have_forgotten
1.jm_-_Response_to_a_Logician
1.jm_-_Song_to_the_Rock_Demoness
1.jm_-_The_Profound_Definitive_Meaning
1.jm_-_The_Song_of_Food_and_Dwelling
1.jm_-_The_Song_of_Perfect_Assurance_(to_the_Demons)
1.jm_-_The_Song_of_the_Twelve_Deceptions
1.jm_-_The_Song_of_View,_Practice,_and_Action
1.jm_-_The_Song_on_Reaching_the_Mountain_Peak
1.jm_-_Upon_this_earth,_the_land_of_the_Victorious_Ones
1.jr_-_Ah,_what_was_there_in_that_light-giving_candle_that_it_set_fire_to_the_heart,_and_snatched_the_heart_away?
1.jr_-_All_Through_Eternity
1.jr_-_A_Moment_Of_Happiness
1.jr_-_Any_Lifetime
1.jr_-_Any_Soul_That_Drank_The_Nectar
1.jr_-_At_night_we_fall_into_each_other_with_such_grace
1.jr_-_A_World_with_No_Boundaries_(Ghazal_363)
1.jr_-_Because_I_Cannot_Sleep
1.jr_-_Birdsong
1.jr_-_Body_of_earth,_dont_talk_of_earth
1.jr_-_Book_1_-_Prologue
1.jr_-_Bring_Wine
1.jr_-_By_the_God_who_was_in_pre-eternity_living_and_moving_and_omnipotent,_everlasting
1.jr_-_come
1.jr_-_Come,_Come,_Whoever_You_Are
1.jr_-_Description_Of_Love
1.jr_-_Did_I_Not_Say_To_You
1.jr_-_During_the_day_I_was_singing_with_you
1.jr_-_Every_day_I_Bear_A_Burden
1.jr_-_Fasting
1.jr_-_Ghazal_Of_Rumi
1.jr_-_God_is_what_is_nearer_to_you_than_your_neck-vein,
1.jr_-_How_Long
1.jr_-_How_long_will_you_say,_I_will_conquer_the_whole_world
1.jr_-_I_Am_A_Sculptor,_A_Molder_Of_Form
1.jr_-_I_Am_Only_The_House_Of_Your_Beloved
1.jr_-_I_Closed_My_Eyes_To_Creation
1.jr_-_I_drink_streamwater_and_the_air
1.jr_-_If_continually_you_keep_your_hope
1.jr_-_If_I_Weep
1.jr_-_If_You_Show_Patience
1.jr_-_If_You_Want_What_Visable_Reality
1.jr_-_I_Have_A_Fire_For_You_In_My_Mouth
1.jr_-_I_Have_Been_Tricked_By_Flying_Too_Close
1.jr_-_I_Have_Fallen_Into_Unconsciousness
1.jr_-_I_lost_my_world,_my_fame,_my_mind
1.jr_-_Im_neither_beautiful_nor_ugly
1.jr_-_In_Love
1.jr_-_Inner_Wakefulness
1.jr_-_In_The_Arc_Of_Your_Mallet
1.jr_-_In_The_End
1.jr_-_In_The_Waters_Of_Purity
1.jr_-_I_regard_not_the_outside_and_the_words
1.jr_-_I_See_So_Deeply_Within_Myself
1.jr_-_I_smile_like_a_flower_not_only_with_my_lips
1.jr_-_I_Swear
1.jr_-_I_Will_Beguile_Him_With_The_Tongue
1.jr_-_Keep_on_knocking
1.jr_-_Laila_And_The_Khalifa
1.jr_-_Last_Night_My_Soul_Cried_O_Exalted_Sphere_Of_Heaven
1.jr_-_Last_Night_You_Left_Me_And_Slept
1.jr_-_Late,_By_Myself
1.jr_-_Let_Go_Of_Your_Worries
1.jr_-_Like_This
1.jr_-_look_at_love
1.jr_-_Lord,_What_A_Beloved_Is_Mine!
1.jr_-_Love_Has_Nothing_To_Do_With_The_Five_Senses
1.jr_-_Love_is_Here
1.jr_-_Love_Is_Reckless
1.jr_-_Love_Is_The_Water_Of_Life
1.jr_-_Lovers
1.jr_-_Moving_Water
1.jr_-_My_Mother_Was_Fortune,_My_Father_Generosity_And_Bounty
1.jr_-_No_end_to_the_journey
1.jr_-_No_One_Here_but_Him
1.jr_-_Not_Here
1.jr_-_Now_comes_the_final_merging
1.jr_-_On_Love
1.jr_-_Only_Breath
1.jr_-_On_the_Night_of_Creation_I_was_awake
1.jr_-_Out_Beyond_Ideas
1.jr_-_Reason,_leave_now!_Youll_not_find_wisdom_here!
1.jr_-_Rise,_Lovers
1.jr_-_Sacrifice_your_intellect_in_love_for_the_Friend
1.jr_-_Secret_Language
1.jr_-_Secretly_we_spoke
1.jr_-_Seeking_the_Source
1.jr_-_Seizing_my_life_in_your_hands,_you_thrashed_me_clean
1.jr_-_Shadow_And_Light_Source_Both
1.jr_-_Shall_I_tell_you_our_secret?
1.jr_-_Suddenly,_in_the_sky_at_dawn,_a_moon_appeared
1.jr_-_That_moon_which_the_sky_never_saw
1.jr_-_The_Absolute_works_with_nothing
1.jr_-_The_Beauty_Of_The_Heart
1.jr_-_The_Breeze_At_Dawn
1.jr_-_The_glow_of_the_light_of_daybreak_is_in_your_emerald_vault,_the_goblet_of_the_blood_of_twilight_is_your_blood-measuring_bowl
1.jr_-_The_grapes_of_my_body_can_only_become_wine
1.jr_-_The_Guest_House
1.jr_-_The_Intellectual_Is_Always_Showing_Off
1.jr_-_The_minute_I_heard_my_first_love_story
1.jr_-_The_minute_Im_disappointed,_I_feel_encouraged
1.jr_-_The_Ravings_Which_My_Enemy_Uttered_I_Heard_Within_My_Heart
1.jr_-_The_real_work_belongs_to_someone_who_desires_God
1.jr_-_There_Are_A_Hundred_Kinds_Of_Prayer
1.jr_-_There_Is_A_Candle
1.jr_-_There_Is_A_Community_Of_Spirit
1.jr_-_There_Is_A_Life-Force_Within_Your_Soul
1.jr_-_There_Is_A_Way
1.jr_-_There_is_some_kiss_we_want
1.jr_-_The_Seed_Market
1.jr_-_The_Self_We_Share
1.jr_-_The_Springtime_Of_Lovers_Has_Come
1.jr_-_The_Sun_Must_Come
1.jr_-_The_Taste_Of_Morning
1.jr_-_The_Thirsty
1.jr_-_The_Time_Has_Come_For_Us_To_Become_Madmen_In_Your_Chain
1.jr_-_This_Aloneness
1.jr_-_This_Is_Love
1.jr_-_This_love_sacrifices_all_souls,_however_wise,_however_awakened
1.jr_-_This_moment
1.jr_-_This_We_Have_Now
1.jr_-_Today_Im_out_wandering,_turning_my_skull
1.jr_-_Today,_like_every_other_day,_we_wake_up_empty
1.jr_-_Two_Friends
1.jr_-_Two_Kinds_Of_Intelligence
1.jr_-_Until_You've_Found_Pain
1.jr_-_We_are_the_mirror_as_well_as_the_face_in_it
1.jr_-_Weary_Not_Of_Us,_For_We_Are_Very_Beautiful
1.jr_-_What_can_I_do,_Muslims?_I_do_not_know_myself
1.jr_-_What_Hidden_Sweetness_Is_There
1.jr_-_What_I_want_is_to_see_your_face
1.jr_-_When_I_Am_Asleep_And_Crumbling_In_The_Tomb
1.jr_-_Whoever_finds_love
1.jr_-_Who_Is_At_My_Door?
1.jr_-_Who_makes_these_changes?
1.jr_-_Who_Says_Words_With_My_Mouth?
1.jr_-_With_Us
1.jr_-_You_and_I_have_spoken_all_these_words
1.jr_-_You_are_closer_to_me_than_myself_(Ghazal_2798)
1.jr_-_You_have_fallen_in_love_my_dear_heart
1.jr_-_You_only_need_smell_the_wine
1.jr_-_You_Personify_Gods_Message
1.jr_-_Zero_Circle
1.jt_-_As_air_carries_light_poured_out_by_the_rising_sun
1.jt_-_At_the_cross_her_station_keeping_(from_Stabat_Mater_Dolorosa)
1.jt_-_How_the_Soul_Through_the_Senses_Finds_God_in_All_Creatures
1.jt_-_In_losing_all,_the_soul_has_risen_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jt_-_Love_beyond_all_telling_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jt_-_Love-_infusing_with_light_all_who_share_Your_splendor_(from_In_Praise_of_Divine_Love)
1.jt_-_Love-_where_did_You_enter_the_heart_unseen?_(from_In_Praise_of_Divine_Love)
1.jt_-_Now,_a_new_creature
1.jt_-_Oh,_the_futility_of_seeking_to_convey_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jt_-_When_you_no_longer_love_yourself_(from_Self-Annihilation_and_Charity_Lead_the_Soul...)
1.jwvg_-_Admonition
1.jwvg_-_After_Sensations
1.jwvg_-_A_Legacy
1.jwvg_-_Anacreons_Grave
1.jwvg_-_Anniversary_Song
1.jwvg_-_Another
1.jwvg_-_Answers_In_A_Game_Of_Questions
1.jwvg_-_A_Parable
1.jwvg_-_A_Plan_the_Muses_Entertained
1.jwvg_-_Apparent_Death
1.jwvg_-_April
1.jwvg_-_As_Broad_As_Its_Long
1.jwvg_-_A_Symbol
1.jwvg_-_At_Midnight
1.jwvg_-_Authors
1.jwvg_-_Autumn_Feel
1.jwvg_-_Book_Of_Proverbs
1.jwvg_-_By_The_River
1.jwvg_-_Calm_At_Sea
1.jwvg_-_Departure
1.jwvg_-_Epiphanias
1.jwvg_-_Epitaph
1.jwvg_-_Ever_And_Everywhere
1.jwvg_-_Faithful_Eckhart
1.jwvg_-_For_ever
1.jwvg_-_Found
1.jwvg_-_From
1.jwvg_-_From_The_Mountain
1.jwvg_-_Ganymede
1.jwvg_-_General_Confession
1.jwvg_-_Gipsy_Song
1.jwvg_-_Growth
1.jwvg_-_Happiness_And_Vision
1.jwvg_-_Human_Feelings
1.jwvg_-_In_A_Word
1.jwvg_-_In_Summer
1.jwvg_-_It_Is_Good
1.jwvg_-_Joy
1.jwvg_-_Joy_And_Sorrow
1.jwvg_-_June
1.jwvg_-_Legend
1.jwvg_-_Like_And_Like
1.jwvg_-_Living_Remembrance
1.jwvg_-_Longing
1.jwvg_-_Lover_In_All_Shapes
1.jwvg_-_Mahomets_Song
1.jwvg_-_Measure_Of_Time
1.jwvg_-_My_Goddess
1.jwvg_-_Nemesis
1.jwvg_-_Night_Thoughts
1.jwvg_-_Playing_At_Priests
1.jwvg_-_Presence
1.jwvg_-_Prometheus
1.jwvg_-_Proximity_Of_The_Beloved_One
1.jwvg_-_Reciprocal_Invitation_To_The_Dance
1.jwvg_-_Royal_Prayer
1.jwvg_-_Self-Deceit
1.jwvg_-_Solitude
1.jwvg_-_Symbols
1.jwvg_-_The_Beautiful_Night
1.jwvg_-_The_Best
1.jwvg_-_The_Bliss_Of_Absence
1.jwvg_-_The_Bliss_Of_Sorrow
1.jwvg_-_The_Bridegroom
1.jwvg_-_The_Buyers
1.jwvg_-_The_Drops_Of_Nectar
1.jwvg_-_The_Exchange
1.jwvg_-_The_Faithless_Boy
1.jwvg_-_The_Friendly_Meeting
1.jwvg_-_The_Godlike
1.jwvg_-_The_Instructors
1.jwvg_-_The_Mountain_Village
1.jwvg_-_The_Muses_Mirror
1.jwvg_-_The_Muses_Son
1.jwvg_-_The_Prosperous_Voyage
1.jwvg_-_The_Pupil_In_Magic
1.jwvg_-_The_Reckoning
1.jwvg_-_The_Remembrance_Of_The_Good
1.jwvg_-_The_Rule_Of_Life
1.jwvg_-_The_Sea-Voyage
1.jwvg_-_The_Treasure_Digger
1.jwvg_-_The_Visit
1.jwvg_-_The_Wanderer
1.jwvg_-_The_Warning
1.jwvg_-_The_Way_To_Behave
1.jwvg_-_To_My_Friend_-_Ode_I
1.jwvg_-_To_The_Chosen_One
1.jwvg_-_To_The_Distant_One
1.jwvg_-_To_The_Kind_Reader
1.jwvg_-_True_Enjoyment
1.jwvg_-_Welcome_And_Farewell
1.jwvg_-_Wholl_Buy_Gods_Of_Love
1.jwvg_-_Wont_And_Done
1.kaa_-_A_Path_of_Devotion
1.kaa_-_Devotion_for_Thee
1.kaa_-_Empty_Me_of_Everything_But_Your_Love
1.kaa_-_Give_Me
1.kaa_-_I_Came
1.kaa_-_In_Each_Breath
1.kaa_-_The_Beauty_of_Oneness
1.kaa_-_The_Friend_Beside_Me
1.kaa_-_The_one_You_kill
1.kbr_-_Abode_Of_The_Beloved
1.kbr_-_Are_you_looking_for_me?
1.kbr_-_Between_the_conscious_and_the_unconscious,_the_mind_has_put_up_a_swing
1.kbr_-_Between_the_Poles_of_the_Conscious
1.kbr_-_Brother,_I've_Seen_Some
1.kbr_-_Chewing_Slowly
1.kbr_-_Dohas_(Couplets)_I_(with_translation)
1.kbr_-_Dohas_II_(with_translation)
1.kbr_-_Do_Not_Go_To_The_Garden_Of_Flowers
1.kbr_-_Do_not_go_to_the_garden_of_flowers!
1.kbr_-_Friend,_Wake_Up!_Why_Do_You_Go_On_Sleeping?
1.kbr_-_Hang_Up_The_Swing_Of_Love_Today!
1.kbr_-_Hang_up_the_swing_of_love_today!
1.kbr_-_Having_Crossed_The_River
1.kbr_-_Having_crossed_the_river
1.kbr_-_He's_That_Rascally_Kind_Of_Yogi
1.kbr_-_Hes_that_rascally_kind_of_yogi
1.kbr_-_Hey_Brother,_Why_Do_You_Want_Me_To_Talk?
1.kbr_-_Hey_brother,_why_do_you_want_me_to_talk?
1.kbr_-_Hiding_In_This_Cage
1.kbr_-_hiding_in_this_cage
1.kbr_-_His_Death_In_Benares
1.kbr_-_Hope_For_Him
1.kbr_-_How_Do_You
1.kbr_-_How_Humble_Is_God
1.kbr_-_I_Burst_Into_Laughter
1.kbr_-_I_burst_into_laughter
1.kbr_-_I_Have_Attained_The_Eternal_Bliss
1.kbr_-_I_have_attained_the_Eternal_Bliss
1.kbr_-_I_have_been_thinking
1.kbr_-_I_Laugh_When_I_Hear_That_The_Fish_In_The_Water_Is_Thirsty
1.kbr_-_Illusion_and_Reality
1.kbr_-_I_Said_To_The_Wanting-Creature_Inside_Me
1.kbr_-_I_Talk_To_My_Inner_Lover,_And_I_Say,_Why_Such_Rush?
1.kbr_-_It_Is_Needless_To_Ask_Of_A_Saint
1.kbr_-_Ive_Burned_My_Own_House_Down
1.kbr_-_Ive_burned_my_own_house_down
1.kbr_-_I_Wont_Come
1.kbr_-_Knowing_Nothing_Shuts_The_Iron_Gates
1.kbr_-_Lift_The_Veil
1.kbr_-_lift_the_veil
1.kbr_-_Looking_At_The_Grinding_Stones_-_Dohas_(Couplets)_I
1.kbr_-_maddh_akas_ap_jahan_baithe
1.kbr_-_Many_Hoped
1.kbr_-_Many_hoped
1.kbr_-_My_Body_And_My_Mind
1.kbr_-_My_Body_Is_Flooded
1.kbr_-_My_body_is_flooded
1.kbr_-_My_Swan,_Let_Us_Fly
1.kbr_-_O_Friend
1.kbr_-_Oh_Friend,_I_Love_You,_Think_This_Over
1.kbr_-_O_how_may_I_ever_express_that_secret_word?
1.kbr_-_O_Servant_Where_Dost_Thou_Seek_Me
1.kbr_-_O_Slave,_liberate_yourself
1.kbr_-_Plucking_Your_Eyebrows
1.kbr_-_Poem_13
1.kbr_-_Poem_14
1.kbr_-_Poem_15
1.kbr_-_Poem_2
1.kbr_-_Poem_3
1.kbr_-_Poem_4
1.kbr_-_Poem_5
1.kbr_-_Poem_6
1.kbr_-_Poem_7
1.kbr_-_Poem_8
1.kbr_-_Poem_9
1.kbr_-_still_the_body
1.kbr_-_Tell_me_Brother
1.kbr_-_Tell_me,_O_Swan,_your_ancient_tale
1.kbr_-_Tentacles_of_Time
1.kbr_-_The_bhakti_path...
1.kbr_-_The_bhakti_path_winds_in_a_delicate_way
1.kbr_-_The_Bride-Soul
1.kbr_-_The_Drop_and_the_Sea
1.kbr_-_The_Dropp_And_The_Sea
1.kbr_-_The_Guest_Is_Inside_You,_And_Also_Inside_Me
1.kbr_-_The_Guest_is_inside_you,_and_also_inside_me
1.kbr_-_The_Impossible_Pass
1.kbr_-_The_impossible_pass
1.kbr_-_The_Light_of_the_Sun
1.kbr_-_The_light_of_the_sun,_the_moon,_and_the_stars_shines_bright
1.kbr_-_The_Lord_Is_In_Me
1.kbr_-_The_Lord_is_in_Me
1.kbr_-_The_moon_shines_in_my_body
1.kbr_-_Theres_A_Moon_Inside_My_Body
1.kbr_-_The_Self_Forgets_Itself
1.kbr_-_The_self_forgets_itself
1.kbr_-_The_Spiritual_Athlete_Often_Changes_The_Color_Of_His_Clothes
1.kbr_-_The_Swan_flies_away
1.kbr_-_The_Time_Before_Death
1.kbr_-_The_Word
1.kbr_-_To_Thee_Thou_Hast_Drawn_My_Love
1.kbr_-_What_Kind_Of_God?
1.kbr_-_When_I_Found_The_Boundless_Knowledge
1.kbr_-_When_I_found_the_boundless_knowledge
1.kbr_-_When_The_Day_Came
1.kbr_-_When_the_Day_Came
1.kbr_-_When_You_Were_Born_In_This_World_-_Dohas_Ii
1.kbr_-_Where_dost_thou_seem_me?
1.kbr_-_Where_do_you_search_me
1.kbr_-_Within_this_earthen_vessel
1.kg_-_Little_Tiger
1.khc_-_Idle_Wandering
1.khc_-_this_autumn_scenes_worth_words_paint
1.ki_-_Autumn_wind
1.ki_-_blown_to_the_big_river
1.ki_-_Buddha_Law
1.ki_-_Buddhas_body
1.ki_-_by_the_light_of_graveside_lanterns
1.ki_-_does_the_woodpecker
1.ki_-_Dont_weep,_insects
1.ki_-_even_poorly_planted
1.ki_-_First_firefly
1.ki_-_From_burweed
1.ki_-_In_my_hut
1.ki_-_into_morning-glories
1.ki_-_Just_by_being
1.ki_-_mountain_temple
1.ki_-_Never_forget
1.ki_-_now_begins
1.ki_-_Reflected
1.ki_-_rice_seedlings
1.ki_-_serene_and_still
1.ki_-_spring_begins
1.ki_-_spring_day
1.ki_-_stillness
1.ki_-_swatting_a_fly
1.ki_-_the_distant_mountains
1.ki_-_the_dragonflys_tail,_too
1.ki_-_Where_there_are_humans
1.ki_-_without_seeing_sunlight
1.kt_-_A_Song_on_the_View_of_Voidness
1.lb_-_A_Farewell_To_Secretary_Shuyun_At_The_Xietiao_Villa_In_Xuanzhou
1.lb_-_Alone_And_Drinking_Under_The_Moon
1.lb_-_Alone_and_Drinking_Under_the_Moon
1.lb_-_Alone_Looking_At_The_Mountain
1.lb_-_Alone_Looking_at_the_Mountain
1.lb_-_Amidst_the_Flowers_a_Jug_of_Wine
1.lb_-_A_Mountain_Revelry
1.lb_-_Amusing_Myself
1.lb_-_Ancient_Air_(39)
1.lb_-_A_Song_Of_An_Autumn_Midnight
1.lb_-_A_Song_Of_Changgan
1.lb_-_Atop_Green_Mountains_by_Li_Po
1.lb_-_Autumn_Air
1.lb_-_Autumn_Air_by_Li_Po
1.lb_-_Autumn_River_Song
1.lb_-_A_Vindication
1.lb_-_Ballads_Of_Four_Seasons:_Spring
1.lb_-_Ballads_Of_Four_Seasons:_Winter
1.lb_-_Bathed_And_Washed
1.lb_-_Bathed_and_Washed
1.lb_-_Before_The_Cask_of_Wine
1.lb_-_Bitter_Love_by_Li_Po
1.lb_-_Bringing_in_the_Wine
1.lb_-_Changgan_Memories
1.lb_-_Chiang_Chin_Chiu
1.lb_-_Ch'ing_P'ing_Tiao
1.lb_-_Chuang_Tzu_And_The_Butterfly
1.lb_-_Clearing_At_Dawn
1.lb_-_Clearing_at_Dawn
1.lb_-_Climbing_West_Of_Lotus_Flower_Peak
1.lb_-_Climbing_West_of_Lotus_Flower_Peak
1.lb_-_Confessional
1.lb_-_Crows_Calling_At_Night
1.lb_-_Down_From_The_Mountain
1.lb_-_Down_Zhongnan_Mountain
1.lb_-_Drinking_Alone_in_the_Moonlight
1.lb_-_Drinking_in_the_Mountains
1.lb_-_Drinking_With_Someone_In_The_Mountains
1.lb_-_Endless_Yearning_by_Li_Po
1.lb_-_Exile's_Letter
1.lb_-_[Facing]_Wine
1.lb_-_Facing_Wine
1.lb_-_Farewell
1.lb_-_Farewell_to_Meng_Hao-jan
1.lb_-_Farewell_to_Meng_Hao-jan_at_Yellow_Crane_Tower_by_Li_Po
1.lb_-_Farewell_to_Secretary_Shu-yun_at_the_Hsieh_Tiao_Villa_in_Hsuan-Chou
1.lb_-_For_Wang_Lun
1.lb_-_For_Wang_Lun_by_Li_Po
1.lb_-_Gazing_At_The_Cascade_On_Lu_Mountain
1.lb_-_Going_Up_Yoyang_Tower
1.lb_-_Gold_painted_jars_-_wines_worth_a_thousand
1.lb_-_Green_Mountain
1.lb_-_Hard_Is_The_Journey
1.lb_-_Hard_Journey
1.lb_-_Hearing_A_Flute_On_A_Spring_Night_In_Luoyang
1.lb_-_His_Dream_Of_Skyland
1.lb_-_Ho_Chih-chang
1.lb_-_In_Spring
1.lb_-_I_say_drinking
1.lb_-_Jade_Stairs_Grievance
1.lb_-_Lament_for_Mr_Tai
1.lb_-_Lament_of_the_Frontier_Guard
1.lb_-_Lament_On_an_Autumn_Night
1.lb_-_Leave-Taking_Near_Shoku
1.lb_-_Leaving_White_King_City
1.lb_-_Lines_For_A_Taoist_Adept
1.lb_-_Listening_to_a_Flute_in_Yellow_Crane_Pavillion
1.lb_-_Looking_For_A_Monk_And_Not_Finding_Him
1.lb_-_Lu_Mountain,_Kiangsi
1.lb_-_Marble_Stairs_Grievance
1.lb_-_Mng_Hao-jan
1.lb_-_Moon_at_the_Fortified_Pass_by_Li_Po
1.lb_-_Moon_Over_Mountain_Pass
1.lb_-_Mountain_Drinking_Song
1.lb_-_Nefarious_War
1.lb_-_Old_Poem
1.lb_-_On_A_Picture_Screen
1.lb_-_On_Climbing_In_Nan-King_To_The_Terrace_Of_Phoenixes
1.lb_-_On_Dragon_Hill
1.lb_-_On_Kusu_Terrace
1.lb_-_Poem_by_The_Bridge_at_Ten-Shin
1.lb_-_Question_And_Answer_On_The_Mountain
1.lb_-_Quiet_Night_Thoughts
1.lb_-_Reaching_the_Hermitage
1.lb_-_Remembering_the_Springs_at_Chih-chou
1.lb_-_Resentment_Near_the_Jade_Stairs
1.lb_-_Seeing_Off_Meng_Haoran_For_Guangling_At_Yellow_Crane_Tower
1.lb_-_Self-Abandonment
1.lb_-_She_Spins_Silk
1.lb_-_Sitting_Alone_On_Jingting_Mountain_by_Li_Po
1.lb_-_Song_of_an_Autumn_Midnight_by_Li_Po
1.lb_-_Song_of_the_Forge
1.lb_-_Song_Of_The_Jade_Cup
1.lb_-_South-Folk_in_Cold_Country
1.lb_-_Spring_Night_In_Lo-Yang_Hearing_A_Flute
1.lb_-_Staying_The_Night_At_A_Mountain_Temple
1.lb_-_Summer_Day_in_the_Mountains
1.lb_-_Summer_in_the_Mountains
1.lb_-_Taking_Leave_of_a_Friend_by_Li_Po
1.lb_-_Taking_Leave_of_a_Friend_by_Li_Po_Tr._by_Ezra_Pound
1.lb_-_Talk_in_the_Mountains_[Question_&_Answer_on_the_Mountain]
1.lb_-_The_Ching-Ting_Mountain
1.lb_-_The_City_of_Choan
1.lb_-_The_Cold_Clear_Spring_At_Nanyang
1.lb_-_The_Moon_At_The_Fortified_Pass
1.lb_-_The_Old_Dust
1.lb_-_The_River-Captains_Wife__A_Letter
1.lb_-_The_River-Merchant's_Wife:_A_Letter
1.lb_-_The_River_Song
1.lb_-_The_Roosting_Crows
1.lb_-_The_Solitude_Of_Night
1.lb_-_Thoughts_In_A_Tranquil_Night
1.lb_-_Thoughts_On_a_Quiet_Night_by_Li_Po
1.lb_-_Thoughts_On_A_Still_Night
1.lb_-_Three_Poems_on_Wine
1.lb_-_Through_The_Yangzi_Gorges
1.lb_-_To_His_Two_Children
1.lb_-_To_My_Wife_on_Lu-shan_Mountain
1.lb_-_To_Tan-Ch'iu
1.lb_-_To_Tu_Fu_from_Shantung
1.lb_-_Viewing_Heaven's_Gate_Mountains
1.lb_-_Visiting_a_Taoist_Master_on_Tai-T'ien_Mountain_by_Li_Po
1.lb_-_Visiting_A_Taoist_On_Tiatien_Mountain
1.lb_-_Waking_from_Drunken_Sleep_on_a_Spring_Day_by_Li_Po
1.lb_-_We_Fought_for_-_South_of_the_Walls
1.lb_-_Yearning
1.lb_-_Ziyi_Song
1.lc_-_Jabberwocky
1.lla_-_A_thousand_times_I_asked_my_guru
1.lla_-_At_the_end_of_a_crazy-moon_night
1.lla_-_Coursing_in_emptiness
1.lla_-_Dance,_Lalla,_with_nothing_on
1.lla_-_Day_will_be_erased_in_night
1.lla_-_Dont_flail_about_like_a_man_wearing_a_blindfold
1.lla_-_Drifter,_on_your_feet,_get_moving!
1.lla_-_Dying_and_giving_birth_go_on
1.lla_-_Fool,_you_wont_find_your_way_out_by_praying_from_a_book
1.lla_-_Forgetful_one,_get_up!
1.lla_-_If_youve_melted_your_desires
1.lla_-_I_hacked_my_way_through_six_forests
1.lla_-_I,_Lalla,_willingly_entered_through_the_garden-gate
1.lla_-_I_made_pilgrimages,_looking_for_God
1.lla_-_Intense_cold_makes_water_ice
1.lla_-_I_searched_for_my_Self
1.lla_-_I_trapped_my_breath_in_the_bellows_of_my_throat
1.lla_-_I_traveled_a_long_way_seeking_God
1.lla_-_Its_so_much_easier_to_study_than_act
1.lla_-_I_wore_myself_out,_looking_for_myself
1.lla_-_Just_for_a_moment,_flowers_appear
1.lla_-_Learning_the_scriptures_is_easy
1.lla_-_Meditate_within_eternity
1.lla_-_Neither_You_nor_I,_neither_object_nor_meditation
1.lla_-_New_mind,_new_moon
1.lla_-_O_infinite_Consciousness
1.lla_-_One_shrine_to_the_next,_the_hermit_cant_stop_for_breath
1.lla_-_Playfully,_you_hid_from_me
1.lla_-_There_is_neither_you,_nor_I
1.lla_-_The_soul,_like_the_moon
1.lla_-_The_way_is_difficult_and_very_intricate
1.lla_-_To_learn_the_scriptures_is_easy
1.lla_-_Wear_the_robe_of_wisdom
1.lla_-_What_is_worship?_Who_are_this_man
1.lla_-_When_my_mind_was_cleansed_of_impurities
1.lla_-_When_Siddhanath_applied_lotion_to_my_eyes
1.lla_-_Word,_Thought,_Kula_and_Akula_cease_to_be_there!
1.lla_-_Your_way_of_knowing_is_a_private_herb_garden
1.lovecraft_-_An_American_To_Mother_England
1.lovecraft_-_An_Epistle_To_Rheinhart_Kleiner,_Esq.,_Poet-Laureate,_And_Author_Of_Another_Endless_Day
1.lovecraft_-_Arcadia
1.lovecraft_-_Astrophobos
1.lovecraft_-_Christmas_Blessings
1.lovecraft_-_Christmas_Snows
1.lovecraft_-_Christmastide
1.lovecraft_-_Despair
1.lovecraft_-_Egyptian_Christmas
1.lovecraft_-_Ex_Oblivione
1.lovecraft_-_Fact_And_Fancy
1.lovecraft_-_Festival
1.lovecraft_-_Fungi_From_Yuggoth
1.lovecraft_-_Good_Saint_Nick
1.lovecraft_-_Halcyon_Days
1.lovecraft_-_Halloween_In_A_Suburb
1.lovecraft_-_Laeta-_A_Lament
1.lovecraft_-_Lifes_Mystery
1.lovecraft_-_Lines_On_General_Robert_Edward_Lee
1.lovecraft_-_Little_Tiger
1.lovecraft_-_March
1.lovecraft_-_Nathicana
1.lovecraft_-_Nemesis
1.lovecraft_-_Ode_For_July_Fourth,_1917
1.lovecraft_-_On_Reading_Lord_Dunsanys_Book_Of_Wonder
1.lovecraft_-_On_Receiving_A_Picture_Of_Swans
1.lovecraft_-_Pacifist_War_Song_-_1917
1.lovecraft_-_Poemata_Minora-_Volume_II
1.lovecraft_-_Providence
1.lovecraft_-_Psychopompos-_A_Tale_in_Rhyme
1.lovecraft_-_Revelation
1.lovecraft_-_St._John
1.lovecraft_-_Sunset
1.lovecraft_-_The_Ancient_Track
1.lovecraft_-_The_Bride_Of_The_Sea
1.lovecraft_-_The_Cats
1.lovecraft_-_The_City
1.lovecraft_-_The_Conscript
1.lovecraft_-_The_Garden
1.lovecraft_-_The_House
1.lovecraft_-_The_Messenger
1.lovecraft_-_Theodore_Roosevelt
1.lovecraft_-_The_Outpost
1.lovecraft_-_The_Peace_Advocate
1.lovecraft_-_The_Poe-ets_Nightmare
1.lovecraft_-_The_Rose_Of_England
1.lovecraft_-_The_Teutons_Battle-Song
1.lovecraft_-_The_Wood
1.lovecraft_-_To_Alan_Seeger-
1.lovecraft_-_To_Edward_John_Moreton_Drax_Plunkelt,
1.lovecraft_-_Tosh_Bosh
1.lovecraft_-_Waste_Paper-_A_Poem_Of_Profound_Insignificance
1.lovecraft_-_Where_Once_Poe_Walked
1.lr_-_An_Adamantine_Song_on_the_Ever-Present
1.ltp_-_My_heart_is_the_clear_water_in_the_stony_pond
1.ltp_-_People_may_sit_till_the_cushion_is_worn_through
1.ltp_-_Sojourning_in_Ta-yu_mountains
1.ltp_-_The_Hundred_Character_Tablet_(Bai_Zi_Bei)
1.ltp_-_What_is_Tao?
1.ltp_-_When_the_moon_is_high_Ill_take_my_cane_for_a_walk
1.lyb_-_Where_I_wander_--_You!
1.mah_-_I_am_the_One_Whom_I_Love
1.mah_-_I_am_the_One_whom_I_love
1.mah_-_If_They_Only_Knew
1.mah_-_I_Witnessed_My_Maker
1.mah_-_Kill_me-_my_faithful_friends
1.mah_-_My_One_and_Only,_only_You_can_make_me
1.mah_-_Seeking_Truth,_I_studied_religion
1.mah_-_Stillness
1.mah_-_To_Reach_God
1.mah_-_You_glide_between_the_heart_and_its_casing
1.mah_-_You_live_inside_my_heart-_in_there_are_secrets_about_You
1.mah_-_Your_spirit_is_mingled_with_mine
1.mah_-_You_Went_Away_but_Remained_in_Me
1.mb_-_a_bee
1.mb_-_a_caterpillar
1.mb_-_a_cicada_shell
1.mb_-_a_cold_rain_starting
1.mb_-_a_field_of_cotton
1.mb_-_All_I_Was_Doing_Was_Breathing
1.mb_-_all_the_day_long
1.mb_-_a_monk_sips_morning_tea
1.mb_-_a_snowy_morning
1.mb_-_as_they_begin_to_rise_again
1.mb_-_a_strange_flower
1.mb_-_autumn_moonlight
1.mb_-_awake_at_night
1.mb_-_Bitter-tasting_ice_-
1.mb_-_blowing_stones
1.mb_-_by_the_old_temple
1.mb_-_Clouds
1.mb_-_cold_night_-_the_wild_duck
1.mb_-_Collection_of_Six_Haiku
1.mb_-_coolness_of_the_melons
1.mb_-_Dark_Friend,_what_can_I_say?
1.mb_-_dont_imitate_me
1.mb_-_first_day_of_spring
1.mb_-_first_snow
1.mb_-_Fleas,_lice
1.mb_-_four_haiku
1.mb_-_Friend,_without_that_Dark_raptor
1.mb_-_from_time_to_time
1.mb_-_heat_waves_shimmering
1.mb_-_how_admirable
1.mb_-_how_wild_the_sea_is
1.mb_-_I_am_pale_with_longing_for_my_beloved
1.mb_-_I_am_true_to_my_Lord
1.mb_-_I_have_heard_that_today_Hari_will_come
1.mb_-_im_a_wanderer
1.mb_-_In_this_world_of_ours,
1.mb_-_it_is_with_awe
1.mb_-_Its_True_I_Went_to_the_Market
1.mb_-_long_conversations
1.mb_-_midfield
1.mb_-_Mira_is_Steadfast
1.mb_-_moonlight_slanting
1.mb_-_morning_and_evening
1.mbn_-_From_the_beginning,_before_the_world_ever_was_(from_Before_the_World_Ever_Was)
1.mb_-_None_is_travelling
1.mb_-_No_one_knows_my_invisible_life
1.mb_-_now_the_swinging_bridge
1.mbn_-_Prayers_for_the_Protection_and_Opening_of_the_Heart
1.mbn_-_The_Soul_Speaks_(from_Hymn_on_the_Fate_of_the_Soul)
1.mb_-_O_I_saw_witchcraft_tonight
1.mb_-_old_pond
1.mb_-_O_my_friends
1.mb_-_on_buddhas_deathbed
1.mb_-_on_the_white_poppy
1.mb_-_on_this_road
1.mb_-_Out_in_a_downpour
1.mb_-_passing_through_the_world
1.mb_-_souls_festival
1.mb_-_spring_rain
1.mb_-_staying_at_an_inn
1.mb_-_stillness
1.mb_-_taking_a_nap
1.mb_-_temple_bells_die_out
1.mb_-_The_Beloved_Comes_Home
1.mb_-_the_butterfly
1.mb_-_the_clouds_come_and_go
1.mb_-_The_Dagger
1.mb_-_The_Five-Coloured_Garment
1.mb_-_The_Heat_of_Midnight_Tears
1.mb_-_the_morning_glory_also
1.mb_-_The_Music
1.mb_-_The_Narrow_Road_to_the_Deep_North_-_Prologue
1.mb_-_the_oak_tree
1.mb_-_the_passing_spring
1.mb_-_the_petals_tremble
1.mb_-_the_squid_sellers_call
1.mb_-_the_winter_storm
1.mb_-_this_old_village
1.mb_-_Unbreakable,_O_Lord
1.mb_-_under_my_tree-roof
1.mb_-_ungraciously
1.mb_-_what_fish_feel
1.mb_-_when_the_winter_chysanthemums_go
1.mb_-_Why_Mira_Cant_Come_Back_to_Her_Old_House
1.mb_-_winter_garden
1.mb_-_with_every_gust_of_wind
1.mb_-_wont_you_come_and_see
1.mb_-_wrapping_the_rice_cakes
1.mb_-_you_make_the_fire
1.mdl_-_Inside_the_hidden_nexus_(from_Jacobs_Journey)
1.mdl_-_The_Creation_of_Elohim
1.mdl_-_The_Gates_(from_Openings)
1.ml_-_Realisation_of_Dreams_and_Mind
1.mm_-_A_fish_cannot_drown_in_water
1.mm_-_Effortlessly
1.mm_-_If_BOREAS_can_in_his_own_Wind_conceive_(from_Atalanta_Fugiens)
1.mm_-_In_pride_I_so_easily_lost_Thee
1.mm_-_Of_the_voices_of_the_Godhead
1.mm_-_Set_Me_on_Fire
1.mm_-_The_devil_also_offers_his_spirit
1.mm_-_Then_shall_I_leap_into_love
1.mm_-_The_Stone_that_is_Mercury,_is_cast_upon_the_(from_Atalanta_Fugiens)
1.mm_-_Three_Golden_Apples_from_the_Hesperian_grove_(from_Atalanta_Fugiens)
1.mm_-_Wouldst_thou_know_my_meaning?
1.mm_-_Yea!_I_shall_drink_from_Thee
1.ms_-_At_the_Nachi_Kannon_Hall
1.ms_-_Beyond_the_World
1.ms_-_Buddhas_Satori
1.ms_-_Clear_Valley
1.msd_-_Barns_burnt_down
1.msd_-_Masahides_Death_Poem
1.msd_-_When_bird_passes_on
1.ms_-_Hui-nengs_Pond
1.ms_-_Incomparable_Verse_Valley
1.ms_-_No_End_Point
1.ms_-_Old_Creek
1.ms_-_Snow_Garden
1.ms_-_Temple_of_Eternal_Light
1.ms_-_The_Gate_of_Universal_Light
1.ms_-_Toki-no-Ge_(Satori_Poem)
1.nb_-_A_Poem_for_the_Sefirot_as_a_Wheel_of_Light
1.nkt_-_Autumn_Wind
1.nkt_-_Lets_Get_to_Rowing
1.nmdv_-_He_is_the_One_in_many
1.nmdv_-_Laughing_and_playing,_I_came_to_Your_Temple,_O_Lord
1.nmdv_-_The_drum_with_no_drumhead_beats
1.nmdv_-_The_thundering_resonance_of_the_Word
1.nmdv_-_Thou_art_the_Creator,_Thou_alone_art_my_friend
1.nmdv_-_When_I_see_His_ways,_I_sing
1.nrpa_-_Advice_to_Marpa_Lotsawa
1.nrpa_-_The_Summary_of_Mahamudra
1.nrpa_-_The_Viewm_Concisely_Put
1.okym_-_10_-_With_me_along_the_strip_of_Herbage_strown
1.okym_-_11_-_Here_with_a_Loaf_of_Bread_beneath_the_Bough
1.okym_-_12_-_How_sweet_is_mortal_Sovranty!_--_think_some
1.okym_-_13_-_Look_to_the_Rose_that_blows_about_us_--_Lo
1.okym_-_14_-_The_Worldly_Hope_men_set_their_Hearts_upon
1.okym_-_15_-_And_those_who_husbanded_the_Golden_Grain
1.okym_-_16_-_Think,_in_this_batterd_Caravanserai
1.okym_-_17_-_They_say_the_Lion_and_the_Lizard_keep
1.okym_-_18_-_I_sometimes_think_that_never_blows_so_red
1.okym_-_19_-_And_this_delightful_Herb_whose_tender_Green
1.okym_-_1_-_AWAKE!_for_Morning_in_the_Bowl_of_Night
1.okym_-_20_-_Ah,_my_Beloved,_fill_the_Cup_that_clears
1.okym_-_21_-_Lo!_some_we_loved,_the_loveliest_and_best
1.okym_-_22_-_And_we,_that_now_make_merry_in_the_Room
1.okym_-_23_-_Ah,_make_the_most_of_what_we_may_yet_spend
1.okym_-_24_-_Alike_for_those_who_for_To-day_prepare
1.okym_-_25_-_Why,_all_the_Saints_and_Sages_who_discussd
1.okym_-_26_-_Oh,_come_with_old_Khayyam,_and_leave_the_Wise
1.okym_-_27_-_Myself_when_young_did_eagerly_frequent
1.okym_-_28_-_With_them_the_Seed_of_Wisdom_did_I_sow
1.okym_-_29_-_Into_this_Universe,_and_Why_not_knowing
1.okym_-_2_-_Dreaming_when_Dawns_Left_Hand_was_in_the_Sky
1.okym_-_30_-_What,_without_asking,_hither_hurried_whence?
1.okym_-_31_-_Up_from_Earths_Centre_through_the_Seventh_Gate
1.okym_-_32_-_There_was_a_Door_to_which_I_found_no_Key
1.okym_-_33_-_Then_to_the_rolling_Heavn_itself_I_cried
1.okym_-_34_-_Then_to_this_earthen_Bowl_did_I_adjourn
1.okym_-_35_-_I_think_the_Vessel,_that_with_fugitive
1.okym_-_36_-_For_in_the_Market-place,_one_Dusk_of_Day
1.okym_-_37_-_Ah,_fill_the_Cup-_--_what_boots_it_to_repeat
1.okym_-_38_-_One_Moment_in_Annihilations_Waste
1.okym_-_39_-_How_long,_how_long,_in_infinite_Pursuit
1.okym_-_3_-_And,_as_the_Cock_crew,_those_who_stood_before
1.okym_-_40_-_You_know,_my_Friends,_how_long_since_in_my_House
1.okym_-_41_-_For_Is_and_Is-not_though_with_Rule_and_Line
1.okym_-_41_-_later_edition_-_Perplext_no_more_with_Human_or_Divine_Perplext_no_more_with_Human_or_Divine
1.okym_-_42_-_And_lately,_by_the_Tavern_Door_agape
1.okym_-_42_-_later_edition_-_Waste_not_your_Hour,_nor_in_the_vain_pursuit_Waste_not_your_Hour,_nor_in_the_vain_pursuit
1.okym_-_43_-_The_Grape_that_can_with_Logic_absolute
1.okym_-_44_-_The_mighty_Mahmud,_the_victorious_Lord
1.okym_-_45_-_But_leave_the_Wise_to_wrangle,_and_with_me
1.okym_-_46_-_For_in_and_out,_above,_about,_below
1.okym_-_46_-_later_edition_-_Why,_be_this_Juice_the_growth_of_God,_who_dare_Why,_be_this_Juice_the_growth_of_God,_who_dare
1.okym_-_47_-_And_if_the_Wine_you_drink,_the_Lip_you_press
1.okym_-_48_-_While_the_Rose_blows_along_the_River_Brink
1.okym_-_49_-_Tis_all_a_Chequer-board_of_Nights_and_Days
1.okym_-_4_-_Now_the_New_Year_reviving_old_Desires
1.okym_-_50_-_The_Ball_no_Question_makes_of_Ayes_and_Noes
1.okym_-_51_-_later_edition_-_Why,_if_the_Soul_can_fling_the_Dust_aside
1.okym_-_51_-_The_Moving_Finger_writes-_and,_having_writ
1.okym_-_52_-_And_that_inverted_Bowl_we_call_The_Sky
1.okym_-_52_-_later_edition_-_But_that_is_but_a_Tent_wherein_may_rest
1.okym_-_53_-_later_edition_-_I_sent_my_Soul_through_the_Invisible
1.okym_-_53_-_With_Earths_first_Clay_They_did_the_Last_Man_knead
1.okym_-_54_-_I_tell_Thee_this_--_When,_starting_from_the_Goal
1.okym_-_55_-_The_Vine_has_struck_a_fiber-_which_about
1.okym_-_56_-_And_this_I_know-_whether_the_one_True_Light
1.okym_-_57_-_Oh_Thou,_who_didst_with_Pitfall_and_with_gin
1.okym_-_58_-_Oh,_Thou,_who_Man_of_baser_Earth_didst_make
1.okym_-_59_-_Listen_again
1.okym_-_5_-_Iram_indeed_is_gone_with_all_its_Rose
1.okym_-_60_-_And,_strange_to_tell,_among_that_Earthen_Lot
1.okym_-_61_-_Then_said_another_--_Surely_not_in_vain
1.okym_-_62_-_Another_said_--_Why,_neer_a_peevish_Boy
1.okym_-_63_-_None_answerd_this-_but_after_Silence_spake
1.okym_-_64_-_Said_one_--_Folks_of_a_surly_Tapster_tell
1.okym_-_65_-_Then_said_another_with_a_long-drawn_Sigh
1.okym_-_66_-_So_while_the_Vessels_one_by_one_were_speaking
1.okym_-_67_-_Ah,_with_the_Grape_my_fading_Life_provide
1.okym_-_68_-_That_evn_my_buried_Ashes_such_a_Snare
1.okym_-_69_-_Indeed_the_Idols_I_have_loved_so_long
1.okym_-_6_-_And_Davids_Lips_are_lockt-_but_in_divine
1.okym_-_70_-_Indeed,_indeed,_Repentance_oft_before
1.okym_-_71_-_And_much_as_Wine_has_playd_the_Infidel
1.okym_-_72_-_Alas,_that_Spring_should_vanish_with_the_Rose!
1.okym_-_73_-_Ah_Love!_could_thou_and_I_with_Fate_conspire
1.okym_-_74_-_Ah,_Moon_of_my_Delight_who_knowst_no_wane
1.okym_-_75_-_And_when_Thyself_with_shining_Foot_shall_pass
1.okym_-_7_-_Come,_fill_the_Cup,_and_in_the_Fire_of_Spring
1.okym_-_8_-_And_look_--_a_thousand_Blossoms_with_the_Day
1.okym_-_9_-_But_come_with_old_Khayyam,_and_leave_the_Lot
1.pbs_-_A_Bridal_Song
1.pbs_-_A_Dialogue
1.pbs_-_A_Dirge
1.pbs_-_Adonais_-_An_elegy_on_the_Death_of_John_Keats
1.pbs_-_A_Fragment_-_To_Music
1.pbs_-_A_Hate-Song
1.pbs_-_A_Lament
1.pbs_-_Alas!_This_Is_Not_What_I_Thought_Life_Was
1.pbs_-_Alastor_-_or,_the_Spirit_of_Solitude
1.pbs_-_An_Allegory
1.pbs_-_And_like_a_Dying_Lady,_Lean_and_Pale
1.pbs_-_And_That_I_Walk_Thus_Proudly_Crowned_Withal
1.pbs_-_A_New_National_Anthem
1.pbs_-_An_Exhortation
1.pbs_-_An_Ode,_Written_October,_1819,_Before_The_Spaniards_Had_Recovered_Their_Liberty
1.pbs_-_Another_Fragment_to_Music
1.pbs_-_Archys_Song_From_Charles_The_First_(A_Widow_Bird_Sate_Mourning_For_Her_Love)
1.pbs_-_Arethusa
1.pbs_-_A_Romans_Chamber
1.pbs_-_Art_Thou_Pale_For_Weariness
1.pbs_-_A_Serpent-Face
1.pbs_-_Asia_-_From_Prometheus_Unbound
1.pbs_-_A_Summer_Evening_Churchyard_-_Lechlade,_Gloucestershire
1.pbs_-_A_Tale_Of_Society_As_It_Is_-_From_Facts,_1811
1.pbs_-_Autumn_-_A_Dirge
1.pbs_-_A_Vision_Of_The_Sea
1.pbs_-_A_Widow_Bird_Sate_Mourning_For_Her_Love
1.pbs_-_Beautys_Halo
1.pbs_-_Bereavement
1.pbs_-_Bigotrys_Victim
1.pbs_-_Catalan
1.pbs_-_Charles_The_First
1.pbs_-_Chorus_from_Hellas
1.pbs_-_Dark_Spirit_of_the_Desart_Rude
1.pbs_-_Death
1.pbs_-_Death_In_Life
1.pbs_-_Death_Is_Here_And_Death_Is_There
1.pbs_-_Despair
1.pbs_-_Dirge_For_The_Year
1.pbs_-_English_translationItalian
1.pbs_-_Epigram_III_-_Spirit_of_Plato
1.pbs_-_Epigram_II_-_Kissing_Helena
1.pbs_-_Epigram_I_-_To_Stella
1.pbs_-_Epigram_IV_-_Circumstance
1.pbs_-_Epipsychidion
1.pbs_-_Epipsychidion_(Excerpt)
1.pbs_-_Epipsychidion_-_Passages_Of_The_Poem,_Or_Connected_Therewith
1.pbs_-_Epitaph
1.pbs_-_Epithalamium
1.pbs_-_Epithalamium_-_Another_Version
1.pbs_-_Evening_-_Ponte_Al_Mare,_Pisa
1.pbs_-_Evening._To_Harriet
1.pbs_-_Eyes_-_A_Fragment
1.pbs_-_Faint_With_Love,_The_Lady_Of_The_South
1.pbs_-_Feelings_Of_A_Republican_On_The_Fall_Of_Bonaparte
1.pbs_-_Fiordispina
1.pbs_-_Fragment_-_A_Gentle_Story_Of_Two_Lovers_Young
1.pbs_-_Fragment_-_"Amor_Aeternus"
1.pbs_-_Fragment_-_Apostrophe_To_Silence
1.pbs_-_Fragment_-_A_Wanderer
1.pbs_-_Fragment_-_Follow_To_The_Deep_Woods_Weeds
1.pbs_-_Fragment_From_The_Wandering_Jew
1.pbs_-_Fragment_-_Great_Spirit
1.pbs_-_Fragment_-_Home
1.pbs_-_Fragment_-_"Igniculus_Desiderii"
1.pbs_-_Fragment_-_Is_It_That_In_Some_Brighter_Sphere
1.pbs_-_Fragment_-_Love_The_Universe_To-Day
1.pbs_-_Fragment_-_Miltons_Spirit
1.pbs_-_Fragment_-_My_Head_Is_Wild_With_Weeping
1.pbs_-_Fragment_Of_A_Ghost_Story
1.pbs_-_Fragment_Of_A_Satire_On_Satire
1.pbs_-_Fragment_Of_A_Sonnet._Farewell_To_North_Devon
1.pbs_-_Fragment_Of_A_Sonnet_-_To_Harriet
1.pbs_-_Fragment_Of_The_Elegy_On_The_Death_Of_Adonis
1.pbs_-_Fragment_Of_The_Elegy_On_The_Death_Of_Bion
1.pbs_-_Fragment_-_Omens
1.pbs_-_Fragment,_Or_The_Triumph_Of_Conscience
1.pbs_-_Fragment_-_Rain
1.pbs_-_Fragment_-_Satan_Broken_Loose
1.pbs_-_Fragments_Of_An_Unfinished_Drama
1.pbs_-_Fragments_Supposed_To_Be_Parts_Of_Otho
1.pbs_-_Fragment_-_Such_Hope,_As_Is_The_Sick_Despair_Of_Good
1.pbs_-_Fragment_-_Sufficient_Unto_The_Day
1.pbs_-_Fragment_-_Supposed_To_Be_An_Epithalamium_Of_Francis_Ravaillac_And_Charlotte_Corday
1.pbs_-_Fragments_Written_For_Hellas
1.pbs_-_Fragment_-_The_Lakes_Margin
1.pbs_-_Fragment_-_There_Is_A_Warm_And_Gentle_Atmosphere
1.pbs_-_Fragment_-_The_Vine-Shroud
1.pbs_-_Fragment_-_Thoughts_Come_And_Go_In_Solitude
1.pbs_-_Fragment_-_To_A_Friend_Released_From_Prison
1.pbs_-_Fragment_-_To_Byron
1.pbs_-_Fragment_-_To_One_Singing
1.pbs_-_Fragment_-_To_The_Moon
1.pbs_-_Fragment_-_To_The_People_Of_England
1.pbs_-_Fragment_-_Wedded_Souls
1.pbs_-_Fragment_-_What_Mary_Is_When_She_A_Little_Smiles
1.pbs_-_Fragment_-_What_Men_Gain_Fairly
1.pbs_-_Fragment_-_Ye_Gentle_Visitations_Of_Calm_Thought
1.pbs_-_Fragment_-_Yes!_All_Is_Past
1.pbs_-_From
1.pbs_-_From_The_Arabic_-_An_Imitation
1.pbs_-_From_the_Arabic,_an_Imitation
1.pbs_-_From_The_Greek_Of_Moschus
1.pbs_-_From_The_Greek_Of_Moschus_-_Pan_Loved_His_Neighbour_Echo
1.pbs_-_From_The_Original_Draft_Of_The_Poem_To_William_Shelley
1.pbs_-_From_Vergils_Fourth_Georgic
1.pbs_-_From_Vergils_Tenth_Eclogue
1.pbs_-_Ghasta_Or,_The_Avenging_Demon!!!
1.pbs_-_Ginevra
1.pbs_-_Good-Night
1.pbs_-_Hellas_-_A_Lyrical_Drama
1.pbs_-_HERE_I_sit_with_my_paper
1.pbs_-_Homers_Hymn_To_Castor_And_Pollux
1.pbs_-_Homers_Hymn_To_Minerva
1.pbs_-_Homers_Hymn_To_The_Earth_-_Mother_Of_All
1.pbs_-_Homers_Hymn_To_The_Moon
1.pbs_-_Homers_Hymn_To_The_Sun
1.pbs_-_Homers_Hymn_To_Venus
1.pbs_-_Hymn_of_Apollo
1.pbs_-_Hymn_of_Pan
1.pbs_-_Hymn_to_Intellectual_Beauty
1.pbs_-_Hymn_To_Mercury
1.pbs_-_I_Arise_from_Dreams_of_Thee
1.pbs_-_I_Faint,_I_Perish_With_My_Love!
1.pbs_-_Invocation
1.pbs_-_Invocation_To_Misery
1.pbs_-_I_Stood_Upon_A_Heaven-cleaving_Turret
1.pbs_-_I_Would_Not_Be_A_King
1.pbs_-_Julian_and_Maddalo_-_A_Conversation
1.pbs_-_Letter_To_Maria_Gisborne
1.pbs_-_Liberty
1.pbs_-_Life_Rounded_With_Sleep
1.pbs_-_Lines_--_Far,_Far_Away,_O_Ye
1.pbs_-_Lines_-_That_time_is_dead_for_ever,_child!
1.pbs_-_Lines_-_The_cold_earth_slept_below
1.pbs_-_Lines_To_A_Critic
1.pbs_-_Lines_To_A_Reviewer
1.pbs_-_Lines_-_We_Meet_Not_As_We_Parted
1.pbs_-_Lines_Written_Among_The_Euganean_Hills
1.pbs_-_Lines_Written_During_The_Castlereagh_Administration
1.pbs_-_Lines_Written_in_the_Bay_of_Lerici
1.pbs_-_Lines_Written_On_Hearing_The_News_Of_The_Death_Of_Napoleon
1.pbs_-_Love
1.pbs_-_Love-_Hope,_Desire,_And_Fear
1.pbs_-_Loves_Philosophy
1.pbs_-_Loves_Rose
1.pbs_-_Marenghi
1.pbs_-_Mariannes_Dream
1.pbs_-_Matilda_Gathering_Flowers
1.pbs_-_May_The_Limner
1.pbs_-_Melody_To_A_Scene_Of_Former_Times
1.pbs_-_Methought_I_Was_A_Billow_In_The_Crowd
1.pbs_-_Mighty_Eagle
1.pbs_-_Mont_Blanc_-_Lines_Written_In_The_Vale_of_Chamouni
1.pbs_-_Music
1.pbs_-_Music(2)
1.pbs_-_Music_And_Sweet_Poetry
1.pbs_-_Mutability
1.pbs_-_Mutability_-_II.
1.pbs_-_Ode_To_Heaven
1.pbs_-_Ode_To_Liberty
1.pbs_-_Ode_To_Naples
1.pbs_-_Ode_to_the_West_Wind
1.pbs_-_Oedipus_Tyrannus_or_Swellfoot_The_Tyrant
1.pbs_-_On_A_Faded_Violet
1.pbs_-_On_A_Fete_At_Carlton_House_-_Fragment
1.pbs_-_On_An_Icicle_That_Clung_To_The_Grass_Of_A_Grave
1.pbs_-_On_Death
1.pbs_-_One_sung_of_thee_who_left_the_tale_untold
1.pbs_-_On_Fanny_Godwin
1.pbs_-_On_Keats,_Who_Desired_That_On_His_Tomb_Should_Be_Inscribed--
1.pbs_-_On_Leaving_London_For_Wales
1.pbs_-_On_Robert_Emmets_Grave
1.pbs_-_On_The_Dark_Height_of_Jura
1.pbs_-_On_The_Medusa_Of_Leonardo_da_Vinci_In_The_Florentine_Gallery
1.pbs_-_Orpheus
1.pbs_-_O_That_A_Chariot_Of_Cloud_Were_Mine!
1.pbs_-_Otho
1.pbs_-_O_Thou_Immortal_Deity
1.pbs_-_Ozymandias
1.pbs_-_Passage_Of_The_Apennines
1.pbs_-_Pater_Omnipotens
1.pbs_-_Peter_Bell_The_Third
1.pbs_-_Poetical_Essay
1.pbs_-_Prince_Athanase
1.pbs_-_Prometheus_Unbound
1.pbs_-_Queen_Mab_-_Part_I.
1.pbs_-_Queen_Mab_-_Part_II.
1.pbs_-_Queen_Mab_-_Part_III.
1.pbs_-_Queen_Mab_-_Part_IV.
1.pbs_-_Queen_Mab_-_Part_IX.
1.pbs_-_Queen_Mab_-_Part_V.
1.pbs_-_Queen_Mab_-_Part_VI.
1.pbs_-_Queen_Mab_-_Part_Vi_(Excerpts)
1.pbs_-_Queen_Mab_-_Part_VII.
1.pbs_-_Queen_Mab_-_Part_VIII.
1.pbs_-_Remembrance
1.pbs_-_Revenge
1.pbs_-_Rome_And_Nature
1.pbs_-_Rosalind_and_Helen_-_a_Modern_Eclogue
1.pbs_-_Saint_Edmonds_Eve
1.pbs_-_Scene_From_Tasso
1.pbs_-_Scenes_From_The_Faust_Of_Goethe
1.pbs_-_Similes_For_Two_Political_Characters_of_1819
1.pbs_-_Sister_Rosa_-_A_Ballad
1.pbs_-_Song
1.pbs_-_Song._Cold,_Cold_Is_The_Blast_When_December_Is_Howling
1.pbs_-_Song._Come_Harriet!_Sweet_Is_The_Hour
1.pbs_-_Song._Despair
1.pbs_-_Song._--_Fierce_Roars_The_Midnight_Storm
1.pbs_-_Song_For_Tasso
1.pbs_-_Song_From_The_Wandering_Jew
1.pbs_-_Song._Hope
1.pbs_-_Song_Of_Proserpine_While_Gathering_Flowers_On_The_Plain_Of_Enna
1.pbs_-_Song._Sorrow
1.pbs_-_Song._To_--_[Harriet]
1.pbs_-_Song._To_[Harriet]
1.pbs_-_Song_To_The_Men_Of_England
1.pbs_-_Song._Translated_From_The_German
1.pbs_-_Song._Translated_From_The_Italian
1.pbs_-_Sonnet_-_England_in_1819
1.pbs_-_Sonnet_-_From_The_Italian_Of_Cavalcanti
1.pbs_-_Sonnet_-_From_The_Italian_Of_Dante
1.pbs_-_Sonnet_-_Lift_Not_The_Painted_Veil_Which_Those_Who_Live
1.pbs_-_Sonnet_-_On_Launching_Some_Bottles_Filled_With_Knowledge_Into_The_Bristol_Channel
1.pbs_-_Sonnet_-_Political_Greatness
1.pbs_-_Sonnet_-_To_A_Balloon_Laden_With_Knowledge
1.pbs_-_Sonnet_To_Byron
1.pbs_-_Sonnet_--_Ye_Hasten_To_The_Grave!
1.pbs_-_Stanza
1.pbs_-_Stanza_From_A_Translation_Of_The_Marseillaise_Hymn
1.pbs_-_Stanzas._--_April,_1814
1.pbs_-_Stanzas_From_Calderons_Cisma_De_Inglaterra
1.pbs_-_Stanzas_Written_in_Dejection,_Near_Naples
1.pbs_-_Stanza-_Written_At_Bracknell
1.pbs_-_St._Irvynes_Tower
1.pbs_-_Summer_And_Winter
1.pbs_-_The_Aziola
1.pbs_-_The_Birth_Place_of_Pleasure
1.pbs_-_The_Boat_On_The_Serchio
1.pbs_-_The_Cenci_-_A_Tragedy_In_Five_Acts
1.pbs_-_The_Cloud
1.pbs_-_The_Cyclops
1.pbs_-_The_Daemon_Of_The_World
1.pbs_-_The_Death_Knell_Is_Ringing
1.pbs_-_The_Deserts_Of_Dim_Sleep
1.pbs_-_The_Devils_Walk._A_Ballad
1.pbs_-_The_Drowned_Lover
1.pbs_-_The_False_Laurel_And_The_True
1.pbs_-_The_First_Canzone_Of_The_Convito
1.pbs_-_The_Fitful_Alternations_of_the_Rain
1.pbs_-_The_Fugitives
1.pbs_-_The_Indian_Serenade
1.pbs_-_The_Irishmans_Song
1.pbs_-_The_Isle
1.pbs_-_The_Magnetic_Lady_To_Her_Patient
1.pbs_-_The_Mask_Of_Anarchy
1.pbs_-_The_Past
1.pbs_-_The_Pine_Forest_Of_The_Cascine_Near_Pisa
1.pbs_-_The_Question
1.pbs_-_The_Retrospect_-_CWM_Elan,_1812
1.pbs_-_The_Revolt_Of_Islam_-_Canto_I-XII
1.pbs_-_The_Rude_Wind_Is_Singing
1.pbs_-_The_Sensitive_Plant
1.pbs_-_The_Sepulchre_Of_Memory
1.pbs_-_The_Solitary
1.pbs_-_The_Spectral_Horseman
1.pbs_-_The_Sunset
1.pbs_-_The_Tower_Of_Famine
1.pbs_-_The_Triumph_Of_Life
1.pbs_-_The_Two_Spirits_-_An_Allegory
1.pbs_-_The_Viewless_And_Invisible_Consequence
1.pbs_-_The_Wandering_Jews_Soliloquy
1.pbs_-_The_Waning_Moon
1.pbs_-_The_Witch_Of_Atlas
1.pbs_-_The_Woodman_And_The_Nightingale
1.pbs_-_The_Worlds_Wanderers
1.pbs_-_The_Zucca
1.pbs_-_Time
1.pbs_-_Time_Long_Past
1.pbs_-_To--
1.pbs_-_To_A_Skylark
1.pbs_-_To_A_Star
1.pbs_-_To_Coleridge
1.pbs_-_To_Constantia
1.pbs_-_To_Constantia-_Singing
1.pbs_-_To_Death
1.pbs_-_To_Edward_Williams
1.pbs_-_To_Emilia_Viviani
1.pbs_-_To_Harriet
1.pbs_-_To_Harriet_--_It_Is_Not_Blasphemy_To_Hope_That_Heaven
1.pbs_-_To_Ianthe
1.pbs_-_To--_I_Fear_Thy_Kisses,_Gentle_Maiden
1.pbs_-_To_Ireland
1.pbs_-_To_Italy
1.pbs_-_To_Jane_-_The_Invitation
1.pbs_-_To_Jane_-_The_Keen_Stars_Were_Twinkling
1.pbs_-_To_Jane_-_The_Recollection
1.pbs_-_To_Mary_-
1.pbs_-_To_Mary_Shelley
1.pbs_-_To_Mary_Shelley_(2)
1.pbs_-_To_Mary_Who_Died_In_This_Opinion
1.pbs_-_To_Mary_Wollstonecraft_Godwin
1.pbs_-_To-morrow
1.pbs_-_To--_Music,_when_soft_voices_die
1.pbs_-_To_Night
1.pbs_-_To--_Oh!_there_are_spirits_of_the_air
1.pbs_-_To--_One_word_is_too_often_profaned
1.pbs_-_To_Sophia_(Miss_Stacey)
1.pbs_-_To_The_Lord_Chancellor
1.pbs_-_To_The_Men_Of_England
1.pbs_-_To_The_Mind_Of_Man
1.pbs_-_To_the_Moon
1.pbs_-_To_The_Moonbeam
1.pbs_-_To_The_Nile
1.pbs_-_To_The_Queen_Of_My_Heart
1.pbs_-_To_The_Republicans_Of_North_America
1.pbs_-_To_William_Shelley
1.pbs_-_To_William_Shelley.
1.pbs_-_To_William_Shelley._Thy_Little_Footsteps_On_The_Sands
1.pbs_-_To_Wordsworth
1.pbs_-_To--_Yet_look_on_me
1.pbs_-_Ugolino
1.pbs_-_Unrisen_Splendour_Of_The_Brightest_Sun
1.pbs_-_Verses_On_A_Cat
1.pbs_-_Wake_The_Serpent_Not
1.pbs_-_War
1.pbs_-_When_A_Lover_Clasps_His_Fairest
1.pbs_-_When_Soft_Winds_And_Sunny_Skies
1.pbs_-_When_The_Lamp_Is_Shattered
1.pbs_-_Wine_Of_The_Fairies
1.pbs_-_With_A_Guitar,_To_Jane
1.pbs_-_Written_At_Bracknell
1.pbs_-_Zephyrus_The_Awakener
1.pc_-_Autumns_Cold
1.pc_-_Lute
1.pc_-_Staying_at_Bamboo_Lodge
1.poe_-_A_Dream
1.poe_-_A_Dream_Within_A_Dream
1.poe_-_Al_Aaraaf-_Part_1
1.poe_-_Al_Aaraaf-_Part_2
1.poe_-_Alone
1.poe_-_An_Acrostic
1.poe_-_An_Enigma
1.poe_-_Annabel_Lee
1.poe_-_A_Paean
1.poe_-_A_Valentine
1.poe_-_Dreamland
1.poe_-_Dreams
1.poe_-_Eldorado
1.poe_-_Elizabeth
1.poe_-_Enigma
1.poe_-_Epigram_For_Wall_Street
1.poe_-_Eulalie
1.poe_-_Eureka_-_A_Prose_Poem
1.poe_-_Evening_Star
1.poe_-_Fairy-Land
1.poe_-_For_Annie
1.poe_-_Hymn
1.poe_-_Hymn_To_Aristogeiton_And_Harmodius
1.poe_-_Imitation
1.poe_-_Impromptu_-_To_Kate_Carol
1.poe_-_In_Youth_I_have_Known_One
1.poe_-_Israfel
1.poe_-_Lenore
1.poe_-_Romance
1.poe_-_Sancta_Maria
1.poe_-_Serenade
1.poe_-_Song
1.poe_-_Sonnet-_Silence
1.poe_-_Sonnet_-_To_Science
1.poe_-_Sonnet-_To_Zante
1.poe_-_Spirits_Of_The_Dead
1.poe_-_Tamerlane
1.poe_-_The_Bells
1.poe_-_The_Bells_-_A_collaboration
1.poe_-_The_Bridal_Ballad
1.poe_-_The_City_In_The_Sea
1.poe_-_The_City_Of_Sin
1.poe_-_The_Coliseum
1.poe_-_The_Conqueror_Worm
1.poe_-_The_Conversation_Of_Eiros_And_Charmion
1.poe_-_The_Divine_Right_Of_Kings
1.poe_-_The_Forest_Reverie
1.poe_-_The_Happiest_Day-The_Happiest_Hour
1.poe_-_The_Haunted_Palace
1.poe_-_The_Power_Of_Words_Oinos.
1.poe_-_The_Raven
1.poe_-_The_Sleeper
1.poe_-_The_Valley_Of_Unrest
1.poe_-_The_Village_Street
1.poe_-_To_--
1.poe_-_To_--_(2)
1.poe_-_To_--_(3)
1.poe_-_To_F--
1.poe_-_To_Frances_S._Osgood
1.poe_-_To_Helen_-_1831
1.poe_-_To_Helen_-_1848
1.poe_-_To_Isadore
1.poe_-_To_M--
1.poe_-_To_Marie_Louise_(Shew)
1.poe_-_To_My_Mother
1.poe_-_To_One_Departed
1.poe_-_To_One_In_Paradise
1.poe_-_To_The_Lake
1.poe_-_To_The_River
1.poe_-_Ulalume
1.pp_-_Raga_Dhanashri
1.raa_-_A_Holy_Tabernacle_in_the_Heart_(from_Life_of_the_Future_World)
1.raa_-_And_the_letter_is_longing
1.raa_-_And_YHVH_spoke_to_me_when_I_saw_His_name
1.raa_-_Circles_1_(from_Life_of_the_Future_World)
1.raa_-_Circles_2_(from_Life_of_the_Future_World)
1.raa_-_Circles_3_(from_Life_of_the_Future_World)
1.raa_-_Circles_4_(from_Life_of_the_Future_World)
1.raa_-_Their_mystery_is_(from_Life_of_the_Future_World)
1.rajh_-_God_Pursues_Me_Everywhere
1.rajh_-_Intimate_Hymn
1.rajh_-_The_Word_Most_Precious
1.rb_-_Abt_Vogler
1.rb_-_A_Cavalier_Song
1.rb_-_After
1.rb_-_A_Grammarian's_Funeral_Shortly_After_The_Revival_Of_Learning
1.rb_-_Aix_In_Provence
1.rb_-_A_Light_Woman
1.rb_-_A_Lovers_Quarrel
1.rb_-_Among_The_Rocks
1.rb_-_Andrea_del_Sarto
1.rb_-_An_Epistle_Containing_the_Strange_Medical_Experience_of_Kar
1.rb_-_Another_Way_Of_Love
1.rb_-_Any_Wife_To_Any_Husband
1.rb_-_A_Pretty_Woman
1.rb_-_A_Serenade_At_The_Villa
1.rb_-_A_Toccata_Of_Galuppi's
1.rb_-_A_Womans_Last_Word
1.rb_-_Before
1.rb_-_Bishop_Blougram's_Apology
1.rb_-_Bishop_Orders_His_Tomb_at_Saint_Praxed's_Church,_Rome,_The
1.rb_-_By_The_Fire-Side
1.rb_-_Caliban_upon_Setebos_or,_Natural_Theology_in_the_Island
1.rb_-_Childe_Roland_To_The_Dark_Tower_Came
1.rb_-_Cleon
1.rb_-_Confessions
1.rb_-_Cristina
1.rb_-_De_Gustibus
1.rb_-_Earth's_Immortalities
1.rb_-_Evelyn_Hope
1.rb_-_Fra_Lippo_Lippi
1.rb_-_Garden_Francies
1.rb_-_Holy-Cross_Day
1.rb_-_Home_Thoughts,_from_the_Sea
1.rb_-_How_They_Brought_The_Good_News_From_Ghent_To_Aix
1.rb_-_In_A_Gondola
1.rb_-_In_A_Year
1.rb_-_Incident_Of_The_French_Camp
1.rb_-_In_Three_Days
1.rb_-_Introduction:_Pippa_Passes
1.rbk_-_Epithalamium
1.rbk_-_He_Shall_be_King!
1.rb_-_Life_In_A_Love
1.rb_-_Love_Among_The_Ruins
1.rb_-_Love_In_A_Life
1.rb_-_Master_Hugues_Of_Saxe-Gotha
1.rb_-_Meeting_At_Night
1.rb_-_Memorabilia
1.rb_-_Mesmerism
1.rb_-_My_Last_Duchess
1.rb_-_My_Star
1.rb_-_Nationality_In_Drinks
1.rb_-_Never_the_Time_and_the_Place
1.rb_-_Now!
1.rb_-_Old_Pictures_In_Florence
1.rb_-_O_Lyric_Love
1.rb_-_One_Way_Of_Love
1.rb_-_Paracelsus_-_Part_III_-_Paracelsus
1.rb_-_Paracelsus_-_Part_II_-_Paracelsus_Attains
1.rb_-_Paracelsus_-_Part_I_-_Paracelsus_Aspires
1.rb_-_Paracelsus_-_Part_IV_-_Paracelsus_Aspires
1.rb_-_Paracelsus_-_Part_V_-_Paracelsus_Attains
1.rb_-_Parting_At_Morning
1.rb_-_Pauline,_A_Fragment_of_a_Question
1.rb_-_Pippa_Passes_-_Part_III_-_Evening
1.rb_-_Pippa_Passes_-_Part_II_-_Noon
1.rb_-_Pippa_Passes_-_Part_I_-_Morning
1.rb_-_Pippa_Passes_-_Part_IV_-_Night
1.rb_-_Pippas_Song
1.rb_-_Popularity
1.rb_-_Porphyrias_Lover
1.rb_-_Prospice
1.rb_-_Protus
1.rb_-_Rabbi_Ben_Ezra
1.rb_-_Respectability
1.rb_-_Rhyme_for_a_Child_Viewing_a_Naked_Venus_in_a_Painting_of_'The_Judgement_of_Paris'
1.rb_-_Soliloquy_Of_The_Spanish_Cloister
1.rb_-_Song
1.rb_-_Sordello_-_Book_the_Fifth
1.rb_-_Sordello_-_Book_the_First
1.rb_-_Sordello_-_Book_the_Fourth
1.rb_-_Sordello_-_Book_the_Second
1.rb_-_Sordello_-_Book_the_Sixth
1.rb_-_Sordello_-_Book_the_Third
1.rb_-_The_Boy_And_the_Angel
1.rb_-_The_Englishman_In_Italy
1.rb_-_The_Flight_Of_The_Duchess
1.rb_-_The_Glove
1.rb_-_The_Guardian-Angel
1.rb_-_The_Italian_In_England
1.rb_-_The_Laboratory-Ancien_Rgime
1.rb_-_The_Last_Ride_Together
1.rb_-_The_Lost_Leader
1.rb_-_The_Lost_Mistress
1.rb_-_The_Patriot
1.rb_-_The_Pied_Piper_Of_Hamelin
1.rb_-_The_Twins
1.rb_-_Times_Revenges
1.rb_-_Two_In_The_Campagna
1.rb_-_Waring
1.rb_-_Why_I_Am_a_Liberal
1.rb_-_Women_And_Roses
1.rb_-_Youll_Love_Me_Yet
1.rmd_-_Raga_Basant
1.rmpsd_-_Come,_let_us_go_for_a_walk,_O_mind
1.rmpsd_-_Conquer_Death_with_the_drumbeat_Ma!_Ma!_Ma!
1.rmpsd_-_I_drink_no_ordinary_wine
1.rmpsd_-_In_the_worlds_busy_market-place,_O_Shyama
1.rmpsd_-_Its_value_beyond_assessment_by_the_mind
1.rmpsd_-_Kulakundalini,_Goddess_Full_of_Brahman,_Tara
1.rmpsd_-_Love_Her,_Mind
1.rmpsd_-_Ma,_Youre_inside_me
1.rmpsd_-_Meditate_on_Kali!_Why_be_anxious?
1.rmpsd_-_Mother,_am_I_Thine_eight-months_child?
1.rmpsd_-_Mother_this_is_the_grief_that_sorely_grieves_my_heart
1.rmpsd_-_O_Death!_Get_away-_what_canst_thou_do?
1.rmpsd_-_Of_what_use_is_my_going_to_Kasi_any_more?
1.rmpsd_-_O_Mother,_who_really
1.rmpsd_-_Once_for_all,_this_time
1.rmpsd_-_So_I_say-_Mind,_dont_you_sleep
1.rmpsd_-_Tell_me,_brother,_what_happens_after_death?
1.rmpsd_-_This_time_I_shall_devour_Thee_utterly,_Mother_Kali!
1.rmpsd_-_Who_in_this_world
1.rmpsd_-_Who_is_that_Syama_woman
1.rmpsd_-_Why_disappear_into_formless_trance?
1.rmr_-_Abishag
1.rmr_-_Adam
1.rmr_-_Again_and_Again
1.rmr_-_Along_the_Sun-Drenched_Roadside
1.rmr_-_As_Once_the_Winged_Energy_of_Delight
1.rmr_-_A_Sybil
1.rmr_-_Autumn
1.rmr_-_Autumn_Day
1.rmr_-_A_Walk
1.rmr_-_Before_Summer_Rain
1.rmr_-_Black_Cat_(Schwarze_Katze)
1.rmr_-_Blank_Joy
1.rmr_-_Buddha_in_Glory
1.rmr_-_Childhood
1.rmr_-_Child_In_Red
1.rmr_-_Death
1.rmr_-_Dedication
1.rmr_-_Dedication_To_M...
1.rmr_-_Early_Spring
1.rmr_-_Elegy_I
1.rmr_-_Elegy_IV
1.rmr_-_Elegy_X
1.rmr_-_Encounter_In_The_Chestnut_Avenue
1.rmr_-_English_translationGerman
1.rmr_-_Eve
1.rmr_-_Evening
1.rmr_-_Evening_Love_Song
1.rmr_-_Exposed_on_the_cliffs_of_the_heart
1.rmr_-_Extinguish_Thou_My_Eyes
1.rmr_-_Falconry
1.rmr_-_Falling_Stars
1.rmr_-_Fear_of_the_Inexplicable
1.rmr_-_Fire's_Reflection
1.rmr_-_For_Hans_Carossa
1.rmr_-_Girl_in_Love
1.rmr_-_Girl's_Lament
1.rmr_-_God_Speaks_To_Each_Of_Us
1.rmr_-_Going_Blind
1.rmr_-_Greek_Love-Talk
1.rmr_-_Growing_Old
1.rmr_-_Heartbeat
1.rmr_-_Ignorant_Before_The_Heavens_Of_My_Life
1.rmr_-_Interior_Portrait
1.rmr_-_In_The_Beginning
1.rmr_-_Lady_At_A_Mirror
1.rmr_-_Lady_On_A_Balcony
1.rmr_-_Lament
1.rmr_-_Lament_(O_how_all_things_are_far_removed)
1.rmr_-_Lament_(Whom_will_you_cry_to,_heart?)
1.rmr_-_Little_Tear-Vase
1.rmr_-_Loneliness
1.rmr_-_Losing
1.rmr_-_Love_Song
1.rmr_-_Moving_Forward
1.rmr_-_Music
1.rmr_-_My_Life
1.rmr_-_Narcissus
1.rmr_-_Night_(O_you_whose_countenance)
1.rmr_-_Night_(This_night,_agitated_by_the_growing_storm)
1.rmr_-_On_Hearing_Of_A_Death
1.rmr_-_Palm
1.rmr_-_Parting
1.rmr_-_Portrait_of_my_Father_as_a_Young_Man
1.rmr_-_Put_Out_My_Eyes
1.rmr_-_Rememberance
1.rmr_-_Sacrifice
1.rmr_-_Self-Portrait
1.rmr_-_Sense_Of_Something_Coming
1.rmr_-_Slumber_Song
1.rmr_-_Solemn_Hour
1.rmr_-_Song
1.rmr_-_Song_Of_The_Orphan
1.rmr_-_Song_Of_The_Sea
1.rmr_-_Song_Of_The_Women_To_The_Poet
1.rmr_-_Spanish_Dancer
1.rmr_-_Sunset
1.rmr_-_Telling_You_All
1.rmr_-_The_Alchemist
1.rmr_-_The_Apple_Orchard
1.rmr_-_The_Future
1.rmr_-_The_Grown-Up
1.rmr_-_The_Last_Evening
1.rmr_-_The_Lovers
1.rmr_-_The_Neighbor
1.rmr_-_The_Panther
1.rmr_-_The_Poet
1.rmr_-_The_Sisters
1.rmr_-_The_Song_Of_The_Beggar
1.rmr_-_The_Sonnets_To_Orpheus_-_Book_2_-_I
1.rmr_-_The_Sonnets_To_Orpheus_-_Book_2_-_VI
1.rmr_-_The_Sonnets_To_Orpheus_-_Book_2_-_XIII
1.rmr_-_The_Sonnets_To_Orpheus_-_I
1.rmr_-_The_Sonnets_To_Orpheus_-_IV
1.rmr_-_The_Sonnets_To_Orpheus_-_X
1.rmr_-_The_Sonnets_To_Orpheus_-_XIX
1.rmr_-_The_Sonnets_To_Orpheus_-_XXV
1.rmr_-_The_Spanish_Dancer
1.rmr_-_The_Swan
1.rmr_-_The_Unicorn
1.rmr_-_The_Voices
1.rmr_-_The_Wait
1.rmr_-_Time_and_Again
1.rmr_-_To_Lou_Andreas-Salome
1.rmr_-_To_Music
1.rmr_-_Torso_of_an_Archaic_Apollo
1.rmr_-_To_Say_Before_Going_to_Sleep
1.rmr_-_Venetian_Morning
1.rmr_-_Water_Lily
1.rmr_-_What_Birds_Plunge_Through_Is_Not_The_Intimate_Space
1.rmr_-_What_Fields_Are_As_Fragrant_As_Your_Hands?
1.rmr_-_What_Survives
1.rmr_-_Woman_in_Love
1.rmr_-_World_Was_In_The_Face_Of_The_Beloved
1.rmr_-_You_Must_Not_Understand_This_Life_(with_original_German)
1.rmr_-_You_Who_Never_Arrived
1.rmr_-_You,_you_only,_exist
1.rt_-_(101)_Ever_in_my_life_have_I_sought_thee_with_my_songs_(from_Gitanjali)
1.rt_-_(103)_In_one_salutation_to_thee,_my_God_(from_Gitanjali)
1.rt_-_(1)_Thou_hast_made_me_endless_(from_Gitanjali)
1.rt_-_(38)_I_want_thee,_only_thee_(from_Gitanjali)
1.rt_-_(63)_Thou_hast_made_me_known_to_friends_whom_I_knew_not_(from_Gitanjali)
1.rt_-_(75)_Thy_gifts_to_us_mortals_fulfil_all_our_needs_(from_Gitanjali)
1.rt_-_(80)_I_am_like_a_remnant_of_a_cloud_of_autumn_(from_Gitanjali)
1.rt_-_(84)_It_is_the_pang_of_separation_that_spreads_throughout_the_world_(from_Gitanjali)
1.rt_-_Accept_me,_my_lord,_accept_me_for_this_while
1.rt_-_A_Dream
1.rt_-_A_Hundred_Years_Hence
1.rt_-_Akash_Bhara_Surya_Tara_Biswabhara_Pran_(Translation)
1.rt_-_All_These_I_Loved
1.rt_-_Along_The_Way
1.rt_-_And_In_Wonder_And_Amazement_I_Sing
1.rt_-_At_The_End_Of_The_Day
1.rt_-_At_The_Last_Watch
1.rt_-_Authorship
1.rt_-_Babys_Way
1.rt_-_Babys_World
1.rt_-_Beggarly_Heart
1.rt_-_Benediction
1.rt_-_Birth_Story
1.rt_-_Brahm,_Viu,_iva
1.rt_-_Brink_Of_Eternity
1.rt_-_Broken_Song
1.rt_-_Chain_Of_Pearls
1.rt_-_Closed_Path
1.rt_-_Clouds_And_Waves
1.rt_-_Colored_Toys
1.rt_-_Compensation
1.rt_-_Cruel_Kindness
1.rt_-_Death
1.rt_-_Defamation
1.rt_-_Distant_Time
1.rt_-_Dream_Girl
1.rt_-_Dungeon
1.rt_-_Endless_Time
1.rt_-_Face_To_Face
1.rt_-_Fairyland
1.rt_-_Farewell
1.rt_-_Fireflies
1.rt_-_Flower
1.rt_-_Fool
1.rt_-_Freedom
1.rt_-_Friend
1.rt_-_From_Afar
1.rt_-_Gift_Of_The_Great
1.rt_-_Gitanjali
1.rt_-_Give_Me_Strength
1.rt_-_Hard_Times
1.rt_-_Hes_there_among_the_scented_trees_(from_The_Lover_of_God)
1.rt_-_I
1.rt_-_I_Am_Restless
1.rt_-_I_Cast_My_Net_Into_The_Sea
1.rt_-_I_Found_A_Few_Old_Letters
1.rt_-_Innermost_One
1.rt_-_In_The_Country
1.rt_-_In_The_Dusky_Path_Of_A_Dream
1.rt_-_I_touch_God_in_my_song
1.rt_-_Journey_Home
1.rt_-_Keep_Me_Fully_Glad
1.rt_-_Kinu_Goalas_Alley
1.rt_-_Krishnakali
1.rt_-_Lamp_Of_Love
1.rt_-_Last_Curtain
1.rt_-_Leave_This
1.rt_-_Let_Me_Not_Forget
1.rt_-_Light
1.rt_-_Listen,_can_you_hear_it?_(from_The_Lover_of_God)
1.rt_-_Little_Flute
1.rt_-_Little_Of_Me
1.rt_-_Lord_Of_My_Life
1.rt_-_Lost_Star
1.rt_-_Lost_Time
1.rt_-_Lotus
1.rt_-_Lovers_Gifts_II_-_Come_To_My_Garden_Walk
1.rt_-_Lovers_Gifts_IV_-_She_Is_Near_To_My_Heart
1.rt_-_Lovers_Gifts_LII_-_Tired_Of_Waiting
1.rt_-_Lovers_Gifts_LIV_-_In_The_Beginning_Of_Time
1.rt_-_Lovers_Gifts_LVIII_-_Things_Throng_And_Laugh
1.rt_-_Lovers_Gifts_LVI_-_The_Evening_Was_Lonely
1.rt_-_Lovers_Gifts_LXX_-_Take_Back_Your_Coins
1.rt_-_Lovers_Gifts_VIII_-_There_Is_Room_For_You
1.rt_-_Lovers_Gifts_V_-_I_Would_Ask_For_Still_More
1.rt_-_Lovers_Gifts_XIII_-_Last_Night_In_The_Garden
1.rt_-_Lovers_Gifts_XIX_-_It_Is_Written_In_The_Book
1.rt_-_Lovers_Gifts_XL_-_A_Message_Came
1.rt_-_Lovers_Gifts_XLII_-_Are_You_A_Mere_Picture
1.rt_-_Lovers_Gifts_XLIII_-_Dying,_You_Have_Left_Behind
1.rt_-_Lovers_Gifts_XLIV_-_Where_Is_Heaven
1.rt_-_Lovers_Gifts_XLVIII_-_I_Travelled_The_Old_Road
1.rt_-_Lovers_Gifts_XLVII_-_The_Road_Is
1.rt_-_Lovers_Gifts_XVIII_-_Your_Days
1.rt_-_Lovers_Gifts_XVI_-_She_Dwelt_Here_By_The_Pool
1.rt_-_Lovers_Gifts_XXII_-_I_Shall_Gladly_Suffer
1.rt_-_Lovers_Gifts_XXVIII_-_I_Dreamt
1.rt_-_Lovers_Gifts_XXXIX_-_There_Is_A_Looker-On
1.rt_-_Maran-Milan_(Death-Wedding)
1.rt_-_Maya
1.rt_-_Meeting
1.rt_-_Moments_Indulgence
1.rt_-_My_Dependence
1.rt_-_My_Friend,_Come_In_These_Rains
1.rt_-_My_Polar_Star
1.rt_-_My_Pole_Star
1.rt_-_My_Present
1.rt_-_My_Song
1.rt_-_Ocean_Of_Forms
1.rt_-_Old_And_New
1.rt_-_Old_Letters_
1.rt_-_One_Day_In_Spring....
1.rt_-_Only_Thee
1.rt_-_On_many_an_idle_day_have_I_grieved_over_lost_time_(from_Gitanjali)
1.rt_-_On_The_Nature_Of_Love
1.rt_-_On_The_Seashore
1.rt_-_Our_Meeting
1.rt_-_Palm_Tree
1.rt_-_Paper_Boats
1.rt_-_Parting_Words
1.rt_-_Passing_Breeze
1.rt_-_Patience
1.rt_-_Playthings
1.rt_-_Poems_On_Beauty
1.rt_-_Poems_On_Life
1.rt_-_Poems_On_Man
1.rt_-_Poems_On_Time
1.rt_-_Prisoner
1.rt_-_Purity
1.rt_-_Rare
1.rt_-_Religious_Obsession_--_translation_from_Dharmamoha
1.rt_-_Roaming_Cloud
1.rt_-_Sail_Away
1.rt_-_Salutation
1.rt_-_Senses
1.rt_-_She
1.rt_-_Shyama
1.rt_-_Signet_Of_Eternity
1.rt_-_Silent_Steps
1.rt_-_Sit_Smiling
1.rt_-_Sleep
1.rt_-_Sleep-Stealer
1.rt_-_Song_Unsung
1.rt_-_Still_Heart
1.rt_-_Stray_Birds_01_-_10
1.rt_-_Stray_Birds_11-_20
1.rt_-_Stray_Birds_21_-_30
1.rt_-_Stray_Birds_31_-_40
1.rt_-_Stray_Birds_51_-_60
1.rt_-_Stray_Birds_61_-_70
1.rt_-_Stray_Birds_71_-_80
1.rt_-_Stray_Birds_81_-_90
1.rt_-_Stream_Of_Life
1.rt_-_Strong_Mercy
1.rt_-_Superior
1.rt_-_Sympathy
1.rt_-_The_Astronomer
1.rt_-_The_Banyan_Tree
1.rt_-_The_Beginning
1.rt_-_The_Boat
1.rt_-_The_Call_Of_The_Far
1.rt_-_The_Champa_Flower
1.rt_-_The_Child-Angel
1.rt_-_The_End
1.rt_-_The_First_Jasmines
1.rt_-_The_Flower-School
1.rt_-_The_Further_Bank
1.rt_-_The_Gardener_IV_-_Ah_Me
1.rt_-_The_Gardener_IX_-_When_I_Go_Alone_At_Night
1.rt_-_The_Gardener_LI_-_Then_Finish_The_Last_Song
1.rt_-_The_Gardener_LIX_-_O_Woman
1.rt_-_The_Gardener_LVII_-_I_Plucked_Your_Flower
1.rt_-_The_Gardener_LV_-_It_Was_Mid-Day
1.rt_-_The_Gardener_LXI_-_Peace,_My_Heart
1.rt_-_The_Gardener_LXIV_-_I_Spent_My_Day
1.rt_-_The_Gardener_LXIX_-_I_Hunt_For_The_Golden_Stag
1.rt_-_The_Gardener_LXVIII_-_None_Lives_For_Ever,_Brother
1.rt_-_The_Gardener_LXXIX_-_I_Often_Wonder
1.rt_-_The_Gardener_LXXV_-_At_Midnight
1.rt_-_The_Gardener_LXXXIII_-_She_Dwelt_On_The_Hillside
1.rt_-_The_Gardener_LXXXIV_-_Over_The_Green
1.rt_-_The_Gardener_LXXXI_-_Why_Do_You_Whisper_So_Faintly
1.rt_-_The_Gardener_XI_-_Come_As_You_Are
1.rt_-_The_Gardener_XIII_-_I_Asked_Nothing
1.rt_-_The_Gardener_XIV_-_I_Was_Walking_By_The_Road
1.rt_-_The_Gardener_XIX_-_You_Walked
1.rt_-_The_Gardener_XL_-_An_Unbelieving_Smile
1.rt_-_The_Gardener_X_-_Let_Your_Work_Be,_Bride
1.rt_-_The_Gardener_XLIII_-_No,_My_Friends
1.rt_-_The_Gardener_XLII_-_O_Mad,_Superbly_Drunk
1.rt_-_The_Gardener_XLIV_-_Reverend_Sir,_Forgive
1.rt_-_The_Gardener_XLVIII_-_Free_Me
1.rt_-_The_Gardener_XLVI_-_You_Left_Me
1.rt_-_The_Gardener_XLV_-_To_The_Guests
1.rt_-_The_Gardener_XVI_-_Hands_Cling_To_Eyes
1.rt_-_The_Gardener_XVIII_-_When_Two_Sisters
1.rt_-_The_Gardener_XX_-_Day_After_Day_He_Comes
1.rt_-_The_Gardener_XXII_-_When_She_Passed_By_Me
1.rt_-_The_Gardener_XXIV_-_Do_Not_Keep_To_Yourself
1.rt_-_The_Gardener_XXI_-_Why_Did_He_Choose
1.rt_-_The_Gardener_XXIX_-_Speak_To_Me_My_Love
1.rt_-_The_Gardener_XXVIII_-_Your_Questioning_Eyes
1.rt_-_The_Gardener_XXVII_-_Trust_Love
1.rt_-_The_Gardener_XXVI_-_What_Comes_From_Your_Willing_Hands
1.rt_-_The_Gardener_XXXIV_-_Do_Not_Go,_My_Love
1.rt_-_The_Gardener_XXXVIII_-_My_Love,_Once_Upon_A_Time
1.rt_-_The_Gift
1.rt_-_The_Golden_Boat
1.rt_-_The_Hero
1.rt_-_The_Hero(2)
1.rt_-_The_Home
1.rt_-_The_Homecoming
1.rt_-_The_Journey
1.rt_-_The_Judge
1.rt_-_The_Kiss
1.rt_-_The_Kiss(2)
1.rt_-_The_Land_Of_The_Exile
1.rt_-_The_Last_Bargain
1.rt_-_The_Little_Big_Man
1.rt_-_The_Lost_Star
1.rt_-_The_Merchant
1.rt_-_The_Music_Of_The_Rains
1.rt_-_The_Portrait
1.rt_-_The_Rainy_Day
1.rt_-_The_Recall
1.rt_-_The_Sailor
1.rt_-_The_Source
1.rt_-_The_Sun_Of_The_First_Day
1.rt_-_The_Tame_Bird_Was_In_A_Cage
1.rt_-_The_Unheeded_Pageant
1.rt_-_The_Wicked_Postman
1.rt_-_This_Dog
1.rt_-_Threshold
1.rt_-_Tumi_Sandhyar_Meghamala_-_You_Are_A_Cluster_Of_Clouds_-_Translation
1.rt_-_Twelve_OClock
1.rt_-_Unending_Love
1.rt_-_Ungrateful_Sorrow
1.rt_-_Untimely_Leave
1.rt_-_Unyielding
1.rt_-_Urvashi
1.rt_-_Vocation
1.rt_-_Waiting
1.rt_-_Waiting_For_The_Beloved
1.rt_-_We_Are_To_Play_The_Game_Of_Death
1.rt_-_When_And_Why
1.rt_-_When_Day_Is_Done
1.rt_-_When_I_Go_Alone_At_Night
1.rt_-_When_the_Two_Sister_Go_To_Fetch_Water
1.rt_-_Where_Shadow_Chases_Light
1.rt_-_Where_The_Mind_Is_Without_Fear
1.rt_-_Who_are_You,_who_keeps_my_heart_awake?_(from_The_Lover_of_God)
1.rt_-_Who_Is_This?
1.rt_-_Your_flute_plays_the_exact_notes_of_my_pain._(from_The_Lover_of_God)
1.rvd_-_How_to_Escape?
1.rvd_-_If_You_are_a_mountain
1.rvd_-_The_Name_alone_is_the_Truth
1.rvd_-_Upon_seeing_poverty
1.rvd_-_When_I_existed
1.rvd_-_You_are_me,_and_I_am_You
1.rwe_-_Alphonso_Of_Castile
1.rwe_-_A_Nations_Strength
1.rwe_-_Art
1.rwe_-_Astrae
1.rwe_-_Bacchus
1.rwe_-_Beauty
1.rwe_-_Berrying
1.rwe_-_Blight
1.rwe_-_Boston
1.rwe_-_Boston_Hymn
1.rwe_-_Brahma
1.rwe_-_Celestial_Love
1.rwe_-_Character
1.rwe_-_Compensation
1.rwe_-_Concord_Hymn
1.rwe_-_Culture
1.rwe_-_Days
1.rwe_-_Dirge
1.rwe_-_Dmonic_Love
1.rwe_-_Each_And_All
1.rwe_-_Eros
1.rwe_-_Etienne_de_la_Boce
1.rwe_-_Experience
1.rwe_-_Fable
1.rwe_-_Fate
1.rwe_-_Flower_Chorus
1.rwe_-_Forebearance
1.rwe_-_Forerunners
1.rwe_-_Freedom
1.rwe_-_Friendship
1.rwe_-_From_the_Persian_of_Hafiz_I
1.rwe_-_From_the_Persian_of_Hafiz_II
1.rwe_-_Gnothi_Seauton
1.rwe_-_Good-bye
1.rwe_-_Grace
1.rwe_-_Guy
1.rwe_-_Hamatreya
1.rwe_-_Heroism
1.rwe_-_Initial_Love
1.rwe_-_In_Memoriam
1.rwe_-_Letters
1.rwe_-_Life_Is_Great
1.rwe_-_Loss_And_Gain
1.rwe_-_Love_And_Thought
1.rwe_-_Lover's_Petition
1.rwe_-_Manners
1.rwe_-_May-Day
1.rwe_-_Merlin_I
1.rwe_-_Merlin_II
1.rwe_-_Merlin's_Song
1.rwe_-_Merops
1.rwe_-_Mithridates
1.rwe_-_Monadnoc
1.rwe_-_Musketaquid
1.rwe_-_My_Garden
1.rwe_-_Nature
1.rwe_-_Nemesis
1.rwe_-_Ode_-_Inscribed_to_W.H._Channing
1.rwe_-_Ode_To_Beauty
1.rwe_-_Poems
1.rwe_-_Politics
1.rwe_-_Quatrains
1.rwe_-_Rubies
1.rwe_-_Saadi
1.rwe_-_Seashore
1.rwe_-_Self_Reliance
1.rwe_-_Solution
1.rwe_-_Song_of_Nature
1.rwe_-_Spiritual_Laws
1.rwe_-_Sursum_Corda
1.rwe_-_Suum_Cuique
1.rwe_-_Tact
1.rwe_-_Teach_Me_I_Am_Forgotten_By_The_Dead
1.rwe_-_Terminus
1.rwe_-_The_Adirondacs
1.rwe_-_The_Amulet
1.rwe_-_The_Apology
1.rwe_-_The_Bell
1.rwe_-_The_Chartist's_Complaint
1.rwe_-_The_Cumberland
1.rwe_-_The_Days_Ration
1.rwe_-_The_Enchanter
1.rwe_-_The_Forerunners
1.rwe_-_The_Gods_Walk_In_The_Breath_Of_The_Woods
1.rwe_-_The_Humble_Bee
1.rwe_-_The_Lords_of_Life
1.rwe_-_The_Park
1.rwe_-_The_Past
1.rwe_-_The_Poet
1.rwe_-_The_Problem
1.rwe_-_The_Rhodora_-_On_Being_Asked,_Whence_Is_The_Flower?
1.rwe_-_The_River_Note
1.rwe_-_The_Romany_Girl
1.rwe_-_The_Snowstorm
1.rwe_-_The_Sphinx
1.rwe_-_The_Test
1.rwe_-_The_Titmouse
1.rwe_-_The_Visit
1.rwe_-_The_World-Soul
1.rwe_-_Threnody
1.rwe_-_To-day
1.rwe_-_To_Ellen,_At_The_South
1.rwe_-_To_Eva
1.rwe_-_To_J.W.
1.rwe_-_To_Laugh_Often_And_Much
1.rwe_-_To_Rhea
1.rwe_-_Two_Rivers
1.rwe_-_Una
1.rwe_-_Unity
1.rwe_-_Uriel
1.rwe_-_Voluntaries
1.rwe_-_Wakdeubsankeit
1.rwe_-_Water
1.rwe_-_Waves
1.rwe_-_Wealth
1.rwe_-_Woodnotes
1.rwe_-_Worship
1.ryz_-_Clear_in_the_blue,_the_moon!
1.sb_-_Cut_brambles_long_enough
1.sb_-_Gathering_the_Mind
1.sb_-_Precious_Treatise_on_Preservation_of_Unity_on_the_Great_Way
1.sb_-_Refining_the_Spirit
1.sb_-_Spirit_and_energy_should_be_clear_as_the_night_air
1.sb_-_The_beginning_of_the_sustenance_of_life
1.sca_-_Draw_me_after_You!
1.sca_-_Happy,_indeed,_is_she_whom_it_is_given_to_share_this_sacred_banquet
1.sca_-_O_blessed_poverty
1.sca_-_Place_your_mind_before_the_mirror_of_eternity!
1.sca_-_What_a_great_laudable_exchange
1.sca_-_What_you_hold,_may_you_always_hold
1.sca_-_When_You_have_loved,_You_shall_be_chaste
1.sdi_-_All_Adams_offspring_form_one_family_tree
1.sdi_-_Have_no_doubts_because_of_trouble_nor_be_thou_discomfited
1.sdi_-_How_could_I_ever_thank_my_Friend?
1.sdi_-_If_one_His_praise_of_me_would_learn
1.sdi_-_In_Love
1.sdi_-_The_man_of_God_with_half_his_loaf_content
1.sdi_-_The_world,_my_brother!_will_abide_with_none
1.sdi_-_To_the_wall_of_the_faithful_what_sorrow,_when_pillared_securely_on_thee?
1.sfa_-_Exhortation_to_St._Clare_and_Her_Sisters
1.sfa_-_How_Virtue_Drives_Out_Vice
1.sfa_-_Let_the_whole_of_mankind_tremble
1.sfa_-_Let_us_desire_nothing_else
1.sfa_-_Prayer_from_A_Letter_to_the_Entire_Order
1.sfa_-_Prayer_Inspired_by_the_Our_Father
1.sfa_-_The_Canticle_of_Brother_Sun
1.sfa_-_The_Praises_of_God
1.sfa_-_The_Prayer_Before_the_Crucifix
1.sfa_-_The_Salutation_of_the_Virtues
1.shvb_-_Ave_generosa_-_Hymn_to_the_Virgin
1.shvb_-_Columba_aspexit_-_Sequence_for_Saint_Maximin
1.shvb_-_De_Spiritu_Sancto_-_To_the_Holy_Spirit
1.shvb_-_Laus_Trinitati_-_Antiphon_for_the_Trinity
1.shvb_-_O_Euchari_in_leta_via_-_Sequence_for_Saint_Eucharius
1.shvb_-_O_ignee_Spiritus_-_Hymn_to_the_Holy_Spirit
1.shvb_-_O_ignis_Spiritus_Paracliti
1.shvb_-_O_magne_Pater_-_Antiphon_for_God_the_Father
1.shvb_-_O_mirum_admirandum_-_Antiphon_for_Saint_Disibod
1.shvb_-_O_most_noble_Greenness,_rooted_in_the_sun
1.shvb_-_O_nobilissima_viriditas
1.shvb_-_O_spectabiles_viri_-_Antiphon_for_Patriarchs_and_Prophets
1.shvb_-_O_virga_mediatrix_-_Alleluia-verse_for_the_Virgin
1.shvb_-_O_Virtus_Sapientiae_-_O_Moving_Force_of_Wisdom
1.sig_-_Before_I_was,_Thy_mercy_came_to_me
1.sig_-_Come_to_me_at_dawn,_my_beloved,_and_go_with_me
1.sig_-_Ecstasy
1.sig_-_Humble_of_Spirit
1.sig_-_I_look_for_you_early
1.sig_-_I_Sought_Thee_Daily
1.sig_-_Lord_of_the_World
1.sig_-_Rise_and_open_the_door_that_is_shut
1.sig_-_The_Sun
1.sig_-_Thou_art_One
1.sig_-_Thou_art_the_Supreme_Light
1.sig_-_Thou_Livest
1.sig_-_Where_Will_I_Find_You
1.sig_-_Who_can_do_as_Thy_deeds
1.sig_-_Who_could_accomplish_what_youve_accomplished
1.sig_-_You_are_wise_(from_From_Kingdoms_Crown)
1.sjc_-_Dark_Night
1.sjc_-_Full_of_Hope_I_Climbed_the_Day
1.sjc_-_I_Entered_the_Unknown
1.sjc_-_I_Live_Yet_Do_Not_Live_in_Me
1.sjc_-_Loves_Living_Flame
1.sjc_-_Not_for_All_the_Beauty
1.sjc_-_On_the_Communion_of_the_Three_Persons_(from_Romance_on_the_Gospel)
1.sjc_-_Song_of_the_Soul_That_Delights_in_Knowing_God_by_Faith
1.sjc_-_The_Fountain
1.sjc_-_The_Sum_of_Perfection
1.sjc_-_Without_a_Place_and_With_a_Place
1.sk_-_Is_there_anyone_in_the_universe
1.snk_-_Endless_is_my_Wealth
1.snk_-_In_Praise_of_the_Goddess
1.snk_-_Nirvana_Shatakam
1.snk_-_The_Shattering_of_Illusion_(Moha_Mudgaram_from_The_Crest_Jewel_of_Discrimination)
1.snk_-_You_are_my_true_self,_O_Lord
1.snt_-_As_soon_as_your_mind_has_experienced
1.snt_-_By_what_boundless_mercy,_my_Savior
1.snt_-_How_are_You_at_once_the_source_of_fire
1.snt_-_How_is_it_I_can_love_You
1.snt_-_In_the_midst_of_that_night,_in_my_darkness
1.snt_-_O_totally_strange_and_inexpressible_marvel!
1.snt_-_The_fire_rises_in_me
1.snt_-_The_Light_of_Your_Way
1.snt_-_We_awaken_in_Christs_body
1.snt_-_What_is_this_awesome_mystery
1.snt_-_You,_oh_Christ,_are_the_Kingdom_of_Heaven
1.srd_-_Krishna_Awakes
1.srd_-_Shes_found_him,_she_has,_but_Radha_disbelieves
1.srh_-_The_Royal_Song_of_Saraha_(Dohakosa)
1.srmd_-_Companion
1.srmd_-_Every_man_who_knows_his_secret
1.srmd_-_He_and_I_are_one
1.srmd_-_He_dwells_not_only_in_temples_and_mosques
1.srmd_-_He_is_happy_on_account_of_my_humble_self
1.srmd_-_Hundreds_of_my_friends_became_enemies
1.srm_-_Disrobe,_show_Your_beauty_(from_The_Marital_Garland_of_Letters)
1.srmd_-_My_friend,_engage_your_heart_in_his_embrace
1.srmd_-_My_heart_searched_for_your_fragrance
1.srmd_-_Once_I_was_bathed_in_the_Light_of_Truth_within
1.srmd_-_The_ocean_of_his_generosity_has_no_shore
1.srmd_-_The_universe
1.srmd_-_To_the_dignified_station_of_love_I_was_raised
1.srm_-_The_Marital_Garland_of_Letters
1.srm_-_The_Necklet_of_Nine_Gems
1.srm_-_The_Song_of_the_Poppadum
1.ss_-_Its_something_no_on_can_force
1.ss_-_Most_of_the_time_I_smile
1.ss_-_Outside_the_door_I_made_but_dont_close
1.ss_-_Paper_windows_bamboo_walls_hedge_of_hibiscus
1.ss_-_This_bodys_lifetime_is_like_a_bubbles
1.ss_-_To_glorify_the_Way_what_should_people_turn_to
1.ss_-_Trying_to_become_a_Buddha_is_easy
1.stav_-_I_Live_Without_Living_In_Me
1.stav_-_In_the_Hands_of_God
1.stav_-_Let_nothing_disturb_thee
1.stav_-_My_Beloved_One_is_Mine
1.stav_-_Oh_Exceeding_Beauty
1.stav_-_On_Those_Words_I_am_for_My_Beloved
1.stav_-_You_are_Christs_Hands
1.st_-_Behold_the_glow_of_the_moon
1.st_-_Doesnt_anyone_see
1.st_-_I_live_in_a_place_without_limits
1.stl_-_My_Song_for_Today
1.stl_-_The_Atom_of_Jesus-Host
1.stl_-_The_Divine_Dew
1.sv_-_In_dense_darkness,_O_Mother
1.sv_-_Kali_the_Mother
1.sv_-_Song_of_the_Sanyasin
1.tc_-_After_Liu_Chai-Sangs_Poem
1.tc_-_Around_my_door_and_yard_no_dust_or_noise
1.tc_-_Autumn_chrysanthemums_have_beautiful_color
1.tc_-_I_built_my_hut_within_where_others_live
1.tc_-_In_youth_I_could_not_do_what_everyone_else_did
1.tc_-_Success_and_failure?_No_known_address
1.tc_-_Unsettled,_a_bird_lost_from_the_flock
1.tm_-_A_Messenger_from_the_Horizon
1.tm_-_A_Practical_Program_for_Monks
1.tm_-_A_Psalm
1.tm_-_Aubade_--_The_City
1.tm_-_Follow_my_ways_and_I_will_lead_you
1.tm_-_In_Silence
1.tm_-_Night-Flowering_Cactus
1.tm_-_O_Sweet_Irrational_Worship
1.tm_-_Song_for_Nobody
1.tm_-_Stranger
1.tm_-_The_Fall
1.tm_-_The_Sowing_of_Meanings
1.tm_-_When_in_the_soul_of_the_serene_disciple
1.tr_-_At_Dusk
1.tr_-_At_Master_Do's_Country_House
1.tr_-_Begging
1.tr_-_Blending_With_The_Wind
1.tr_-_Descend_from_your_head_into_your_heart
1.tr_-_Down_In_The_Village
1.tr_-_Dreams
1.tr_-_First_Days_Of_Spring_-_The_sky
1.tr_-_For_Children_Killed_In_A_Smallpox_Epidemic
1.tr_-_Have_You_Forgotten_Me
1.tr_-_How_Can_I_Possibly_Sleep
1.tr_-_Images,_however_sacred
1.tr_-_In_A_Dilapidated_Three-Room_Hut
1.tr_-_In_My_Youth_I_Put_Aside_My_Studies
1.tr_-_In_The_Morning
1.tr_-_I_Watch_People_In_The_World
1.tr_-_Like_The_Little_Stream
1.tr_-_Midsummer
1.tr_-_My_Cracked_Wooden_Bowl
1.tr_-_My_legacy
1.tr_-_No_Luck_Today_On_My_Mendicant_Rounds
1.tr_-_No_Mind
1.tr_-_Orchid
1.tr_-_Reply_To_A_Friend
1.tr_-_Returning_To_My_Native_Village
1.tr_-_Rise_Above
1.tr_-_Slopes_Of_Mount_Kugami
1.tr_-_Stretched_Out
1.tr_-_Teishin
1.tr_-_The_Lotus
1.tr_-_The_Plants_And_Flowers
1.tr_-_The_Thief_Left_It_Behind
1.tr_-_The_Way_Of_The_Holy_Fool
1.tr_-_The_Wind_Has_Settled
1.tr_-_The_Winds_Have_Died
1.tr_-_This_World
1.tr_-_Though_Frosts_come_down
1.tr_-_Three_Thousand_Worlds
1.tr_-_To_Kindle_A_Fire
1.tr_-_To_My_Teacher
1.tr_-_Too_Lazy_To_Be_Ambitious
1.tr_-_When_All_Thoughts
1.tr_-_When_I_Was_A_Lad
1.tr_-_White_Hair
1.tr_-_Wild_Roses
1.tr_-_Yes,_Im_Truly_A_Dunce
1.tr_-_You_Do_Not_Need_Many_Things
1.tr_-_You_Stop_To_Point_At_The_Moon_In_The_Sky
1.vpt_-_All_my_inhibition_left_me_in_a_flash
1.vpt_-_As_the_mirror_to_my_hand
1.vpt_-_He_promised_hed_return_tomorrow
1.vpt_-_My_friend,_I_cannot_answer_when_you_ask_me_to_explain
1.vpt_-_The_moon_has_shone_upon_me
1.wb_-_Auguries_of_Innocence
1.wb_-_Awake!_awake_O_sleeper_of_the_land_of_shadows
1.wb_-_Eternity
1.wb_-_Hear_the_voice_of_the_Bard!
1.wb_-_Of_the_Sleep_of_Ulro!_and_of_the_passage_through
1.wb_-_Reader!_of_books!_of_heaven
1.wb_-_The_Divine_Image
1.wb_-_The_Errors_of_Sacred_Codes_(from_The_Marriage_of_Heaven_and_Hell)
1.wb_-_To_see_a_world_in_a_grain_of_sand_(from_Auguries_of_Innocence)
1.wb_-_Trembling_I_sit_day_and_night
1.wby_-_A_Bronze_Head
1.wby_-_A_Coat
1.wby_-_A_Cradle_Song
1.wby_-_A_Crazed_Girl
1.wby_-_Adams_Curse
1.wby_-_A_Deep_Sworn_Vow
1.wby_-_A_Dialogue_Of_Self_And_Soul
1.wby_-_A_Dramatic_Poem
1.wby_-_A_Dream_Of_A_Blessed_Spirit
1.wby_-_A_Dream_Of_Death
1.wby_-_A_Drinking_Song
1.wby_-_A_Drunken_Mans_Praise_Of_Sobriety
1.wby_-_Aedh_Wishes_For_The_Cloths_Of_Heaven
1.wby_-_A_Faery_Song
1.wby_-_A_First_Confession
1.wby_-_A_Friends_Illness
1.wby_-_After_Long_Silence
1.wby_-_Against_Unworthy_Praise
1.wby_-_A_Last_Confession
1.wby_-_All_Souls_Night
1.wby_-_A_Lovers_Quarrel_Among_the_Fairies
1.wby_-_Alternative_Song_For_The_Severed_Head_In_The_King_Of_The_Great_Clock_Tower
1.wby_-_A_Man_Young_And_Old_-_Complete
1.wby_-_A_Man_Young_And_Old_-_I._First_Love
1.wby_-_A_Man_Young_And_Old_-_II._Human_Dignity
1.wby_-_A_Man_Young_And_Old_-_III._The_Mermaid
1.wby_-_A_Man_Young_And_Old_-_IV._The_Death_Of_The_Hare
1.wby_-_A_Man_Young_And_Old_-_IX._The_Secrets_Of_The_Old
1.wby_-_A_Man_Young_And_Old_-_VI._His_Memories
1.wby_-_A_Man_Young_And_Old_-_VIII._Summer_And_Spring
1.wby_-_A_Man_Young_And_Old_-_VII._The_Friends_Of_His_Youth
1.wby_-_A_Man_Young_And_Old_-_V._The_Empty_Cup
1.wby_-_A_Man_Young_And_Old_-_X._His_Wildness
1.wby_-_A_Man_Young_And_Old_-_XI._From_Oedipus_At_Colonus
1.wby_-_A_Meditation_in_Time_of_War
1.wby_-_A_Memory_Of_Youth
1.wby_-_A_Model_For_The_Laureate
1.wby_-_Among_School_Children
1.wby_-_An_Acre_Of_Grass
1.wby_-_An_Appointment
1.wby_-_Anashuya_And_Vijaya
1.wby_-_A_Nativity
1.wby_-_An_Image_From_A_Past_Life
1.wby_-_An_Irish_Airman_Foresees_His_Death
1.wby_-_Another_Song_Of_A_Fool
1.wby_-_Another_Song_of_a_Fool
1.wby_-_A_Poet_To_His_Beloved
1.wby_-_A_Prayer_For_My_Daughter
1.wby_-_A_Prayer_For_My_Son
1.wby_-_A_Prayer_For_Old_Age
1.wby_-_A_Prayer_On_Going_Into_My_House
1.wby_-_Are_You_Content?
1.wby_-_A_Song
1.wby_-_A_Song_From_The_Player_Queen
1.wby_-_A_Stick_Of_Incense
1.wby_-_At_Algeciras_-_A_Meditaton_Upon_Death
1.wby_-_At_Galway_Races
1.wby_-_A_Thought_From_Propertius
1.wby_-_At_The_Abbey_Theatre
1.wby_-_A_Woman_Homer_Sung
1.wby_-_A_Woman_Young_And_Old
1.wby_-_Baile_And_Aillinn
1.wby_-_Beautiful_Lofty_Things
1.wby_-_Before_The_World_Was_Made
1.wby_-_Beggar_To_Beggar_Cried
1.wby_-_Blood_And_The_Moon
1.wby_-_Broken_Dreams
1.wby_-_Brown_Penny
1.wby_-_Byzantium
1.wby_-_Colonel_Martin
1.wby_-_Colonus_Praise
1.wby_-_Come_Gather_Round_Me,_Parnellites
1.wby_-_Consolation
1.wby_-_Coole_Park_1929
1.wby_-_Coole_Park_And_Ballylee,_1931
1.wby_-_Crazy_Jane_And_Jack_The_Journeyman
1.wby_-_Crazy_Jane_And_The_Bishop
1.wby_-_Crazy_Jane_Grown_Old_Looks_At_The_Dancers
1.wby_-_Crazy_Jane_On_God
1.wby_-_Crazy_Jane_On_The_Day_Of_Judgment
1.wby_-_Crazy_Jane_On_The_Mountain
1.wby_-_Crazy_Jane_Reproved
1.wby_-_Crazy_Jane_Talks_With_The_Bishop
1.wby_-_Cuchulains_Fight_With_The_Sea
1.wby_-_Death
1.wby_-_Demon_And_Beast
1.wby_-_Do_Not_Love_Too_Long
1.wby_-_Down_By_The_Salley_Gardens
1.wby_-_Easter_1916
1.wby_-_Ego_Dominus_Tuus
1.wby_-_Ephemera
1.wby_-_Fallen_Majesty
1.wby_-_Father_And_Child
1.wby_-_Fergus_And_The_Druid
1.wby_-_Fiddler_Of_Dooney
1.wby_-_For_Anne_Gregory
1.wby_-_Fragments
1.wby_-_Friends
1.wby_-_From_A_Full_Moon_In_March
1.wby_-_From_The_Antigone
1.wby_-_Girls_Song
1.wby_-_Gratitude_To_The_Unknown_Instructors
1.wby_-_He_Bids_His_Beloved_Be_At_Peace
1.wby_-_He_Gives_His_Beloved_Certain_Rhymes
1.wby_-_He_Hears_The_Cry_Of_The_Sedge
1.wby_-_He_Mourns_For_The_Change_That_Has_Come_Upon_Him_And_His_Beloved,_And_Longs_For_The_End_Of_The_World
1.wby_-_Her_Anxiety
1.wby_-_Her_Dream
1.wby_-_He_Remembers_Forgotten_Beauty
1.wby_-_He_Reproves_The_Curlew
1.wby_-_Her_Praise
1.wby_-_Her_Triumph
1.wby_-_Her_Vision_In_The_Wood
1.wby_-_He_Tells_Of_A_Valley_Full_Of_Lovers
1.wby_-_He_Tells_Of_The_Perfect_Beauty
1.wby_-_He_Thinks_Of_His_Past_Greatness_When_A_Part_Of_The_Constellations_Of_Heaven
1.wby_-_He_Thinks_Of_Those_Who_Have_Spoken_Evil_Of_His_Beloved
1.wby_-_He_Wishes_His_Beloved_Were_Dead
1.wby_-_High_Talk
1.wby_-_His_Bargain
1.wby_-_His_Confidence
1.wby_-_His_Dream
1.wby_-_Hound_Voice
1.wby_-_I_Am_Of_Ireland
1.wby_-_Imitated_From_The_Japanese
1.wby_-_In_Memory_Of_Alfred_Pollexfen
1.wby_-_In_Memory_Of_Eva_Gore-Booth_And_Con_Markiewicz
1.wby_-_In_Memory_Of_Major_Robert_Gregory
1.wby_-_In_Taras_Halls
1.wby_-_In_The_Seven_Woods
1.wby_-_Into_The_Twilight
1.wby_-_John_Kinsellas_Lament_For_Mr._Mary_Moore
1.wby_-_King_And_No_King
1.wby_-_Lapis_Lazuli
1.wby_-_Leda_And_The_Swan
1.wby_-_Lines_Written_In_Dejection
1.wby_-_Long-Legged_Fly
1.wby_-_Loves_Loneliness
1.wby_-_Love_Song
1.wby_-_Lullaby
1.wby_-_Mad_As_The_Mist_And_Snow
1.wby_-_Maid_Quiet
1.wby_-_Meditations_In_Time_Of_Civil_War
1.wby_-_Meeting
1.wby_-_Memory
1.wby_-_Men_Improve_With_The_Years
1.wby_-_Meru
1.wby_-_Michael_Robartes_And_The_Dancer
1.wby_-_Mohini_Chatterjee
1.wby_-_Never_Give_All_The_Heart
1.wby_-_News_For_The_Delphic_Oracle
1.wby_-_Nineteen_Hundred_And_Nineteen
1.wby_-_No_Second_Troy
1.wby_-_Now_as_at_all_times
1.wby_-_Oil_And_Blood
1.wby_-_Old_Memory
1.wby_-_Old_Tom_Again
1.wby_-_On_A_Picture_Of_A_Black_Centaur_By_Edmund_Dulac
1.wby_-_On_A_Political_Prisoner
1.wby_-_On_Being_Asked_For_A_War_Poem
1.wby_-_On_Hearing_That_The_Students_Of_Our_New_University_Have_Joined_The_Agitation_Against_Immoral_Literat
1.wby_-_On_Those_That_Hated_The_Playboy_Of_The_Western_World,_1907
1.wby_-_On_Woman
1.wby_-_Owen_Aherne_And_His_Dancers
1.wby_-_Parnell
1.wby_-_Parnells_Funeral
1.wby_-_Parting
1.wby_-_Paudeen
1.wby_-_Peace
1.wby_-_Politics
1.wby_-_Presences
1.wby_-_Quarrel_In_Old_Age
1.wby_-_Reconciliation
1.wby_-_Red_Hanrahans_Song_About_Ireland
1.wby_-_Remorse_For_Intemperate_Speech
1.wby_-_Responsibilities_-_Closing
1.wby_-_Responsibilities_-_Introduction
1.wby_-_Roger_Casement
1.wby_-_Running_To_Paradise
1.wby_-_Sailing_to_Byzantium
1.wby_-_September_1913
1.wby_-_Shepherd_And_Goatherd
1.wby_-_Sixteen_Dead_Men
1.wby_-_Slim_adolescence_that_a_nymph_has_stripped,
1.wby_-_Solomon_And_The_Witch
1.wby_-_Solomon_To_Sheba
1.wby_-_Spilt_Milk
1.wby_-_Statistics
1.wby_-_Stream_And_Sun_At_Glendalough
1.wby_-_Supernatural_Songs
1.wby_-_Sweet_Dancer
1.wby_-_Swifts_Epitaph
1.wby_-_Symbols
1.wby_-_That_The_Night_Come
1.wby_-_The_Apparitions
1.wby_-_The_Arrow
1.wby_-_The_Attack_On_the_Playboy_Of_The_Western_World,_1907
1.wby_-_The_Ballad_Of_Father_Gilligan
1.wby_-_The_Ballad_Of_Father_OHart
1.wby_-_The_Ballad_Of_Moll_Magee
1.wby_-_The_Ballad_Of_The_Foxhunter
1.wby_-_The_Balloon_Of_The_Mind
1.wby_-_The_Black_Tower
1.wby_-_The_Blessed
1.wby_-_The_Cap_And_Bells
1.wby_-_The_Cat_And_The_Moon
1.wby_-_The_Chambermaids_First_Song
1.wby_-_The_Chambermaids_Second_Song
1.wby_-_The_Choice
1.wby_-_The_Chosen
1.wby_-_The_Circus_Animals_Desertion
1.wby_-_The_Cloak,_The_Boat_And_The_Shoes
1.wby_-_The_Cold_Heaven
1.wby_-_The_Collar-Bone_Of_A_Hare
1.wby_-_The_Coming_Of_Wisdom_With_Time
1.wby_-_The_Countess_Cathleen_In_Paradise
1.wby_-_The_Crazed_Moon
1.wby_-_The_Curse_Of_Cromwell
1.wby_-_The_Dancer_At_Cruachan_And_Cro-Patrick
1.wby_-_The_Dawn
1.wby_-_The_Death_of_Cuchulain
1.wby_-_The_Dedication_To_A_Book_Of_Stories_Selected_From_The_Irish_Novelists
1.wby_-_The_Delphic_Oracle_Upon_Plotinus
1.wby_-_The_Dolls
1.wby_-_The_Double_Vision_Of_Michael_Robartes
1.wby_-_The_Everlasting_Voices
1.wby_-_The_Fairy_Pendant
1.wby_-_The_Falling_Of_The_Leaves
1.wby_-_The_Fascination_Of_Whats_Difficult
1.wby_-_The_Fish
1.wby_-_The_Fisherman
1.wby_-_The_Folly_Of_Being_Comforted
1.wby_-_The_Fool_By_The_Roadside
1.wby_-_The_Ghost_Of_Roger_Casement
1.wby_-_The_Gift_Of_Harun_Al-Rashid
1.wby_-_The_Great_Day
1.wby_-_The_Grey_Rock
1.wby_-_The_Gyres
1.wby_-_The_Happy_Townland
1.wby_-_The_Hawk
1.wby_-_The_Heart_Of_The_Woman
1.wby_-_The_Hosting_Of_The_Sidhe
1.wby_-_The_Host_Of_The_Air
1.wby_-_The_Hour_Before_Dawn
1.wby_-_The_Indian_To_His_Love
1.wby_-_The_Indian_Upon_God
1.wby_-_The_Ladys_First_Song
1.wby_-_The_Ladys_Second_Song
1.wby_-_The_Ladys_Third_Song
1.wby_-_The_Lake_Isle_Of_Innisfree
1.wby_-_The_Lamentation_Of_The_Old_Pensioner
1.wby_-_The_Leaders_Of_The_Crowd
1.wby_-_The_Living_Beauty
1.wby_-_The_Lover_Asks_Forgiveness_Because_Of_His_Many_Moods
1.wby_-_The_Lover_Mourns_For_The_Loss_Of_Love
1.wby_-_The_Lover_Pleads_With_His_Friend_For_Old_Friends
1.wby_-_The_Lover_Speaks_To_The_Hearers_Of_His_Songs_In_Coming_Days
1.wby_-_The_Lovers_Song
1.wby_-_The_Lover_Tells_Of_The_Rose_In_His_Heart
1.wby_-_The_Madness_Of_King_Goll
1.wby_-_The_Magi
1.wby_-_The_Man_And_The_Echo
1.wby_-_The_Man_Who_Dreamed_Of_Faeryland
1.wby_-_The_Mask
1.wby_-_The_Meditation_Of_The_Old_Fisherman
1.wby_-_The_Moods
1.wby_-_The_Mother_Of_God
1.wby_-_The_Mountain_Tomb
1.wby_-_The_Municipal_Gallery_Revisited
1.wby_-_The_New_Faces
1.wby_-_The_Nineteenth_Century_And_After
1.wby_-_The_Old_Age_Of_Queen_Maeve
1.wby_-_The_Old_Men_Admiring_Themselves_In_The_Water
1.wby_-_The_Old_Pensioner.
1.wby_-_The_Old_Stone_Cross
1.wby_-_The_ORahilly
1.wby_-_The_Peacock
1.wby_-_The_People
1.wby_-_The_Phases_Of_The_Moon
1.wby_-_The_Pilgrim
1.wby_-_The_Pity_Of_Love
1.wby_-_The_Players_Ask_For_A_Blessing_On_The_Psalteries_And_On_Themselves
1.wby_-_The_Poet_Pleads_With_The_Elemental_Powers
1.wby_-_The_Ragged_Wood
1.wby_-_The_Realists
1.wby_-_The_Results_Of_Thought
1.wby_-_The_Rose_In_The_Deeps_Of_His_Heart
1.wby_-_The_Rose_Of_Battle
1.wby_-_The_Rose_Of_Peace
1.wby_-_The_Rose_Of_The_World
1.wby_-_The_Rose_Tree
1.wby_-_The_Sad_Shepherd
1.wby_-_The_Saint_And_The_Hunchback
1.wby_-_The_Scholars
1.wby_-_These_Are_The_Clouds
1.wby_-_The_Second_Coming
1.wby_-_The_Secret_Rose
1.wby_-_The_Seven_Sages
1.wby_-_The_Shadowy_Waters_-_Introduction
1.wby_-_The_Shadowy_Waters_-_The_Harp_Of_Aengus
1.wby_-_The_Shadowy_Waters_-_The_Shadowy_Waters
1.wby_-_The_Song_Of_The_Happy_Shepherd
1.wby_-_The_Song_Of_The_Old_Mother
1.wby_-_The_Song_Of_Wandering_Aengus
1.wby_-_The_Sorrow_Of_Love
1.wby_-_The_Spirit_Medium
1.wby_-_The_Spur
1.wby_-_The_Statesmans_Holiday
1.wby_-_The_Statues
1.wby_-_The_Stolen_Child
1.wby_-_The_Three_Beggars
1.wby_-_The_Three_Bushes
1.wby_-_The_Three_Hermits
1.wby_-_The_Three_Monuments
1.wby_-_The_Tower
1.wby_-_The_Travail_Of_Passion
1.wby_-_The_Two_Kings
1.wby_-_The_Two_Trees
1.wby_-_The_Unappeasable_Host
1.wby_-_The_Valley_Of_The_Black_Pig
1.wby_-_The_Wanderings_Of_Oisin_-_Book_I
1.wby_-_The_Wanderings_Of_Oisin_-_Book_II
1.wby_-_The_Wanderings_Of_Oisin_-_Book_III
1.wby_-_The_Wheel
1.wby_-_The_White_Birds
1.wby_-_The_Wild_Old_Wicked_Man
1.wby_-_The_Wild_Swans_At_Coole
1.wby_-_The_Winding_Stair
1.wby_-_The_Witch
1.wby_-_The_Withering_Of_The_Boughs
1.wby_-_Those_Dancing_Days_Are_Gone
1.wby_-_Those_Images
1.wby_-_Three_Marching_Songs
1.wby_-_Three_Movements
1.wby_-_Three_Songs_To_The_One_Burden
1.wby_-_Three_Songs_To_The_Same_Tune
1.wby_-_Three_Things
1.wby_-_To_A_Child_Dancing_In_The_Wind
1.wby_-_To_A_Friend_Whose_Work_Has_Come_To_Nothing
1.wby_-_To_An_Isle_In_The_Water
1.wby_-_To_A_Poet,_Who_Would_Have_Me_Praise_Certain_Bad_Poets,_Imitators_Of_His_And_Mine
1.wby_-_To_A_Shade
1.wby_-_To_A_Squirrel_At_Kyle-Na-No
1.wby_-_To_A_Wealthy_Man_Who_Promised_A_Second_Subscription_To_The_Dublin_Municipal_Gallery_If_It_Were_Prove
1.wby_-_To_A_Young_Beauty
1.wby_-_To_A_Young_Girl
1.wby_-_To_Be_Carved_On_A_Stone_At_Thoor_Ballylee
1.wby_-_To_Dorothy_Wellesley
1.wby_-_To_His_Heart,_Bidding_It_Have_No_Fear
1.wby_-_To_Ireland_In_The_Coming_Times
1.wby_-_Tom_At_Cruachan
1.wby_-_Tom_ORoughley
1.wby_-_Tom_The_Lunatic
1.wby_-_To_Some_I_Have_Talked_With_By_The_Fire
1.wby_-_To_The_Rose_Upon_The_Rood_Of_Time
1.wby_-_Towards_Break_Of_Day
1.wby_-_Two_Songs_From_A_Play
1.wby_-_Two_Songs_Of_A_Fool
1.wby_-_Two_Songs_Rewritten_For_The_Tunes_Sake
1.wby_-_Two_Years_Later
1.wby_-_Under_Ben_Bulben
1.wby_-_Under_Saturn
1.wby_-_Under_The_Moon
1.wby_-_Under_The_Round_Tower
1.wby_-_Upon_A_Dying_Lady
1.wby_-_Upon_A_House_Shaken_By_The_Land_Agitation
1.wby_-_Vacillation
1.wby_-_Veronicas_Napkin
1.wby_-_What_Then?
1.wby_-_What_Was_Lost
1.wby_-_When_Helen_Lived
1.wby_-_When_You_Are_Old
1.wby_-_Where_My_Books_go
1.wby_-_Who_Goes_With_Fergus?
1.wby_-_Why_Should_Not_Old_Men_Be_Mad?
1.wby_-_Wisdom
1.wby_-_Words
1.wby_-_Young_Mans_Song
1.wby_-_Youth_And_Age
1.whitman_-_1861
1.whitman_-_Aboard_At_A_Ships_Helm
1.whitman_-_A_Boston_Ballad
1.whitman_-_A_Broadway_Pageant
1.whitman_-_A_Carol_Of_Harvest_For_1867
1.whitman_-_A_child_said,_What_is_the_grass?
1.whitman_-_A_Childs_Amaze
1.whitman_-_A_Clear_Midnight
1.whitman_-_Adieu_To_A_Solider
1.whitman_-_A_Farm-Picture
1.whitman_-_After_an_Interval
1.whitman_-_After_The_Sea-Ship
1.whitman_-_Ages_And_Ages,_Returning_At_Intervals
1.whitman_-_A_Glimpse
1.whitman_-_A_Hand-Mirror
1.whitman_-_Ah_Poverties,_Wincings_Sulky_Retreats
1.whitman_-_A_Leaf_For_Hand_In_Hand
1.whitman_-_All_Is_Truth
1.whitman_-_A_March_In_The_Ranks,_Hard-prest
1.whitman_-_American_Feuillage
1.whitman_-_Among_The_Multitude
1.whitman_-_An_Army_Corps_On_The_March
1.whitman_-_A_Noiseless_Patient_Spider
1.whitman_-_A_Paumanok_Picture
1.whitman_-_Apostroph
1.whitman_-_A_Promise_To_California
1.whitman_-_Are_You_The_New_Person,_Drawn_Toward_Me?
1.whitman_-_A_Riddle_Song
1.whitman_-_As_Adam,_Early_In_The_Morning
1.whitman_-_As_A_Strong_Bird_On_Pinious_Free
1.whitman_-_As_At_Thy_Portals_Also_Death
1.whitman_-_As_Consequent,_Etc.
1.whitman_-_Ashes_Of_Soldiers
1.whitman_-_As_I_Ebbd_With_the_Ocean_of_Life
1.whitman_-_As_If_A_Phantom_Caressd_Me
1.whitman_-_A_Sight_in_Camp_in_the_Daybreak_Gray_and_Dim
1.whitman_-_As_I_Lay_With_My_Head_in_Your_Lap,_Camerado
1.whitman_-_As_I_Ponderd_In_Silence
1.whitman_-_As_I_Sat_Alone_By_Blue_Ontarios_Shores
1.whitman_-_As_I_Walk_These_Broad,_Majestic_Days
1.whitman_-_As_I_Watched_The_Ploughman_Ploughing
1.whitman_-_A_Song
1.whitman_-_Assurances
1.whitman_-_As_The_Time_Draws_Nigh
1.whitman_-_As_Toilsome_I_Wanderd
1.whitman_-_A_Woman_Waits_For_Me
1.whitman_-_Bathed_In_Wars_Perfume
1.whitman_-_Beat!_Beat!_Drums!
1.whitman_-_Beautiful_Women
1.whitman_-_Beginners
1.whitman_-_Beginning_My_Studies
1.whitman_-_Behavior
1.whitman_-_Behold_This_Swarthy_Face
1.whitman_-_Bivouac_On_A_Mountain_Side
1.whitman_-_Broadway
1.whitman_-_Brother_Of_All,_With_Generous_Hand
1.whitman_-_By_Broad_Potomacs_Shore
1.whitman_-_By_The_Bivouacs_Fitful_Flame
1.whitman_-_Camps_Of_Green
1.whitman_-_Carol_Of_Occupations
1.whitman_-_Carol_Of_Words
1.whitman_-_Cavalry_Crossing_A_Ford
1.whitman_-_Chanting_The_Square_Deific
1.whitman_-_City_Of_Orgies
1.whitman_-_City_Of_Ships
1.whitman_-_Come,_Said_My_Soul
1.whitman_-_Come_Up_From_The_Fields,_Father
1.whitman_-_Crossing_Brooklyn_Ferry
1.whitman_-_Darest_Thou_Now_O_Soul
1.whitman_-_Debris
1.whitman_-_Delicate_Cluster
1.whitman_-_Despairing_Cries
1.whitman_-_Dirge_For_Two_Veterans
1.whitman_-_Drum-Taps
1.whitman_-_Earth!_my_Likeness!
1.whitman_-_Eidolons
1.whitman_-_Election_Day,_November_1884
1.whitman_-_Elemental_Drifts
1.whitman_-_Ethiopia_Saluting_The_Colors
1.whitman_-_Europe,_The_72d_And_73d_Years_Of_These_States
1.whitman_-_Excelsior
1.whitman_-_Faces
1.whitman_-_Facing_West_From_Californias_Shores
1.whitman_-_Fast_Anchord,_Eternal,_O_Love
1.whitman_-_For_Him_I_Sing
1.whitman_-_For_You,_O_Democracy
1.whitman_-_France,_The_18th_Year_Of_These_States
1.whitman_-_From_Far_Dakotas_Canons
1.whitman_-_From_My_Last_Years
1.whitman_-_From_Paumanok_Starting
1.whitman_-_From_Pent-up_Aching_Rivers
1.whitman_-_Full_Of_Life,_Now
1.whitman_-_Germs
1.whitman_-_Give_Me_The_Splendid,_Silent_Sun
1.whitman_-_Gliding_Over_All
1.whitman_-_God
1.whitman_-_Good-Bye_My_Fancy!
1.whitman_-_Great_Are_The_Myths
1.whitman_-_Had_I_the_Choice
1.whitman_-_Hast_Never_Come_To_Thee_An_Hour
1.whitman_-_Here,_Sailor
1.whitman_-_Here_The_Frailest_Leaves_Of_Me
1.whitman_-_Hours_Continuing_Long
1.whitman_-_How_Solemn_As_One_By_One
1.whitman_-_Hushd_Be_the_Camps_Today
1.whitman_-_I_Am_He_That_Aches_With_Love
1.whitman_-_I_Dreamd_In_A_Dream
1.whitman_-_I_Hear_America_Singing
1.whitman_-_I_Heard_You,_Solemn-sweep_Pipes_Of_The_Organ
1.whitman_-_I_Hear_It_Was_Charged_Against_Me
1.whitman_-_In_Cabind_Ships_At_Sea
1.whitman_-_In_Former_Songs
1.whitman_-_In_Midnight_Sleep
1.whitman_-_In_Paths_Untrodden
1.whitman_-_Inscription
1.whitman_-_In_The_New_Garden_In_All_The_Parts
1.whitman_-_I_Saw_In_Louisiana_A_Live_Oak_Growing
1.whitman_-_I_Saw_Old_General_At_Bay
1.whitman_-_I_Sing_The_Body_Electric
1.whitman_-_I_Sit_And_Look_Out
1.whitman_-_Italian_Music_In_Dakota
1.whitman_-_I_Thought_I_Was_Not_Alone
1.whitman_-_I_Was_Looking_A_Long_While
1.whitman_-_I_Will_Take_An_Egg_Out_Of_The_Robins_Nest
1.whitman_-_Joy,_Shipmate,_Joy!
1.whitman_-_Kosmos
1.whitman_-_Laws_For_Creations
1.whitman_-_Lessons
1.whitman_-_Locations_And_Times
1.whitman_-_Longings_For_Home
1.whitman_-_Long_I_Thought_That_Knowledge
1.whitman_-_Long,_Too_Long_America
1.whitman_-_Look_Down,_Fair_Moon
1.whitman_-_Lo!_Victress_On_The_Peaks
1.whitman_-_Manhattan_Streets_I_Saunterd,_Pondering
1.whitman_-_Mannahatta
1.whitman_-_Mediums
1.whitman_-_Me_Imperturbe
1.whitman_-_Miracles
1.whitman_-_Mother_And_Babe
1.whitman_-_My_Picture-Gallery
1.whitman_-_Myself_And_Mine
1.whitman_-_Native_Moments
1.whitman_-_Night_On_The_Prairies
1.whitman_-_No_Labor-Saving_Machine
1.whitman_-_Not_Heat_Flames_Up_And_Consumes
1.whitman_-_Not_Heaving_From_My_Ribbd_Breast_Only
1.whitman_-_Not_My_Enemies_Ever_Invade_Me
1.whitman_-_Not_The_Pilot
1.whitman_-_Not_Youth_Pertains_To_Me
1.whitman_-_Now_Finale_To_The_Shore
1.whitman_-_Now_List_To_My_Mornings_Romanza
1.whitman_-_O_Bitter_Sprig!_Confession_Sprig!
1.whitman_-_O_Captain!_My_Captain!
1.whitman_-_Offerings
1.whitman_-_Of_Him_I_Love_Day_And_Night
1.whitman_-_Of_The_Terrible_Doubt_Of_Apperarances
1.whitman_-_Of_The_Visage_Of_Things
1.whitman_-_O_Hymen!_O_Hymenee!
1.whitman_-_Old_Ireland
1.whitman_-_O_Living_Always--Always_Dying
1.whitman_-_O_Me!_O_Life!
1.whitman_-_Once_I_Passd_Through_A_Populous_City
1.whitman_-_One_Hour_To_Madness_And_Joy
1.whitman_-_One_Song,_America,_Before_I_Go
1.whitman_-_Ones_Self_I_Sing
1.whitman_-_One_Sweeps_By
1.whitman_-_On_Journeys_Through_The_States
1.whitman_-_On_Old_Mans_Thought_Of_School
1.whitman_-_On_The_Beach_At_Night
1.whitman_-_Or_From_That_Sea_Of_Time
1.whitman_-_O_Star_Of_France
1.whitman_-_O_Sun_Of_Real_Peace
1.whitman_-_O_Tan-faced_Prairie_Boy
1.whitman_-_Other_May_Praise_What_They_Like
1.whitman_-_Out_From_Behind_His_Mask
1.whitman_-_Out_of_the_Cradle_Endlessly_Rocking
1.whitman_-_Out_of_the_Rolling_Ocean,_The_Crowd
1.whitman_-_Over_The_Carnage
1.whitman_-_O_You_Whom_I_Often_And_Silently_Come
1.whitman_-_Passage_To_India
1.whitman_-_Patroling_Barnegat
1.whitman_-_Pensive_And_Faltering
1.whitman_-_Pensive_On_Her_Dead_Gazing,_I_Heard_The_Mother_Of_All
1.whitman_-_Perfections
1.whitman_-_Pioneers!_O_Pioneers!
1.whitman_-_Poem_Of_Remembrance_For_A_Girl_Or_A_Boy
1.whitman_-_Poems_Of_Joys
1.whitman_-_Poets_to_Come
1.whitman_-_Portals
1.whitman_-_Prayer_Of_Columbus
1.whitman_-_Primeval_My_Love_For_The_Woman_I_Love
1.whitman_-_Proud_Music_Of_The_Storm
1.whitman_-_Quicksand_Years
1.whitman_-_Race_Of_Veterans
1.whitman_-_Reconciliation
1.whitman_-_Recorders_Ages_Hence
1.whitman_-_Red_Jacket_(From_Aloft)
1.whitman_-_Respondez!
1.whitman_-_Rise,_O_Days
1.whitman_-_Roaming_In_Thought
1.whitman_-_Roots_And_Leaves_Themselves_Alone
1.whitman_-_Salut_Au_Monde
1.whitman_-_Savantism
1.whitman_-_Says
1.whitman_-_Scented_Herbage_Of_My_Breast
1.whitman_-_Sea-Shore_Memories
1.whitman_-_Self-Contained
1.whitman_-_Shut_Not_Your_Doors
1.whitman_-_Sing_Of_The_Banner_At_Day-Break
1.whitman_-_So_Far_And_So_Far,_And_On_Toward_The_End
1.whitman_-_Solid,_Ironical,_Rolling_Orb
1.whitman_-_So_Long
1.whitman_-_Sometimes_With_One_I_Love
1.whitman_-_Song_At_Sunset
1.whitman_-_Song_For_All_Seas,_All_Ships
1.whitman_-_Song_of_Myself
1.whitman_-_Song_Of_Myself-_II
1.whitman_-_Song_Of_Myself-_III
1.whitman_-_Song_Of_Myself-_IV
1.whitman_-_Song_Of_Myself-_IX
1.whitman_-_Song_Of_Myself-_L
1.whitman_-_Song_Of_Myself-_LI
1.whitman_-_Song_Of_Myself-_LII
1.whitman_-_Song_Of_Myself-_V
1.whitman_-_Song_Of_Myself-_VII
1.whitman_-_Song_Of_Myself-_VIII
1.whitman_-_Song_Of_Myself-_X
1.whitman_-_Song_Of_Myself-_XI
1.whitman_-_Song_Of_Myself-_XII
1.whitman_-_Song_Of_Myself-_XIII
1.whitman_-_Song_Of_Myself-_XIV
1.whitman_-_Song_Of_Myself-_XIX
1.whitman_-_Song_Of_Myself-_XL
1.whitman_-_Song_Of_Myself-_XLI
1.whitman_-_Song_Of_Myself-_XLII
1.whitman_-_Song_Of_Myself-_XLIII
1.whitman_-_Song_Of_Myself-_XLIV
1.whitman_-_Song_Of_Myself-_XLIX
1.whitman_-_Song_Of_Myself-_XLV
1.whitman_-_Song_Of_Myself-_XLVI
1.whitman_-_Song_Of_Myself-_XLVII
1.whitman_-_Song_Of_Myself-_XLVIII
1.whitman_-_Song_Of_Myself-_XV
1.whitman_-_Song_Of_Myself-_XVI
1.whitman_-_Song_Of_Myself-_XVII
1.whitman_-_Song_Of_Myself-_XVIII
1.whitman_-_Song_Of_Myself-_XX
1.whitman_-_Song_Of_Myself-_XXI
1.whitman_-_Song_Of_Myself-_XXII
1.whitman_-_Song_Of_Myself-_XXIII
1.whitman_-_Song_Of_Myself-_XXIV
1.whitman_-_Song_Of_Myself-_XXIX
1.whitman_-_Song_Of_Myself-_XXV
1.whitman_-_Song_Of_Myself-_XXVI
1.whitman_-_Song_Of_Myself-_XXVII
1.whitman_-_Song_Of_Myself-_XXVIII
1.whitman_-_Song_Of_Myself-_XXX
1.whitman_-_Song_Of_Myself-_XXXI
1.whitman_-_Song_Of_Myself-_XXXIII
1.whitman_-_Song_Of_Myself-_XXXIV
1.whitman_-_Song_Of_Myself-_XXXIX
1.whitman_-_Song_Of_Myself-_XXXV
1.whitman_-_Song_Of_Myself-_XXXVI
1.whitman_-_Song_Of_Myself-_XXXVII
1.whitman_-_Song_Of_Myself-_XXXVIII
1.whitman_-_Song_Of_The_Broad-Axe
1.whitman_-_Song_Of_The_Exposition
1.whitman_-_Song_Of_The_Open_Road
1.whitman_-_Song_Of_The_Redwood-Tree
1.whitman_-_Song_Of_The_Universal
1.whitman_-_Souvenirs_Of_Democracy
1.whitman_-_Spain_1873-74
1.whitman_-_Sparkles_From_The_Wheel
1.whitman_-_Spirit_That_Formd_This_Scene
1.whitman_-_Spirit_Whose_Work_Is_Done
1.whitman_-_Spontaneous_Me
1.whitman_-_Starting_From_Paumanok
1.whitman_-_States!
1.whitman_-_Still,_Though_The_One_I_Sing
1.whitman_-_Tears
1.whitman_-_Tests
1.whitman_-_That_Last_Invocation
1.whitman_-_That_Music_Always_Round_Me
1.whitman_-_That_Shadow,_My_Likeness
1.whitman_-_The_Artillerymans_Vision
1.whitman_-_The_Base_Of_All_Metaphysics
1.whitman_-_The_Centerarians_Story
1.whitman_-_The_City_Dead-House
1.whitman_-_The_Dalliance_Of_The_Eagles
1.whitman_-_The_Death_And_Burial_Of_McDonald_Clarke-_A_Parody
1.whitman_-_The_Great_City
1.whitman_-_The_Indications
1.whitman_-_The_Last_Invocation
1.whitman_-_The_Mystic_Trumpeter
1.whitman_-_The_Ox_tamer
1.whitman_-_The_Prairie-Grass_Dividing
1.whitman_-_The_Prairie_States
1.whitman_-_There_Was_A_Child_Went_Forth
1.whitman_-_The_Runner
1.whitman_-_These_Carols
1.whitman_-_These,_I,_Singing_In_Spring
1.whitman_-_The_Ship_Starting
1.whitman_-_The_Singer_In_The_Prison
1.whitman_-_The_Sleepers
1.whitman_-_The_Sobbing_Of_The_Bells
1.whitman_-_The_Torch
1.whitman_-_The_Unexpressed
1.whitman_-_The_Untold_Want
1.whitman_-_The_Voice_of_the_Rain
1.whitman_-_The_World_Below_The_Brine
1.whitman_-_The_Wound_Dresser
1.whitman_-_Thick-Sprinkled_Bunting
1.whitman_-_Think_Of_The_Soul
1.whitman_-_This_Compost
1.whitman_-_This_Day,_O_Soul
1.whitman_-_This_Dust_Was_Once_The_Man
1.whitman_-_This_Moment,_Yearning_And_Thoughtful
1.whitman_-_Thought
1.whitman_-_Thoughts
1.whitman_-_Thoughts_(2)
1.whitman_-_Thou_Orb_Aloft_Full-Dazzling
1.whitman_-_Thou_Reader
1.whitman_-_To_A_Certain_Cantatrice
1.whitman_-_To_A_Certain_Civilian
1.whitman_-_To_A_Common_Prostitute
1.whitman_-_To_A_Foild_European_Revolutionaire
1.whitman_-_To_A_Historian
1.whitman_-_To_A_Locomotive_In_Winter
1.whitman_-_To_A_President
1.whitman_-_To_A_Pupil
1.whitman_-_To_A_Stranger
1.whitman_-_To_A_Western_Boy
1.whitman_-_To_Foreign_Lands
1.whitman_-_To_Him_That_Was_Crucified
1.whitman_-_To_Old_Age
1.whitman_-_To_One_Shortly_To_Die
1.whitman_-_To_Oratists
1.whitman_-_To_Rich_Givers
1.whitman_-_To_The_East_And_To_The_West
1.whitman_-_To_Thee,_Old_Cause!
1.whitman_-_To_The_Garden_The_World
1.whitman_-_To_The_Leavend_Soil_They_Trod
1.whitman_-_To_The_Man-of-War-Bird
1.whitman_-_To_The_Reader_At_Parting
1.whitman_-_To_The_States
1.whitman_-_To_Think_Of_Time
1.whitman_-_To_You
1.whitman_-_Trickle,_Drops
1.whitman_-_Turn,_O_Libertad
1.whitman_-_Two_Rivulets
1.whitman_-_Unfolded_Out_Of_The_Folds
1.whitman_-_Unnamed_Lands
1.whitman_-_Vigil_Strange_I_Kept_on_the_Field_one_Night
1.whitman_-_Virginia--The_West
1.whitman_-_Visord
1.whitman_-_Voices
1.whitman_-_Walt_Whitmans_Caution
1.whitman_-_Wandering_At_Morn
1.whitman_-_Warble_Of_Lilac-Time
1.whitman_-_Washingtons_Monument,_February,_1885
1.whitman_-_Weave_In,_Weave_In,_My_Hardy_Life
1.whitman_-_We_Two_Boys_Together_Clinging
1.whitman_-_We_Two-How_Long_We_Were_Foold
1.whitman_-_What_Am_I_After_All
1.whitman_-_What_Best_I_See_In_Thee
1.whitman_-_What_General_Has_A_Good_Army
1.whitman_-_What_Place_Is_Besieged?
1.whitman_-_What_Think_You_I_Take_My_Pen_In_Hand?
1.whitman_-_What_Weeping_Face
1.whitman_-_When_I_Heard_At_The_Close_Of_The_Day
1.whitman_-_When_I_Heard_the_Learnd_Astronomer
1.whitman_-_When_I_Peruse_The_Conquerd_Fame
1.whitman_-_When_I_Read_The_Book
1.whitman_-_When_Lilacs_Last_in_the_Dooryard_Bloomd
1.whitman_-_Whispers_Of_Heavenly_Death
1.whitman_-_Whoever_You_Are,_Holding_Me_Now_In_Hand
1.whitman_-_Who_Is_Now_Reading_This?
1.whitman_-_Who_Learns_My_Lesson_Complete?
1.whitman_-_With_All_Thy_Gifts
1.whitman_-_With_Antecedents
1.whitman_-_World,_Take_Good_Notice
1.whitman_-_Year_Of_Meteors,_1859_60
1.whitman_-_Years_Of_The_Modern
1.whitman_-_Year_That_Trembled
1.whitman_-_Yet,_Yet,_Ye_Downcast_Hours
1.wh_-_Moon_and_clouds_are_the_same
1.wh_-_One_instant_is_eternity
1.wh_-_Ten_thousand_flowers_in_spring,_the_moon_in_autumn
1.wh_-_The_Great_Way_has_no_gate
1.ww_-_0-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons_-_Dedication
1.ww_-_10_-_Alone_far_in_the_wilds_and_mountains_I_hunt
1.ww_-_17_-_These_are_really_the_thoughts_of_all_men_in_all_ages_and_lands,_they_are_not_original_with_me
1.ww_-_18_-_With_music_strong_I_come,_with_my_cornets_and_my_drums
1.ww_-_1_-_I_celebrate_myself,_and_sing_myself
1.ww_-_1-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_20_-_Who_goes_there?_hankering,_gross,_mystical,_nude
1.ww_-_24_-_Walt_Whitman,_a_cosmos,_of_Manhattan_the_son
1.ww_-_2_-_Houses_and_rooms_are_full_of_perfumes,_the_shelves_are_crowded_with_perfumes
1.ww_-_2-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_3_-_I_have_heard_what_the_talkers_were_talking,_the_talk_of_the_beginning_and_the_end
1.ww_-_3-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_44_-_It_is_time_to_explain_myself_--_let_us_stand_up
1.ww_-_4-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_4_-_Trippers_and_askers_surround_me
1.ww_-_5_-_I_believe_in_you_my_soul,_the_other_I_am_must_not_abase_itself_to_you
1.ww_-_5-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_6_-_A_child_said_What_is_the_grass?_fetching_it_to_me_with_full_hands
1.ww_-_6-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_7_-_Has_anyone_supposed_it_lucky_to_be_born?
1.ww_-_7-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_8_-_The_little_one_sleeps_in_its_cradle
1.ww_-_9_-_The_big_doors_of_the_country_barn_stand_open_and_ready
1.ww_-_A_Character
1.ww_-_A_Complaint
1.ww_-_Address_To_A_Child_During_A_Boisterous_Winter_By_My_Sister
1.ww_-_Address_To_Kilchurn_Castle,_Upon_Loch_Awe
1.ww_-_Address_To_My_Infant_Daughter
1.ww_-_Address_To_The_Scholars_Of_The_Village_School_Of_---
1.ww_-_Admonition
1.ww_-_Advance__Come_Forth_From_Thy_Tyrolean_Ground
1.ww_-_A_Fact,_And_An_Imagination,_Or,_Canute_And_Alfred,_On_The_Seashore
1.ww_-_A_Farewell
1.ww_-_A_Flower_Garden_At_Coleorton_Hall,_Leicestershire.
1.ww_-_After-Thought
1.ww_-_A_Gravestone_Upon_The_Floor_In_The_Cloisters_Of_Worcester_Cathedral
1.ww_-_Ah!_Where_Is_Palafox?_Nor_Tongue_Nor_Pen
1.ww_-_A_Jewish_Family_In_A_Small_Valley_Opposite_St._Goar,_Upon_The_Rhine
1.ww_-_Alas!_What_Boots_The_Long_Laborious_Quest
1.ww_-_Alice_Fell,_Or_Poverty
1.ww_-_Among_All_Lovely_Things_My_Love_Had_Been
1.ww_-_A_Morning_Exercise
1.ww_-_A_Narrow_Girdle_Of_Rough_Stones_And_Crags,
1.ww_-_And_Is_It_Among_Rude_Untutored_Dales
1.ww_-_Andrew_Jones
1.ww_-_Anecdote_For_Fathers
1.ww_-_An_Evening_Walk
1.ww_-_A_Night-Piece
1.ww_-_A_Night_Thought
1.ww_-_Animal_Tranquility_And_Decay
1.ww_-_A_noiseless_patient_spider
1.ww_-_Anticipation,_October_1803
1.ww_-_A_Parsonage_In_Oxfordshire
1.ww_-_A_Poet!_He_Hath_Put_His_Heart_To_School
1.ww_-_A_Poet's_Epitaph
1.ww_-_A_Prophecy._February_1807
1.ww_-_Argument_For_Suicide
1.ww_-_Artegal_And_Elidure
1.ww_-_As_faith_thus_sanctified_the_warrior's_crest
1.ww_-_A_Sketch
1.ww_-_A_Slumber_did_my_Spirit_Seal
1.ww_-_At_Applewaite,_Near_Keswick_1804
1.ww_-_Avaunt_All_Specious_Pliancy_Of_Mind
1.ww_-_A_Whirl-Blast_From_Behind_The_Hill
1.ww_-_A_Wren's_Nest
1.ww_-_Bamboo_Cottage
1.ww_-_Beggars
1.ww_-_Behold_Vale!_I_Said,_When_I_Shall_Con
1.ww_-_Book_Eighth-_Retrospect--Love_Of_Nature_Leading_To_Love_Of_Man
1.ww_-_Book_Eleventh-_France_[concluded]
1.ww_-_Book_Fifth-Books
1.ww_-_Book_First_[Introduction-Childhood_and_School_Time]
1.ww_-_Book_Fourteenth_[conclusion]
1.ww_-_Book_Fourth_[Summer_Vacation]
1.ww_-_Book_Ninth_[Residence_in_France]
1.ww_-_Book_Second_[School-Time_Continued]
1.ww_-_Book_Seventh_[Residence_in_London]
1.ww_-_Book_Sixth_[Cambridge_and_the_Alps]
1.ww_-_Book_Tenth_{Residence_in_France_continued]
1.ww_-_Book_Third_[Residence_at_Cambridge]
1.ww_-_Book_Thirteenth_[Imagination_And_Taste,_How_Impaired_And_Restored_Concluded]
1.ww_-_Book_Twelfth_[Imagination_And_Taste,_How_Impaired_And_Restored_]
1.ww_-_Bothwell_Castle
1.ww_-_Brave_Schill!_By_Death_Delivered
1.ww_-_British_Freedom
1.ww_-_Brook!_Whose_Society_The_Poet_Seeks
1.ww_-_By_Moscow_Self-Devoted_To_A_Blaze
1.ww_-_By_The_Seaside
1.ww_-_By_The_Side_Of_The_Grave_Some_Years_After
1.ww_-_Calais-_August_15,_1802
1.ww_-_Calais-_August_1802
1.ww_-_Call_Not_The_Royal_Swede_Unfortunate
1.ww_-_Calm_is_all_Nature_as_a_Resting_Wheel.
1.ww_-_Characteristics_Of_A_Child_Three_Years_Old
1.ww_-_Character_Of_The_Happy_Warrior
1.ww_-_Composed_After_A_Journey_Across_The_Hambleton_Hills,_Yorkshire
1.ww_-_Composed_At_The_Same_Time_And_On_The_Same_Occasion
1.ww_-_Composed_By_The_Sea-Side,_Near_Calais,_August_1802
1.ww_-_Composed_By_The_Side_Of_Grasmere_Lake_1806
1.ww_-_Composed_During_A_Storm
1.ww_-_Composed_In_The_Valley_Near_Dover,_On_The_Day_Of_Landing
1.ww_-_Composed_Near_Calais,_On_The_Road_Leading_To_Ardres,_August_7,_1802
1.ww_-_Composed_on_The_Eve_Of_The_Marriage_Of_A_Friend_In_The_Vale_Of_Grasmere
1.ww_-_Composed_Upon_Westminster_Bridge,_September_3,_1802
1.ww_-_Composed_While_The_Author_Was_Engaged_In_Writing_A_Tract_Occasioned_By_The_Convention_Of_Cintra
1.ww_-_Cooling_Off
1.ww_-_Crusaders
1.ww_-_Daffodils
1.ww_-_Deer_Fence
1.ww_-_Dion_[See_Plutarch]
1.ww_-_Drifting_on_the_Lake
1.ww_-_Elegiac_Stanzas_In_Memory_Of_My_Brother,_John_Commander_Of_The_E._I._Companys_Ship_The_Earl_Of_Aber
1.ww_-_Elegiac_Stanzas_Suggested_By_A_Picture_Of_Peele_Castle
1.ww_-_Ellen_Irwin_Or_The_Braes_Of_Kirtle
1.ww_-_Emperors_And_Kings,_How_Oft_Have_Temples_Rung
1.ww_-_England!_The_Time_Is_Come_When_Thou_Shouldst_Wean
1.ww_-_Epitaphs_Translated_From_Chiabrera
1.ww_-_Even_As_A_Dragons_Eye_That_Feels_The_Stress
1.ww_-_Expostulation_and_Reply
1.ww_-_Extempore_Effusion_upon_the_Death_of_James_Hogg
1.ww_-_Extract_From_The_Conclusion_Of_A_Poem_Composed_In_Anticipation_Of_Leaving_School
1.ww_-_Feelings_of_A_French_Royalist,_On_The_Disinterment_Of_The_Remains_Of_The_Duke_DEnghien
1.ww_-_Feelings_Of_A_Noble_Biscayan_At_One_Of_Those_Funerals
1.ww_-_Feelings_Of_The_Tyrolese
1.ww_-_Fidelity
1.ww_-_Fields_and_Gardens_by_the_River_Qi
1.ww_-_Foresight
1.ww_-_For_The_Spot_Where_The_Hermitage_Stood_On_St._Herbert's_Island,_Derwentwater.
1.ww_-_From_The_Cuckoo_And_The_Nightingale
1.ww_-_From_The_Dark_Chambers_Of_Dejection_Freed
1.ww_-_From_The_Italian_Of_Michael_Angelo
1.ww_-_George_and_Sarah_Green
1.ww_-_Gipsies
1.ww_-_Goody_Blake_And_Harry_Gill
1.ww_-_Grand_is_the_Seen
1.ww_-_Great_Men_Have_Been_Among_Us
1.ww_-_Guilt_And_Sorrow,_Or,_Incidents_Upon_Salisbury_Plain
1.ww_-_Hail-_Twilight,_Sovereign_Of_One_Peaceful_Hour
1.ww_-_Hail-_Zaragoza!_If_With_Unwet_eye
1.ww_-_Hart-Leap_Well
1.ww_-_Here_Pause-_The_Poet_Claims_At_Least_This_Praise
1.ww_-_Her_Eyes_Are_Wild
1.ww_-_Hint_From_The_Mountains_For_Certain_Political_Pretenders
1.ww_-_Hoffer
1.ww_-_How_Sweet_It_Is,_When_Mother_Fancy_Rocks
1.ww_-_I_Grieved_For_Buonaparte
1.ww_-_I_Know_an_Aged_Man_Constrained_to_Dwell
1.ww_-_Incident_Characteristic_Of_A_Favorite_Dog
1.ww_-_Indignation_Of_A_High-Minded_Spaniard
1.ww_-_In_Due_Observance_Of_An_Ancient_Rite
1.ww_-_Influence_of_Natural_Objects
1.ww_-_Inscriptions_For_A_Seat_In_The_Groves_Of_Coleorton
1.ww_-_Inscriptions_In_The_Ground_Of_Coleorton,_The_Seat_Of_Sir_George_Beaumont,_Bart.,_Leicestershire
1.ww_-_Inscriptions_Written_with_a_Slate_Pencil_upon_a_Stone
1.ww_-_Inside_of_King's_College_Chapel,_Cambridge
1.ww_-_In_The_Pass_Of_Killicranky
1.ww_-_Invocation_To_The_Earth,_February_1816
1.ww_-_Is_There_A_Power_That_Can_Sustain_And_Cheer
1.ww_-_I_think_I_could_turn_and_live_with_animals
1.ww_-_It_Is_a_Beauteous_Evening
1.ww_-_It_Is_No_Spirit_Who_From_Heaven_Hath_Flown
1.ww_-_I_Travelled_among_Unknown_Men
1.ww_-_It_was_an_April_morning-_fresh_and_clear
1.ww_-_Lament_Of_Mary_Queen_Of_Scots
1.ww_-_Laodamia
1.ww_-_Lines_Composed_a_Few_Miles_above_Tintern_Abbey
1.ww_-_Lines_Left_Upon_The_Seat_Of_A_Yew-Tree,
1.ww_-_Lines_On_The_Expected_Invasion,_1803
1.ww_-_Lines_Written_As_A_School_Exercise_At_Hawkshead,_Anno_Aetatis_14
1.ww_-_Lines_Written_In_Early_Spring
1.ww_-_Lines_Written_On_A_Blank_Leaf_In_A_Copy_Of_The_Authors_Poem_The_Excursion,
1.ww_-_Living_in_the_Mountain_on_an_Autumn_Night
1.ww_-_London,_1802
1.ww_-_Look_Now_On_That_Adventurer_Who_Hath_Paid
1.ww_-_Louisa-_After_Accompanying_Her_On_A_Mountain_Excursion
1.ww_-_Lucy
1.ww_-_Lucy_Gray_[or_Solitude]
1.ww_-_Mark_The_Concentrated_Hazels_That_Enclose
1.ww_-_Maternal_Grief
1.ww_-_Matthew
1.ww_-_Memorials_Of_A_Tour_In_Scotland
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803
1.ww_-_Memorials_of_A_Tour_In_Scotland-_1803_I._Departure_From_The_Vale_Of_Grasmere,_August_1803
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_XII._Sonnet_Composed_At_----_Castle
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_XII._Yarrow_Unvisited
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_XIV._Fly,_Some_Kind_Haringer,_To_Grasmere-Dale
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803_X._Rob_Roys_Grave
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1814_I._Suggested_By_A_Beautiful_Ruin_Upon_One_Of_The_Islands_Of_Lo
1.ww_-_Memorials_Of_A_Tour_Of_Scotland-_1803_VI._Glen-Almain,_Or,_The_Narrow_Glen
1.ww_-_Memory
1.ww_-_Methought_I_Saw_The_Footsteps_Of_A_Throne
1.ww_-_Michael_Angelo_In_Reply_To_The_Passage_Upon_His_Staute_Of_Sleeping_Night
1.ww_-_Michael-_A_Pastoral_Poem
1.ww_-_Minstrels
1.ww_-_Most_Sweet_it_is
1.ww_-_Mutability
1.ww_-_My_Cottage_at_Deep_South_Mountain
1.ww_-_November,_1806
1.ww_-_November_1813
1.ww_-_Nuns_Fret_Not_at_Their_Convent's_Narrow_Room
1.ww_-_Nutting
1.ww_-_O_Captain!_my_Captain!
1.ww_-_Occasioned_By_The_Battle_Of_Waterloo_February_1816
1.ww_-_October,_1803
1.ww_-_October_1803
1.ww_-_Ode
1.ww_-_Ode_Composed_On_A_May_Morning
1.ww_-_Ode_on_Intimations_of_Immortality
1.ww_-_Ode_to_Duty
1.ww_-_Ode_To_Lycoris._May_1817
1.ww_-_Oer_The_Wide_Earth,_On_Mountain_And_On_Plain
1.ww_-_Oerweening_Statesmen_Have_Full_Long_Relied
1.ww_-_O_Me!_O_life!
1.ww_-_On_A_Celebrated_Event_In_Ancient_History
1.ww_-_O_Nightingale!_Thou_Surely_Art
1.ww_-_On_the_Departure_of_Sir_Walter_Scott_from_Abbotsford
1.ww_-_On_the_Extinction_of_the_Venetian_Republic
1.ww_-_On_The_Final_Submission_Of_The_Tyrolese
1.ww_-_On_The_Same_Occasion
1.ww_-_Personal_Talk
1.ww_-_Picture_of_Daniel_in_the_Lion's_Den_at_Hamilton_Palace
1.ww_-_Power_Of_Music
1.ww_-_Remembrance_Of_Collins
1.ww_-_Repentance
1.ww_-_Resolution_And_Independence
1.ww_-_Rural_Architecture
1.ww_-_Ruth
1.ww_-_Say,_What_Is_Honour?--Tis_The_Finest_Sense
1.ww_-_Scorn_Not_The_Sonnet
1.ww_-_September_1,_1802
1.ww_-_September_1815
1.ww_-_September,_1819
1.ww_-_She_Was_A_Phantom_Of_Delight
1.ww_-_Siege_Of_Vienna_Raised_By_Jihn_Sobieski
1.ww_-_Simon_Lee-_The_Old_Huntsman
1.ww_-_Song_at_the_Feast_of_Brougham_Castle
1.ww_-_Song_Of_The_Spinning_Wheel
1.ww_-_Song_Of_The_Wandering_Jew
1.ww_-_Sonnet-_It_is_not_to_be_thought_of
1.ww_-_Sonnet-_On_seeing_Miss_Helen_Maria_Williams_weep_at_a_tale_of_distress
1.ww_-_Spanish_Guerillas
1.ww_-_Stanzas
1.ww_-_Stanzas_Written_In_My_Pocket_Copy_Of_Thomsons_Castle_Of_Indolence
1.ww_-_Star-Gazers
1.ww_-_Stepping_Westward
1.ww_-_Stone_Gate_Temple_in_the_Blue_Field_Mountains
1.ww_-_Strange_Fits_of_Passion_Have_I_Known
1.ww_-_Stray_Pleasures
1.ww_-_Surprised_By_Joy
1.ww_-_Sweet_Was_The_Walk
1.ww_-_Temple_Tree_Path
1.ww_-_The_Affliction_Of_Margaret
1.ww_-_The_Birth_Of_Love
1.ww_-_The_Brothers
1.ww_-_The_Childless_Father
1.ww_-_The_Complaint_Of_A_Forsaken_Indian_Woman
1.ww_-_The_Cottager_To_Her_Infant
1.ww_-_The_Danish_Boy
1.ww_-_The_Eagle_and_the_Dove
1.ww_-_The_Emigrant_Mother
1.ww_-_The_Excursion-_I-_Dedication-_To_the_Right_Hon.William,_Earl_of_Lonsdalee,_K.G.
1.ww_-_The_Excursion-_II-_Book_First-_The_Wanderer
1.ww_-_The_Excursion-_IV-_Book_Third-_Despondency
1.ww_-_The_Excursion-_IX-_Book_Eighth-_The_Parsonage
1.ww_-_The_Excursion-_V-_Book_Fouth-_Despondency_Corrected
1.ww_-_The_Excursion-_VII-_Book_Sixth-_The_Churchyard_Among_the_Mountains
1.ww_-_The_Excursion-_X-_Book_Ninth-_Discourse_of_the_Wanderer,_and_an_Evening_Visit_to_the_Lake
1.ww_-_The_Fairest,_Brightest,_Hues_Of_Ether_Fade
1.ww_-_The_Farmer_Of_Tilsbury_Vale
1.ww_-_The_Fary_Chasm
1.ww_-_The_Force_Of_Prayer,_Or,_The_Founding_Of_Bolton,_A_Tradition
1.ww_-_The_Forsaken
1.ww_-_The_Fountain
1.ww_-_The_French_And_the_Spanish_Guerillas
1.ww_-_The_French_Army_In_Russia,_1812-13
1.ww_-_The_French_Revolution_as_it_appeared_to_Enthusiasts
1.ww_-_The_Germans_On_The_Heighs_Of_Hochheim
1.ww_-_The_Green_Linnet
1.ww_-_The_Happy_Warrior
1.ww_-_The_Highland_Broach
1.ww_-_The_Horn_Of_Egremont_Castle
1.ww_-_The_Idiot_Boy
1.ww_-_The_Idle_Shepherd_Boys
1.ww_-_The_King_Of_Sweden
1.ww_-_The_Kitten_And_Falling_Leaves
1.ww_-_The_Last_Of_The_Flock
1.ww_-_The_Last_Supper,_by_Leonardo_da_Vinci,_in_the_Refectory_of_the_Convent_of_Maria_della_GraziaMilan
1.ww_-_The_Longest_Day
1.ww_-_The_Martial_Courage_Of_A_Day_Is_Vain
1.ww_-_The_Morning_Of_The_Day_Appointed_For_A_General_Thanksgiving._January_18,_1816
1.ww_-_The_Mother's_Return
1.ww_-_The_Oak_And_The_Broom
1.ww_-_The_Oak_Of_Guernica_Supposed_Address_To_The_Same
1.ww_-_The_Old_Cumberland_Beggar
1.ww_-_The_Passing_of_the_Elder_Bards
1.ww_-_The_Pet-Lamb
1.ww_-_The_Power_of_Armies_is_a_Visible_Thing
1.ww_-_The_Prelude,_Book_1-_Childhood_And_School-Time
1.ww_-_The_Primrose_of_the_Rock
1.ww_-_The_Prioresss_Tale_[from_Chaucer]
1.ww_-_The_Recluse_-_Book_First
1.ww_-_The_Redbreast_Chasing_The_Butterfly
1.ww_-_There_Is_A_Bondage_Worse,_Far_Worse,_To_Bear
1.ww_-_There_is_an_Eminence,--of_these_our_hills
1.ww_-_The_Reverie_of_Poor_Susan
1.ww_-_There_Was_A_Boy
1.ww_-_The_Sailor's_Mother
1.ww_-_The_Seven_Sisters
1.ww_-_The_Shepherd,_Looking_Eastward,_Softly_Said
1.ww_-_The_Simplon_Pass
1.ww_-_The_Solitary_Reaper
1.ww_-_The_Sonnet_Ii
1.ww_-_The_Sparrow's_Nest
1.ww_-_The_Stars_Are_Mansions_Built_By_Nature's_Hand
1.ww_-_The_Sun_Has_Long_Been_Set
1.ww_-_The_Tables_Turned
1.ww_-_The_Thorn
1.ww_-_The_Trosachs
1.ww_-_The_Two_April_Mornings
1.ww_-_The_Two_Thieves-_Or,_The_Last_Stage_Of_Avarice
1.ww_-_The_Vaudois
1.ww_-_The_Virgin
1.ww_-_The_Waggoner_-_Canto_First
1.ww_-_The_Waggoner_-_Canto_Fourth
1.ww_-_The_Waggoner_-_Canto_Second
1.ww_-_The_Waggoner_-_Canto_Third
1.ww_-_The_Waterfall_And_The_Eglantine
1.ww_-_The_Wishing_Gate_Destroyed
1.ww_-_The_World_Is_Too_Much_With_Us
1.ww_-_Those_Words_Were_Uttered_As_In_Pensive_Mood
1.ww_-_Though_Narrow_Be_That_Old_Mans_Cares_.
1.ww_-_Thought_Of_A_Briton_On_The_Subjugation_Of_Switzerland
1.ww_-_Three_Years_She_Grew_in_Sun_and_Shower
1.ww_-_To_A_Butterfly
1.ww_-_To_A_Butterfly_(2)
1.ww_-_To_A_Distant_Friend
1.ww_-_To_a_Highland_Girl_(At_Inversneyde,_upon_Loch_Lomond)
1.ww_-_To_A_Sexton
1.ww_-_To_a_Sky-Lark
1.ww_-_To_a_Skylark
1.ww_-_To_A_Young_Lady_Who_Had_Been_Reproached_For_Taking_Long_Walks_In_The_Country
1.ww_-_To_B._R._Haydon
1.ww_-_To_Dora
1.ww_-_To_H._C.
1.ww_-_To_Joanna
1.ww_-_To_Lady_Beaumont
1.ww_-_To_Lady_Eleanor_Butler_and_the_Honourable_Miss_Ponsonby,
1.ww_-_To_Mary
1.ww_-_To_May
1.ww_-_To_M.H.
1.ww_-_To_My_Sister
1.ww_-_To--_On_Her_First_Ascent_To_The_Summit_Of_Helvellyn
1.ww_-_To_Sir_George_Howland_Beaumont,_Bart_From_the_South-West_Coast_Or_Cumberland_1811
1.ww_-_To_Sleep
1.ww_-_To_The_Cuckoo
1.ww_-_To_The_Daisy
1.ww_-_To_The_Daisy_(2)
1.ww_-_To_The_Daisy_(Fourth_Poem)
1.ww_-_To_The_Daisy_(Third_Poem)
1.ww_-_To_The_Memory_Of_Raisley_Calvert
1.ww_-_To_The_Men_Of_Kent
1.ww_-_To_The_Poet,_John_Dyer
1.ww_-_To_The_Same_Flower
1.ww_-_To_The_Same_Flower_(Second_Poem)
1.ww_-_To_The_Same_(John_Dyer)
1.ww_-_To_The_Small_Celandine
1.ww_-_To_The_Spade_Of_A_Friend_(An_Agriculturist)
1.ww_-_To_The_Supreme_Being_From_The_Italian_Of_Michael_Angelo
1.ww_-_To_Thomas_Clarkson
1.ww_-_To_Toussaint_LOuverture
1.ww_-_Translation_Of_Part_Of_The_First_Book_Of_The_Aeneid
1.ww_-_Tribute_To_The_Memory_Of_The_Same_Dog
1.ww_-_Troilus_And_Cresida
1.ww_-_Upon_Perusing_The_Forgoing_Epistle_Thirty_Years_After_Its_Composition
1.ww_-_Upon_The_Punishment_Of_Death
1.ww_-_Upon_The_Same_Event
1.ww_-_Upon_The_Sight_Of_A_Beautiful_Picture_Painted_By_Sir_G._H._Beaumont,_Bart
1.ww_-_Vaudracour_And_Julia
1.ww_-_Vernal_Ode
1.ww_-_View_From_The_Top_Of_Black_Comb
1.ww_-_Waldenses
1.ww_-_Water-Fowl_Observed_Frequently_Over_The_Lakes_Of_Rydal_And_Grasmere
1.ww_-_Weak_Is_The_Will_Of_Man,_His_Judgement_Blind
1.ww_-_We_Are_Seven
1.ww_-_When_I_Have_Borne_In_Memory
1.ww_-_When_To_The_Attractions_Of_The_Busy_World
1.ww_-_Where_Lies_The_Land_To_Which_Yon_Ship_Must_Go?
1.ww_-_Who_Fancied_What_A_Pretty_Sight
1.ww_-_With_How_Sad_Steps,_O_Moon,_Thou_Climb'st_the_Sky
1.ww_-_With_Ships_the_Sea_was_Sprinkled_Far_and_Nigh
1.ww_-_Written_In_A_Blank_Leaf_Of_Macpherson's_Ossian
1.ww_-_Written_In_Germany_On_One_Of_The_Coldest_Days_Of_The_Century
1.ww_-_Written_in_London._September,_1802
1.ww_-_Written_in_March
1.ww_-_Written_In_Very_Early_Youth
1.ww_-_Written_Upon_A_Blank_Leaf_In_The_Complete_Angler.
1.ww_-_Written_With_A_Pencil_Upon_A_Stone_In_The_Wall_Of_The_House,_On_The_Island_At_Grasmere
1.ww_-_Written_With_A_Slate_Pencil_On_A_Stone,_On_The_Side_Of_The_Mountain_Of_Black_Comb
1.ww_-_Yarrow_Revisited
1.ww_-_Yarrow_Unvisited
1.ww_-_Yarrow_Visited
1.ww_-_Yes,_It_Was_The_Mountain_Echo
1.ww_-_Yes!_Thou_Art_Fair,_Yet_Be_Not_Moved
1.ww_-_Yew-Trees
1.ww_-_Young_England--What_Is_Then_Become_Of_Old
1.yb_-_a_moment
1.yb_-_Clinging_to_the_bell
1.yb_-_In_a_bitter_wind
1.yb_-_Miles_of_frost
1.yb_-_Mountains_of_Yoshino
1.yb_-_On_these_southern_roads
1.yb_-_Short_nap
1.yb_-_spring_rain
1.yb_-_The_late_evening_crow
1.yb_-_This_cold_winter_night
1.yb_-_white_lotus
1.yb_-_winter_moon
1.yby_-_In_Praise_of_God_(from_Avoda)
1.ym_-_Climbing_the_Mountain
1.ym_-_Gone_Again_to_Gaze_on_the_Cascade
1.ymi_-_at_the_end_of_the_smoke
1.ymi_-_Swallowing
1.ym_-_Just_Done
1.ym_-_Mad_Words
1.ym_-_Motto
1.ym_-_Nearing_Hao-pa
1.ym_-_Pu-to_Temple
1.ym_-_Wrapped,_surrounded_by_ten_thousand_mountains
1.yni_-_Hymn_from_the_Heavens
1.yni_-_The_Celestial_Fire
1.yt_-_Now_until_the_dualistic_identity_mind_melts_and_dissolves
1.yt_-_The_Supreme_Being_is_the_Dakini_Queen_of_the_Lake_of_Awareness!
1.yt_-_This_self-sufficient_black_lady_has_shaken_things_up
2.01_-_On_Books
2.01_-_Proem
2.01_-_THE_CHILD_WITH_THE_MIRROR
2.02_-_Atomic_Motions
2.02_-_Meeting_With_the_Goddess
2.02_-_The_Ishavasyopanishad_with_a_commentary_in_English
2.02_-_UPON_THE_BLESSED_ISLES
2.03_-_Atomic_Forms_And_Their_Combinations
2.03_-_On_Medicine
2.03_-_ON_THE_PITYING
2.04_-_Absence_Of_Secondary_Qualities
2.04_-_On_Art
2.04_-_ON_PRIESTS
2.05_-_Infinite_Worlds
2.05_-_On_Poetry
2.05_-_ON_THE_VIRTUOUS
2.06_-_On_Beauty
2.06_-_ON_THE_RABBLE
2.07_-_ON_THE_TARANTULAS
2.08_-_ON_THE_FAMOUS_WISE_MEN
2.09_-_On_Sadhana
2.09_-_THE_NIGHT_SONG
2.1.01_-_The_Central_Process_of_the_Sadhana
2.1.02_-_Classification_of_the_Parts_of_the_Being
2.1.02_-_Love_and_Death
2.1.03_-_Man_and_Superman
2.10_-_THE_DANCING_SONG
2.1.1.04_-_Reading,_Yogic_Force_and_the_Development_of_Style
2.11_-_On_Education
2.11_-_THE_TOMB_SONG
2.12_-_On_Miracles
2.12_-_ON_SELF-OVERCOMING
2.13_-_On_Psychology
2.13_-_ON_THOSE_WHO_ARE_SUBLIME
2.14_-_ON_THE_LAND_OF_EDUCATION
2.1.5.2_-_Languages
2.1.5.4_-_Arts
2.15_-_ON_IMMACULATE_PERCEPTION
2.15_-_On_the_Gods_and_Asuras
2.16_-_ON_SCHOLARS
2.1.7.05_-_On_the_Inspiration_and_Writing_of_the_Poem
2.1.7.06_-_On_the_Characters_of_the_Poem
2.1.7.07_-_On_the_Verse_and_Structure_of_the_Poem
2.1.7.08_-_Comments_on_Specific_Lines_and_Passages_of_the_Poem
2.17_-_December_1938
2.17_-_ON_POETS
2.17_-_The_Soul_and_Nature
2.18_-_January_1939
2.18_-_ON_GREAT_EVENTS
2.19_-_Feb-May_1939
2.19_-_THE_SOOTHSAYER
2.2.01_-_The_Problem_of_Consciousness
2.2.01_-_Work_and_Yoga
2.2.03_-_The_Divine_Force_in_Work
2.2.03_-_The_Psychic_Being
2.2.04_-_Practical_Concerns_in_Work
2.2.05_-_Creative_Activity
2.20_-_Nov-Dec_1939
2.20_-_ON_REDEMPTION
2.2.1.01_-_The_World's_Greatest_Poets
2.21_-_1940
2.21_-_ON_HUMAN_PRUDENCE
2.2.2.01_-_The_Author_of_the_Bhagavad_Gita
2.2.2.03_-_Virgil
2.22_-_1941-1943
2.2.2_-_Sorrow_and_Suffering
2.22_-_THE_STILLEST_HOUR
2.2.3_-_Depression_and_Despondency
2.2.4_-_Sentimentalism,_Sensitiveness,_Instability,_Laxity
2.24_-_The_Evolution_of_the_Spiritual_Man
2.25_-_List_of_Topics_in_Each_Talk
2.2.7.01_-_Some_General_Remarks
2.2.9.02_-_Plato
2.2.9.03_-_Aristotle
2.2.9.04_-_Plotinus
2.3.02_-_Mantra_and_Japa
2.3.05_-_Sadhana_through_Work_for_the_Mother
2.3.08_-_I_have_a_hundred_lives
2.3.1.01_-_Three_Essentials_for_Writing_Poetry
2.3.1.06_-_Opening_to_the_Force
2.3.1.08_-_The_Necessity_and_Nature_of_Inspiration
2.3.1.09_-_Inspiration_and_Understanding
2.3.10_-_The_Subconscient_and_the_Inconscient
2.3.1.10_-_Inspiration_and_Effort
2.3.1.13_-_Inspiration_during_Sleep
2.3.1.15_-_Writing_and_Concentration
2.3.1.20_-_Aspiration
2.3.1.52_-_The_Ode
2.3.1.54_-_An_Epic_Line
2.3.1_-_Ego_and_Its_Forms
2.4.02_-_Bhakti,_Devotion,_Worship
29.03_-_In_Her_Company
30.01_-_World-Literature
30.02_-_Greek_Drama
30.03_-_Spirituality_in_Art
30.04_-_Intuition_and_Inspiration_in_Art
30.05_-_Rhythm_in_Poetry
30.06_-_The_Poet_and_The_Seer
30.07_-_The_Poet_and_the_Yogi
30.08_-_Poetry_and_Mantra
30.09_-_Lines_of_Tantra_(Charyapada)
30.10_-_The_Greatness_of_Poetry
30.11_-_Modern_Poetry
30.12_-_The_Obscene_and_the_Ugly_-_Form_and_Essence
30.13_-_Rabindranath_the_Artist
30.14_-_Rabindranath_and_Modernism
30.16_-_Tagore_the_Unique
30.17_-_Rabindranath,_Traveller_of_the_Infinite
3.01_-_Proem
3.01_-_THE_WANDERER
3.01_-_Towards_the_Future
3.02_-_Mysticism
3.02_-_Nature_And_Composition_Of_The_Mind
3.02_-_ON_THE_VISION_AND_THE_RIDDLE
3.03_-_ON_INVOLUNTARY_BLISS
3.03_-_The_Soul_Is_Mortal
3.04_-_BEFORE_SUNRISE
3.04_-_Folly_Of_The_Fear_Of_Death
3.05_-_Cerberus_And_Furies,_And_That_Lack_Of_Light
3.05_-_ON_VIRTUE_THAT_MAKES_SMALL
3.06_-_UPON_THE_MOUNT_OF_OLIVES
3.07_-_ON_PASSING_BY
3.07_-_The_Formula_of_the_Holy_Grail
3.08_-_ON_APOSTATES
3.09_-_Of_Silence_and_Secrecy
3.09_-_THE_RETURN_HOME
3.1.01_-_Invitation
3.1.01_-_The_Problem_of_Suffering_and_Evil
3.1.02_-_Asceticism_and_the_Integral_Yoga
3.1.02_-_Who
3.1.03_-_Miracles
3.1.04_-_Reminiscence
3.1.05_-_A_Vision_of_Science
3.1.06_-_Immortal_Love
31.06_-_Jagadish_Chandra_Bose
3.1.07_-_A_Tree
3.1.08_-_To_the_Sea
3.1.09_-_Revelation
3.10_-_ON_THE_THREE_EVILS
3.1.10_-_Karma
3.1.11_-_Appeal
3.1.12_-_A_Child.s_Imagination
3.1.13_-_The_Sea_at_Night
3.1.14_-_Vedantin.s_Prayer
3.1.15_-_Rebirth
3.1.16_-_The_Triumph-Song_of_Trishuncou
3.1.17_-_Life_and_Death
3.1.18_-_Evening
3.1.19_-_Parabrahman
3.11_-_ON_THE_SPIRIT_OF_GRAVITY
3.1.20_-_God
3.1.23_-_The_Rishi
3.1.24_-_In_the_Moonlight
3.12_-_ON_OLD_AND_NEW_TABLETS
3.13_-_THE_CONVALESCENT
3.14_-_ON_THE_GREAT_LONGING
3.15_-_THE_OTHER_DANCING_SONG
3.16.1_-_Of_the_Oath
3.16_-_THE_SEVEN_SEALS_OR_THE_YES_AND_AMEN_SONG
3.19_-_Of_Dramatic_Rituals
3.2.03_-_To_the_Ganges
3.2.04_-_Suddenly_out_from_the_wonderful_East
32.07_-_The_God_of_the_Scientist
3.2.4_-_Sex
33.03_-_Muraripukur_-_I
33.06_-_Alipore_Court
33.09_-_Shyampukur
33.13_-_My_Professors
33.15_-_My_Athletics
3.4.1.01_-_Poetry_and_Sadhana
3.4.1.05_-_Fiction-Writing_and_Sadhana
3.4.1.06_-_Reading_and_Sadhana
3.4.1.07_-_Reading_and_Real_Knowledge
3.4.1.08_-_Novel-Reading_and_Sadhana
3.4.1.11_-_Language-Study_and_Yoga
3.4.2.04_-_Dance_and_Sadhana
3-5_Full_Circle
36.07_-_An_Introduction_To_The_Vedas
3_-_Commentaries_and_Annotated_Translations
4.01_-_Proem
4.01_-_THE_HONEY_SACRIFICE
4.02_-_BEYOND_THE_COLLECTIVE_-_THE_HYPER-PERSONAL
4.02_-_Existence_And_Character_Of_The_Images
4.02_-_THE_CRY_OF_DISTRESS
4.03_-_CONVERSATION_WITH_THE_KINGS
4.03_-_The_Senses_And_Mental_Pictures
4.04_-_Some_Vital_Functions
4.04_-_THE_LEECH
4.05_-_THE_MAGICIAN
4.05_-_The_Passion_Of_Love
4.06_-_RETIRED
4.07_-_THE_UGLIEST_MAN
4.08_-_THE_VOLUNTARY_BEGGAR
4.09_-_THE_SHADOW
4.0_-_NOTES_TO_ZARATHUSTRA
4.1.01_-_The_Intellect_and_Yoga
4.10_-_AT_NOON
4.1.1.05_-_The_Central_Process_of_the_Yoga
4.11_-_THE_WELCOME
4.12_-_THE_LAST_SUPPER
4.13_-_ON_THE_HIGHER_MAN
4.14_-_THE_SONG_OF_MELANCHOLY
4.15_-_ON_SCIENCE
4.16_-_AMONG_DAUGHTERS_OF_THE_WILDERNESS
4.17_-_THE_AWAKENING
4.18_-_THE_ASS_FESTIVAL
4.19_-_THE_DRUNKEN_SONG
4.2.01_-_The_Mother_of_Dreams
4.2.02_-_An_Image
4.2.03_-_The_Birth_of_Sin
4.2.04_-_Epiphany
4.20_-_THE_SIGN
4.2.3.05_-_Obstacles_to_the_Psychic's_Emergence
5.01_-_Message
5.01_-_Proem
5.02_-_Against_Teleological_Concept
5.02_-_Perfection_of_the_Body
5.03_-_The_World_Is_Not_Eternal
5.04_-_Formation_Of_The_World
5.05_-_Origins_Of_Vegetable_And_Animal_Life
5.06_-_Origins_And_Savage_Period_Of_Mankind
5.07_-_Beginnings_Of_Civilization
5.1.01.1_-_The_Book_of_the_Herald
5.1.01.2_-_The_Book_of_the_Statesman
5.1.01.3_-_The_Book_of_the_Assembly
5.1.01.4_-_The_Book_of_Partings
5.1.01.5_-_The_Book_of_Achilles
5.1.01.6_-_The_Book_of_the_Chieftains
5.1.01.7_-_The_Book_of_the_Woman
5.1.01.8_-_The_Book_of_the_Gods
5.1.01.9_-_Book_IX
5.1.01_-_Ilion
5.1.02_-_Ahana
5.2.01_-_The_Descent_of_Ahana
5.2.02_-_The_Meditations_of_Mandavya
5.4.01_-_Notes_on_Root-Sounds
5.4.02_-_Occult_Powers_or_Siddhis
6.01_-_Proem
6.02_-_Great_Meteorological_Phenomena,_Etc
6.03_-_Extraordinary_And_Paradoxical_Telluric_Phenomena
6.04_-_The_Plague_Athens
6.0_-_Conscious,_Unconscious,_and_Individuation
6.1.07_-_Life
6.1.08_-_One_Day
7.2.03_-_The_Other_Earths
7.2.04_-_Thought_the_Paraclete
7.2.05_-_Moon_of_Two_Hemispheres
7.2.06_-_Rose_of_God
7.3.10_-_The_Lost_Boat
7.3.13_-_Ascent
7.3.14_-_The_Tiger_and_the_Deer
7.4.01_-_Man_the_Enigma
7.4.02_-_The_Infinitismal_Infinite
7.4.03_-_The_Cosmic_Dance
7.5.20_-_The_Hidden_Plan
7.5.21_-_The_Pilgrim_of_the_Night
7.5.26_-_The_Golden_Light
7.5.27_-_The_Infinite_Adventure
7.5.28_-_The_Greater_Plan
7.5.29_-_The_Universal_Incarnation
7.5.30_-_The_Godhead
7.5.31_-_The_Stone_Goddess
7.5.32_-_Krishna
7.5.33_-_Shiva
7.5.37_-_Lila
7.5.51_-_Light
7.5.52_-_The_Unseen_Infinite
7.5.56_-_Omnipresence
7.5.59_-_The_Hill-top_Temple
7.5.60_-_Divine_Hearing
7.5.61_-_Because_Thou_Art
7.5.62_-_Divine_Sight
7.5.63_-_Divine_Sense
7.5.64_-_The_Iron_Dictators
7.5.65_-_Form
7.5.66_-_Immortality
7.5.69_-_The_Inner_Fields
7.6.01_-_Symbol_Moon
7.6.02_-_The_World_Game
7.6.03_-_Who_art_thou_that_camest
7.6.04_-_One
7.6.09_-_Despair_on_the_Staircase
7.6.12_-_The_Mother_of_God
7.6.13_-_The_End?
7.9.20_-_Soul,_my_soul
7_-_Yoga_of_Sri_Aurobindo
Aeneid
A_God's_Labour
Apology
APPENDIX_I_-_Curriculum_of_A._A.
Averroes_Search
Blazing_P3_-_Explore_the_Stages_of_Postconventional_Consciousness
BOOK_I._-_Augustine_censures_the_pagans,_who_attributed_the_calamities_of_the_world,_and_especially_the_sack_of_Rome_by_the_Goths,_to_the_Christian_religion_and_its_prohibition_of_the_worship_of_the_gods
BOOK_II._--_PART_III._ADDENDA._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_II._--_PART_II._THE_ARCHAIC_SYMBOLISM_OF_THE_WORLD-RELIGIONS
BOOK_I._--_PART_III._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_I._--_PART_II._THE_EVOLUTION_OF_SYMBOLISM_IN_ITS_APPROXIMATE_ORDER
Book_of_Imaginary_Beings_(text)
BOOK_XIX._-_A_review_of_the_philosophical_opinions_regarding_the_Supreme_Good,_and_a_comparison_of_these_opinions_with_the_Christian_belief_regarding_happiness
BOOK_XVIII._-_A_parallel_history_of_the_earthly_and_heavenly_cities_from_the_time_of_Abraham_to_the_end_of_the_world
BS_1_-_Introduction_to_the_Idea_of_God
Deutsches_Requiem
ENNEAD_04.08_-_Of_the_Descent_of_the_Soul_Into_the_Body.
Gorgias
Ion
Liber_111_-_The_Book_of_Wisdom_-_LIBER_ALEPH_VEL_CXI
Liber_46_-_The_Key_of_the_Mysteries
Liber_71_-_The_Voice_of_the_Silence_-_The_Two_Paths_-_The_Seven_Portals
LUX.01_-_GNOSIS
Medea_-_A_Vergillian_Cento
Meno
Partial_Magic_in_the_Quixote
Phaedo
r1912_02_07
r1912_07_14
r1912_07_15
r1912_07_24
r1913_01_09
r1913_04_01
r1913_07_03
r1913_11_15
r1913_11_30
r1914_05_03
r1914_08_01
r1914_08_05
r1914_10_13
r1914_10_28
r1915_02_02
r1915_07_06
r1917_03_25
r1918_02_14
r1918_06_14
Sophist
Symposium_translated_by_B_Jowett
Tablets_of_Baha_u_llah_text
Talks_With_Sri_Aurobindo_1
Talks_With_Sri_Aurobindo_2
The_Act_of_Creation_text
Theaetetus
The_Aleph
The_Coming_Race_Contents
the_Eternal_Wisdom
The_Logomachy_of_Zos
The_Poems_of_Cold_Mountain
The_Riddle_of_this_World
Timaeus
Ultima_Thule_-_Dedication_to_G._W._G.
Valery_as_Symbol

PRIMARY CLASS

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SIMILAR TITLES
1.26 - A general estimate of the comparative worth of Epic Poetry and Tragedy.
allpoetry - auth list
Epic Poetry (by alpha)
Epic Poetry (ranked)
God and POETRY
Leaning Toward the Poet Eavesdropping on the Poetry of Everyday Life
Letters On Poetry And Art
Poetry
poetry-chaikhana
Poetry (quotes)
romantic poetry
The Future Poetry

DEFINITIONS


TERMS STARTING WITH

poetry: A literary genre characterized by rhythmical patterns of language and figurative language. Poetry is also created with a sense of the musicality, and is not just written for meaning.

poetry ::: “All poetry is an inspiration, a thing breathed into the thinking organ from above; it is recorded in the mind, but is born in the higher principle of direct knowledge or ideal vision which surpasses mind. It is in reality a revelation. The prophetic or revealing power sees the substance; the inspiration perceives the right expression. Neither is manufactured; nor is poetry really a poiesis or composition, nor even a creation, but rather the revelation of something that eternally exists. The ancients knew this truth and used the same word for poet and prophet, creator and seer, sophos, vates, kavi.” Essays Human and Divine

poetry ::: n. --> The art of apprehending and interpreting ideas by the faculty of imagination; the art of idealizing in thought and in expression.
Imaginative language or composition, whether expressed rhythmically or in prose. Specifically: Metrical composition; verse; rhyme; poems collectively; as, heroic poetry; dramatic poetry; lyric or Pindaric poetry.


poetry ::: Sri Aurobindo: "All poetry is an inspiration, a thing breathed into the thinking organ from above; it is recorded in the mind, but is born in the higher principle of direct knowledge or ideal vision which surpasses mind. It is in reality a revelation. The prophetic or revealing power sees the substance; the inspiration perceives the right expression. Neither is manufactured; nor is poetry really a poiesis or composition, nor even a creation, but rather the revelation of something that eternally exists. The ancients knew this truth and used the same word for poet and prophet, creator and seer, sophos, vates, kavi.” Essays Human and Divine


TERMS ANYWHERE

abolitionist literature: Texts such as Literature, poetry, pamphlets, or propagandawhich had been written with the purpose of criticising those who owned slaves and encouraged slave owners to give freedom to their slaves. The main aim of this type of writing was to canvas support for the abolition of slavery. The writing may be in the form of autobiographical writings (in the case of many slave narratives) or fictional accounts such as Stowe's Uncle Tom's Cabin. These texts often rely heavily on pathos for rhetorica ltechnique.

acephalous ::: a. --> Headless.
Without a distinct head; -- a term applied to bivalve mollusks.
Having the style spring from the base, instead of from the apex, as is the case in certain ovaries.
Without a leader or chief.
Wanting the beginning.
Deficient and the beginning, as a line of poetry.


"Aesthesis therefore is of the very essence of poetry, as it is of all art. But it is not the sole element and aesthesis too is not confined to a reception of poetry and art; it extends to everything in the world: there is nothing we can sense, think or in any way experience to which there cannot be an aesthetic reaction of our conscious being. Ordinarily, we suppose that aesthesis is concerned with beauty, and that indeed is its most prominent concern: but it is concerned with many other things also. It is the universal Ananda that is the parent of aesthesis and the universal Ananda takes three major and original forms, beauty, love and delight, the delight of all existence, the delight in things, in all things.” Letters on Savitri

“Aesthesis therefore is of the very essence of poetry, as it is of all art. But it is not the sole element and aesthesis too is not confined to a reception of poetry and art; it extends to everything in the world: there is nothing we can sense, think or in any way experience to which there cannot be an aesthetic reaction of our conscious being. Ordinarily, we suppose that aesthesis is concerned with beauty, and that indeed is its most prominent concern: but it is concerned with many other things also. It is the universal Ananda that is the parent of aesthesis and the universal Ananda takes three major and original forms, beauty, love and delight, the delight of all existence, the delight in things, in all things.” Letters on Savitri

A great deal of what is too obscure to be intelligible, breaking now and again into bursts of great poetry, wherein deep esoteric meanings are apparent: such are the 77 poems of Taliesin.

albion ::: n. --> An ancient name of England, still retained in poetry.

alliterative ::: a. --> Pertaining to, or characterized by, alliteration; as, alliterative poetry.

all- ::: prefix: Wholly, altogether, infinitely. Since 1600, the number of these [combinations] has been enormously extended, all-** having become a possible prefix, in poetry at least, to almost any adjective of quality. all-affirming, All-Beautiful, All-Beautiful"s, All-Bliss, All-Blissful, All-causing, all-concealing, all-conquering, All-Conscient, All-Conscious, all-containing, All-containing, all-creating, all-defeating, All-Delight, all-discovering, all-embracing, all-fulfilling, all-harbouring, all-inhabiting, all-knowing, All-knowing, All-Knowledge, all-levelling, All-Life, All-love, All-Love, all-negating, all-powerful, all-revealing, All-ruler, all-ruling, all-seeing, All-seeing, all-seeking, all-shaping, all-supporting, all-sustaining, all-swallowing, All-Truth, All-vision, All-Wisdom, all-wise, All-Wise, all-witnessing, All-Wonderful, All-Wonderful"s.**

Angel of Poetry—Uriel, Israfel, Radueriel

anthology: A selection of work by different writers. Sometimes the volume will be of a particular genre, e.g. post-colonial literature, or dedicated to a particular period, e.g. metaphysical poetry. See also collection.

apollo ::: n. --> A deity among the Greeks and Romans. He was the god of light and day (the "sun god"), of archery, prophecy, medicine, poetry, and music, etc., and was represented as the model of manly grace and beauty; -- called also Phebus.

"A Rishi is one who sees or discovers an inner truth and puts it into self-effective language — the mantra.” The Future Poetry

“A Rishi is one who sees or discovers an inner truth and puts it into self-effective language—the mantra.” The Future Poetry

Aristotle: A Greek philosopher who lived from 384 BC to 322 BC. Aristotle wrote on numerous subjects including poetry, physics, music, politics and biology. He was the student of Plato. Alongside Plato and Socrates, Aristotle is considered an important figure to the founding of Western knowledge.

assonance: The rhyming or repetition of vowels within words. It is used to create a melodious effect, often in poetry), e.g. 'wide' and 'time'. The device only occasionally results in the rhyming of words.

Bacon's theory of poetry also deserves consideration. Whereas reason adapts the mind to the nature of things, and science conquers nature by obeying her, poetry submits the shows of things to the desires of the mind and overcomes nature by allowing us in our imagination to escape from her. Out of present experience and the record of history, poetry builds its narrative and dramatic fancies. But it may also, in allegory and parable, picture symbolically scientific and philosophic truths and religious mysteries -- in which case it creates mythologies. Fr. Bacon, Works, 7 vols., 1857, ed. Spedding and Ellis. -- B.A.G.F.

bardic ::: a. --> Of or pertaining to bards, or their poetry.

beat: The stress of the rhythm or foot in poetry and other texts.

beauty ::: “Beauty is the special divine Manifestation in the physical as Truth is in the Mind, Love in the heart, Power in the vital.” The Future Poetry

   "Beauty is Ananda taking form — but the form need not be a physical shape. One speaks of a beautiful thought, a beautiful act, a beautiful soul. What we speak of as beauty is Ananda in manifestation; beyond manifestation beauty loses itself in Ananda or, you may say, beauty and Ananda become indistinguishably one.” The Future Poetry

“Beauty is Ananda taking form—but the form need not be a physical shape. One speaks of a beautiful thought, a beautiful act, a beautiful soul. What we speak of as beauty is Ananda in manifestation; beyond manifestation beauty loses itself in Ananda or, you may say, beauty and Ananda become indistinguishably one.” The Future Poetry

"Beauty is not the same as Delight, but like love it is an expression, a form of Ananda, created by Ananda and composed of Ananda.” The Future Poetry

“Beauty is not the same as Delight, but like love it is an expression, a form of Ananda, created by Ananda and composed of Ananda.” The Future Poetry

   "Beauty is the way in which the physical expresses the Divine – but the principle and law of Beauty is something inward and spiritual and expresses itself through the form.” *The Future Poetry

“Beauty is the way in which the physical expresses the Divine—but the principle and law of Beauty is something inward and spiritual and expresses itself through the form.” The Future Poetry

bhava ::: 1. status of being. ::: 2. a becoming. ::: 3. a subjective state, one of the secondary subjective becomings of Nature (states of mind, affections of desire, movements of passion, the reactions of the senses, the limited and dual play of the reason, the turns of the feeling and moral sense). ::: 4. the affective nature. ::: 5. general sensation. ::: 6. [one of the sadanga]: the emotion or aesthetic feeling expressed by the form. ::: 7. [in poetry: feeling, mood, sentiment]. ::: bhavah [plural]

Bka' brgyud mgur mtsho. (Kagyü Gurtso). In Tibetan, "An Ocean of Songs of the Bka' brgyud"; a collection of spiritual songs and poetry composed by eminent masters of the BKA' BRGYUD sect of Tibetan Buddhism. It was compiled by the eighth KARMA PA MI BSKYOD RDO RJE in about 1542, originally intended as a liturgical text to be recited as an invocation of the entire Bka' brgyud lineage. The text is also part biographical recollection and doctrinal catalogue and is still much loved and widely read by adherents of the tradition. Its complete title is: Mchog gi dngos grub mngon du byed pa'i myur lam bka' brgyud bla ma rnams kyi rdo rje'i mgur dbyangs ye shes char 'bebs rang grol lhun grub bde chen rab 'bar nges don rgya mtsho'i snying po.

Blyth, Reginald H. (1898-1964). An early English translator of Japanese poetry, with a particular interest in ZEN Buddhism. Blyth was born in Essex; his father was railway clerk. He was imprisoned for three years during the First World War as a conscientious objector. In 1925, he traveled to Korea, then a Japanese colony, where he taught English at Keijo University in Seoul. It was there that he developed his first interest in Zen through the priest Hanayama Taigi. After a brief trip to England, he returned to Seoul and then went to Japan, where he taught English in Kanazawa. With the outbreak of the Pacific War, Blyth was interned as an enemy alien, despite having expressed sympathy for the Japanese cause. Although he remained interned throughout the war, he was allowed to continue his studies, and in 1942 published his most famous work, Zen in English Literature and Oriental Classics, which sought to identify Zen elements in a wide range of literature. After the war, Blyth served as a liaison between the Japanese imperial household and the Allies, later becoming a professor of English at Gakushuin University, where one of his students was the future emperor Akihito (b. 1933). After the war, he published a four-volume collection of his translations of Japanese haiku poetry, which was largely responsible for European and American interest in haiku during the 1950s, among the Beat Poets and others, and the writing of haiku in languages other than Japanese. Subsequent scholarship has questioned the strong connection that Blyth saw between Zen and haiku. Blyth died in Japan and is buried in Kamakura next to his friend D. T. SUZUKI.

"Poetry is the rhythmic voice of life, but it is one of the inner and not one of the surface voices.” The Future Poetry

Poetry is the rhythmic voice of life, but it is one of the inner and not one of the surface voices.” The Future Poetry

Bronte family: A family of three female novelists and poets who lived with their father and brother in a remote weaving village on the Yorkshire moors. Charlotte Bronte (1816-55) is noted for emotional realism in her writing. Her works include Jane Eyre (1847). Emily Bronte (1818-48) works including Wuthering Heights(1847). Finally, Anne Bronte (1820-49), explores religious doubt in her poetry. Notable works include The tenant of Wildfell Hall(1848).

Buddhacarita. (T. Sangs rgyas kyi spyod pa; C. Fosuoxing zan; J. Butsushogyosan; K. Pulsohaeng ch'an 佛所行讚). In Sanskrit, "Acts [viz., Life] of the Buddha"; the title of two verse compositions written in the first and second centuries CE that were intended to serve as a complete biography of the historical Buddha. The first was by the monk Sangharaksa (c. first century CE), whose work survives today only in its Chinese translation. The second version, which became hugely popular across Asia, was composed by the well-known Indian philosopher-poet AsVAGHOsA (c. second century), who was supposedly an opponent of Buddhism until he converted after losing a debate with the VAIBHAsIKA teacher PARsVA. Because of the early date of Asvaghosa's epic poem, it is of great importance for both the history of Indian Buddhism, as well as the study of classical Indian linguistics and thought. Asvaghosa's version of the Buddha's life begins with a description of his parents-King sUDDHODANA and Queen MAYA-and ends with the events that immediately follow his death, or PARINIRVAnA. His text is written in the style of high court poetry, or kAvya. In keeping with this style, the Buddhacarita is characterized by lengthy digressions and elaborate descriptions. For example, one entire canto is devoted to a detailed description of the sight of the women sleeping in the palace that precedes GAUTAMA's renunciation (pravrajya; see PRAVRAJITA). Canto XII provides an invaluable outline of the ancient Indian SAMkhya philosophical system. The Buddhacarita has served an important role within the Buddhist tradition itself, as the canonical works do not offer a systematic, chronological account of the Buddha's life from his birth through his death. Only the first half of the Buddhacarita is extant in its original Sanskrit; the remainder survives in Tibetan and Chinese translations.

"But the role of subliminal forces cannot be said to be small, since from there come all the greater aspirations, ideals, strivings towards a better self and better humanity without which man would be only a thinking animal — as also most of the art, poetry, philosophy, thirst for knowledge which relieve, if they do not yet dispel, the ignorance.” Letters on Yoga*

“But the role of subliminal forces cannot be said to be small, since from there come all the greater aspirations, ideals, strivings towards a better self and better humanity without which man would be only a thinking animal—as also most of the art, poetry, philosophy, thirst for knowledge which relieve, if they do not yet dispel, the ignorance.” Letters on Yoga

By the year 200 of the Hejira a definite sect of mystics had arisen, and following the instructions of a prominent member, Abu Said, his disciples forsook the world and entered the mystic life with a view of pursuing contemplation and meditation. These disciples wore a garment of wool, and from this received their name. Sufiism spread rapidly in Persia, and all Moslem philosophers were attracted to this sect, as great latitude in the beliefs of its followers was at first permitted, until in the reign of Moktadir, a Persian Sufi named Hallaj was tortured and put to death for teaching publicly that every man is God. After this the Sufis veiled their teachings, and especially in their poetry used amorous language and sang of the delights of the wine cup. In spite of the amorous trend of poetry followed by the Sufis, to the observing eye there appears a beauty and a spirituality of thought which has found many devotees. Ideas of pantheism abound, for God is held to be immanent in all things, expresses itself through all things, and is the transcendent essence of every human soul. For a person to know God is to see that God is immanent in himself.

cadence ::: 1. Balanced, rhythmic flow, as of poetry or oratory. 2. Music. A sequence of notes or chords that indicates the momentary or complete end of a composition, section, phrase, etc. 3. The flow or rhythm of events. 4. A recurrent rhythmical series; a flow, esp. the pattern in which something is experienced. 5. A slight falling in pitch of the voice in speaking or reading. cadences.

caledonia ::: n. --> The ancient Latin name of Scotland; -- still used in poetry.

calliope ::: n. --> The Muse that presides over eloquence and heroic poetry; mother of Orpheus, and chief of the nine Muses.
One of the asteroids. See Solar.
A musical instrument consisting of a series of steam whistles, toned to the notes of the scale, and played by keys arranged like those of an organ. It is sometimes attached to steamboat boilers.
A beautiful species of humming bird (Stellula Calliope) of California and adjacent regions.


can ::: --> an obs. form of began, imp. & p. p. of Begin, sometimes used in old poetry. [See Gan.] ::: n. --> A drinking cup; a vessel for holding liquids.
A vessel or case of tinned iron or of sheet metal, of various forms, but usually cylindrical; as, a can of tomatoes; an oil can; a


catalectic: A line of poetry which is missing one part of the final beat or foot.

Chanyue Guanxiu. (J. Zengetsu Kankyu; K. Sonwol Kwanhyu 禪月貫休) (832-912). A Chinese CHAN monk famous as a poet and painter. His CHANYUE JI ("Collection of the Moon of Meditation") is one of the two most important collections of Chan poetry, along with the HANSHAN SHI. His rendering of the sixteen ARHAT protectors of Buddhism (sOdAsASTHAVIRA) became the standard Chinese presentation. His vivid portrayal of the arhats offers an extreme, stylized rendition of how the Chinese envisioned "Indians" (fan) or "Westerners" (hu), and gives each of his subjects a distinctive bearing and deportment and unique phrenological features and physical characteristics; these features are subsequently repeated routinely in the Chinese artistic tradition.

Chanyue ji. (J. Zengetsu shu; K. Sonwol chip 禪月集). In Chinese, "Collection of the Moon of Meditation"; a popular anthology of poetry by the poet and painter monk CHANYUE GUANXIU (832-912), otherwise known by his sobriquet of Chanyue dashi (Great Master Meditation Moon), whence the collection acquired its name. The Chanyue ji is said to have originally consisted of twenty-five or twenty-six rolls, of which only eleven are extant. A copy was made in 923 and again in 1240. Along with the HANSHAN SHI, the Chanyue ji is often considered one of the most lucid collections of CHAN poetry and is thus favored by many monks within the Chan tradition.

China. The traditional basic concepts of Chinese metaphysics are ideal. Heaven (T'ien), the spiritual and moral power of cosmic and social order, that distributes to each thing and person its alloted sphere of action, is theistically and personalistically conceived in the Shu Ching (Book of History) and the Shih Ching (Book of Poetry). It was probably also interpreted thus by Confucius and Mencius, assuredly so by Motze. Later it became identified with Fate or impersonal, immaterial cosmic power. Shang Ti (Lord on High) has remained through Chinese history a theistic concept. Tao, as cosmic principle, is an impersonal, immaterial World Ground. Mahayana Buddhism introduced into China an idealistic influence. Pure metaphysical idealism was taught by the Buddhist monk Hsuan Ch'uang. Important Buddhist and Taoist influences appear in Sung Confucianism (Ju Chia). a distinctly idealistic movement. Chou Tun I taught that matter, life and mind emerge from Wu Chi (Pure Being). Shao Yung espoused an essential objective idealism: the world is the content of an Universal Consciousness. The Brothers Ch'eng Hsao and Ch'eng I, together with Chu Hsi, distinguished two primordial principles, an active, moral, aesthetic, and rational Law (Li), and a passive ether stuff (Ch'i). Their emphasis upon Li is idealistic. Lu Chiu Yuan (Lu Hsiang Shan), their opponent, is interpreted both as a subjective idealist and as a realist with a stiong idealistic emphasis. Similarly interpreted is Wang Yang Ming of the Ming Dynasty, who stressed the splritual and moral principle (Li) behind nature and man.

Ch'oŭi Ŭisun. (草衣意恂) (1786-1866). Korean SoN master of the Choson period; also known as Ilchiam ("One-Finger Hermitage"). He received the full monastic precepts and the name Ch'oŭi from the monk Wanho Yunu (1758-1826). Ch'oŭi became Yunu's disciple, and made a name for himself as an influential Son master. Ch'oŭi is perhaps most renowned for his efforts to revitalize the art of tea in Korea. He developed the tea ceremony as a form of religious practice and is known for synthesizing the tea ceremony and Son practice, as exemplified in his slogan ta son ilmi ("tea and Son are a single taste"). Ch'oŭi also wrote several guides to growing, preparing, and drinking tea, such as the Tongdasong and the Tasin chon, which is based on the Chinese classic Wanbao quanshu. Ch'oŭi's other writings include a collection of his poetry, the Ch'oŭi shigo, and a biography of the eminent Korean monk Chinmuk Irok (1562-1633), the Chinmuk chosa yujokko. Among his writings, the Sonmun sabyon mano ("Prolix Discourse on Four Distinctive Types in the Son School") in particular played a major role in determining the future of Son discourse in Korea. The text was written as a critique of PAEKP'A KŬNGSoN's equally influential text, the Sonmun sugyong ("Hand Mirror on the Son School").

coleridgian ::: a. --> Pertaining to Samuel Taylor Coleridge, or to his poetry or metaphysics.

-. Complete Poetry and Selected Prose. Intro. Cleanth

::: "Delight is the soul of existence, beauty the intense expression, the concentrated form of delight.” The Future Poetry*

“Delight is the soul of existence, beauty the intense expression, the concentrated form of delight.” The Future Poetry

Dge 'dun chos 'phel. (Gendun Chopel) (1903-1951). A distinguished essayist, poet, painter, translator, historian, and philosopher; one of the most important Tibetan intellectuals of the first half of the twentieth century. He was born in the Reb kong region of A mdo, the son of a respected SNGAGS PA. At the age of five, he was recognized as the incarnation (SPRUL SKU) of an abbot of the famous RNYING MA monastery, RDO RJE BRAG. Following his father's untimely death, he entered a local DGE LUGS monastery, eventually moving to BLA BRANG BKRA' SHIS 'KHYIL. He gained particular notoriety as a debater but apparently criticized the monastery's textbooks (yig cha). In 1927, he traveled to LHA SA, where he entered Sgo mang College of 'BRAS SPUNGS monastery. In 1934, the Indian scholar and nationalist Rahul Sankrityayan (1893-1963) arrived in Lha sa in search of Sanskrit manuscripts, especially those dealing with Buddhist logic. He enlisted Dge 'dun chos 'phel as his guide, just as he was completing the final examinations at the end of the long curriculum of the DGE BSHES. After visiting many of the monasteries of southern Tibet, Sankrityayan invited Dge 'dun chos 'phel to return with him to India. Over the next decade, he would travel extensively, and often alone, across India and Sri Lanka, learning Sanskrit, Pāli, several Indian vernaculars, and English. He assisted the Russian Tibetologist, GEORGE ROERICH, in the translation of the important fifteenth-century history of Tibetan Buddhism by 'Gos lo tsā ba, DEB THER SNGON PO ("The Blue Annals"). He visited and made studies of many of the important Buddhist archaeological sites in India, writing a guide (lam yig) that is still used by Tibetan pilgrims. He studied Sanskrit erotica and frequented Calcutta brothels, producing his famous sex manual, the 'Dod pa'i bstan bcos ("Treatise on Passion"). During his time abroad, he also spent more than a year in Sri Lanka. In January 1946, after twelve years abroad, Dge 'dun chos 'phel returned to Lha sa. He taught poetry and also gave teachings on MADHYAMAKA philosophy, which would be published posthumously as the controversial Klu sgrub dgongs rgyan ("Adornment for NĀGĀRJUNA's Thought"). Within a few months of his arrival in Lha sa, Dge 'dun chos 'phel was arrested by the government of the regent of the young fourteenth Dalai Lama on the fabricated charge of counterfeiting foreign currency. Sentenced to three years, he served at least two, working on his unfinished history of early Tibet, Deb ther dkar po ("The White Annals"), and composing poetry. He emerged from prison a broken man and died in October 1951 at the age of forty-eight.

dissonance: The feature of discordant, clashing or unmelodious sounds in poetryand prose.

dissyllabic ::: a. --> Consisting of two syllables only; as, a dissyllabic foot in poetry.

distain ::: v. t. --> To tinge with a different color from the natural or proper one; to stain; to discolor; to sully; to tarnish; to defile; -- used chiefly in poetry.

dithyramb ::: n. --> A kind of lyric poetry in honor of Bacchus, usually sung by a band of revelers to a flute accompaniment; hence, in general, a poem written in a wild irregular strain.

Diwan (A) Poetry

doggerel ::: a. --> Low in style, and irregular in measure; as, doggerel rhymes. ::: n. --> A sort of loose or irregular verse; mean or undignified poetry.

dohā. (T. nyams mgur). In Sanskrit, the name of a meter in poetry; hence, a name for a poetic form of religious expression most commonly employing this meter, which began to appear as early as the seventh century CE. These verses are of varying lengths, usually in rhymed couplets, and are composed in APABHRAMsA, an early medieval protovernacular from northeastern India. These songs offer an expression of the beauty and simplicity of tantric experience (the Tibetan translation means "song of experience"). There are collections of dohā by the SIDDHAs TILOPA, Kṛsnācārya (Kānha), and SARAHA (see MAHĀSIDDHA); Saraha's DOHĀKOsA ("Treasury of Dohā Verses") was especially influential in Tibet. In the early BKA' BRGYUD tradition, the songs (mgur) of MI LA RAS PA (see MI LA'I MGUR 'BUM) show the influence of dohā.

dome ::: n. --> A building; a house; an edifice; -- used chiefly in poetry.
A cupola formed on a large scale.
Any erection resembling the dome or cupola of a building; as the upper part of a furnace, the vertical steam chamber on the top of a boiler, etc.
A prism formed by planes parallel to a lateral axis which meet above in a horizontal edge, like the roof of a house; also, one of the planes of such a form.


Dongshan Liangjie. (J. Tozan Ryokai; K. Tongsan Yanggae 洞山良价) (807-869). Chinese CHAN master of the Tang dynasty and reputed founder of the CAODONG lineage of Chan; also known as Xinfeng. Dongshan was a native of Yuezhou in present-day Zhejiang province. He left home at an early age and became the student of the Chan master Lingmo (747-818). Having received full monastic precepts from a certain VINAYA master Rui on SONGSHAN, Dongshan visited the Chan masters NANQUAN PUYUAN and GUISHAN LINGYOU and later continued his studies under Yunyan Tancheng (782-841). Dongshan is said to have attained awakening under Yunyan's guidance and eventually inherited his lineage. During the HUICHANG FANAN, Dongshan remained in hiding until the persecution ran its course, eventually reemerging at Xinfeng tong in Jiangxi province. With the support of his followers, Dongshan later established the monastery Guangfusi (later renamed Puli yuan) on Mt. Dong (Dongshan), whence he acquired his toponym. Among his many disciples, Yunju Daoying (d. 902) and CAOSHAN BENJI are most famous. Dongshan was renowned for his poetry and verse compositions and his teaching of the "five ranks" (WUWEI). His teachings are recorded in the Dongshan yulu ("The Record of Dongshan"), but the most famous of his works is the BAOJING SANMEI ("Jeweled-Mirror Samādhi"), a definitive verse on enlightenment and practice from the standpoint of the CAODONGZONG. The Baojing sanmei emphasizes the "original enlightenment" (BENJUE; cf. HONGAKU) of sentient beings and the futility of seeking that enlightenment through conscious thought. Instead, the song urges its audience to allow one's inherently pure, enlightened nature to "silently illuminate" itself through meditation (see MOZHAO CHAN), as the Buddha did under the BODHI TREE.

Donne, John: Born in 1572 Donne was a metaphysical poet who wrote sonnets, love poems, satires, elegies and religious poetry. His writing is noted for its sensual style and vividness. He died in 1631. See metaphysical.

drama ::: n. --> A composition, in prose or poetry, accommodated to action, and intended to exhibit a picture of human life, or to depict a series of grave or humorous actions of more than ordinary interest, tending toward some striking result. It is commonly designed to be spoken and represented by actors on the stage.
A series of real events invested with a dramatic unity and interest.
Dramatic composition and the literature pertaining to or


Eisteddfod (Welsh) [from eistedd to sit] A session; a festival of competitions in music and poetry, presided over and organized by the Gorsedd of the Bards.

elison ::: n. --> Division; separation.
The cutting off or suppression of a vowel or syllable, for the sake of meter or euphony; esp., in poetry, the dropping of a final vowel standing before an initial vowel in the following word, when the two words are drawn together.


end-stop: In poetry this is a line ending in a full pause (such as a full stop or semicolon). End-stopped lines generally highlight a rhyme or point. End-stops contrasts with enjambment or run-on lines.

enjambment: A line in poetry which does not have end punctuation, or a pause, but which continues uninterrupted into the next line. Also referred to as a run-on line.

enthusiasm ::: n. --> Inspiration as if by a divine or superhuman power; ecstasy; hence, a conceit of divine possession and revelation, or of being directly subject to some divine impulse.
A state of impassioned emotion; transport; elevation of fancy; exaltation of soul; as, the poetry of enthusiasm.
Enkindled and kindling fervor of soul; strong excitement of feeling on behalf of a cause or a subject; ardent and imaginative zeal or interest; as, he engaged in his profession with


epic ::: adj. 1. An extended narrative poem in elevated or dignified language, celebrating the feats of a legendary or traditional hero. 2. Resembling or suggesting such poetry. 3. Heroic; majestic; impressively great. 4. Of unusually great size or extent. n. 5. An epic poem. 6. Any composition resembling an epic. epics.

epic: This is a type of classical poetry, generally recounting heroic achievements. It is a poem that is a long narrative about a serious subject, told in an elevated styleof language. Epics generally focus on the exploits of a hero or demi-god who represents the cultural values of a race, nation, or religious group. John Milton’sParadise lost is an example of a famous epic. See classic.

epistle: A poetry or prose letter sent to another.

epopoeia ::: n. --> An epic poem; epic poetry.

erative ::: a. --> Pertaining to the Muse Erato who presided over amatory poetry.

erato ::: n. --> The Muse who presided over lyric and amatory poetry.

eyen ::: n. pl. --> Eyes. ::: n. --> Plural of eye; -- now obsolete, or used only in poetry.

fescennine ::: a. --> Pertaining to, or resembling, the Fescennines. ::: n. --> A style of low, scurrilous, obscene poetry originating in fescennia.

Fine Arts: Opposite of mechanical arts. Distinction of the arts whose principle is based on beauty (poetry, painting, sculpture, architecture, music). -- L.V.

fixed form: Any form in poetry that is bound by traditional rules and conventions. Usually these rules determine such things as meter, rhyme scheme, line length etc.

free verse: Poetry that is based on the natural rhythms of phrases and normal pauses rather, than the artificial and fixed constraints of rhyme or metrical feet.

From the subliminal come all the greater aspirations, ideals, strivings tow’ards a better self and better humanity without which man svould be only a thinking animal — as also most of the art, , philosophy, poetry, thirst for knowledge which relieve, if they do not yet dispel, the ignorance.

Fu dashi. (J. Fu daishi; K. Pu taesa 傅大士) (497-569). In Chinese, "Great Layman Fu," his secular name was Xi and he is also known as Shanhui, Conglin, and Dongyang dashi. Fu dashi was a native of Wuzhou in present-day Zhejiang province. At fifteen, he married and had two sons, Pujian and Pucheng. Originally a fisherman, he abandoned his fishing basket after hearing a foreign mendicant teach the dharma and moved to SONGSHAN (Pine Mountain). After attaining awakening beneath a pair of trees, he referred to himself as layman Shanhui (Good Wisdom) of Shuanglin (Paired Trees). While continuing with his severe ascetic practices, Fu and his wife hired out their services as laborers during the day and he taught at night, ultimately claiming that he had come from TUsITA heaven, where the future buddha MAITREYA was currently residing. He is said to have been summoned to teach at court during the reign of the Liang-dynasty emperor Wudi (r. 502-549). In 539, Fu dashi is said to have established the monastery Shuanglinsi at the base of Songshan. His collected discourses, verses, and poetry are preserved in the Shanhui dashi yulu, in four rolls, which also includes his own biography as well as those of four other monks who may have been his associates. Fu is also credited with inventing the revolving bookcase for scriptures, which, like a prayer wheel (cf. MA nI 'KHOR LO), could yield merit (PUnYA) simply by turning it. This invention led to the common practice of installing an image of Fu and his family in monastic libraries. In painting and sculpture, Fu dashi is typically depicted as a tall bearded man wearing a Confucian hat, Buddhist raiments, and Daoist shoes and accompanied by his wife and two sons.

Fu poetry: A form popular in ancient China, it combines prose and poetry.

garland ::: n. --> The crown of a king.
A wreath of chaplet made of branches, flowers, or feathers, and sometimes of precious stones, to be worn on the head like a crown; a coronal; a wreath.
The top; the thing most prized.
A book of extracts in prose or poetry; an anthology.
A sort of netted bag used by sailors to keep provision in.
A grommet or ring of rope lashed to a spar for convenience


Gatha (Sanskrit) Gāthā [from the verbal root gā to sing] A song, metrical hymn, or verse; usually applied to a verse consisting of a moral aphorism which belongs not to the Vedic writings but to the Itihasas or the epic poetry and legends of a later date. A gatha of eight equal feet or 32 syllables is called aryagiti.

gāyana ::: a singer, a praiser, a talker. The name of a volume of aphorisms and poetry written by Hazrat Inayat Khan.

gem ::: n. --> A bud.
A precious stone of any kind, as the ruby, emerald, topaz, sapphire, beryl, spinel, etc., especially when cut and polished for ornament; a jewel.
Anything of small size, or expressed within brief limits, which is regarded as a gem on account of its beauty or value, as a small picture, a verse of poetry, a witty or wise saying.


genius ::: n. --> A good or evil spirit, or demon, supposed by the ancients to preside over a man&

genre: A category of literature or film marked by defined shared features orconventions. The three broadest categories of genre are poetry, drama, and fiction. These general genres are often subdivided, for example murder mysteries, westerns, sonnets, lyric poetry, epics and tragedies.

Genres: Types of art to which special rules and independent developments were attributed. For example: in poetry -- epic, lyric, dramatic; in painting -- historic, portrait, landscape; in music -- oratorical, symphonic, operatic. -- L.V.

Ge sar. A legendary king who is the hero of the most famous Tibetan cycle of epic poetry, traditionally sung by bards; it is said to be the longest work of literature in the world. The songs recount the birth and adventures of Ge sar, the king of the land of Gling. The name Ge sar apparently derives from Zoroastrian sources and stories of Ge sar appear in a number of Central Asian languages. It is unclear whether Ge sar was a historical figure; elements of the songs seem to derive from the period of the later dissemination (PHYI DAR) of Buddhism to Tibet, although the earliest version of the songs in the form they are known today dates to the fifteenth century. In the songs, the world has fallen into chaos and various gods such as Brahmā and sAKRA, and various Buddhist figures, such as PADMASAMBHAVA and the buddha AMITĀBHA, decide that a hero should descend into the world to restore order. That hero is Ge sar, who defeats many foes, including the evil king of Hor.

Ginsberg, Allen. (1926-1997). American Beat poet and Buddhist born in Newark, New Jersey. Ginsberg attended Columbia University with the intent of becoming a labor lawyer, but soon fell in with a group that included students such as JACK KEROUAC, and nonstudents, such as William Burroughs, with whom he shared common interests, both literary and otherwise. In 1948, he had a transformative vision while reading William Blake in his Harlem apartment. He moved to San Francisco where he joined the burgeoning poetry movement. In October 1955, he read his most famous work, Howl, at the Six Gallery. By his own account, Ginsberg was first introduced to Buddhism in letters he received from Kerouac, in which his friend wrote of suffering as the fundamental fact of existence. He began to read the works of DAISETZ TEITARO SUZUKI, whom he later met in New York in the company of Kerouac. Ginsberg was intimately involved in the various cultural movements of the 1960s, collaborating with Timothy Leary, Bob Dylan, and Ken Kesey, and protesting actively against the Vietnam War. In 1962, he traveled to India with GARY SNYDER, visiting BODHGAYĀ and SĀRNĀTH; he also had an audience with the fourteenth DALAI LAMA, who had arrived from Tibet just three years earlier. After experimenting with various forms of Hindu practice, Ginsberg met the Tibetan lama CHÖGYAM TRUNGPA in 1970, and remained his disciple until Trungpa's death, helping to found the Jack Kerouac School of Disembodied Poetics at Trungpa's Naropa Institute in Boulder, Colorado; in his last years, Ginsberg became a disciple of another Tibetan lama, Gelek Rinpoche. Buddhist themes figure prominently in much of Ginsberg's poetry.

gleam ::: “That (‘to blend and blur shades owing to technical exigencies’] might be all right for mental poetry—it won’t do for what I am trying to create—in that, one word won’t do for the other. Even in mental poetry I consider it an inferior method. ‘Gleam’ and ‘glow’ are two quite different things and the poet who uses them indifferently has constantly got his eye upon words rather than upon the object.” Letters on Savitri

glyconic ::: a. --> Consisting of a spondee, a choriamb, and a pyrrhic; -- applied to a kind of verse in Greek and Latin poetry. ::: n. --> A glyconic verse.

goliardery ::: n. --> The satirical or ribald poetry of the Goliards.

Gothic literature: A genre of writing preoccupied with mysteries, murder, villainy and the supernatural, often set in desolate and ancient landscapes such as castles and churches. These can include novels, poetry or short stories.

gradus ::: n. --> A dictionary of prosody, designed as an aid in writing Greek or Latin poetry.

Guang hongming ji. (J. Kogumyoshu; K. Kwang hongmyong chip 廣弘明集). In Chinese, "Expanded Collection on the Propagation and Clarification [of Buddhism]," a collection of materials pertaining to the propagation and protection of Buddhism in China, compiled by DAOXUAN in 644 CE. As the title indicates, the Guang hongming ji is an updated version of the HONGMING JI compiled by SENGYOU. Daoxuan's text, however, differs from Sengyou's in several respects. Unlike the Hongming ji, which focused on treatises written by the SAMGHA, Daoxuan's text also cites non-Buddhist texts written by Daoists, monks' petitions to the court, court documents, imperial decrees, poetry, and songs. While the Hongming ji was primarily concerned with the Buddhists' attempts to protect their tradition from the attack of the Confucian elite who dominated the courts of the Five Dynasties, the Guang hongming ji had less to do with the Confucians than the Daoist priests of the Tang dynasty. Among the various sources cited in the Guang hongming ji are the Daoist renegade Zhen Luan's Xiaodao lun ("Laughing at the Dao Treatise") and DAO'AN's Erjiao lun ("Two Teachings Treatise"). The Guang hongming ji serves as an important source not only for understanding the different ways in which Chinese Buddhists sought to defend their "foreign" religion, but also for information on the relationship between Buddhism and Daoism in medieval China.

Guangxiaosi. (光孝寺). In Chinese, "Radiant Filiality Monastery"; located in Guangzhou, it was formerly the residence of Prince Zhao Jiande of the Western Han dynasty. In 401 CE, during the Eastern Jin dynasty (317-420), the GANDHĀRA monk, Dharmayasas (Tanmoyeshe), is said to have converted the residence into a monastery. When BODHIDHARMA (c. early fifth century), the legendary founder of the CHAN school, traveled to China, he is said to have arrived in Guangzhou and visited the monastery before proceeding north. But the monk most closely associated with Guangxiaosi was a native of the region, HUINENG (638-713 CE), the putative sixth patriarch (LIUZU) of Chan Buddhism. Chan doxographies state that Huineng initially arrived at the monastery, which was then called Faxingsi, as a novice during the 660s. Huineng's arrival coincided with an ongoing debate among some resident monks: when the breeze blew a banner located nearby, was it the breeze or the banner that moved? Huineng famously replied that it was actually the minds of the two monks that moved. The story is commemorated in a hall constructed at the monastery named Banner Hall. Huineng is said to have accepted his monastic vows under a BODHI TREE located at the monastery, thus fulfilling a prophecy made over a century earlier, and later became its abbot. Huineng's monastery was renamed Guangxiaosi during the Song dynasty; by the Yuan dynasty, it had achieved fame for being the former residence of Zhao Jiande, as well as for housing the aforementioned bodhi tree and Banner Hall. During the Ming dynasty, the monastery was favored by poets seeking refuge from the summer heat. Three of the Pearl River delta's most celebrated poets, Ou Daren, Li Minbiao, and Liang Youyu, founded a poetry society while residing at the monastery. Guangxiaosi was rebuilt during the Qing dynasty (1644-1911 CE) in its present form. The monastery is also famous for housing the first iron STuPAs in China, which still exist. The west courtyard houses the square West Iron Pagoda, which was cast in 963 CE, during the Five Dynasties period. Only three of the original seven stories still exist. The East Iron Pagoda, cast in 967 CE, was also seven stories high and is preserved on the monastery grounds.

Hanshan shi. (J. Kanzan shi; K. Hansan si 寒山詩). In Chinese, "Cold Mountain's Poems," attributed to the legendary Chinese iconoclast HANSHAN (Cold Mountain); also known as Hanshan shiji. Sometime between 766 and 779, Hanshan is presumed to have retired to Mt. Tiantai (in present-day Zhejiang province), where he composed his famous poetry. The poems of the legendary monks FENGGAN and SHIDE are also included at the end of Hanshan's poetry collection. During the Song dynasty, the Hanshan shi was also known as the Sanyin ji ("Collection of the Three Recluses"). The Hanshan shi was widely read for its sharp satire of his times and its otherworldliness. The earliest edition was published in 1189 at the monastery of Guoqingsi on Mt. Tiantai.

Han Yongun. (韓龍雲) (1879-1944). Korean monk, poet, and writer, also known by his sobriquet Manhae or his ordination name Pongwan. In 1896, when Han was sixteen, both his parents and his brother were executed by the state for their connections to the Tonghak ("Eastern Learning") Rebellion. He subsequently joined the remaining forces of the Tonghak Rebellion and fought against the Choson-dynasty government but was forced to flee to Oseam hermitage on Mt. Sorak. He was ordained at the monastery of Paektamsa in 1905. Three years later, as one of the fifty-two monastic representatives, he participated in the establishment of the Won chong (Consummate Order) and the foundation of its headquarters at Wonhŭngsa. After returning from a sojourn in Japan, where he witnessed Japanese Buddhism's attempts to modernize in the face of the Meiji-era persecutions, Han Yongun wrote an influential tract in 1909 calling for radical changes in the Korean Buddhist tradition; this tract, entitled CHOSoN PULGYO YUSIN NON ("Treatise on the Reformation of Korean Buddhism"), set much of the agenda for Korean Buddhist modernization into the contemporary period. After Korea was formally annexed by Japan in 1910, Han devoted the rest of his life to the fight for independence. In opposition to the Korean monk Hoegwang Sason's (1862-1933) attempt to merge the Korean Won chong with the Japanese SoToSHu, Han Yongun helped to establish the IMJE CHONG (Linji order) with its headquarters at PoMoSA in Pusan. In 1919, he actively participated in the March First independence movement and signed the Korean Declaration of Independence as a representative of the Buddhist community. As a consequence, he was sentenced to three years in prison by Japanese colonial authorities. In prison, he composed the Choson Tongnip ŭi so ("Declaration of Korea's Independence"). In 1925, three years after he was released from prison, he published a book of poetry entitled Nim ŭi ch'immuk ("Silence of the Beloved"), a veiled call for the freedom of Korea (the "beloved" of the poem) and became a leader in resistance literature; this poem is widely regarded as a classic of Korean vernacular writing. In 1930, Han became publisher of the monthly journal Pulgyo ("Buddhism"), through which he attempted to popularize Buddhism and to raise the issue of Korean political sovereignty. Han Yongun continued to lobby for independence until his death in 1944 at the age of sixty-six, unable to witness the long-awaited independence of Korea that occurred a year later on August 15th, 1945, with Japan's surrender in World War II.

hardly ::: “Your ‘barely enough’, instead of the finer and more suggestive ‘hardly’, falls flat upon my ear; one cannot substitute one word for another in this kind of poetry merely because it means intellectually the same thing; ‘hardly’ is the mot juste in this context and, repetition or not, it must remain unless a word not only juste but inevitable comes to replace it… . On this point I may add that in certain contexts ‘barely’ would be the right word, as for instance, ‘There is barely enough food left for two or three meals’, where ‘hardly’ would be adequate but much less forceful. It is the other way about in this line. Letters on Savitri

heads ::: poetry, prose and scholarship", with further subdivisions of each of these such as philosophy (darsana) under prose, and philology (nirukta) under scholarship; sahitya itself is sometimes listed separately from some of these divisions and subdivisions, seeming then to refer mainly to general prose writing.

He lived in the time when the moral and cultural traditions of Chou were in rapid decline. Attempting to uphold the Chou culture, he taught poetry, history, ceremonies and music to 3,000 pupils, becoming the first Chinese educator to offer education to any who cared to come with or without tuition. He taught literature, human conduct, being one's true self and honesty in social relationships. He wrote the chronicles called Spring and Autumn. His tacit judgments on social and political events were such that "unruly ministers and villainous sons were afraid" to repeat their evil deeds.

  “He never laid claim to spiritual powers, but proved to have a right to such claim. He used to pass into a dead trance from thirty-seven to forty-nine hours without awakening, and then knew all he had to know, and demonstrated the fact by prophesying futurity and never making a mistake. It is he who prophesied before the Kings Louis XV. and XVI., and the unfortunate Marie Antoinette. Many were the still-living witnesses in the first quarter of this century who testified to his marvellous memory; he could read a paper in the morning and, though hardly glancing at it, could repeat its contents without missing one word days afterwards; he could write with two hands at once, the right hand writing a piece of poetry, the left a diplomatic paper of the greatest importance. He read sealed letters without touching them, while still in the hand of those who brought them to him. He was the greatest adept in transmuting metals, making gold and the most marvellous diamonds, an art, he said, he had learned from certain Brahmans in India, who taught him the artificial crystallisation (‘quickening’) of pure carbon. As our Brother Kenneth Mackenzie has it: — ‘In 1780, when on a visit to the French Ambassador to the Hague, he broke to pieces with a hammer a superb diamond of his own manufacture, the counterpart of which, also manufactured by himself, he had just before sold to a jeweller for 5500 louis d’or.’ He was the friend and confidant of Count Orloff in 1772 at Vienna, whom he had helped and saved in St. Petersburg in 1762, when concerned in the famous political conspiracies of that time; he also became intimate with Frederick the Great of Prussia. As a matter of course, he had numerous enemies, and therefore it is not to be wondered at if all the gossip invented about him is now attributed to his own confessions: e.g., that he was over five hundred years old; also, that he claimed personal intimacy ‘with the Saviour and his twelve Apostles, and that he had reproved Peter for his bad temper’ — the latter clashing somewhat in point of time with the former, if he had really claimed to be only five hundred years old. If he said that ‘he had been born in Chaldea and professed to possess the secrets of the Egyptian magicians and sage,’ he may have spoken truth without making any miraculous claim. There are Initiates, and not the highest either, who are placed in a condition to remember more than one of their past lives. But we have good reason to know that St. Germain could never have claimed ‘personal intimacy’ with the Saviour. However that may be, Count St. Germain was certainly the greatest Oriental Adept Europe has seen during the last centuries. But Europe knew him not. Perchance some may recognise him at the next Terreur, which will affect all Europe when it comes, and not one country alone” (TG 308-9).

He severely disciplined himself and practiced what he taught. He loved poetry, ceremonies and music. He was serious, honest, polite, filially pious towards his mother, stern toward his son, and friendly to his pupils. His most reliable teachings are found in the Lun Yu (Analects), aphorisms recorded by his followers. -- W.T.C.

:::   ". . . Hiranyagarbha, the luminous mind of dreams, looking through [gross forms created by Virat] those forms to see his own images behind them.” *The Future Poetry

“… Hiranyagarbha, the luminous mind of dreams, looking through [gross forms created by Virat] those forms to see his own images behind them.” The Future Poetry

homeric ::: a. --> Of or pertaining to Homer, the most famous of Greek poets; resembling the poetry of Homer.

Huanglong pai. (J. oryoha/oryuha; K. Hwangnyong p'a 龍派). In Chinese, "Huanglong school"; collateral lineage of the CHAN school's LINJI ZONG, one of the five houses and seven schools (WU JIA QI ZONG) of the Chan during the Northern Song dynasty (960-1126). The school's name comes from the toponym of its founder, HUANGLONG HUINAN (1002-1069), who taught at Mt. Huanglong in present-day Jiangxi province; Huinan was a disciple of Shishuang Chuyuan (986-1039), himself a sixth-generation successor in the Linji school. The Huanglong school was especially known for "lettered Chan" (WENZI CHAN), a style of Chan that valorized belle lettres, and especially poetry, in Chan practice. Many of the most influential monks in the Huanglong school exemplified a period when Chan entered the mainstream of Chinese intellectual life: their practice of Chan was framed and conceptualized in terms that drew from their wide learning and profound erudition, tendencies that helped make Chan writings particularly appealing to wider Chinese literati culture. JUEFAN HUIHONG (1071-1128), for example, decried the bibliophobic tendencies in Chan that were epitomized in the aphorism that Chan "does not establish words and letters" (BULI WENZI) and advocated that Chan insights were in fact made manifest in both Buddhist sutras and the uniquely Chan genres of discourse records (YULU), lineage histories (see CHUANDENG LU), and public-case anthologies (GONG'AN). Huanglong and YUNMEN ZONG masters made important contributions to the development of the Song Chan literary styles of songgu ([attaching] verses to ancient [cases]) and niangu (raising [and analyzing] ancient [cases]). Because of their pronounced literary tendencies, many Huanglong monks became close associates of such Song literati-officials as Su Shi (1036-1101), Huang Tingjian (1045-1105), and ZHANG SHANGYING (1043-1122). After the founder's death, discord appeared within the Huanglong lineage: the second-generation master Baofeng Kewen (1025-1102) and his disciple Juefan Huihong criticized the practices of another second-generation master Donglin Changzong (1025-1091) and his disciples as clinging to silence and simply waiting for enlightenment; this view may have influenced the subsequent criticism of the CAODONG ZONG by DAHUI ZONGGAO (1089-1163), who trained for a time with the Huanglong master Zhantang Wenjun (1061-1115). The Huanglong pai was the first school of Chan to be introduced to Japan: by MYoAN EISAI (1141-1215), who studied with the eighth-generation Huanglong teacher Xu'an Huaichang (d.u.). The Huanglong pai did not survive as a separate lineage in either country long after the twelfth century, as its rival YANGQI PAI came to prominence; it was eventually reabsorbed into the Yangqi lineage.

Hu Gadarn (Welsh) Hu the Mighty; from the time of Owen Glyndwr to that of Henry VII of England, Hu Gadarn is constantly mentioned in poetry, sometimes identified with Jesus Christ. From the period of Owen Glyndwr comes a hymn to Hu:

Hwyl (Welsh) Sail; the method of chanting used in Wales for poetry and rhetoric, the idea being that the inspiration drives and fills the spoken words with a certain vibrant, singing quality of sound, as the wind fills, swells, and drives the sails of a ship.

iamb: A unit or foot of poetry that is made up of a lightly stressed syllable followed by a heavily stressed syllable. ‘Inscribe’ and ‘restore’ are examples of words which naturally follow this pattern

iambic pentameter: One of the most widespread rhythmical patterns in Englishpoetry. Iambic Pentameter is also the meter in which Shakespeare wrote many of his plays.

iambic tetrameter: A metre of poetry, which contains four iambic feet. A line of iambic tetrameter therefore has 8 syllables, where one unstressed syllable is followed by a stressed syllable. This pattern is repeated four times. Iambicpentameter is the more common meter used in English literature.

iambic trimeter: A meter of poetry, which contains three iambic feet. A line of iambic trimeter therefore has 6 syllables, where one unstressed syllable is followed by a stressed syllable. This pattern is repeated three times. Iambic pentameter is the more common meter used in English literature.

idyl ::: n. --> A short poem; properly, a short pastoral poem; as, the idyls of Theocritus; also, any poem, especially a narrative or descriptive poem, written in an eleveted and highly finished style; also, by extension, any artless and easily flowing description, either in poetry or prose, of simple, rustic life, of pastoral scenes, and the like.

Ikkyu Sojun. (一休宗純) (1394-1481). Japanese ZEN master in the RINZAISHu, also known by his sobriquet Kyoun shi (Master Crazy Cloud). Materials on Ikkyu's life are an often indistinguishable mixture of history and legend. Little is known of Ikkyu's early years, but he is said to have been the illegitimate son of Emperor Gokomatsu (r. 1382-1392, 1392-1412). In 1399, Ikkyu was sent to the monastery of ANKOKUJI in Kyoto. In 1410, he left Ankokuji to study under Ken'o Soi (d. 1414), who belonged to the MYoSHINJI branch of Rinzai Zen. After Ken'o's death in 1414, Ikkyu continued his studies under the monk Kaso Sodon (1352-1428) in Katada (present-day Shiga prefecture) near Lake Biwa. Kaso gave him the name Ikkyu, which he continued to use. While studying under Kaso, Ikkyu had his first awakening experience and also acquired some notoriety for his antinomian behavior. Perhaps because of his rivalry with a fellow student named Yoso Soi (1378-1458), Ikkyu left Kaso shortly before his death and headed for the city of Sakai. During this transition period, Ikkyu is said to have briefly returned to lay life, marrying a blind singer and fathering a son. Ikkyu's life in Sakai is shrouded in legend (most of which date to the Tokugawa period). There, he is said to have led the life of a mad monk, preaching in taverns and brothels. In 1437, Ikkyu is also said to have torn up the certificate of enlightenment that his teacher Kaso had prepared for him before his death. In 1440, Ikkyu was called to serve as the abbot of the monastery of DAITOKUJI, but he resigned his post the next year. Ikkyu devoted much of his later life to his famous poetry and brushstroke art. Later, Ikkyu had a falling out with Yoso, who as abbot secured Daitokuji's prominent place in Kyoto. In 1455, Ikkyu published a collection of his poems, the Jikaishu ("Self-Admonishment Collection"), and publicly attacked Yoso. In 1456, Ikkyu restored the dilapidated temple Myoshoji in Takigi (located halfway between Sakai and Kyoto). There, he installed a portrait of the Zen master Daito (see SoHo MYoCHo). Ikkyu also began identifying himself with the Chinese Chan master XUTANG ZHIYU, the spiritual progenitor of the Daitokuji lineage(s), by transforming portraits of Xutang into those of himself. In 1474, Ikkyu was appointed abbot of Daitokuji, which had suffered from a devastating fire during the onin war, and he committed himself to its reconstruction, until his death in 1481. Among his writings, his poetry collection Kyounshu ("Crazy Cloud Anthology") is most famous. Also well known is his Gaikotsu ("Skeletons"), a work, illustrated by Ikkyu himself, about his conversations with skeletons. See also WU'AI XING.

improvisation ::: n. --> The act or art of composing and rendering music, poetry, and the like, extemporaneously; as, improvisation on the organ.
That which is improvised; an impromptu.


“In a certain sense all genius comes from Overhead; for genius is the entry or inrush of a greater consciousness into the mind or a possession of the mind by a greater power.” Letters on Poetry and Art

In aesthetics: The sense of depth and distance in painting as in poetry. Term used also for time elapsed. -- J.K.F.

In its narrower meaning, the fine arts and literature. The problem of the distinction and classification of the arts originated with Lessing in reaction to the interference of poetical values in painting and vice versa. He distinguished poetry dealing with consecutive actions from painting concerned with figures coexisting in space. Later, aestheticians divided the arts into many classifications. Zimmermann, a pupil of Herbart, distinguished three groups: arts of material representation (architecture, sculpture, etc.), arts of perceptive representation (painting, music). arts of the representation of thought (poetry). This partition suggested to Fiedler the aesthetics of pure visibility, to Hanslick the aesthetics of pure musicality. And from Fiedler's idea was derived the so-called Science of Art independent of aesthetics. -- L.V.

:::   "Inner mind is that which lies behind the surface mind (our ordinary mentality) and can only be directly experienced (apart from its vrttis in the surface mind such as philosophy, poetry, idealism, etc.) by sadhana, by breaking down the habit of being on the surface and by going deeper within.” *Letters on Yoga

"Inner mind is that which lies behind the surface mind (our ordinary mentality) and can only be directly experienced (apart from its vrttis in the surface mind such as philosophy, poetry, idealism, etc.) by sadhana, by breaking down the habit of being on the surface and by going deeper within.” Letters on Yoga

“Inner mind is that which lies behind the surface mind (our ordinary mentality) and can only be directly experienced (apart from its vrttis in the surface mind such as philosophy, poetry, idealism, etc.) by sadhana, by breaking down the habit of being on the surface and by going deeper within.” Letters on Yoga

In organic bodies matter may become conscious. Mind, being an activity of the body, and unsubstantial, is not causally effective, but simply entertains and contemplates essences both enacted and unenacted. Its registration of the natural functions and drives of the body of which it is the aura, is desire, which gives values like truth, goodness, and beauty to the essences entertained. The desire to know, satisfied by intelligibility, creates science, which is investigation of the world of enacted essences, where alone the explanation of things is to be found.The natural desire to experience social harmony and to contemplate beauty creates morality, art, poetry and religion, which entertain in imagination and seek to make concrete by action, combinations of essences, often unenacted and purely ideal.

internal rhyme: A device in which a word in the middle of a line of poetry rhymeswith a word at the end of the same metrical line.

Jakushitsu Genko. (C. Jishi Yuanguang 寂室元光) (1290-1367). Japanese ZEN monk in the RINZAISHu and founder of the Eigenji branch of the school. After entering the monastery at the age of thirteen, Jakushitsu studied under several Zen masters, including Yakuo Tokken (1244-1320) of ZENKoJI in Kamakura, who administered to him the complete monastic precepts (gusokukai) of a BHIKsU, and Yishan Yining (J. Issan Ichinei; 1247-1317) of NANZENJI in Kyoto, a Chinese LINJI ZONG monk who was active in Japan. Jakushitsu traveled to Yuan China in 1320 together with another Rinzai monk named Kao Sonen (d.1345). There, he studied with such eminent Linji Chan masters as ZHONGFENG MINGBEN (1263-1323), who gave him the cognomen Jishi (J. Jakushitsu), and Yuansou Xingduan (1255-1341). After returning to Japan in 1326, Jakushitsu spent the next twenty-five years traveling around the country as an itinerant monk, until 1362, when he assumed the abbacy of Eigenji, a monastery built for him by Sasaki Ujiyori (1326-1370) in omi no kuni (present-day Shiga prefecture). The emperor subsequently invited him to stay at Tenryuji in Kyoto and KENCHoJI in Kamakura, but he refused, choosing to remain at Eigenji for the remainder of his life. Jakushitsu is well known for his flute playing and his refined Zen poetry, which is considered some of the finest examples of the genre. He was given the posthumous title Enno Zenji (Zen Master Consummate Response).

jātaka. (T. skyes rabs; C. bensheng jing; J. honshokyo; K. ponsaeng kyong 本生經). In Sanskrit and Pāli, literally, "birth," or "nativity"; a term used in Buddhism to refer by extension to narrative accounts of previous births or lives, especially of a buddha. The jātaka constitute one of the nine (NAVAnGA[PĀVACANA]) (Pāli) or twelve (DVĀDAsĀnGA[PRAVACANA]) (Sanskrit) categories (AnGA) of Buddhist scripture that are delineated according to their structure or literary style. There are hundreds of such stories (547 in the Pāli collection alone) and together they form one of the most popular genres of Buddhist literature. In a typical tale, GAUTAMA Buddha will recount a story from one of his past lives as a human or an animal, demonstrating a particular virtue, or perfection (PĀRAMITĀ), after which he will identify the other characters in the story as the past incarnations of members of his present audience. A jātaka story usually has five components: (1) an introduction, in which the Buddha recounts the circumstances leading up to the story to be recounted; (2) a prose narrative, in which the story from one of the Buddha's past lives is related; (3) stanzas of poetry, which often contain the moral of the story; (4) a prose commentary on the stanzas; and (5) a conclusion that connects the past with the present, in which the Buddha identifies members of his current audience as incarnations in the present of the characters in the story from the past. ¶ The Pāli Jātaka is the tenth book of the KHUDDAKANIKĀYA of the SUTTAPItAKA. The collection is comprised of 547 stories of former lives of Gotama Buddha while he was a bodhisatta (S. BODHISATTVA). The Jātaka itself is made up entirely of short verses, but these are accompanied by prose commentary called the JĀTAKAttHAKATHĀ, which recounts the relevant stories. Some of the Jātakas have been included in another collection contained in the KHUDDAKANIKĀYA, the CARIYĀPItAKA. In Sanskrit, the most famous jātaka collection is the JĀTAKAMĀLĀ by sura. Over the course of the history of Buddhism and throughout the Buddhist world, jātakas have been one of the most popular forms of Buddhist literature, especially among the laity, due both to their entertaining plots and their edifying moral lessons. Scenes from various jātaka stories are widely depicted in Buddhist art and occur among some of the earliest Buddhist stone carvings in India. Scholarship has demonstrated that the plots of many of the jātakas derive from Indian folklore, with the same story occurring in Hindu, JAINA, and Buddhist works. In the Buddhist versions, the plot has been adapted by adding a prologue and epilogue that identifies the protagonist as the bodhisattva and the other characters as members of the Buddha's circle in a former life; the hero's antagonist in the story is often identified as DEVADATTA in a former life. In addition to their general popularity, individual jātakas have had great influence, such as the VESSANTARA JĀTAKA in Southeast Asia.

Jingde chuandeng lu. (J. Keitoku dentoroku; K. Kyongdok chondŭng nok 景德傳燈録). In Chinese, "Record of the Transmission of the Lamplight [Compiled during the] Jingde [Era]." A comprehensive, thirty-roll genealogical collection of short hagiographical notes and anecdotes of the ancient "patriarchs" and teachers (see ZUSHI) of the CHAN school, compiled by Daoyuan (d.u.) in 1004. Beginning with the seven buddhas of the past (SAPTATATHĀGATA) and up to the dharma heirs (see FASI) of the Tang-dynasty Chan monk FAYAN WENYI, the Jingde chuandeng lu provides a record of 1,701 Indian and Chinese successors in different main and collateral lineages of the Chan school. The first twenty-six rolls of the Jingde chuandeng lu is a series of hagiographies of Chan masters, focusing on their enlightenment experiences, and arranged genealogically; roll twenty-seven discusses eminent monks who do not belong to the Chan tradition; and the last three rolls contain YULU, viz., discourse records (roll twenty-eight), poetry and verses (roll twenty-nine), and other miscellaneous materials, such as the XINXIN MING (roll thirty). As the earliest and most influential of the many lamplight histories (denglu) compiled during the Song dynasty, the Jingde chuandeng lu is an invaluable resource for understanding the origins and development of the Chan school in China.

Juefan Huihong. (J. Kakuhan Eko; K. Kakpom Hyehong 覺範慧洪) (1071-1128). Chinese CHAN monk in the HUANGLONG PAI collateral line of the LINJI ZONG during the Northern Song dynasty (960-1127) and major proponent of "lettered Chan" (WENZI CHAN), which valorized belle lettres, and especially poetry, in the practice of Chan. Huihong entered the monastery after he was orphaned at fourteen, eventually passing the monastic examinations at age nineteen and receiving ordination at Tianwangsi in the eastern capital of Kaifeng. After studying the CHENG WEISHI LUN (*VijNaptimātratāsiddhi) for four years, he eventually began to study at LUSHAN with the Chan master Zhenjing Kewen (1025-1102), under whom he achieved enlightenment. Because of Huihong's close ties to the famous literati officials of his day, and especially with the statesman and Buddhist patron ZHANG SHANGYING (1043-1122), his own career was subject to many of the same political repercussions as his associates; indeed, Huihong himself was imprisoned, defrocked, and exiled multiple times in his life when his literati colleagues were purged. Compounding his problems, Huihong also suffered along with many other monks during the severe Buddhist persecution (see FANAN) that occurred during the reign of Emperor Huizong (r. 1100-1125). Even amid these trying political times, however, Huihong managed to maintain both his monastic vocation and his productive literary career. Huihong is in fact emblematic of many Chan monks during the Song dynasty, when Chan enters the mainstream of Chinese intellectual life: his practice of Chan was framed and conceptualized in terms that drew from his wide learning and profound erudition, tendencies that helped make Chan writings particularly appealing to wider Chinese literati culture. Huihong decried the bibliophobic tendencies in Chan that were epitomized in the aphorism that Chan "does not establish words and letters" (BULI WENZI) and advocated that Chan insights were made manifest in both Buddhist sutras as well as in the uniquely Chan genres of discourse records (YULU), genealogical histories (see CHUANDENG LU), and public-case anthologies (GONG'AN). Given his literary penchant, it is no surprise that Huihong was a prolific author. His works associated with Chan lineages include the CHANLIN SENGBAO ZHUAN ("Chronicles of the SAMGHA Jewel in the Chan Grove"), a collection of biographies of about a hundred eminent Chan masters important in the development of lettered Chan; and the Linjian lu ("Anecdotes from the Groves [of Chan]"), completed in 1107 and offering a record of Huihong's own encounters with fellow monks and literati and his reflections on Buddhist practice. Huihong also wrote two studies of poetics and poetic criticism, the Lengzhai yehua ("Evening Discourses from Cold Studio") and Tianchu jinluan ("Forbidden Cutlets from the Imperial Kitchen"), and numerous commentaries to Buddhist scriptures, including the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra"), SHOULENGYAN JING, and YUANJUE JING.

Kalidasa (Sanskrit) Kālidāsa The greatest poet and dramatist of historic India, one of the “nine gems” that adorned the court of King Vikramaditya at Ujjayini. He is the true or reputed author (although the name Kalidasa has been given in Indian literature to several poets) of Sakuntala, Meghaduta, Malavikavnimitra, Vikramorvasi, etc. Whether all the works attributed to this Kalidasa are really to be ascribed to him or not, the fact remains that they are among the finest specimens of Indian poetry.

kavya ::: poetry; the poetic faculty, the power of self-expression in the kavya rhythmic language of poetry which is "the highest form of speech available to man for the expression whether of his self-vision or of his world-vision"; the writing of poetry, part of sahitya, including work in the "epic, dramatic and the minor forms which again include narrative, lyric and reflective".

Kun bzang bla ma'i zhal lung. (Kunzang Lame Shelung). In Tibetan, "Words of My Perfect Teacher," a popular Buddhist text, written by the celebrated nineteenth-century Tibetan luminary DPAL SPRUL RIN PO CHE during a period of prolonged retreat at his cave hermitage above RDZOGS CHEN monastery in eastern Tibet. It explains the preliminary practices (SNGON 'GRO) for the KLONG CHEN SNYING THIG ("Heart Essence of the Great Expanse"), a system of RNYING MA doctrine and meditation instruction stemming from the eighteenth-century treasure revealer (GTER STON) 'JIGS MED GLING PA. The work is much loved for its direct, nontechnical approach and for its heartfelt practical advice. Dpal sprul Rin po che's language ranges from lyrical poetry to the vernacular, illustrating points of doctrine with numerous scriptural quotations, accounts from the lives of past Tibetan saints, and examples from everyday life-many of which refer to cultural practices specific to the author's native land. While often considered a Rnying ma text, the Kun bzang bla ma'i zhal lung is read widely throughout the sects of Tibetan Buddhism, a readership presaged by the author's participation in the RIS MED or so-called nonsectarian movement of eastern Tibet during the nineteenth century.

Kyunyo. (均如) (923-973). Korean monk, exegete, poet, and thaumaturge during the Koryo dynasty, also known as Wont'ong. According to legend, Kyunyo is said to have been so ugly that his parents briefly abandoned him at a young age. His parents died shortly thereafter, and Kyunyo sought refuge at the monastery of Puhŭngsa in 937. Kyunyo later continued his studies under the monk Ǔisun (d.u.) at the powerful monastery of Yongt'ongsa near the Koryo-dynasty capital of Kaesong. There, Kyunyo seems to have gained the support of King Kwangjong (r. 950-975), who summoned him to preach at the palace in 954. Kyunyo's successful performance of miracles for the king won him the title of great worthy (taedok) and wealth for his clan. Kyunyo became famous as an exegete of the AVATAMSAKASuTRA. His approach to this scripture was purportedly catalyzed by the deep split between the exegetical traditions associated with the Korean exegete WoNHYO (617-686) and the Chinese-Sogdian exegete FAZANG (643-712). Kyunyo sought to bridge these two traditions of Hwaom (C. HUAYAN) exegesis in his numerous writings, which came to serve as the orthodox doctrinal standpoint for the clerical examinations (SŬNGKWA) in the Koryo-period KYO school, held at the royal monastery of WANGNYUNSA. In 963, Kyunyo was appointed the abbot of the new monastery of Kwibopsa, which the king established near the capital. Kyunyo's life and some examples of his poetry are recorded in the Kyunyo chon; the collection includes eleven "native songs," or hyangga, one of the largest surviving corpora of Silla-period vernacular poems, which used Sinographs to transcribe Korean. His Buddhist writings include the Sok Hwaom kyobun'gi wont'ong ch'o, Sok Hwaom chigwijang, Sipkujang wont'ong ki, and others.

labored ::: imp. & p. p. --> of Labor ::: a. --> Bearing marks of labor and effort; elaborately wrought; not easy or natural; as, labored poetry; a labored style.

Lebanah (Hebrew) Lĕbānāh White; name for the moon used only in poetry, referring to the moon as a planet and astrological influence (TG 188).

Lessing, Gotthold Ephraim: (1729-1781) German dramatist and critic. He is best known in the philosophic field for his treatise on the limitations of poetry and the plastic arts in the famous "Laokoon." In the drama, "Nathan the Wise," he has added to the world's literature a profound plea for religious toleration. -- L.E.D.

line: In poetry, a line is a single row of words.

lyre ::: n. --> A stringed instrument of music; a kind of harp much used by the ancients, as an accompaniment to poetry.
One of the constellations; Lyra. See Lyra.


lyric ::: a. --> Alt. of Lyrical ::: n. --> A lyric poem; a lyrical composition.
A composer of lyric poems.
A verse of the kind usually employed in lyric poetry; -- used chiefly in the plural.


lyrical ::: a. --> Of or pertaining to a lyre or harp.
Fitted to be sung to the lyre; hence, also, appropriate for song; -- said especially of poetry which expresses the individual emotions of the poet.


lyric poetry: Poetry with an emotional, song-like quality, different from narrative or dramatic poetry.

lyrist ::: n. --> A musician who plays on the harp or lyre; a composer of lyrical poetry.

macaronic ::: a. --> Pertaining to, or like, macaroni (originally a dish of mixed food); hence, mixed; confused; jumbled.
Of or pertaining to the burlesque composition called macaronic; as, macaronic poetry. ::: n. --> A heap of thing confusedly mixed together; a jumble.


Main works: Sense and Beauty, 1896; Interpret. of Poetry and Religion, 1900; Life of Reason, 5 vols , 1905-6 (Reason in Common Sense, Reason in Society, Reason in Religion, Reason in Art, Reason in Science); Winds of Doctrine, 1913; Egotism in German Philosophy, 1915; Character and Opinion in the U. S., 1920; Skepticism and Animal Faith, 1923; Realms of Being, 4 vols., 1927-40 (Realm of Essence, Realm of Matter, Realm of Truth, Realm of Spirit). -- B.A.G.F. Sarva-darsana-sangraha: (Skr.) A work by Madhvavacarya, professing to be a collection (sangraha) of all (sarva) philosophic views (darsana) or schools. It includes systems which acknowledge and others which reject Vedic (s.v.) authority, such as the Carvaka, Buddhist and Jaina schools (which see). -- K.F.L.

Man alive, your proposed emendations are an admirable exposition of the art of bringing a line down the steps till my poor "slow miraculous” above-mind line meant to give or begin the concrete portrayal of an act of some hidden Godhead finally becomes a mere metaphor thrown out from its more facile mint by a brilliantly imaginative poetic intelligence. First of all, you shift my "dimly” out of the way and transfer it to something to which it does not inwardly belongs make it an epithet of the gesture or an adverb qualifying its epithet instead of something that qualifies the atmosphere in which the act of the Godhead takes place. That is a preliminary havoc which destroys what is very important to the action, its atmosphere. I never intended the gesture to be dim, it is a luminous gesture, but forcing its way through the black quietude it comes dimly. Then again the bald phrase "a gesture came” without anything to psychicise it becomes simply something that "happened”, "came” being a poetic equivalent for "happened”, instead of the expression of the slow coming of the gesture. The words "slow” and "dimly” assure this sense of motion and this concreteness to the word"s sense here. Remove one or both whether entirely or elsewhere and you ruin the vision and change altogether its character. That is at least what happens wholly in your penultimate version and as for the last its "came” gets another meaning and one feels that somebody very slowly decided to let out the gesture from himself and it was quite a miracle that it came out at all! "Dimly miraculous” means what precisely or what "miraculously dim” — it was miraculous that it managed to be so dim or there was something vaguely miraculous about it after all? No doubt they try to mean something else — but these interpretations come in their way and trip them over. The only thing that can stand is the first version which is no doubt fine poetry, but the trouble is that it does not give the effect I wanted to give, the effect which is necessary for the dawn"s inner significance. Moreover, what becomes of the slow lingering rhythm of my line which is absolutely indispensable? Letters on Savitri

Man alive, your proposed emendations are an admirable exposition of the art of bringing a line down the steps till my poor”slow miraculous” above-mind line meant to give or begin the concrete portrayal of an act of some hidden Godhead finally becomes a mere metaphor thrown out from its more facile mint by a brilliantly imaginative poetic intelligence. First of all, you shift my”dimly” out of the way and transfer it to something to which it does not inwardly belongs make it an epithet of the gesture or an adverb qualifying its epithet instead of something that qualifies the atmosphere in which the act of the Godhead takes place. That is a preliminary havoc which destroys what is very important to the action, its atmosphere. I never intended the gesture to be dim, it is a luminous gesture, but forcing its way through the black quietude it comes dimly. Then again the bald phrase”a gesture came” without anything to psychicise it becomes simply something that”happened”,”came” being a poetic equivalent for”happened”, instead of the expression of the slow coming of the gesture. The words”slow” and”dimly” assure this sense of motion and this concreteness to the word’s sense here. Remove one or both whether entirely or elsewhere and you ruin the vision and change altogether its character. That is at least what happens wholly in your penultimate version and as for the last its”came” gets another meaning and one feels that somebody very slowly decided to let out the gesture from himself and it was quite a miracle that it came out at all!”Dimly miraculous” means what precisely or what”miraculously dim”—it was miraculous that it managed to be so dim or there was something vaguely miraculous about it after all? No doubt they try to mean something else—but these interpretations come in their way and trip them over. The only thing that can stand is the first version which is no doubt fine poetry, but the trouble is that it does not give the effect I wanted to give, the effect which is necessary for the dawn’s inner significance. Moreover, what becomes of the slow lingering rhythm of my line which is absolutely indispensable? Letters on Savitri

mantra ::: Sri Aurobindo: "The mantra as I have tried to describe it in The Future Poetry is a word of power and light that comes from the Overmind inspiration or from some very high plane of Intuition. Its characteristics are a language that conveys infinitely more than the mere surface sense of the words seems to indicate, a rhythm that means even more than the language and is born out of the Infinite and disappears into it, and the power to convey not merely the mental, vital or physical contents or indications or values of the thing uttered, but its significance and figure in some fundamental and original consciousness which is behind all these and greater.” *The Future Poetry

mantra ::: Sri Aurobindo: “The mantra as I have tried to describe it in The Future Poetry is a word of power and light that comes from the Overmind inspiration or from some very high plane of Intuition. Its characteristics are a language that conveys infinitely more than the mere surface sense of the words seems to indicate, a rhythm that means even more than the language and is born out of the Infinite and disappears into it, and the power to convey not merely the mental, vital or physical contents or indications or values of the thing uttered, but its significance and figure in some fundamental and original consciousness which is behind all these and greater.” The Future Poetry

mantra ::: : “The mantra as I have tried to describe it in The Future Poetry is a word of power and light that comes from the Overmind inspiration or from some very high plane of Intuition. Its characteristics are a language that conveys infinitely more than the mere surface sense of the words seems to indicate, a rhythm that means even more than the language and is born out of the Infinite and disappears into it, and the power to convey not merely the mental, vital or physical contents or indications or values of the thing uttered, but its significance and figure in some fundamental and original consciousness which is behind all these and greater.” The Future Poetry

Masnawi Elaborate work of poetry by Jelal uddin Rumi

Matsuo Basho. (松尾芭蕉) (1644-1694). A renowned Japanese Buddhist author of the Edo period. Although famous in the West especially for his haiku poetry, Basho is also known for his renga, or linked verse, prose works, literary criticism, diaries, and travelogues, which also contain many famous poems. His most celebrated work is his travel diary, a work in mixed prose and verse entitled Oku no Hosomichi ("Narrow Road to the Deep North"), published posthumously in 1702. He was born in Iga Province (present-day Mie prefecture) to a family of the samurai class, but abandoned that life in favor of living as a Buddhist monk, much like the Heian period (794-1185) SHINGONSHu monk SAIGYo (1118-1190), with whom he is often compared. Basho received instruction from the RINZAISHu master Butcho (1643-1715), and his work is commonly regarded as conveying a ZEN aesthetic, as in the famous haiku poem he wrote at his moment of awakening: "A timeless pond, the frog jumps, a splash of water" (J. furuike ya, kawazu tobikomu, mizu no oto).

Meaning, Kinds of: In semiotic (q. v.) several kinds of meaning, i.e. of the function of an expression in language and the content it conveys, are distinguished. An expression (sentence) has cognitive (or theoretical, assertive) meaning, if it asserts something and hence is either true or false. In this case, it is called a cognitive sentence or (cognitive, genuine) statement; it has usually the form of a declarative sentence. If an expression (a sentence) has cognitive meaning, its truth-value (q. v.) depends in general upon both   the (cognitive, semantical) meaning of the terms occurring, and   some facts referred to by the sentence. If it does depend on both (a) and (b), the sentence has factual (synthetic, material) meaning and is called a factual (synthetic, material) sentence. If, however, the truth-value depends upon (a) alone, the sentence has a (merely) logical meaning (or formal meaning, see Formal 1). In this case, if it is true, it is called logically true or analytic (q. v.); if it is false, it is called logically false or contradictory. An expression has an expressive meaning (or function) in so far as it expresses something of the state of the speaker; this kind of meaning may for instance contain pictorial, emotive, and volitional components (e.g. lyrical poetry, exclamations, commands). An expression may or may not have, in addition to its expressive meaning, a cognitive meaning; if not, it is said to have a merely expressive meaning. If an expression has a merely expressive meaning but is mistaken as being a cognitive statement, it is sometimes called a pseudo-statement. According to logical positivism (see Scientific Empiricism, IC) many sentences in metaphysics are pseudo-statements (compare Anti-metaphysics, 2).

measure ::: n. 1. A unit of standard of measurement. 2. The extent, quantity, dimensions, etc. of (something), ascertained esp. by comparison with a standard. 3. Bounds or limits. 4. A definite or known quality or quantity measured out. 5. A short rhythmical movement or arrangement, as in poetry or music. measures. *v. 6. To determine the size, amount, etc. 7. To estimate the relative amount, value, etc., of, by comparison with some standard. 8. To travel or move over as if measuring. *measured, measuring.

Metamathematics: See Proof theory, and Syntax, logical. Metaphor: Rhetorical figure transposing a term from its original concept to another and similar one. In its origin, all language was metaphoric; so was poetry. Metaphor is a short fable (Vico). -- L.V.

metaphysical poetry: Poetry which uses logic and reason to construct an 'argument' and draws on other fields such as science, law, philosophy and exploration to describe emotion, often love.

metaphysical poets: Poets, usually writing in the 17th century and whose poetry utilises metaphysical imagery. Donne, Herbert, Marvell and Vaughan are among the best known metaphysical poets.

metaphysical: The word generally refers to a group of 17th century poets, who include Donne, Herbert and Marvell. Metaphysical poetry commonly has strikingimagery, which sometimes stems from new contemporary scientific and geographic discoveries, witty conceits, the contrast of the physical and the philosophical and a high impression of mortality. There is also flexibility in the meter and rhythmadopted.

metred ::: v. 1. Composed verses; set to poetry. adj. **2.** Divided into a rhythmic pattern, or in a measured arrangement.

metrical foot: The basic unit of rhythm in poetry.

Mi bskyod rdo rje. (Mikyo Dorje) (1507-1554). Tibetan Buddhist master recognized as the eighth KARMA PA, revered as one of the most dynamic teachers in his lineage. He was born in eastern Tibet and as a newborn child is said to have declared, "I am the Karma pa." Although a rival candidate was simultaneously promoted in A mdo, prominent BKA' BRGYUD lamas identified Mi bskyod rdo rje as the reincarnation of the seventh Karma pa. His enthronement took place on 1513 at RI BO CHE monastery. He received an invitation from the Chinese emperor Wuzong Zhengde (r. 1506-1522) who dispatched a military troop as an escort. The Karma pa declined the invitation, divining that the emperor would soon die. When the military escort returned to court, they found the emperor had indeed passed away. Mi bskyod rdo rje was famed as both a meditation master and scholar. He wrote dozens of works, including philosophical treatises on MADHYAMAKA and ABHIDHARMA, tantric commentaries, poetry, works on linguistics, SĀDHANAs, liturgies, and other ritual texts; his collected works comprise over thirty volumes. His artwork contributed to the establishment of a new painting style in eastern Tibet, known as the karma sgar bris, or "karmapa encampment" style.

Mi la'i mgur 'bum. (Mile Gurbum). In Tibetan, "The Hundred Thousand Songs of Milarepa", containing the collected spiritual songs and versified instructions of the eleventh-century Tibetan yogin MI LA RAS PA. Together with their brief narrative framing tales, the songs in this collection document the later period of Mi la ras pa's career, his life as a wandering hermit, his solitary meditation, subjugation of demons, and training of disciples. The work catalogues his songs of realization: expressions of his experiences as an awakened master, his reflections on the nature of the mind and reality, and his instructions for practicing the Buddhist path. The songs are composed in a vernacular idiom, abandoning the highly ornamental formal structure of classical poetry in favor of a simple and direct style. They are much loved in Tibet for their clarity, playfulness, and poetic beauty, and continue to be taught, memorized, and recited within most sects of Tibetan Buddhism. Episodes from the Mi la'i mgur 'bum have become standard themes for traditional Tibetan Buddhist plastic arts and have been adapted into theatrical dance performances (CHAMS). The number 100,000 is not literal, but rather a metaphor for the work's comprehensiveness; it is likely that many of the songs were first recorded by Mi la ras pa's own close disciples, perhaps while the YOGIN was still alive. The most famous version of this collection was edited and arranged by GTSANG SMYON HERUKA during the final decades of the fifteenth century, together with an equally famous edition of the MI LA RAS PA'I RNAM THAR ("The Life of Milarepa").

Mi la ras pa. (Milarepa) (1028/40-1111/23). The most famous and beloved of Tibetan YOGINs. Although he is associated most closely with the BKA' BRGYUD sect of Tibetan Buddhism, he is revered throughout the Tibetan cultural domain for his perseverance through hardship, his ultimate attainment of buddhahood in one lifetime, and for his beautiful songs. The most famous account of his life (the MI LA RAS PA'I RNAM THAR, or "The Life of Milarepa") and collection of spiritual songs (MI LA'I MGUR 'BUM, or "The Hundred Thousand Songs of Milarepa") are extremely popular throughout the Tibetan world. The themes associated with his life story-purification of past misdeeds, faith and devotion to the GURU, ardor in meditation and yogic practice, and the possibility of attaining buddhahood despite the sins of his youth-have inspired developments in Buddhist teaching and practice in Tibet. Mi la was his clan name; ras pa is derived from the single cotton robe (ras) worn by Tibetan anchorites, an attire Milarepa retained for most of his life. The name is therefore an appellation, "The Cotton-clad Mi la." Although his dates are the subject of debate, biographies agree that Mi la ras pa was born to a wealthy family in the Gung thang region of southwestern Tibet. He was given the name Thos pa dga', literally "Delightful to Hear." At an early age, after the death of his father, the family estate and inheritance were taken away by Mi la ras pa's paternal aunt and uncle, leaving Mi la ras pa, his mother, and his sister to suffer poverty and disgrace. At the urging of his mother, Mi las ras pa studied sorcery and black magic in order to seek revenge. He was successful in his studies, causing a roof to collapse during a wedding party hosted by his relatives, with many killed. Eventually feeling remorse and recognizing the karmic consequences of his deeds, he sought salvation through the practice of Buddhism. After brief studies with several masters, he met MAR PA CHOS KYI BLO GROS, who would become his root guru. Mar pa was esteemed for having traveled to India, where he received valuable tantric instructions. However, Mar pa initially refused to teach Mi la ras pa, subjecting him to all forms of verbal and physical abuse. He made him undergo various ordeals, including constructing single-handedly several immense stone towers (including the final tower built for Mar pa's son called SRAS MKHAR DGU THOG, or the "nine-storied son's tower"). When Mi la ras pa was at the point of despair and about to abandon all hope of receiving the teachings, Mar pa then revealed that the trials were a means of purifying the negative KARMAN of his black magic that would have prevented him from successfully practicing the instructions. Mar pa bestowed numerous tantric initiations and instructions, especially those of MAHĀMUDRĀ and the practice of GTUM MO, or "inner heat," together with the command to persevere against all hardship while meditating in solitary caves and mountain retreats. He was given the initiation name Bzhad pa rdo rje (Shepa Dorje). Mi la ras pa spent the rest of his life practicing meditation in seclusion and teaching small groups of yogin disciples through poetry and songs of realization. He had little interest in philosophical discourse and no tolerance for intellectual pretension; indeed, several of his songs are rather sarcastically directed against the conceits of monastic scholars and logicians. He was active across southern Tibet, and dozens of locations associated with the saint have become important pilgrimage sites and retreat centers; their number increased in the centuries following his death. Foremost among these are the hermitages at LA PHYI, BRAG DKAR RTA SO, CHU DBAR, BRIN, and KAILĀSA. Bhutanese tradition asserts that he traveled as far as the STAG TSHANG sanctuary in western Bhutan. Foremost among Milarepa's disciples were SGAM PO PA BSOD NAMS RIN CHEN and RAS CHUNG PA RDO RJE GRAGS. According to his biography, Mi la ras pa was poisoned by a jealous monk. Although he had already achieved buddhahood and was unharmed by the poison, he allowed himself to die. His life story ends with his final instructions to his disciples, the account of his miraculous cremation, and of how he left no relics despite the pleas of his followers.

Milton, John. Complete English Poetry, (ed.) John T.

minerva ::: n. --> The goddess of wisdom, of war, of the arts and sciences, of poetry, and of spinning and weaving; -- identified with the Grecian Pallas Athene.

minstrel ::: n. --> In the Middle Ages, one of an order of men who subsisted by the arts of poetry and music, and sang verses to the accompaniment of a harp or other instrument; in modern times, a poet; a bard; a singer and harper; a musician.

minstrels ::: medieval entertainers who traveled from place to place, especially to sing and recite poetry.

Miram Ch'ungji. (宓庵冲止) (1226-1292). Korean monk from the late Koryo dynasty and sixth-generation successor to the SUSoNSA religious society (K. kyolsa; C. JIESHE) established by POJO CHINUL; also known as Pophwan. In 1244, Miram passed the highest-level civil examination at the age of nineteen. He was subsequently appointed to the Hallim academy, the king's secretariat, and was later sent to Japan as an emissary. When he heard that state preceptor (K. kuksa; C. GUOSHI) CH'UNGGYoNG CH'oNYoNG was residing at the nearby monastery of Sonwonsa in Kaegyong, he decided to become the master's disciple. In 1286, after Ch'unggyong passed away, Ch'ungji succeeded him as head of the Susonsa society. He later went to Yanjing (present-day Beijing) at the request of the Yuan emperor Shizong (r. 1260-1294). He passed away in 1292 at the age of sixty-seven, and was given the posthumous title and name State Preceptor Won'gam. He was a talented poet and his poetry can be found in the Tongmunson. His extant writings also include the Chogye Won'gam kuksa orok, Haedong Chogye cheyukse Won'gam kuksa kasong, and Haedong Chogye Miram hwasang chapcho. A compendium of his writings, the Won'gam kuksa chip, is no longer extant.

morn ::: n. --> The first part of the day; the morning; -- used chiefly in poetry.

mount ::: v. --> A mass of earth, or earth and rock, rising considerably above the common surface of the surrounding land; a mountain; a high hill; -- used always instead of mountain, when put before a proper name; as, Mount Washington; otherwise, chiefly in poetry.
A bulwark for offense or defense; a mound.
A bank; a fund.
That upon which a person or thing is mounted
A horse.


musal ::: a. --> Of or pertaining to the Muses, or to Poetry.

museless ::: a. --> Unregardful of the Muses; disregarding the power of poetry; unpoetical.

muse ::: n. --> A gap or hole in a hedge, hence, wall, or the like, through which a wild animal is accustomed to pass; a muset.
One of the nine goddesses who presided over song and the different kinds of poetry, and also the arts and sciences; -- often used in the plural.
A particular power and practice of poetry.
A poet; a bard.
To think closely; to study in silence; to meditate.


obiyuary ::: a. --> Of or pertaining to the death of a person or persons; as, an obituary notice; obituary poetry.

Odr (Icelandic) Mind, wit, soul, sense; in Norse mythology, cosmic mind, corresponding to the Sanskrit mahat. The name Odin is derived from it when Odin represents the Allfather. In one legend reminiscent of the Egyptian tale of Isis, Odr is the husband of Frigga, who weeps golden tears as she searches the worlds for him. Here he may stand for one of the divine ancestors of the human race, and his long journeys are the peregrinations made by the monad, Odr’s spiritual aspect, through the worlds of form and matter. Odr is used for song or poetry in many compound words such as odar-smidr (song smith), odar-ar (speech oar, the tongue), odraerir (inspirer of wisdom, the vessel containing the blood of Kvasir: inspiration brought to the gods from higher gods).

oral literature : The custom of compiling and passing on narratives by word of mouth. Oral literature can often take the form of poetry or song. This mode of literature has long existed and still remains today in various societies. The Anglo-Saxon epic Beowulf is an example of this tradition.

overmind ::: Sri Aurobindo: "The overmind is a sort of delegation from the supermind (this is a metaphor only) which supports the present evolutionary universe in which we live here in Matter. If supermind were to start here from the beginning as the direct creative Power, a world of the kind we see now would be impossible; it would have been full of the divine Light from the beginning, there would be no involution in the inconscience of Matter, consequently no gradual striving evolution of consciousness in Matter. A line is therefore drawn between the higher half of the universe of consciousness, parardha , and the lower half, aparardha. The higher half is constituted of Sat, Chit, Ananda, Mahas (the supramental) — the lower half of mind, life, Matter. This line is the intermediary overmind which, though luminous itself, keeps from us the full indivisible supramental Light, depends on it indeed, but in receiving it, divides, distributes, breaks it up into separated aspects, powers, multiplicities of all kinds, each of which it is possible by a further diminution of consciousness, such as we reach in Mind, to regard as the sole or the chief Truth and all the rest as subordinate or contradictory to it.” *Letters on Yoga

   "The overmind is the highest of the planes below the supramental.” *Letters on Yoga

"In its nature and law the Overmind is a delegate of the Supermind Consciousness, its delegate to the Ignorance. Or we might speak of it as a protective double, a screen of dissimilar similarity through which Supermind can act indirectly on an Ignorance whose darkness could not bear or receive the direct impact of a supreme Light.” The Life Divine

"The Overmind is a principle of cosmic Truth and a vast and endless catholicity is its very spirit; its energy is an all-dynamism as well as a principle of separate dynamisms: it is a sort of inferior Supermind, — although it is concerned predominantly not with absolutes, but with what might be called the dynamic potentials or pragmatic truths of Reality, or with absolutes mainly for their power of generating pragmatic or creative values, although, too, its comprehension of things is more global than integral, since its totality is built up of global wholes or constituted by separate independent realities uniting or coalescing together, and although the essential unity is grasped by it and felt to be basic of things and pervasive in their manifestation, but no longer as in the Supermind their intimate and ever-present secret, their dominating continent, the overt constant builder of the harmonic whole of their activity and nature.” The Life Divine

   "The overmind sees calmly, steadily, in great masses and large extensions of space and time and relation, globally; it creates and acts in the same way — it is the world of the great Gods, the divine Creators.” *Letters on Yoga

"The Overmind is essentially a spiritual power. Mind in it surpasses its ordinary self and rises and takes its stand on a spiritual foundation. It embraces beauty and sublimates it; it has an essential aesthesis which is not limited by rules and canons, it sees a universal and an eternal beauty while it takes up and transforms all that is limited and particular. It is besides concerned with things other than beauty or aesthetics. It is concerned especially with truth and knowledge or rather with a wisdom that exceeds what we call knowledge; its truth goes beyond truth of fact and truth of thought, even the higher thought which is the first spiritual range of the thinker. It has the truth of spiritual thought, spiritual feeling, spiritual sense and at its highest the truth that comes by the most intimate spiritual touch or by identity. Ultimately, truth and beauty come together and coincide, but in between there is a difference. Overmind in all its dealings puts truth first; it brings out the essential truth (and truths) in things and also its infinite possibilities; it brings out even the truth that lies behind falsehood and error; it brings out the truth of the Inconscient and the truth of the Superconscient and all that lies in between. When it speaks through poetry, this remains its first essential quality; a limited aesthetical artistic aim is not its purpose.” *Letters on Savitri

"In the overmind the Truth of supermind which is whole and harmonious enters into a separation into parts, many truths fronting each other and moved each to fulfil itself, to make a world of its own or else to prevail or take its share in worlds made of a combination of various separated Truths and Truth-forces.” Letters on Yoga

*Overmind"s.


Paekkok Ch'onŭng. (白谷處能) (1617-1680). Korean monk of the Choson dynasty, also known as Sinsu. Ch'onŭng received a traditional Confucian education from Ŭihyon (d.u.) and subsequently became a monk in 1631. He returned to Seoul a few years later and continued to study the Confucian classics from a Confucian scholar by the name of Sin Iksong. He later went to the monastery of SSANGGYESA in CHIRISAN and became the disciple of the Son master PYoGAM KAKSoNG, under whom he studied for the next twenty-three years. In 1680, while lecturing at KŬMSANSA, he passed away at the age of sixty-four. Ch'onŭng was particularly renowned for his writing and poetry, and maintained a close relationship with the leading Confucian scholars at the time. As a response to King Hyonjong's (r. 1660-1674) suppression of Buddhism, Ch'onŭng submitted to the court the Kanp'ye Sokkyo so ("Remonstration against the Ruination of sākyamuni's Teachings"), a critical response to the Confucian criticisms of Buddhism that were prevalent during that period. His writings can also be found in the Paekkok chip and Imsongdang taesa haengjang. The Paekkok chip is a collection of his poems and the biographies, stele inscriptions, and records of other monks. The Kanp'ye Sokkyo so can also be found in the Paekkok chip. He also authored the Imsongdang taesa haengjang, a record of the life of the Son master Imsong Ch'ungon (1567-1638).

parallelism ::: n. --> The quality or state of being parallel.
Resemblance; correspondence; similarity.
Similarity of construction or meaning of clauses placed side by side, especially clauses expressing the same sentiment with slight modifications, as is common in Hebrew poetry; e. g.: --//At her feet he bowed, he fell:/Where he bowed, there he fell down dead. Judg. v. 27.


pararhyme: In poetry, a partial or imperfect rhyme, where the consonants rhyme but not the vowels. This is also known by the phrases "double consonance".

partiality ::: n. --> The quality or state of being partial; inclination to favor one party, or one side of a question, more than the other; undue bias of mind.
A predilection or inclination to one thing rather than to others; special taste or liking; as, a partiality for poetry or painting.


pegasean ::: a. --> Of or pertaining to Pegasus, or, figuratively, to poetry.

personification: A literary device where abstractions, animals, ideas, and inanimate objects are given human character traits, abilities, or reactions. Personification is common in poetry, but also appears in other writing.

poem: Any composition that could be said to be poetry or verse.

poematic ::: a. --> Pertaining to a poem, or to poetry; poetical.

poesie: An outdated term that refers to poetry, or specifically the activity of producing poetry.

poesy ::: n. --> The art of composing poems; poetical skill or faculty; as, the heavenly gift of poesy.
Poetry; metrical composition; poems.
A short conceit or motto engraved on a ring or other thing; a posy.


poetical ::: a. --> Of or pertaining to poetry; suitable for poetry, or for writing poetry; as, poetic talent, theme, work, sentiments.
Expressed in metrical form; exhibiting the imaginative or the rhythmical quality of poetry; as, a poetical composition; poetical prose.


poetic: Related to a poetry; Characteristic of poets; description of persons, objects, or ideas that connect to the soul of the beholder

poetics ::: n. --> The principles and rules of the art of poetry.

poet ::: n. --> One skilled in making poetry; one who has a particular genius for metrical composition; the author of a poem; an imaginative thinker or writer.

poetry: A literary genre characterized by rhythmical patterns of language and figurative language. Poetry is also created with a sense of the musicality, and is not just written for meaning.

poetry ::: “All poetry is an inspiration, a thing breathed into the thinking organ from above; it is recorded in the mind, but is born in the higher principle of direct knowledge or ideal vision which surpasses mind. It is in reality a revelation. The prophetic or revealing power sees the substance; the inspiration perceives the right expression. Neither is manufactured; nor is poetry really a poiesis or composition, nor even a creation, but rather the revelation of something that eternally exists. The ancients knew this truth and used the same word for poet and prophet, creator and seer, sophos, vates, kavi.” Essays Human and Divine

poetry ::: n. --> The art of apprehending and interpreting ideas by the faculty of imagination; the art of idealizing in thought and in expression.
Imaginative language or composition, whether expressed rhythmically or in prose. Specifically: Metrical composition; verse; rhyme; poems collectively; as, heroic poetry; dramatic poetry; lyric or Pindaric poetry.


poetry ::: Sri Aurobindo: "All poetry is an inspiration, a thing breathed into the thinking organ from above; it is recorded in the mind, but is born in the higher principle of direct knowledge or ideal vision which surpasses mind. It is in reality a revelation. The prophetic or revealing power sees the substance; the inspiration perceives the right expression. Neither is manufactured; nor is poetry really a poiesis or composition, nor even a creation, but rather the revelation of something that eternally exists. The ancients knew this truth and used the same word for poet and prophet, creator and seer, sophos, vates, kavi.” Essays Human and Divine

poet: Someone who writes poetry. Sometimes a poet uses poetry as a means of expressing personal interactions, emotion, and/or a way to address political, humanitarian issues.

polyhymnia ::: n. --> The Muse of lyric poetry.

Prāgbodhi(giri). (C. Qianzhengjueshan/Boluojiputishan; J. Zenshogakusen/Haragobodaisen; K. Chonjonggaksan/Pallagŭpporisan 前正覺山/鉢羅笈菩提山). Literally, "Before Enlightenment," or "Before Enlightenment Mountain," a mountain near BODHGAYĀ that sĀKYAMUNI is said to have ascended shortly before his enlightenment. In the account of his travels in India, XUANZANG recounts a story that does not seem to appear in Indian versions of the life of the Buddha. After accepting the meal of milk porridge from SUJĀTĀ, the BODHISATTVA climbed a nearby mountain, wishing to gain enlightenment there. However, when he reached the summit, the mountain began to quake. The mountain god informed the bodhisattva that the mountain was unable to bear the force of his SAMĀDHI, and if he practiced meditation there the mountain would collapse. As the bodhisattva descended the mountain he came upon a cave; he sat down there to meditate, but the earth began to tremble again. Deities then informed him that the mountain was not the appropriate place for him to achieve enlightenment and directed him to a pipal tree fourteen or fifteen leagues (li; approximately three miles) to the southwest. However, the dragon that lived in the cave implored him to stay and achieve enlightenment there. The bodhisattva departed, but left his shadow on the wall of the cave for the dragon; among the souvenirs that Xuanzang took back to China was a replica of this shadow. Based on Xuanzang's account, the story of the Buddha's ascent and descent of Prāgbodhi became popular in East Asia, and is the apparent source for the theme in poetry and painting of "sĀKYAMUNI Descending the Mountain."

prophetic ::: “The prophetic or revealing power sees the substance; the inspiration perceives the right expression. Neither is manufactured; nor is poetry really a poiesis or composition, nor even a creation, but rather the revelation of something that eternally exists. The ancients knew this truth and used the same word for poet and prophet, creator and seer, sophos, vates, kavi.” Essays Divine and Human

prose: Any work that is not written in a regular meter like poetry. Many genressuch as short stories, novels, letters and essays are normally written in prose.

protagonist: The main character in a narrative or poetry. See antagonist.

Pulcho chikchi simch'e yojol. (佛組直指心體要節). In Korean, "Essential Excerpts of the Buddhas and Patriarchs Pointing Directly to the Essence of Mind," also known by the abbreviated titles Chikchi simch'e yojol, or simply Chikchi; the earliest surviving example from anywhere in the world of a text printed using movable metal type, predating Gutenberg's 1455 printing of the Bible by seventy-eight years. The two-roll lineage anthology of the CHAN school was compiled in 1372 by PAEGUN KYoNGHAN (1299-1374), one of the three great Son masters of the late-Koryo dynasty. This anthology was first printed in 1377 at Hŭngdoksa (the ruins of which were located in 1985 in Unch'ondong, near the city of Ch'ongju in South Korea) using movable cast-metal type. This printing technology was known to have been in use in Koryo-period Korea prior to the Mongol invasions of 1231-1232, but no examples survive. The metal-type printing of the Chikchi is held in the collection of the Bibliothèque nationale in Paris, and its existence was first noted by Maurice Courant in 1901. The first roll of the anthology includes the enlightenment poems of the seven buddhas of antiquity (SAPTATATHĀGATA), the twenty-eight Indian patriarchs of the Son school (starting with MAHĀKĀsYAPA and ending with BODHIDHARMA), the six Chinese patriarchs (ZUSHI) of Chan, and several later Son masters. The second roll is a collection of the poetry, epitaphs, discourse records, and seminal teachings of eminent masters of the Son school, such as the fourteen "nondualities" (ADVAYA) of Kyonghan's Indian teacher ZHIKONG CHANXIAN (K. Chigong Sonhyon; S. *Dhyānabhadra). Like many of these lineage anthologies, the text is derivative, drawing on such earlier genealogical collections as the JINGDE CHUANDENG LU and the SoNMUN YoMSONG CHIP of CHIN'GAK HYESIM (1178-1234). Although the entire first roll and the first page of the second roll of the metal-type recension are lost, a complete xylographic edition of the anthology survives, which dates to 1378, one year later than the metal-type recension.

quote ::: from The Sufi Message, Volume X, Sufi Poetry


...Radueriel, the angel of poetry [239]

raphy, poetry, and angelology, serving as a consultant in the latter field to

regular ::: a. --> Conformed to a rule; agreeable to an established rule, law, principle, or type, or to established customary forms; normal; symmetrical; as, a regular verse in poetry; a regular piece of music; a regular verb; regular practice of law or medicine; a regular building.
Governed by rule or rules; steady or uniform in course, practice, or occurence; not subject to unexplained or irrational variation; returning at stated intervals; steadily pursued; orderlly; methodical; as, the regular succession of day and night; regular


Renaissance: Originally, the term refers to a period of cultural, technological, and artistic vitality during the British economic expansion in the late 1500s and early 1600s. More generally a renaissance is any period in which a people or nation experiences a period of vitality and explosive growth in its art, poetry, education, economy, linguistic development, or scientific knowledge. The term is positive in connotation.

renard ::: n. --> A fox; -- so called in fables or familiar tales, and in poetry.

repetition: This term can refer to the duplication of a number of things in literature. It can be the reiteration of words, phrases, sounds, motifs or ideas within a text. The device is often used within poetry for emphasis.

rhapsodist ::: One who recited epic and other poetry, especially professionally, in ancient Greece. (Sri Aurobindo employs the word as an adj.)

rhapsodist ::: one who recited epic and other poetry, especially professionally, in ancient Greece. (Sri Aurobindo employs the word as an adj.)

Rhapsodomancy: A form of divination, based on a line in a sacred book or book of poetry which strikes the eye when the book is opened, or which is the last line to be pierced by a needle stuck through the closed book.

rhyme ::: n. --> An expression of thought in numbers, measure, or verse; a composition in verse; a rhymed tale; poetry; harmony of language.
Correspondence of sound in the terminating words or syllables of two or more verses, one succeeding another immediately or at no great distance. The words or syllables so used must not begin with the same consonant, or if one begins with a vowel the other must begin with a consonant. The vowel sounds and accents must be the same, as also the sounds of the final consonants if there be any.


rhyme: Rhyme is the matching similarity of sounds in two or more words, especially when their accented vowels and all succeeding consonants are identical. For instance, the word-pairs listed here are all rhymes: mating/dating, feast/beast, emotion/demotion and fascinate/deracinate. Rhyme is often used inpoetry.

rhymester ::: n. --> A rhymer; a maker of poor poetry.

rhyme ::: verse or poetry having correspondence in the terminal sounds of the lines. rhymes, rhymed, rhyme-beats, world-rhyme.

rhythm ::: n. --> In the widest sense, a dividing into short portions by a regular succession of motions, impulses, sounds, accents, etc., producing an agreeable effect, as in music poetry, the dance, or the like.
Movement in musical time, with periodical recurrence of accent; the measured beat or pulse which marks the character and expression of the music; symmetry of movement and accent.
A division of lines into short portions by a regular


rhythm: The varying speed, movement, intensity, loudness, pitch, and expressiveness of speech, especially in poetry.

Romantic poets: Poets associated with the Romantic Period, ( from 1789 - 1824) when much poetry was written as a reaction to the Industrial revolution and the French Revolution. Examples of Romantic poets include Byron,Keats, Shelley,Blake and Wordsworth.

rondeau ::: n. --> A species of lyric poetry so composed as to contain a refrain or repetition which recurs according to a fixed law, and a limited number of rhymes recurring also by rule.
See Rondo, 1.


rune ::: n. --> A letter, or character, belonging to the written language of the ancient Norsemen, or Scandinavians; in a wider sense, applied to the letters of the ancient nations of Northern Europe in general.
Old Norse poetry expressed in runes.


Ryokan. (良寛) (1758-1831). In Japanese, "Virtuous Liberality"; Edo-period ZEN monk in the SoToSHu, often known as Ryokan Taigu (lit. Ryokan, the Great Fool). Ryokan was associated with a reformist group within the contemporary Soto monastic community that sought to restore formal meditative practice and the study of the writings of DoGEN KIGEN. Ryokan grew up in Echigo province (present-day Niigata prefecture), the son of a SHINTo priest. He became a novice monk at age seventeen at the nearby Soto monastery of Koshoji and was ordained when he turned twenty-one under a Soto monk named Kokusen (d. 1791). He left for Kokusen's monastery in the Bitchu province (present-day Okayama prefecture) and subsequently inherited the temple after Kokusen died. Soon afterward, however, he departed from the monastery, choosing instead to follow an itinerant lifestyle for the next several years. In 1804, he settled down for twelve years in a hut on Mt. Kugami, situated near his hometown. In 1826 Ryokan met Teishin (d. 1872), a young nun who had been previously widowed, and the two remained close companions until Ryokan's death. Ryokan eventually chose for himself a radically simple existence, living much of his life as a hermit, owning few possessions and begging for alms. He was well regarded for his love of children and his compassion for people from all social strata, including prostitutes. His expression of compassion was so extreme that he is even said to have placed lice inside his robes so they would not get cold and to have exposed his legs to mosquitoes while he slept. Ryokan was a renowned calligrapher and poet (in both Chinese and vernacular Japanese). Most of his verses are written as thirty-one-syllable tanka, although he also wrote ninety choka (long poems) and at least twenty other verses in nonstandard form. Ryokan's poetry addressed his common everyday experiences in the world in direct, humble terms. Ryokan did not publish during his lifetime; rather, his verses were collected and published posthumously by his companion Teishin.

sahityasmr.ti (sahityasmriti) ::: literary memory, the ability to recall sahityasmrti passages of poetry or other literature "not by effort to remember . . . but by inspiration" or any action of a "higher memory" by which "things are . . . remembered permanently without committing them to heart".

Saigyo. (西行) (1118-1190). A Japanese Buddhist poet of the late Heian and early Kamakura periods, especially famous for his many waka poems, a traditional style of Japanese poetry; his dharma name literally means "Traveling West," presumably referring to the direction of the PURE LAND of AMITĀBHA. Born as Sato Norikiyo into a family of the warrior class, he served during his youth as a guard for the retired emperor Toba (r. 1107-1123) before becoming a monk at the age of twenty-two. Although relatively little is known about his life, Saigyo seems to have traveled around the country on pilgrimage before eventually settling in relative seclusion on KoYASAN, the headquarters of the SHINGONSHu. Virtually all of his poems are written in the thirty-one-syllable waka form favored at court and cover most of the traditional topics addressed in such poems, including travel, reclusion, cherry blossoms, and the beauty of the moon in the night sky. His poetry also reflects the desolation and despondency that Japanese of his time may have felt was inevitable during the degenerate age of the dharma (J. mappo; C. MOFA). Saigyo's Sankashu ("Mountain Home Collection") includes some fifteen hundred poems written in the course of his career; ninety-four of these poems were included in the imperially sponsored waka collection, the Shinkokinshu ("New Collection of Ancient and Modern Times"), compiled in 1205, making him one of Japan's most renowned and influential poets.

Samādhirājasutra. (T. Ting nge 'dzin rgyal po'i mdo; C. Yuedeng sanmei jing; J. Gatttosanmaikyo; K. Woltŭng sammae kyong 月燈三昧經). The "King of Concentrations Sutra"; an important MAHĀYĀNA sutra (also known as the Candrapradīpa) composed in India, probably in the fourth century CE, with the text undergoing expansion in subsequent centuries. The text is a mixture of poetry and prose, with the verse sections considered to be the older stratum. The sutra is cited often in Mahāyāna sāstras, especially in the PRASANNAPADĀ of CANDRAKĪRTI and the sIKsĀSAMUCCAYA of sĀNTIDEVA, and is also one of the foundational texts, or "nine dharmas" (see NAVAGRANTHA), of Newar Buddhism. A Chinese translation of the complete sutra was made by Narendrayasas in 557. The Samādhirājasutra is composed of a dialogue between the Buddha and the bodhisattva Candragupta, and sets forth various forms of meditation for bodhisattvas, including the "king of concentrations" of the sutra's title, which is defined as "the proclamation that all phenomena are of the same nature." The sutra does not offer instructions for developing these samādhis, but instead provides their names and recounts their wondrous effects. The sutra describes at some length the two (rather than three) bodies of a buddha, the DHARMAKĀYA and the RuPAKĀYA, with the former identified with the "mind of clear light" (PRABHĀSVARACITTA).

sāqī ::: cup-bearer; wine-server or wine-pourer. Frequently used in Persian poetry to describe the glorious Server who continually pours out the wine everlasting to all of mankind.

Sarasvati (Saraswati) ::: "she of the stream, the flowing movement",Sarasvati a Vedic goddess who "represents the truth-audition, sruti, which gives the inspired word"; in later Hinduism, "the goddess of speech, of learning and of poetry"; same as Mahasarasvati.SarasvatiSarasvati bhava

Sarasvatī. (T. Dbyangs can ma; C. Biancaitian/Miaoyintian; J. Benzaiten/Myoonten; K. Pyonjaech'on/Myoŭmch'on 辯才天/妙音天). An Indian goddess revered in both Hinduism and Buddhism as the goddess of composition (including music and poetry) and of learning. She is often depicted playing a vīnā lute and riding on a swan. She appears in a number of Buddhist sutras, including the SUVARnAPRABHĀSOTTAMASuTRA. Because of that sutra's articulation of a role for Buddhism in "state protection" (see HUGUO FOJIAO), Sarasvatī came to be regarded as important goddess in Japan, where, as Benzaiten, she was included among the "seven gods of good fortune" (SHICHIFUKUJIN).

saraswati ::: n. --> The sakti or wife of Brahma; the Hindoo goddess of learning, music, and poetry.

scaldic ::: a. --> Of or pertaining to the scalds of the Norsemen; as, scaldic poetry.

Secondary and derivative meanings: (a) Anything concerned with the supra-physical. Thus "metaphysical healing", "metaphysical poetry", etc. (b) Any scheme of explanation which transcends the inadequacies or inaccuracies of ordinary thought. -- W.S.W.

self-expression ::: the expression or assertion of one"s own personality, as in conversation, behaviour, poetry, or painting.

semiped ::: n. --> A half foot in poetry.

Sengai Gibon. (仙崖義梵) (1750-1837). Japanese ZEN monk in the RINZAISHu, known for his whimsical teachings, his poetry, and especially for his calligraphy and sumi-e paintings. His best-known work in the West is a simple ink drawing of a circle, triangle, and square. He spent much of his life at SHoFUKUJI, where he served as abbot.

seraph ::: n. --> One of an order of celestial beings, each having three pairs of wings. In ecclesiastical art and in poetry, a seraph is represented as one of a class of angels.

sestet: A group of six lines of poetry, which can either be a whole poem in itself or simply a stanza.

Seventy-seven poems attributed to Taliesin come down, supposedly from the 6th century, though critics maintain that they are forgeries of the 12th or 13th. But the poetry of the later centuries is exceedingly different from the poetry of the Cynfeirdd — Talesin, Myrddin Gwyllt, Llywarch Hen, and Aneurin — said to have lived in the 6th century. Of these four, the first two are mystical and Druidical. The verse forms are simple, the rhythm is lofty: the thought, when it is apparent — for the language is exceedingly archaic and difficult — is in the grand manner. Twelfth and 13th century poetry on the other hand is ultra-tortuous in form — the extreme old age of a literature, when thought and inspiration are gone, and only delight in curious form remains — while the subject matter is practically always the Bard’s praise of his chieftain. Purely literary criticism would most certainly place the Cynfeirdd many centuries earlier than the 12th century poets.

Shakespeare, William: Both an English poet and playwright (1564-1616), Shakespeare wrote during the Elizabethan and Jacobean period. In poetry he is most renowned for his sonnets, which cover such themes as love, the effects of time, mortality and carpe diem. Shakespeare's poetic mastery, understanding of human nature and skill with words, several of which he created and brought into use, are what make him so successful.

Shasekishu. (沙石集). In Japanese, "Sand and Pebbles Collection"; an anthology of edifying folkloric tales from the Kamakura period (1185-1333). The collection was compiled by a RINZAISHu monk named MUJu ICHIEN (1227-1312) between 1279 and 1283 and contains 150 stories in a total of ten rolls. After finishing his initial compilation, Muju continued to add the stories to the collection, so there are different editions of varying length. The preface to the collection explains the title: "Those who search for gold extract it from sand; those who treasure jewels gather pebbles that they then polish." The collection, therefore, seeks to explain profound Buddhist truths as they are found in mundane affairs. Muju demonstrates throughout the collection his belief in "crazy words and embellished phrases" (kyogen kigo) as an expedient means of articulating ultimate religious goals. He even argues that the traditional waka style of Japanese poetry is in fact DHĀRAnĪ, a mystic code that encapsulates the essence of Buddhist teachings. Most of the stories in the collection offer edifying lessons in such basic Buddhist beliefs as nonattachment and karmic retribution and in such ethical values as loyalty, filial piety, and fidelity. The idea of expedient means (UPĀYA) is also applied to the various Buddhist schools and to Japanese traditional religion: all the various teachings of Buddhism are depicted as expedient means of conveying the religion's beliefs, and Muju denounces Buddhist practitioners who exclusively promote the teachings of only their own sects. The collection also introduced the idea of the "unity of SHINTo and Buddhism" (SHINBUTSU SHuGo) by describing Japanese indigenous spirits, or KAMI, as various manifestations of the Buddha. The humorous tone of the collection attracted many readers during the Tokugawa period (1603-1868), when it was reprinted several times.

Shenxiu. (J. Jinshu; K. Sinsu 神秀) (606?-706). Chinese CHAN master of the Tang dynasty and putative founder of the "Northern school" (BEI ZONG) of early Chan Buddhism. Shenxiu was a native of Kaifeng in present-day Henan province. As an extraordinarily tall man with well-defined features, Shenxiu is said to have had a commanding presence. In 625, Shenxiu was ordained at the monastery of Tiangongsi in Luoyang, but little is known of his activities in the first two decades following his ordination. In 651, Shenxiu became a disciple of HONGREN (601-674), cofounder of the East Mountain Teachings (DONGSHAN FAMEN) and the monk later recognized as the fifth patriarch of the Chan school; indeed, by many early accounts, such as the CHUAN FABAO JI and LENGQIE SHIZI JI, Shenxiu became Hongren's legitimate successor. According to the famous story in the LIUZU TANJING ("Platform Sutra of the Sixth Patriarch"), however, Shenxiu lost a verse-writing contest to the unlettered HUINENG (638-713), whom Hongren then in secret sanctioned as the sixth patriarch. However, it is unclear how long Shenxiu studied with Hongren. One source states that it was for a period of six years, in which case he would have left Hongren's monastery long before Huineng's arrival, making the famous poetry contest impossible. Regardless of the date of his departure, Shenxiu eventually left Hongren's monastery for Mt. Dangyang in Jingzhou (present-day Hubei province), where he remained for over twenty years and attracted many disciples. Shenxiu and his disciples were the subjects of a polemical attack by HEZE SHENHUI (684-758), who disparaged Shenxiu as representing a mere collateral branch of BODHIDHARMA's lineage and for promoting what Shenhui called a "gradual" (jian) approach to enlightenment. Shenhui instead promoted a "sudden teaching" (DUNJIAO), which he claimed derived from a so-called "Southern school" (NAN ZONG) founded by Huineng, another (and relatively obscure) disciple of Hongren, whom Shenhui claimed was Hongren's authentic successor and the true sixth patriarch (LIUZU). Later Chan historians such as GUIFENG ZONGMI (780-841) began to use the designation "Northern school" (Bei zong) to describe the lineage of Shenxiu and his disciples YIFU (661-736), PUJI (651-739), and XIANGMO ZANG (d.u.). While Shenhui's characterization of Shenxiu and his supposed "gradualism" is now known to be misleading, subsequent histories of the Chan tradition (see CHUANDENG LU) more or less adopted Shenhui's vision of early Chan; thus Huineng, rather than Shenxiu, comes to be considered the bearer of the orthodox Chan transmission. As one mark of Shenxiu's high standing within the Chan tradition of his time, in 700, Shenxiu was invited to the imperial palace by Empress WU ZETIAN, where the empress prostrated herself before the nonagenarian monk. She was so impressed with the aged Chan master that she decided to build him a new monastery on Mt. Dangyang named Dumensi. She also gave him the title of state preceptor (GUOSHI). Upon his death, he was given a state funeral. He is one of only three Buddhist monks whose biography is included in the Tang shi ("Tang Annals"). This is clearly not the profile of an imposter within the Chan lineage. Shenxiu's teachings are known to have focused on the transcendence of thoughts (linian) and the five expedient means (fangbian; S. UPĀYA); these teachings appear in "Northern school" treatises discovered at Dunhuang, such as the YUANMING LUN, Guanxin lun, and DASHENG WUSHENG FANGBIAN MEN. Shenxiu was an expert on the LAnKĀVATĀRASuTRA, a text favored by Hongren and the early Chan tradition, and is also thought to have written a substantial commentary on the AVATAMSAKASuTRA. Despite the uncomplimentary portrayal of the "Northern school" in mainstream Chan materials, it is now recognized that Shenxiu and his disciples actually played a much more important role in the early growth and development of the Chan school than the mature tradition acknowledged.

Shichifukujin. (七福神). In Japanese, "Seven Gods of Good Fortune"; an assembly of seven deities dating from at least the fifteenth century, which gained popularity in Japan's folk religious setting and are still well known today. Those who have faith in the group are said to gain happiness and good fortune in their lives. Before their grouping, each of the individual gods existed independently and historically shared little in common. Of the seven, Ebisu is the only god with an identity linked to the Japanese islands. Daikokuten (C. Dahei tian; S. MAHĀKĀLA), Bishamonten (C. Pishamen tian; S. VAIsRAVAnA), and Benzaiten (C. Biancai tian; S. SARASVATĪ) originated in India, and Hotei (C. BUDAI, d. 917), Jurojin (C. Shoulaoren), and Fukurokuju (C. Fulushou) come from the Chinese Buddho-Daoist traditions. Their grouping into seven gods of good fortune likely occurred in the Japanese Kansai region, with the commerce-affiliated Daikoku and Ebisu gaining initial popularity among merchants. Early mention of them appears in a reference from 1420, when they were said to have been escorted in procession through Fushimi, a southern ward of Kyoto, in imitation of a daimyo procession. ¶ Ebisu (a.k.a. Kotoshiro-nushi-no-mikoto, the abandoned child of Izanami and Izanagi) is the god of fishermen and the sea, commerce, good fortune, and labor. Among its etymological roots, the term "ebisu" traces back to the Ainu ethnic group of Hokkaido, connecting them to fishermen who came from abroad. Ebisu is often depicted with a fishing rod in one hand and either a large red sea bream (J. tai) or a folding fan in the other. Since the inception of the Shichifukujin, he is often paired with Daikokuten as either son or brother. ¶ Daikokuten, or "Great Black Spirit," comes originally from India (where is he is called Mahākāla); among the Shichifukujin, he is known as the god of wealth, agriculture, and commerce. Typically portrayed as standing on two bales of rice, Daikokuten carries a sack of treasure over his shoulder and a magic mallet in one hand. He is also considered to be a deity of the kitchen and is sometimes found in monasteries and private kitchens. Prior to the Tokugawa period, he was called Sanmen Daikokuten (Three-Headed Daikokuten), a wrathful protector of the three jewels (RATNATRAYA). ¶ Bishamonten, also originally from India (where he is called Vaisravana), is traditionally the patron deity of the state and warriors. He is often depicted holding a lance in one hand and a small pagoda in the palm of his other hand with which he rewards those he deems worthy. Through these associations, he came to represent wealth and fortune. His traditional residence is Mt. SUMERU, where he protects the Buddha's dais and listens to the dharma. ¶ Benzaiten ([alt. Myoonten]; C. Miaoyin tian) is the Indian goddess Sarasvatī. She is traditionally considered to be a goddess of music, poetry, and learning but among the Shichifukujin, she also represents good fortune. She takes two forms: one playing a lute in both hands, the other with eight arms. ¶ Hotei is the Japanese name of Budai (d. 916), a Chinese thaumaturge who is said to have been an incarnation of the BODHISATTVA MAITREYA (J. Miroku bosatsu). The only historical figure among the Shichifukujin, Hotei represents contentment and happiness. Famous for his fat belly and broad smile, Hotei is often depicted holding a large cloth bag (Hotei literally means "hemp sack"). From this bag, which never empties, he feeds the poor and needy. In some places, he has also become the patron saint of restaurants and bars, since those who drink and eat well are said to be influenced by Hotei. ¶ Jurojin and Fukurokuju, often associated with one another and said to share the same body, originated within the Chinese Daoist tradition. Jurojin (lit. "Gaffer Long Life"), the deity of longevity within the Shichifukujin, is possibly a historical figure from the late eleventh through twelfth century. Depicted as an old man with a long, white beard, he is often accompanied by a crane or white stag. Fukurokuju (lit. "Wealth, Happiness, and Longevity") has an elongated forehead, a long, white beard and usually a staff in one hand; he is likely based on a mythical Daoist hermit from the Song period. ¶ This set of seven gods is most commonly worshipped in Japan. There are, however, other versions. Especially noteworthy is a listing found in the 1697 Nihon Shichifukujinden ("The Exposition on the Japanese Seven Gods of Good Fortune"), according to which Fukurokuju and Jurojin are treated as a single god named Nankyoku rojin and a new god, Kichijoten (C. Jixiang tian; S. srīmahādevī), the goddess of happiness or auspiciousness, is added to the group.

singsong ::: n. --> Bad singing or poetry.
A drawling or monotonous tone, as of a badly executed song. ::: a. --> Drawling; monotonous.


sirvente ::: n. --> A peculiar species of poetry, for the most part devoted to moral and religious topics, and commonly satirical, -- often used by the troubadours of the Middle Ages.

sloka. ::: a stanza in Sanskrit poetry

Snyder, Gary. (1930-). American poet and prominent figure in Zen Buddhism in America. Gary Snyder was born in San Francisco and raised on a farm outside Seattle, Washington. He attended Reed College in Oregon, where he studied literature and anthropology. Inspired by DAISETZ TEITARO SUZUKI's Essays in Zen Buddhism, he taught himself to meditate, and devoted himself to the practice of Zen meditation while working as a fire lookout in Washington state. In 1952, he enrolled in the Department of Oriental Languages at the University of California, Berkeley, to study Chinese and Japanese. He met ALLEN GINSBERG and JACK KEROUAC in San Francisco and participated in the famous Six Gallery reading in 1955, where Ginsberg first read Howl. Snyder traveled to Japan in 1956, returning again in 1958 to spend seven years practicing Zen meditation at the monastery of DAITOKUJI. He returned to San Francisco in 1966. His work and his poetry have remained committed both to the exploration of Buddhist, especially Zen, practice and to the protection of the environment. Snyder served on the California Arts Council from 1974 to 1980 and taught at the University of California, Davis, where he helped found the Nature and Culture curriculum. He founded the Ring of Bone Zendo at his mountain farm in the northern Sierra Nevada range in California.

Somnambulism [from Latin somnus sleep + ambulare to walk] Sleepwalking; in this condition the person moves about as if entranced, like a human automaton. Though unconscious, he may read, write, compose music or poetry, execute skilled movements, tread dangerous heights safely, etc.; he may not only carry out the various activities of his waking state, but may perform both physical and mental feats of which he is normally incapable. He may then return to his bed, still asleep, and upon awakening retain no memory of his strange experience.

song ::: n. --> That which is sung or uttered with musical modulations of the voice, whether of a human being or of a bird, insect, etc.
A lyrical poem adapted to vocal music; a ballad.
More generally, any poetical strain; a poem.
Poetical composition; poetry; verse.
An object of derision; a laughingstock.
A trifle.


Sri Aurobindo: "Beauty is the special divine Manifestation in the physical as Truth is in the Mind, Love in the heart, Power in the vital.” *The Future Poetry

Sri Aurobindo: "That (‘to blend and blur shades owing to technical exigencies"] might be all right for mental poetry — it won"t do for what I am trying to create — in that, one word won"t do for the other. Even in mental poetry I consider it an inferior method. ‘Gleam" and ‘glow" are two quite different things and the poet who uses them indifferently has constantly got his eye upon words rather than upon the object.” Letters on Savitri *

Sri Aurobindo: "The prophetic or revealing power sees the substance; the inspiration perceives the right expression. Neither is manufactured; nor is poetry really a poiesis or composition, nor even a creation, but rather the revelation of something that eternally exists. The ancients knew this truth and used the same word for poet and prophet, creator and seer, sophos, vates, kavi.” Essays Divine and Human

Sri Aurobindo: "The word is a sound expression of the idea. In the supra-physical plane when an idea has to be realised, one can by repeating the word-expression of it, produce vibrations which prepare the mind for the realisation of the idea. That is the principle of the Mantras and of Japa. One repeats the name of the Divine and the vibrations created in the consciousness prepare the realisation of the Divine. It is the same idea that is expressed in the Bible: ‘God said, Let there be Light, and there was Light". It is creation by the Word.” *The Future Poetry

Sri Aurobindo: "Your ‘barely enough", instead of the finer and more suggestive ‘hardly", falls flat upon my ear; one cannot substitute one word for another in this kind of poetry merely because it means intellectually the same thing; ‘hardly" is the mot juste in this context and, repetition or not, it must remain unless a word not only juste but inevitable comes to replace it… . On this point I may add that in certain contexts ‘barely" would be the right word, as for instance, ‘There is barely enough food left for two or three meals", where ‘hardly" would be adequate but much less forceful. It is the other way about in this line. Letters on Savitri

stanza: Sections of arranged lines within a poem. Sometimes this is in a pattern repeated throughout the poem. Generally, each stanza has a fixed number of lines, and a consistent rhyme scheme, however in modern poetry this is not always the case. Further, a stanza may be a subdivision of a poem, or it may amount to the entire poem.

steed ::: n. --> A horse, especially a spirited horse for state of war; -- used chiefly in poetry or stately prose.

stress: In linguistics, stress is the emphasis, length and loudness that characterise one syllable as more prominent than another. In poetry, see meter and sonnets.

tanka: Similar to the haiku, the tanka is a type of Japanese poetry. It contains thirty-one syllables set in five lines of five / seven / five / seven / seven syllables.

tetracolon ::: n. --> A stanza or division in lyric poetry, consisting of four verses or lines.

“That (‘to blend and blur shades owing to technical exigencies’] might be all right for mental poetry—it won’t do for what I am trying to create—in that, one word won’t do for the other. Even in mental poetry I consider it an inferior method. ‘Gleam’ and ‘glow’ are two quite different things and the poet who uses them indifferently has constantly got his eye upon words rather than upon the object.” Letters on Savitri

-. The Poetry and Prose of William Blake, (ed.) David

The Poetry Society of America.

“The brew of the as,” “Odin’s brew,” or the “bardic mead” is inspired poetry, the runes of ancient wisdom sought by Odin in the giant worlds. The “driving of the as” or Tordon (Thor’s din) is thunder.

The first Dalai Lama, DGE 'DUN GRUB, was known as a great scholar and religious practitioner. A direct disciple of TSONG KHA PA, he is remembered for founding BKRA SHIS LHUN PO monastery near the central Tibetan town of Shigatse. The second Dalai Lama, Dge 'dun rgya mtsho, was born the son of a RNYING MA YOGIN and became a renowned tantric master in his own right. ¶ It is with the third Dalai Lama, BSOD NAMS RGYA MTSHO, that the Dalai Lama lineage actually begins. Recognized at a young age as the reincarnation of Dge 'dun rgya mtsho, he was appointed abbot of 'BRAS SPUNGS monastery near LHA SA and soon rose to fame throughout central Asia as a Buddhist teacher. He served as a religious master for the Mongol ruler Altan Khan, who bestowed the title "Dalai Lama," and is credited with converting the Tümed Mongols to Buddhism. Later in life, he traveled extensively across eastern Tibet and western China, teaching and carrying out monastic construction projects. ¶ The fourth Dalai Lama, Yon tan rgya mtsho, was recognized in the person of the grandson of Altan Khan's successor, solidifying Mongol-Tibetan ties. ¶ While the first four Dalai Lamas served primarily as religious scholars and teachers, the fifth Dalai Lama, NGAG DBANG BLO BZANG RGYA MTSHO, combined religious and secular activities to become one of Tibet's preeminent statesmen. He was a dynamic political leader who, with the support of Gushi Khan, defeated his opponents and in 1642 was invested with temporal powers over the Tibetan state, in addition to his religious role, a position that succeeding Dalai Lamas held until 1959. A learned and prolific author, he and his regent, SDE SRID SANGS RGYAS RGYA MTSHO, were largely responsible for the identification of the Dalai Lamas with the bodhisattva Avalokitesvara. The construction of the PO TA LA palace began during his reign (and was completed after this death). He is popularly known as the "Great Fifth." ¶ The sixth Dalai Lama, TSHANGS DBYANGS RGYA MTSHO, was a controversial figure who chose to abandon the strict monasticism of his predecessors in favor of a life of society and culture, refusing to take the vows of a fully ordained monk (BHIKsU). He is said to have frequented the drinking halls below the Po ta la palace. He constructed pleasure gardens and the temple of the NAGAs, called the KLU KHANG, on the palace grounds. He is remembered especially for his poetry, which addresses themes such as love and the difficulty of spiritual practice. Tibetans generally interpret his behavior as exhibiting an underlying tantric wisdom, a skillful means for teaching the dharma. His death is shrouded in mystery. Official accounts state that he died while under arrest by Mongol troops. According to a prominent secret biography (GSANG BA'I RNAM THAR), however, he lived many more years, traveling across Tibet in disguise. ¶ The seventh Dalai Lama, SKAL BZANG RGYA MTSHO, was officially recognized only at the age of twelve, and due to political complications, did not participate actively in affairs of state. He was renowned for his writings on tantra and his poetry. ¶ The eighth Dalai Lama, 'Jam dpal rgya mtsho (Jampal Gyatso, 1758-1804), built the famous NOR BU GLING KHA summer palace. ¶ The ninth through twelfth Dalai Lamas each lived relatively short lives, due, according to some accounts, to political intrigue and the machinations of power-hungry regents. According to tradition, from the death of one Dalai Lama to the investiture of the next Dalai Lama as head of state (generally a period of some twenty years), the nation was ruled by a regent, who was responsible for discovering the new Dalai Lama and overseeing his education. If the Dalai Lama died before reaching his majority, the reign of the regent was extended. ¶ The thirteenth Dalai Lama, THUB BSTAN RGYA MTSHO, was an astute and forward-looking political leader who guided Tibet through a period of relative independence during a time of foreign entanglements with Britain, China, and Russia. In his last testament, he is said to have predicted Tibet's fall to Communist China. ¶ The fourteenth and present Dalai Lama, Bstan 'dzin rgya mtsho, assumed his position several years prior to reaching the age of majority as his country faced the Chinese invasion of Tibet in 1950. In 1959, he escaped into exile, establishing a government-in-exile in the Himalayan town of Dharamsala (DHARMAsALA) in northwestern India. Since then, he has traveled and taught widely around the world, while also advocating a nonviolent solution to Tibet's occupation. He was born in the A mdo region of what is now Qinghai province in China to a farming family, although his older brother had already been recognized as an incarnation at a nearby important Dge lugs monastery (SKU 'BUM). On his becoming formally accepted as Dalai Lama, his family became aristocrats and moved to Lha sa. He was educated traditionally by private tutors (yongs 'dzin), under the direction first of the regent Stag brag rin po che (in office 1941-1950), and later Gling rin po che Thub bstan lung rtogs rnam rgyal (1903-1983) and Khri byang rin po che Blo bzang ye shes (1901-1981). His modern education was informal, gained from conversations with travelers, such as the Austrian mountaineer Heinrich Harrer. When the Chinese army entered the Khams region of eastern Tibet in 1951, he formally took over from the regent and was enthroned as the head of the DGA' LDAN PHO BRANG government. In the face of Tibetan unrest as the Chinese government brought Tibet firmly under central control, the Dalai Lama fled to India in 1959; the Indian government accorded the Dalai Lama respect as a religious figure but did not accept his claim to be the head of a separate state. In 1989, the Dalai Lama was awarded the Nobel Peace Prize, an event that increased his prominence around the world. He is the author of many books in English, most of them the written record of lectures and traditional teachings translated from Tibetan.

The four kingdoms of elementals, existing in the four elements, are also known under the general designation of fairies and fays in the myths, fables, traditions, and poetry of all nations, ancient and modern. Their names are legion: peris, devs, jinn, sylvans, satyrs, fauns, elves, dwarfs, trolls, nixies, kobolds, brownies, banshees, leprechauns, pixies, moss-people, good people, good neighbors, wild women, men of peace, white ladies, and many more. They have been seen, feared, blessed, banned, and invoked in every quarter of the globe in every age.

"The greatest motion of poetry comes when the mind is still and the ideal principle works above and outside the brain, above even the hundred petalled lotus of the ideal mind, in its proper empire; for then it is Veda that is revealed, the perfect substance and expression of eternal truth.” Essays Divine and Human*

“The greatest motion of poetry comes when the mind is still and the ideal principle works above and outside the brain, above even the hundred petalled lotus of the ideal mind, in its proper empire; for then it is Veda that is revealed, the perfect substance and expression of eternal truth.” Essays Divine and Human

The legendary Orpheus was the son of Apollo, god of music and the sun, and of Calliope, muse of epic poetry. With his seven-stringed lyre, the symbol of the cosmic and human constitution, he became the magical musician: rocks moved, trees bent, flowers sprang forth, mountains bowed themselves before his song. He journeyed with the Argonauts on their quest for the Golden Fleece. His mystic union with Eurydice, like the Argonautic quest, is clearly allegorical. Orpheus won his mystic bride by the power of his music and after the mystic union returned to Pimpleia on Mount Olympus where he lived and taught in a cave (recorded also of other great teachers).

The line of Karma pas originated during the twelfth century with DUS GSUM MKHYEN PA, a close disciple of SGAM PO PA BSOD NAMS RIN CHEN, who had himself studied under the famous YOGIN MI LA RAS PA. Dus gsum mkhyen pa established several important monasteries, including Mtshur phu, which served as the main seat of the Karma pas and the Karma bka' brgyud in central Tibet. Dus gsum mkhyen pa's successor, the second Karma pa KARMA PAKSHI, is remembered especially for his prowess in meditation and thaumaturgy. He was patronized by the Mongols, first by Mongke (1209-1259) and later by his brother, the Yuan emperor Qubilai Khan (r. 1260-1294) before losing the emperor's support. The third Karma pa RANG 'BYUNG RDO RJE continued this affiliation with the Mongol court, playing a role in emperor Toghun Temür's (r. 1333-1368) ascension to the throne. The fourth Karma pa Rol pa'i rdo rje and fifth Karma pa Bde bzhin gshegs pa maintained ties with the Chinese court-the former with Toghun Temür and the latter serving as the preceptor of the Yongle emperor (reigned 1402-1424) of the Ming dynasty, a position of great influence. The sixth Karma pa Mthong ba don ldan did not maintain the same political connections of his predecessors; he is remembered especially for his contributions to the religious life of the Karma bka' brgyud, producing meditation and ritual manuals. The seventh Karma pa Chos grags rgya mtsho is known primarily for his philosophical works on logic and epistemology (PRAMĀnA); his voluminous text on the topic is still used today as a principal textbook in many Bka' brgyud monasteries. The eighth Karma pa MI BSKYOD RDO RJE is among the most renowned scholars of his generation, a prolific author whose writings encompassed Sanskrit, poetry, and art, as well as MADHYAMAKA philosophy and tantra. The ninth Karma pa DBANG PHYUG RDO RJE is revered for his influential works on the theory and practice of MAHĀMUDRĀ. It was during his lifetime that the DGE LUGS hierarchs ascended to power, with an attendant decline in the political fortunes of his sect in central Tibet. His successor, the tenth Karma pa Chos kyi dbang phyug, was thus forced into a life of virtual exile near the Sino-Tibetan border in the east as his patron, the king of Gtsang, was defeated by the Gushri Khan, patron of the Dge lugs. As the war came to an end, the tenth Karma pa returned to LHA SA where he established ties with the fifth Dalai Lama NGAG DBANG BLO BZANG RGYA MTSHO. The eleventh Karma pa Ye shes rdo rje and twelfth Karma pa Byang chub rdo rje lived relatively short lives, although the latter made an important journey through Nepal together with his disciple, the brilliant scholar and Sanskritist Si tu CHOS KYI 'BYUNG GNAS. The life of the thirteenth Karma pa Bdud 'dul rdo rje was, for the most part, lived outside the sphere of politics. He is remembered for his love of animals, to which he taught the dharma. Beginning during his lifetime and continuing into that of the fourteenth Karma pa Theg mchog rdo rje, there was a revival of Bka' brgyud doctrine in the eastern Tibetan province of Khams, as part of what has come to be called the RIS MED or non-sectarian movement. The fourteenth Karma pa's disciple, 'JAM MGON KONGS SPRUL BLO GROS MTHA' YAS, played a leading role. The fifteenth Karma pa Mkha' khyab rdo rje, a principal disciple of 'Jam mgon kongs sprul, was a prolific scholar. The sixteenth Karma pa RANG 'BYUNG RIG PA'I RDO RJE, like other lamas of his generation, saw the Communist Chinese occupation of Tibet, fleeing to India in 1959 and establishing an exile seat at Rumtek Monastery in Sikkim. He was the first Karma pa to visit the West. The seventeenth Karma pa O rgyan 'phrin las rdo rje was enthroned at Mtshur phu monastery on September 27, 1992. In late December 2000, he escaped into exile, establishing a residence in Dharamsala, India. Although his identification as the Karma pa has been disputed by a small number of followers of a rival candidate, O rgyan 'phrin las rdo rje is regarded as the seventeenth Karma pa by the majority of the Tibetan community, including the Dalai Lama.

The mantra as I have tried to describe it in The Future Poetry is a word of power and light that comes from the Overmind inspiration or from some very high plane of Intuition. Its characteristics are a language that conveys infinitely more than the mere surface sense of the words seems to indicate, a rhythm that means even more than the language and is born out of the Infinite and disappears into it, and the power to convey not merely the mental, vital or physical contents or indications or values of the thing uttered, but its significance and figure in some fundamental and original consciousness which is behind all these and greater.
   Ref: CWSA Vol. 27, Page: 26-27


The Mother: "For me poetry is beyond all philosophy and beyond all explanation.” On Education, MCW Vol. 12.

The Mother: “For me poetry is beyond all philosophy and beyond all explanation.” On Education, MCW Vol. 12.

“The Overmind is essentially a spiritual power. Mind in it surpasses its ordinary self and rises and takes its stand on a spiritual foundation. It embraces beauty and sublimates it; it has an essential aesthesis which is not limited by rules and canons, it sees a universal and an eternal beauty while it takes up and transforms all that is limited and particular. It is besides concerned with things other than beauty or aesthetics. It is concerned especially with truth and knowledge or rather with a wisdom that exceeds what we call knowledge; its truth goes beyond truth of fact and truth of thought, even the higher thought which is the first spiritual range of the thinker. It has the truth of spiritual thought, spiritual feeling, spiritual sense and at its highest the truth that comes by the most intimate spiritual touch or by identity. Ultimately, truth and beauty come together and coincide, but in between there is a difference. Overmind in all its dealings puts truth first; it brings out the essential truth (and truths) in things and also its infinite possibilities; it brings out even the truth that lies behind falsehood and error; it brings out the truth of the Inconscient and the truth of the Superconscient and all that lies in between. When it speaks through poetry, this remains its first essential quality; a limited aesthetical artistic aim is not its purpose.” Letters on Savitri

*”…there is a spiritual mind which, can admit us to a greater and more comprehensive vision. *The Future Poetry*

“…there is a spiritual mind which, can admit us to a greater and more comprehensive vision. The Future Poetry

the wife of Potiphar, her passion for Joseph is much celebrated in the East, particularly in the Persian poetry of Nazāmī and Jāmī.

The Younger Edda, in which the verses are rendered in prose form by Snorri Sturlusson, a pupil of Saemund’s grandson in the school at Oddi, contains some material which has been omitted or lost from the poetic version. A large part of Snorri’s Edda is devoted to Skaldskaparmal, a treatise on the rules of alliteration and meter that apply in the creation of poetry, and the uses of kenningar — a type of word play giving suggestive descriptions instead of the words commonly used to designate people, gods, and things. As examples of kennings the Tree of Life is called variously the soil mulcher, the shade giver, and Odin is named allfather, the thinker, the disguised, etc. The other two sections of Snorri’s Edda are named Hattatal (rules or conventions), and Gylfaginning (the mocking of Gylfe). This can also mean the “apotheosis of Gylfe” which, in the context of a Mystery teaching presents interesting possibilities.

Thích Nhất Hạnh. (釋一行) (1926-). Internationally renowned Vietnamese monk and one of the principal propounders of "Engaged Buddhism." He was born in southern Vietnam, the son of a government bureaucrat. Nhát Hạnh entered a Buddhist monastery as a novice in 1942, where he studied with a Vietnamese Zen master, and received full ordination as a monk in 1949. His interests in philosophy, literature, and foreign languages led him to leave the Buddhist seminary to study at Saigon University. While teaching in a secondary school, he served as editor of the periodical "Vietnamese Buddhism," the organ of the Association of All Buddhists in Vietnam. In 1961, he went to the United States to study at Princeton University, returning to South Vietnam in December 1963 after the overthrow of the government of the Catholic president Ngô Đình Diem, which had actively persecuted Buddhists. The persecutions had led to widespread public protests that are remembered in the West through photographs of the self-immolation of Buddhist monks. Nhát Hạnh worked to found the Unified Buddhist Church and the Institute of Higher Buddhist Studies, which later became Vạn Hạnh University. He devoted much of his time to the School of Youth for Social Service, which he founded and of which he was the director. The school's activities included sending teams of young people to the countryside to offer various forms of social assistance to the people. He also founded a new Buddhist sect (the Order of Interbeing), and helped establish a publishing house, all of which promoted what he called Engaged Buddhism. A collection of his pacifist poetry was banned by the governments of both North and South Vietnam. While engaging in nonviolent resistance to the Vietnam War, he also sought to aid its victims. In 1966, Nhát Hạnh promulgated a five-point peace plan while on an international lecture tour, during which he met with Dr. Martin Luther King Jr. (who would later nominate him for the Nobel Peace Prize) and Thomas Merton in the United States, addressed the House of Commons in Britain, and had an audience with Pope Paul VI in Rome. The book that resulted from his lecture tour, Vietnam: Lotus in a Sea of Fire, was banned by the South Vietnamese government. Fearing that he would be arrested or assassinated if he returned to Vietnam after the lecture tour, his supporters urged him to remain abroad and he has lived in exile ever since, residing primarily in France. He founded a center called Plum Village in southern France, whence he has sought to assist Vietnamese refugees and political prisoners and to teach Engaged Buddhism to large audiences in Europe and the Americas. A prolific writer, he has published scores of books on general, nonsectarian Buddhist teachings and practices, some of which have become bestsellers. He has made numerous trips abroad to teach and lead meditation retreats. In his teachings, Nhát Hạnh calls for a clear recognition and analysis of suffering, identifying its causes, and then working to relieve present suffering and prevent future suffering through nonviolent action. Such action in bringing peace can only truly succeed when the actor is at peace or, in his words, is "being peace."

thine ::: pron. & a. --> A form of the possessive case of the pronoun thou, now superseded in common discourse by your, the possessive of you, but maintaining a place in solemn discourse, in poetry, and in the usual language of the Friends, or Quakers.

Thun mong ma yin pa'i mdzod. (Tunmong Mayinpe Dzo). In Tibetan, "The Uncommon Treasury"; an encyclopedic work written by the nineteenth-century Tibetan scholar 'JAM MGON KONG SPRUL BLO GROS MTHA' YAS. The text is counted among the five treasuries of Kongtrül (KONG SPRUL MDZOD LNGA). It preserves numerous tantric ritual and liturgical texts of the RNYING MA sect of Tibetan Buddhism, as well as works on philosophy, poetry, astrology, and descriptions of local Buddhist practices and sites.

thy ::: pron. --> Of thee, or belonging to thee; the more common form of thine, possessive case of thou; -- used always attributively, and chiefly in the solemn or grave style, and in poetry. Thine is used in the predicate; as, the knife is thine. See Thine.

"To me, for instance, consciousness is the very stuff of existence and I can feel it everywhere enveloping and penetrating the stone as much as man or the animal. A movement, a flow of consciousness is not to me an image but a fact. If I wrote "His anger climbed against me in a stream", it would be to the general reader a mere image, not something that was felt by me in a sensible experience; yet I would only be describing in exact terms what actually happened once, a stream of anger, a sensible and violent current of it rising up from downstairs and rushing upon me as I sat in the veranda of the Guest-House, the truth of it being confirmed afterwards by the confession of the person who had the movement. This is only one instance, but all that is spiritual or psychological in Savitri is of that character. What is to be done under these circumstances? The mystical poet can only describe what he has felt, seen in himself or others or in the world just as he has felt or seen it or experienced through exact vision, close contact or identity and leave it to the general reader to understand or not understand or misunderstand according to his capacity. A new kind of poetry demands a new mentality in the recipient as well as in the writer.” Letters on Savitri

“To me, for instance, consciousness is the very stuff of existence and I can feel it everywhere enveloping and penetrating the stone as much as man or the animal. A movement, a flow of consciousness is not to me an image but a fact. If I wrote ’His anger climbed against me in a stream’, it would be to the general reader a mere image, not something that was felt by me in a sensible experience; yet I would only be describing in exact terms what actually happened once, a stream of anger, a sensible and violent current of it rising up from downstairs and rushing upon me as I sat in the veranda of the Guest-House, the truth of it being confirmed afterwards by the confession of the person who had the movement. This is only one instance, but all that is spiritual or psychological in Savitri is of that character. What is to be done under these circumstances? The mystical poet can only describe what he has felt, seen in himself or others or in the world just as he has felt or seen it or experienced through exact vision, close contact or identity and leave it to the general reader to understand or not understand or misunderstand according to his capacity. A new kind of poetry demands a new mentality in the recipient as well as in the writer.” Letters on Savitri

to Metatron’s. He is the angel of poetry, master of

Totagamuwa, srī Rāhula. (1408-1491). A Sinhalese monk of the fifteenth century and one of the most celebrated poets of Sri Lanka. His most famous works include Selalihini Sandesa ("The Bird Sela's Message") and Kaviyasekera ("The Crown of Poetry"). Despite his status as a monk, his verse includes many secular themes, such as the power of kings and the beauty of women. His erudition also secured him a reputation as a great debater. TOtAGAMUWA received much praise and support from the Sinhalese king PARĀKRAMABĀHU VI, who came to the throne in 1410.

tragi-comi-pastoral ::: a. --> Partaking of the nature of, or combining, tragedy, comedy, and pastoral poetry.

trench poetry: Poetry and songs written by both practiced poets and ordinary soldiers, which focuses on the disenchantment, torment, bitterness, and moral dismay these individuals felt as a result of their participation in World War I (the trench war). Eminent trench poets include Sassoon and Owen. In particular Owen's Dulce Et Decorum Est is an example of well-known trench poetry.

trochee: A two-syllable unit or foot of poetry, which consists of a heavy stressfollowed by a light stress. Numerous words in English naturally form trochees: clever, shatter, pitcher, chorus etc. A line of poetry set out in consecutive trochees is written in trochaic meter.

troubadour ::: n. --> One of a school of poets who flourished from the eleventh to the thirteenth century, principally in Provence, in the south of France, and also in the north of Italy. They invented, and especially cultivated, a kind of lyrical poetry characterized by intricacy of meter and rhyme, and usually of a romantic, amatory strain.

trump ::: n. --> A wind instrument of music; a trumpet, or sound of a trumpet; -- used chiefly in Scripture and poetry.
A winning card; one of a particular suit (usually determined by chance for each deal) any card of which takes any card of the other suits.
An old game with cards, nearly the same as whist; -- called also ruff.
A good fellow; an excellent person.


tuneless ::: a. --> Without tune; inharmonious; unmusical.
Not employed in making music; as, tuneless harps.
Not expressed in music or poetry; unsung.


Turfan. Central Asian petty kingdom located along the northern track of the SILK ROAD through the Takla Makhan desert, in what is now the Chinese province of Xinjiang. This and other oasis kingdoms in Central Asia served as crucial stations in the transmission of Buddhism from India to China. Buddhism had a strong presence in Turfan from the seventh century through the fourteenth century, with important texts being translated, cave temples built, and works of art produced. The oldest physical manuscripts of the Indian Buddhist tradition are manuscripts in the KHAROstHĪ script (see GĀNDHĀRĪ), dated to the fourth to fifth centuries CE, which were discovered at Turfan. These and other discoveries were made by a team of German researchers led by Albert Grünwedel and Albert von Le Coq in a series of expeditions between 1902 and 1914. Turfan was also the locus where TOCHARIAN A (East Tocharian, or Turfanian) was used; manuscripts in Tocharian A date primarily from the eighth century. Western expeditions into the area led to the discovery of tens of thousands of textual fragments, in a variety of languages and scripts, which came to be known collectively as the "Turfan Collection." These texts belong to a variety of genres and schools, but the SARVĀSTIVĀDA is prevalent, leading to the conclusion that the school was prominent in Turfan. As with other locations in this region, the dry desert air helped to preserve the various materials on which these texts were written. In Turfan were found translations of Sanskrit and Chinese Buddhist texts, as well as some original Buddhist poetry and lay literature. Also discovered in Turfan were the Bezaklik rock caves, dating from around the ninth century, which contain the painted images of thousands of buddhas. Albert von le Coq removed many of these and transported them to Berlin, where many were destroyed by Allied bombing during the Second World War. Although this area was a melting pot of Indian, Chinese, and Central Asian traditions, Buddhist activity in the Turfan region saw a sharp rise in the ninth century, when the Uighur people moved from Mongolia into the Turfan region and many Turfan texts are recorded in the Uighur script. Buddhism seems to have survived in this region until as late as the fifteenth century.

twain ::: a. & n. --> Two; -- nearly obsolete in common discourse, but used in poetry and burlesque.

verse ::: 1. A succession of metrical feet written, printed, or orally composed as one line; one of the lines of a poem. 2. A poem, or piece of poetry. 3. A particular type of metrical composition. verses.

versemonger ::: n. --> A writer of verses; especially, a writer of commonplace poetry; a poetaster; a rhymer; -- used humorously or in contempt.

verse ::: n. --> A line consisting of a certain number of metrical feet (see Foot, n., 9) disposed according to metrical rules.
Metrical arrangement and language; that which is composed in metrical form; versification; poetry.
A short division of any composition.
A stanza; a stave; as, a hymn of four verses.
One of the short divisions of the chapters in the Old and New Testaments.


versification ::: n. --> The act, art, or practice, of versifying, or making verses; the construction of poetry; metrical composition.

  ". . . Virat, the seer and creator of gross forms, . . . .” The Future Poetry

“… Virat, the seer and creator of gross forms, …” The Future Poetry

Wang Wei. (J. o I; K. Wang Yu 王維) (701-761). Chinese poet, painter, and musician during the Tang dynasty and close associate of masters in the early CHAN school; his cognomen was Mojie. In 721, Wang Wei passed the imperial civil service examination and was appointed as assistant director of the Imperial Music Office. By 759, shortly after the An Lushan rebellion, he had risen to the high bureaucratic rank of right assistant director of the Department of State Affairs. Wang Wei is known to have maintained close relationships with several major figures in the thriving Chan tradition and wrote the funerary inscriptions for such monks as JINGJUE (683-c. 760), author of the LENGQIE SHIZI JI, and the sixth patriarch (LIUZU) HUINENG. Although there is no direct evidence of Buddhist influences in his writing, it is commonly asserted that his close relations with these Chan figures contributed to Wang Wei's subtle and reflective descriptions of nature in his landscape poetry.

war literature: Works - mainly poetry - written about, or as a result of, the First World War. Sometimes this literature can be patriotic, but usually expresses a sense of revulsion and disgust. See trench poetry.

war poets: See war literature and trench poetry.

wenzi Chan. (J. monjizen; K. muncha Son 文字禪). In Chinese, "lettered Chan"; a designation coined by JUEFAN HUIHONG (1071-1128) during the Northern Song dynasty (960-1127) to refer to a literati style of Chan exegesis that valorized belle lettres, and especially poetry, in the practice of CHAN. Huihong himself traces the origins of "lettered Chan" to the "five ranks" (WUWEI) of CAOSHAN BENJI (840-901), although Caoshan himself attributes the five ranks to his teacher DONGSHAN LIANGJIE (807-869); in these ranks, Huihong finds the first evidence within the Chan tradition that the manipulation of language in the analysis of the sayings attributed to the ancient Chan masters can bring about awakening. This style of Chan is especially emblematic of monks in the HUANGLONG PAI collateral lineage of the LINJI ZONG.

Word ::: “The word is a sound expression of the idea. In the supra-physical plane when an idea has to be realised, one can by repeating the word-expression of it, produce vibrations which prepare the mind for the realisation of the idea. That is the principle of the Mantras and of Japa. One repeats the name of the Divine and the vibrations created in the consciousness prepare the realisation of the Divine. It is the same idea that is expressed in the Bible: ‘God said, Let there be Light, and there was Light’. It is creation by the Word.” The Future Poetry

yulu. (J. goroku; K. orok 語録). In Chinese, "discourse records" or "recorded sayings," also known as yuben (lit. "edition of discourses") or guanglu ("extensive records"); compilations of the sayings of CHAN, SoN, and ZEN masters. This genre of Chan literature typically involved collections of the formal sermons (SHANGTANG), exchanges (WENDA), and utterances of Chan masters, which were edited together by their disciples soon after their deaths. The yulu genre sought to capture the vernacular flavor of the master's speech, thus giving it a personal and intimate quality, as if the master himself were in some sense still accessible. Often the recorded sayings of a master would also include his biography, poetry, death verse (YIJI), inscriptions, letters (SHUZHUANG), and other writings, in addition to the transcription of his lectures and sayings. For this reason, Chan discourse records are the Buddhist equivalent of the literary collections (wenji) of secular literati. The term first appears in the SONG GAOSENG ZHUAN, and the genre is often associated particularly with the Chan master MAZU DAOYI (709-788) and his HONGZHOU line of Chan. Among the more famous recorded sayings are the Mazu yulu (a.k.a. Mazu Daoyi chanshi guanglu), LINJI YIXUAN's LINJI LU, and HUANGBO XIYUN's CHUANXIN FAYAO. Recorded sayings written in Japanese vernacular are also often called a hogo (dharma discourse).

Zenrin shokisen. (禪林象器箋). In Japanese, "A Composition on the Images and Utensils of the Zen Grove"; compiled by the ZEN historian MUJAKU DoCHu in the RINZAISHu; a comprehensive catalogue of regulations, events, utensils, and accoutrements used by the Zen (C. CHAN) tradition. The preface was prepared by Mujaku in 1741. More than just a simple catalogue, Mujaku's Zenrin shokisen also meticulously notes the possible origin and history of each catalogued item and also expounds upon the significance of its implementation during his day, making it an invaluable tool for the study of Zen in practice. His research is based on an exhaustive list of sources (a total of 488 selections) beginning with sutras and commentaries to Chinese and Japanese classics, lamplight histories (see CHUANDENG LU), and poetry. A handwritten copy of the text is currently housed at MYoSHINJI in Kyoto.

Zimen jingxun. (J. Shimon kyokun/Shimon keikun; K. Ch'imun kyonghun 緇門警訓). In Chinese, "Admonitions for Those in the Dark-(Robed) School"; an important Buddhist primer, in nine rolls, compiled in 1313 by the CHAN monk YONGZHONG (d.u.) in the LINJI ZONG lineage of ZHONGFENG MINGBEN. Yongzhong's text is an expansion of an earlier one-roll primer entitled Zilin baoxun ("Precious Admonitions to the Forest of the Dark-[Robed]"), by the Song-dynasty monk Zexian (d.u.). In 1474, the monk Rujin (d.u.) of the monastery of Zhenrusi added some additional work of his own to Yongzhong's text and published the compilation as Zimen jingxun, in a total of ten rolls. The text contains 170 anecdotes, instructions, admonitions, and suggestions to neophytes, derived from eminent monks who lived between the Northern Song and the Ming dynasties. The author admonishes Chan students to observe the Buddhist precepts and to exert themselves in the study of Buddhism. Citing such Confucian classics as the Lunyu ("Analects of Confucius") and the Shijing ("Book of Poetry"), Yongzhong admonishes students to be diligent in their learning, even encouraging them to study Confucianism and Daoism in order better to promote Buddhism, just as ancient eminent masters had done. He provides several masters' detailed instructions on Chan meditation, including proper physical posture, and offers instructions on the proper way of reading Buddhist scriptures. Finally, Yongzhong includes the instructions of many renowned Chan masters, as conveyed in their sermons (SHANGTANG) and letters (SHUZHUANG). Rujin's edition of Yongzhong's work continues to be widely used today to instruct novices and neophytes. In Korea, Yongzhong's nine-roll version has been republished several times since T'AEGO POU (1301-1381) imported it to the peninsula during the Koryo period.



QUOTES [178 / 178 - 1500 / 7982]


KEYS (10k)

  114 Sri Aurobindo
   4 Buson
   3 Kamand Kojouri
   3 Joseph Campbell
   2 Taigu Ryokan
   2 Ralph Waldo Emerson
   2 Matsuo Basho
   2 Jorge Luis Borges
   1 W. H. Auden
   1 Umberto Eco
   1 T S Eliot
   1 "Ten Thousand Flowers in Spring" by Wu-Men
   1 Sri Aurobindo
   1 Sogyal Rinpoche
   1 Sir D'Arcy Wentworth Thompson
   1 Rene Guenon
   1 René Girard
   1 Peter J Carroll
   1 Novalis
   1 Nirodbaran
   1 Nicolas Chamfort
   1 Nandita Chatterjee
   1 Murali Sivaramakrishnan
   1 Mortimer J Adler
   1 Misato
   1 Megan Scribner
   1 Masaoka Shiki 1867-1902
   1 Mark Nepo
   1 Longchenpa
   1 Lewis Carroll
   1 Krishnaprem
   1 Katerina Stoykova-Klemer
   1 Jonathan Swift
   1 John Adams
   1 James Allen
   1 Izumi Shikibu
   1 https://wiki.auroville.org.in/wiki/Nirodbaran
   1 Friedrich Nietzsche
   1 Dr Alok Pandey
   1 Denise Levertov
   1 Denise Letvertov
   1 Charles Bukowski
   1 Cassandra Clare
   1 Arthur C Clarke
   1 Allen Ginsberg
   1 Alexander Pope
   1 The Mother
   1 Plato
   1 Ogawa
   1 Leonardo da Vinci
   1 Johann Wolfgang von Goethe
   1 Jalaluddin Rumi
   1 Hafiz
   1 Aleister Crowley

NEW FULL DB (2.4M)

  189 Atticus Poetry
   22 Carl Sandburg
   15 Wallace Stevens
   15 Ralph Waldo Emerson
   10 Charles Bukowski
   9 Stephen King
   9 Sanober Khan
   9 Robert Graves
   9 Robert Frost
   9 Jalaluddin Rumi
   9 Henry David Thoreau
   8 W H Auden
   8 Sri Aurobindo
   8 Jane Austen
   7 T S Eliot
   7 Rumi
   7 Mary Oliver
   7 Marianne Moore
   7 John Keats
   7 Johann Wolfgang von Goethe

1:But don't write poetry. ~ Charles Bukowski,
2:Language is fossil poetry. ~ Ralph Waldo Emerson,
3:Poetry heals the wounds inflicted by reason. ~ Novalis,
4:copying poetry
from the past
an old diary ~ Buson
5:Consider me as one who loves poetry and persimmons. ~ Masaoka Shiki 1867-1902,
6:Let yourself become living poetry.
   ~ Jalaluddin Rumi,
7:Good poetry ... makes the universe ... reveal its ... 'secret' ~ Hafiz,
8:Only the very weak-minded refuse to be influenced by literature and poetry. ~ Cassandra Clare,
9:The inmost is the infinite. ~ Sri Aurobindo, The Future Poetry, The Power of the Spirit,
10:Rhythm is the subtle soul of poetry. ~ Sri Aurobindo, The Future Poetry, Recent English Poetry - I,
11:writing poetry
on the back
of dried leaves
~ Buson, @BashoSociety
12:The intellectual ages sing less easily. ~ Sri Aurobindo, The Future Poetry, The Form and the Spirit,
13:Sight is the essential poetic gift. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
14:The pure intellect cannot create poetry. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
15:Poetry like everything else in man evolves. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
16:Real poetry is to lead a beautiful life.
To live poetry is better than to write it. ~ Matsuo Basho,
17:a hundred summer days
writing poetry
mindfulness
~ Buson, @BashoSociety
18:We think according to what we are. ~ Sri Aurobindo, Letters on Poetry and Art, Russell, Eddington, Jeans,
19:All great poetic utterance is discovery. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
20:I'm only lost if I'm going someplace in particular." ~ Megan Scribner, See "Teaching With Heart, Fire & Poetry," http://bit.ly/35cFwKD,
21:Real poetry is to lead a beautiful life. To live poetry is better than to write it. ~ Matsuo Basho, 1644-1694,
22:the divine
without humanity
is a force without poetry
~ Misato, @BashoSociety
23:this is the best season of your life. ~ "Ten Thousand Flowers in Spring" by Wu-Men, The Enlightened Heart: An Anthology of Sacred Poetry,
24:Space is a stillness of God building his earthly abode. ~ Sri Aurobindo, The Future Poetry, Trance of Waiting,
25:It is vision that sees Truth, not logic. ~ Sri Aurobindo, Letters on Poetry and Art, Russell, Eddington, Jeans,
26:writing
love poetry
on fallen leaves
~ Ogawa, @BashoSociety
27:The lyric is a moment of heightened soul experience. ~ Sri Aurobindo, The Future Poetry, The Form and the Spirit,
28:Vision is the characteristic power of the poet. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
29:Wherever the poetry of myth is interpreted as biography, history, or science, it is killed. ~ Joseph Campbell, The Hero with A Thousand Faces,
30:Poetry... it consumed Sappho's young years, it nourished Goethe's old age. Drug, the Greeks called it, both poison and medicine. ~ Umberto Eco,
31:The lyric which is poetry's native expression. ~ Sri Aurobindo, The Future Poetry, The Course of English Poetry - II,
32:In this immoral and imperfect world even sin has sometimes its rewards. ~ Sri Aurobindo, The Future Poetry, The Mantra,
33:in the long night
writing poetry with the
broken edge of the moon
~ Buson, @BashoSociety
34:The stumbling-block of romanticism is falsity. ~ Sri Aurobindo, The Future Poetry, The Movement of Modern Literature - I,
35:It is the seeing mind that is the master of poetic utterance. ~ Sri Aurobindo, The Future Poetry, The Word and the Spirit,
36:no part left out." ~ Izumi Shikibu, (b. 976?) a mid-Heian period Japanese poet. She is a member of the Thirty-six Medieval Poetry Immortals, Wikipedia,
37:Sheer objectivity brings us down from art to photography. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
38:The one thing that man sees above the intellect is the spirit. ~ Sri Aurobindo, The Future Poetry, The Power of the Spirit,
39:The mighty perish in their might;
The slain survive the slayer. ~ Sri Aurobindo, The Future Poetry, The Tiger and the Deer,
40:The business of poetry is to express the soul of man to himself. ~ Sri Aurobindo, The Future Poetry, The Ideal Spirit of Poetry,
41:The supreme greatness cannot come in poetry without the supreme beauty. ~ Sri Aurobindo, The Future Poetry, The Victorian Poets,
42:Who says my poems are poems?
My poems are not poems.
After you know my poems are not poems,
Then we can begin to discuss poetry! ~ Taigu Ryokan,
43:Rhythm is the most potent, founding element of poetic expression. ~ Sri Aurobindo, The Future Poetry, Recent English Poetry - II,
44:Rise with the world in thy bosom,
O Word gathered into the heart of the Ineffable. ~ Sri Aurobindo, The Future Poetry, Ascent,
45:The poet is a magician who hardly knows the secret of his own spell. ~ Sri Aurobindo, The Future Poetry, The Word and the Spirit,
46:A dry and strong or even austere logic is not a key to Truth. ~ Sri Aurobindo, Letters on Poetry and Art, Russell, Eddington, Jeans,
47:Most anthologists of poetry or quotations are like those who eat cherries or oysters, first picking the best and ending by eating everything. ~ Nicolas Chamfort,
48:Logic can serve any turn proposed to it by the mind's preferences. ~ Sri Aurobindo, Letters on Poetry and Art, Russell, Eddington, Jeans,
49:Poetry is a highly charged power of aesthetic expression of the soul of man. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
50:Poetry too is an interpreter of truth, but in the forms of an innate beauty. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
51:It is the spirit within and not the mind without that is the fount of poetry. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
52:The lyrical impulse is the original and spontaneous creator of the poetic form, ~ Sri Aurobindo, The Future Poetry, The Form and the Spirit,
53:In all very great drama the true movement and result is psychological. ~ Sri Aurobindo, The Future Poetry, The Course of English Poetry - II,
54:But within there is a soul and above there is Grace. 'This is all you know or need to know'
   ~ Sri Aurobindo, Letters On Poetry And Art, [T5],
55:Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen." ~ Leonardo da Vinci, (1452 - 1519),
56:The English Bible is a translation, but it ranks among the finest pieces of literature in the world. ~ Sri Aurobindo, Letters on Poetry and Art,
57:A mistake must always be acknowledged and corrected. ~ Sri Aurobindo, Letters on Poetry and Art, General Comments on some Criticisms of the Poem,
58:One must first be conscious before one can be ignorant. ~ Sri Aurobindo, Letters on Poetry and Art, General Comments on some Criticisms of the Poem,
59:That mercy show to me." ~ Alexander Pope, (1688 - 1744) English poet, and the foremost poet of the early 18th century, known for his satirical and discursive poetry, Wikipedia,
60:It is the true more than the new that the poet is after. ~ Sri Aurobindo, Letters on Poetry and Art, General Comments on some Criticisms of the Poem,
61:The native power of poetry is in its sight, not in its intellectual thought-matter. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
62:What the poet sees and feels, not what he opines, is the real substance of his poetry. ~ Sri Aurobindo, The Future Poetry, The Poets of the Dawn - II,
63:The poetic word is a vehicle of the spirit, the chosen medium of the soul's self-expression. ~ Sri Aurobindo, The Future Poetry, The Word and the Spirit,
64:The too developed intellect cannot often keep or recover life's first fine careless rapture. ~ Sri Aurobindo, The Future Poetry, The Form and the Spirit,
65:The nature of poetry is to soar on the wings of the inspiration to the highest intensities. ~ Sri Aurobindo, The Future Poetry, Recent English Poetry - I,
66:Evolution means a bringing out of new powers which lay concealed in the seed or the first form. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
67:In the economy of Nature opposite creates itself out of opposite and not only like from like. ~ Sri Aurobindo, The Future Poetry, The Ideal Spirit of Poetry,
68:The poet's first concern and his concern always is with living beauty and reality, with life. ~ Sri Aurobindo, The Future Poetry, The Breath of Greater Life,
69:Drama is the poet's vision of some part of the world-act in the life of the human soul. ~ Sri Aurobindo, The Future Poetry, The Course of English Poetry - II,
70:Poetry and art are born mediators between the immaterial and the concrete, the spirit and life. ~ Sri Aurobindo, The Future Poetry, The Ideal Spirit of Poetry,
71:Poetry is the rhythmic voice of life, but it is one of the inner and not one of the surface voices. ~ Sri Aurobindo, The Future Poetry, The Breath of Greater Life,
72:A poet's largeness and ease of execution,—succeeds more amply on the inferior levels of his genius. ~ Sri Aurobindo, The Future Poetry, The Poets of the Dawn - II,
73:The nature of art is to strive after a nobler beauty and more sustained perfection than life can give. ~ Sri Aurobindo, The Future Poetry, Recent English Poetry - I,
74:Nature creates perfectly because she creates directly out of life and is not intellectually self-conscious. ~ Sri Aurobindo, The Future Poetry, The Form and the Spirit,
75:What is not real or vital to thought, imagination and feeling cannot be powerfully creative. ~ Sri Aurobindo, The Future Poetry, The Movement of Modern Literature - II,
76:Into the Silence, into the Silence,
Arise, O Spirit immortal,
Away from the turning Wheel, breaking the magical Circle. ~ Sri Aurobindo, The Future Poetry, Ascent,
77:The nearer we get to the absolute Ananda, the greater becomes our joy in man and the universe. ~ Sri Aurobindo, The Future Poetry, The Soul of Poetic Delight and Beauty,
78:Grief is a hole you walk around in the daytime and at night you fall into it." ~ Denise Levertov, (1923 - 1997) American poet. She was a recipient of the Lannan Literary Award for Poetry, Wikipedia.,
79:The expression of the spiritual through the aesthetic sense is the constant sense of Indian art. ~ Sri Aurobindo, The Future Poetry, The Soul of Poetic Delight and Beauty,
80:The life values are only poetic when they have come out heightened and changed into soul values. ~ Sri Aurobindo, The Future Poetry, The Soul of Poetic Delight and Beauty,
81:Delight is the soul of existence, beauty the intense impression, the concentrated form of delight. ~ Sri Aurobindo, The Future Poetry, The Soul of Poetic Delight and Beauty,
82:Mere force of language tacked on to the trick of the metrical beat does not answer the higher description of poetry. ~ Sri Aurobindo, The Future Poetry, Rhythm and Movement,
83:The day when we get back to the ancient worship of delight and beauty, will be our day of salvation ~ Sri Aurobindo, The Future Poetry, The Soul of Poetic Delight and Beauty,
84:When the reward is withheld and endlessly lengthens the labour,
Weary of fruitless toil grows the transient heart of the mortal. ~ Sri Aurobindo, The Future Poetry, Ilion,
85:The sense of pleasure and delight in the emotional aspects of life and action, this is the poetry of life. ~ Sri Aurobindo, Early Cultural Writings, The National Value of Art,
86:The Mantra in other words is a direct and most heightened, an intensest and most divinely burdened rhythmic word. ~ Sri Aurobindo, The Future Poetry, The Ideal Spirit of Poetry,
87:A new kind of poetry demands a new mentality in the recipient as well as in the writer. ~ Sri Aurobindo, Letters on Poetry and Art, General Comments on some Criticisms of the Poem,
88:The enlightening power of the poet's creation is vision of truth, its moving power is a passion of beauty and delight. ~ Sri Aurobindo, The Future Poetry, The Breath of Greater Life,
89:The harmony of the world is made manifest in form and number, and the heart and soul and all the poetry of natural philosophy are embodied in the concept of mathematical beauty. ~ Sir D'Arcy Wentworth Thompson,
90:Realism is in its essence an attempt to see man and his world as they really are without veils and pretences. ~ Sri Aurobindo, The Future Poetry, The Movement of Modern Literature - I,
91:The rediscovery of the soul is the last stage of the round described by this age of the intellect and reason. ~ Sri Aurobindo, The Future Poetry, The Movement of Modern Literature - II,
92:Building of the Soul
For the most part we are much too busy living and thinking to have leisure to be silent and see. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
93:Silence, the nurse of the Almighty's power,
The omnipotent hush, womb of the immortal Word. ~ Sri Aurobindo, Letters on Poetry and Art, General Comments on some Criticisms of the Poem,
94:Personality, force, temperament can do unusual miracles, but the miracle cannot always be turned into a method or a standard. ~ Sri Aurobindo, The Future Poetry, Recent English Poetry - I,
95:Your life is an idea in the universal mind . . . Make it a good one." ~ Kamand Kojouri, "The Eternal Dance: Love Poetry and Prose,", (2018). She was born in Tehran, raised in Dubai and Toronto, and resides in Wales.,
96:A perfect rhythm will often even give immortality to work which is slight in vision and very far from the higher intensities of style. ~ Sri Aurobindo, The Future Poetry, Rhythm and Movement,
97:I have never heard of a Yogin who got the peace of God and turned away from it as something poor, neutral and pallid, rushing back to cakes and ale.
   ~ Sri Aurobindo, Letters On Poetry And Art,
98:If the philosopher makes his thought substance of poetry, he ceases to be a philosophic thinker and becomes a poet-seer of Truth. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
99:Realistic art does not and cannot give us a scientifically accurate presentation of life, because Art is not and cannot be Science. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
100:The essence of religion is an aspiration and adoration of the soul towards the Divine, the Self, the Supreme, the Eternal, the Infinite. ~ Sri Aurobindo, The Future Poetry, The Sun of Poetic Truth,
101:Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives are mostly a constant evasion of ourselves. ~ T S Eliot,
102:The truth which poetry expresses takes two forms, the truth of life and the truth of that which works in life, the truth of the inner spirit. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
103:You have no choice. You must leave your ego on the doorstep before you enter love." ~ Kamand Kojouri, "The Eternal Dance: Love Poetry and Prose,", (2018). She was born in Tehran, raised in Dubai and Toronto, and resides in Wales.,
104:I learn to affirm Truth's light at strange turns of the mind's road, wrong turns that lead over the border into wonder." ~ Denise Letvertov, (1923 - 1997) American poet, recipient of the Lannan Literary Award for Poetry, Wikipedia,
105:Revolutions are distracting things, but they are often good for the human soul; for they bring a rapid unrolling of new horizons. ~ Sri Aurobindo, The Future Poetry, The Character of English Poetry - II,
106:This apparent paradox of a development draped in the colours of revolt is a constant psychological feature of all human evolution. ~ Sri Aurobindo, The Future Poetry, The Movement of Modern Literature - I,
107:It is not sufficient for poetry to attain high intensities of word and rhythm; it must have, to fill them, an answering intensity of vision. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
108:Reason and taste, two powers of the intelligence, are rightly the supreme gods of the prose stylist, while to the poet they are only minor deities. ~ Sri Aurobindo, The Future Poetry, The Essence of Poetry,
109:The attempt to diminish the subjective view to the vanishing-point so as to get an accurate presentation is proper to science, not to poetry. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
110:Intuition and inspiration are not only spiritual in their essence, they are the characteristic means of all spiritual vision and utterance. ~ Sri Aurobindo, The Future Poetry, The Course of English Poetry - V,
111:The intellect moves naturally between two limits, the abstractions or solving analyses of the reason and the domain of positive and practical reality. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
112:Why do you so earnestly seek the truth in distant places? Look for delusions and truth in the bottom of your own hearts." ~ Taigu Ryokan, (1758-1831) eccentric Sōtō Zen Buddhist monk, remembered for his poetry and calligraphy, Wikipedia.,
113:The poet really creates out of himself and not out of what he sees outwardly: that outward seeing only serves to excite the inner vision to its work. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
114:Forget your voice, sing! Forget your feet, dance! Forget your life, live! Forget yourself and be!" ~ Kamand Kojouri, author of "The Eternal Dance: Love Poetry and Prose,", (2018). Born in Tehran, raised in Dubai and Toronto, and resides in Wales.,
115:I've never heard anyone say 'I wish I hadn't forgiven." ~ Katerina Stoykova-Klemer, (b.1971 in Bulgaria), she immigrated to the U.S in 1995, worked as an engineer at IBM. She holds an MFA in poetry from Spalding University in Louisville, Kentucky.,
116:For the most part our psychological account of others is only an account of the psychological impressions of them they produce in our own mentality. ~ Sri Aurobindo, The Future Poetry, The Movement of Modern Literature - II,
117:All my cells thrill swept by a surge of splendour,
Soul and body stir with a mighty rapture,
Light and still more light like an ocean billows
    Over me, round me. ~ Sri Aurobindo, The Future Poetry, Descent,
118:Poetry raises the emotions and gives each its separate delight. Art stills the emotions and teaches them the delight of a restrained and limited satisfaction. ~ Sri Aurobindo, Early Cultural Writings, The National Value of Art,
119:Busy the gods are always, Thrasymachus son of Aretes,
Weaving Fate on their looms, and yesterday, now and tomorrow
Are but the stands they have made with Space and Time for their timber, ~ Sri Aurobindo, The Future Poetry, Ilion,
120:They leap out like stars in their brightness,
Lights that we think our own, yet they are but tokens and counters,
Signs of the Forces that flow through us serving a Power that is secret. ~ Sri Aurobindo, The Future Poetry, Ilion,
121:In a chance happening, fate's whims and the blind workings or dead drive of a brute Nature,
In her dire Titan caprice, strength that to death drifts and to doom, hidden a Will labours. ~ Sri Aurobindo, The Future Poetry, The Lost Boat,
122:For true success ask yourself these four questions: Why? Why not? Why not me? Why not now?" ~ James Allen, (1864 - 1912) British philosopher, wrote inspirational books and poetry, pioneer of the self-help movement. His best known work, "As a Man Thinketh," Wikipedia.,
123:If you want only the very greatest, none of these can enter - only Vyasa and Sophocles. Vyasa could very well claim a place beside Valmiki, Sophocles beside Aeschylus.
   ~ Sri Aurobindo, Letters On Poetry And Art, Great Poets of the World, 369,
124:As long as we see what has come to pass as being unfair, we'll be a prisoner of what might have been." ~ Mark Nepo, 1951, American poet and spiritual adviser, taught in the fields of poetry and spirituality for over 30 years. Quote from his book, "The Book of Awakening,", (2011),
125:[Moderns] condemn without a hearing something they are not capable of experiencing even as 'poetry' any more.... So Paul Tillich dismisses in the most peremptory way the theme of the virgin birth because of what he calls 'the inadequacy of its internal symbolism.' ~ René Girard,
126:Something they forge there sitting unknown in the silence eternal,
Whether of evil or good it is they who shall choose who are masters
Calm, unopposed; they are gods and they work out their iron caprices. ~ Sri Aurobindo, The Future Poetry, Ilion,
127:Without Art we should have no notion of the sacred; without Science we should always worship false gods." ~ W. H. Auden, (1907 - 1973) English-American poet; poetry noted for its stylistic and technical achievement; its engagement with politics, morals, love, & religion, Wikipedia,
128:Writer's block results from too much head. Cut off your head. Pegasus, poetry, was born of Medusa when her head was cut off. You have to be reckless when writing. Be as crazy as your conscience allows. ~ Joseph Campbell, A Joseph Campbell Companion: Reflections on the Art of Living,
129:Truth is wider, greater than her forms.
A thousand icons they have made of her
And find her in the idols they adore;
But she remains herself and infinite. ~ Sri Aurobindo, Letters on Poetry and Art, Comments on Specific Lines and Passages of the Poem,
130:Sentiment which is an indulgence of the intelligent observing mind in the aesthesis, the rasa of feeling, passion, emotion, sense thinning them away into a subtle, at the end almost unreal fineness. ~ Sri Aurobindo, The Future Poetry, The Breath of Greater Life,
131:A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the human soul.
   ~ Johann Wolfgang von Goethe,
132:Weight of the event and its surface we bear, but the meaning is hidden.
Earth sees not; life's clamour deafens the ear of the spirit:
Man knows not; least knows the messenger chosen for the summons.
Only he listens to the voice of his thoughts, his ~ Sri Aurobindo, The Future Poetry, Ilion,
133:All that is born and destroyed is reborn in the sweep of the ages;
Life like a decimal ever recurring repeats the old figure;
Goal seems there none for the ball that is chased throughout Time by the Fate-teams;
Evil once ended renews and no issue co ~ Sri Aurobindo, The Future Poetry, Ilion,
134:Dawn in her journey eternal compelling the labour of mortals,
Dawn the beginner of things with the night for their rest or their ending,
Pallid and bright-lipped arrived from the mists and the chill of the Euxine.
Earth in the dawn-fire delivered fr ~ Sri Aurobindo, The Future Poetry, Ilion,
135:Death, panic and wounds and disaster,
Glory of conquest and glory of fall, and the empty hearth-side,
Weeping and fortitude, terror and hope and the pang of remembrance,
Anguish of hearts, the lives of the warriors, the strength of the nations
Thr ~ Sri Aurobindo, The Future Poetry, Ilion,
136:A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words-or rather the poetry behind the words, for the words themselves are mere symbols-spring to life, and we have a resurrection of the word.
   ~ Jorge Luis Borges,
137:There are so many ways of making the approach to meditation as joyful as possible. You can find the music that most exalts you and use it to open your heart and mind. You can collect pieces of poetry, or quotations of lines of teachings that over the years have moved you, and keep them always at hand to elevate your spirit. ~ Sogyal Rinpoche,
138:The highest inspiration brings the intrinsic word, the spiritual mantra; but even where the inspiration is less than that, has a certain vagueness or fluidity of outline, you cannot say of such mystic poetry that it has no inspiration, not the inspired word at all. Where there is no inspiration, there can be no poetry. ~ Sri Aurobindo,
139:Mythology is not a lie, mythology is poetry, it is metaphorical. It has been well said that mythology is the penultimate truth--penultimate because the ultimate cannot be put into words. It is beyond words. Beyond images, beyond that bounding rim of the Buddhist Wheel of Becoming. Mythology pitches the mind beyond that rim, to what can be known but not told. ~ Joseph Campbell, The Power of Myth,
140:Sometimes, looking at the many books I have at home, I feel I shall die before I come to the end of them, yet I cannot resist the temptation of buying new books. Whenever I walk into a bookstore and find a book on one of my hobbies - for example, Old English or Old Norse poetry - I say to myself, "What a pity I can't buy that book, for I already have a copy at home.
   ~ Jorge Luis Borges,
141:Our natural being is a part of cosmic Nature and our spiritual being exists only by the supreme Transcendence. ~ Sri Aurobindo, The Life Divine: The Ascent towards Supermind
Inter-Relation
The brooding philosopher or the discovering scientist cannot indeed do without the aid of a greater power, intuition. ~ Sri Aurobindo, The Future Poetry, The Sun of Poetic Truth,
142:When we are young, we spend much time and pains in filling our note-books with all definitions of Religion, Love, Poetry, Politics, Art, in the hope that, in the course of a few years, we shall have condensed into our encyclopaedia the net value of all the theories at which the world has yet arrived. But year after year our tables get no completeness, and at last we discover that our curve is a parabola, whose arcs will never meet. ~ Ralph Waldo Emerson,
143:There is also a third kind of madness, which is possession by the Muses, enters into a delicate and virgin soul, and there inspiring frenzy, awakens lyric....But he, who, not being inspired and having no touch of madness in his soul, comes to the door and thinks he will get into the temple by the help of art--he, I say, and his poetry are not admitted; the sane man is nowhere at all when he enters into rivalry with the madman. ~ Plato,
144:If you examine the highest poetry in the light of common sense, you can only say that it is rubbish; and in actual fact you cannot so examine it at all, because there is something in poetry which is not in the words themselves, which is not in the images suggested by the words 'O windy star blown sideways up the sky!' True poetry is itself a magic spell which is a key to the ineffable. ~ Aleister Crowley, Eight Lectures on Yoga,
145:Paul Brunton in his book A Search in Secret Egypt repeatedly speaks of Atlantis. I always thought that belief in Atlantis was only an imagination of the Theosophists. Is there any truth in the belief?

Atlantis is not an imagination. Plato heard of this submerged continent from Egyptian sources and geologists are also agreed that such a submersion was one of the great facts of earth history. 22 June 1936 ~ Sri Aurobindo, Letters On Poetry And Art,
146:All we have acquired soon loses worth,
An old disvalued credit in Time's bank,
Imperfection's cheque drawn on the Inconscient. ~ Sri Aurobindo, Savitri, The Yoga of the King: The Yoga of the Spirit's Freedom and Greatness
Time's bank
Though Time is immortal,
Mortal his works are and ways and the anguish ends like the rapture. ~ Sri Aurobindo, Letters on Poetry and Art, Hexameters, Alcaics, Sapphics,
147:A might no human will nor force can gain,
A knowledge seated in eternity,
A bliss beyond our struggle and our pain
Are the high pinnacles of our destiny. ~ Sri Aurobindo, Collected Poems: Evolution - II
Man's destiny
The Mantra is born through the heart and shaped or massed by the thinking mind into a chariot of that godhead of the Eternal of whom the truth seen is a face or a form. ~ Sri Aurobindo, The Future Poetry, The Ideal Spirit of Poetry,
148:The colossal labour Sri Aurobindo put forth to build this unique structure reminds me of one of those majestic ancient temples like Konarak or of a Gothic architecture like Notre Dame before which you stand and stare in speechless ecstasy, your soul takes a flight beyond time and space.

As it is, Savitri is, I suppose, the example par excellence of the future poetry he speaks of in his book The Future Poetry. Generation after generation will drink in its soul's nectar from this perennial source. ~ Nirodbaran,
149:To read Savitri is to witness a tremendous adventure in the interior realms; to witness and participate in a multidimensional quest. Because Savitri is cast in the mould of epic poetry or mahakavya, the requisite state of mind is one of openness and humility, similar to that of prayer. Each word and each phrase should ring in a 'solitude and an immensity', be heard in the 'listening spaces of the soul' and the 'inner acoustic space', and be seized by the deeper self when the mantric evocations come into effect. ~ Murali Sivaramakrishnan,
150:The Mantra in other words is a direct and most heightened, an intensest and most divinely burdened rhythmic word which embodies an intuitive and revelatory inspiration and ensouls the mind with the sight and the presence of the very self, the inmost reality of things and with its truth and with the divine soul-forms of it, the Godheads which are born from the living Truth. Or, let us say, it is a supreme rhythmic language which seizes hold upon all that is finite and brings into each the light and voice of its own infinite. ~ Sri Aurobindo, The Future Poetry,
151:[...] Thus the sedentary peoples create the plastic arts (architecture, sculpture, painting), the arts consisting of forms developed in space; the nomads create the phonetic arts (music, poetry), the arts consisting of forms unfolded in time; for, let us say it again, all art is in its origin essentially symbolical and ritual, and only through a late degeneration, indeed a very recent degeneration, has it lost its sacred character so as to become at last the purely profane 'recreation' to which it has been reduced among our contemporaries. ~ Rene Guenon, The Reign of Quantity and the Signs of the Times
152:The science of government it is my duty to study, more than all other sciences; the arts of legislation and administration and negotiation ought to take the place of, indeed exclude, in a manner, all other arts. I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain. ~ John Adams, Letters of John Adams, Addressed to His Wife,
153:The word is a sound expressive of the idea. In the supra-physical plane when an idea has to be realised, one can by repeating the word-expression of it, produce vibrations which prepare the mind for the realisation of the idea. That is the principle of the Mantra and of japa. One repeats the name of the Divine and the vibrations created in the consciousness prepare the realisation of the Divine. It is the same idea that is expressed in The Bible, God said, Let there be Light, and there was Light. It is creation by the Word.  6 May 1933 ~ Sri Aurobindo, Letters On Poetry And Art, 1.1.1.02 - Creation by the Word / 2.3.02 - Mantra and Japa,
154:It is in the silence of the mind that the strongest and freest action can come, e.g. the writing of a book, poetry, inspired speech etc. When the mind is active it interferes with the inspiration, puts in its own small ideas which get mixed up with the inspiration or starts something from a lower level or simply stops the inspiration altogether by bubbling up with all sorts of mere mental suggestions. So also intuitions or action etc. can come more easily when the ordinary inferior movement of the mind is not there. It is also in the silence of the mind that it is easiest for knowledge to come from within or above, from the psychic or from the higher consciousness.
   ~ Sri Aurobindo, Letters On Yoga - IV,
155:It is not a question of making a few changes in individual lines, that is a very minor problem; the real finality only comes when all is felt as a perfect whole, no line jarring with or falling away from the level of the whole though some may rise above it and also all the parts in their proper place making the right harmony. It is an inner feeling that has to decide that and my inner feeling is not as satisfied in that respect with parts of the third section as it is with the first two. Unfortunately the mind can't arrange these things, one has to wait till the absolutely right thing comes in a sort of receptive self-opening and calling-down condition. Hence the months. 20 November 1936 ~ Sri Aurobindo, Letters On Poetry And Art,
156:I mean by the Higher Mind a first plane of spiritual [consciousness] where one becomes constantly and closely aware of the Self, the One everywhere and knows and sees things habitually with that awareness; but it is still very much on the mind level although highly spiritual in its essential substance; and its instrumentation is through an elevated thought-power and comprehensive mental sight-not illumined by any of the intenser upper lights but as if in a large strong and clear daylight. It acts as an intermediate state between the Truth-Light above and the human mind; communicating the higher knowledge in a form that the Mind intensified, broadened, made spiritually supple, can receive without being blinded or dazzled by a Truth beyond it.
   ~ Sri Aurobindo, Letters On Poetry And Art, [9:342],
157:Savitri is neither fantasy nor yet mere philosophical thought, but vision and revelation of the actual structure of the inner Cosmos and of the pilgrim of life within its sphere — the Stairway of the Worlds reveals itself to our gaze — worlds of Light above, worlds of Darkness beneath, and we see also ever-encircling life ('kindled in measure and quenched in measure') ascending that stair under the calm unwinking gaze of the Cosmic Gods who shine forth now as of old. Poetry is indeed the full manifestation of the Logos and, when as here, it is no mere iridescence dependent on some special standpoint, but the wondrous structure of the mighty Cosmos, the 'Adored One', that is revealed, then in truth does it manifest its full, its highest grandeur.
It is an omen of the utmost significance and hope that in these years of darkness and despair such a poem as Savitri should have appeared. ~ Krishnaprem,
158:The heaven-hints that invade our earthly lives,
   The dire imaginations dreamed by Hell,
   Which if enacted and experienced here
   Our dulled capacity soon would cease to feel
   Or our mortal frailty could not long endure,
   Were set in their sublime proportions there.
   There lived out in their self-born atmosphere,
   They resumed their topless pitch and native power;
   Their fortifying stress upon the soul
   Bit deep into the ground of consciousness
   The passion and purity of their extremes,
   The absoluteness of their single cry
   And the sovereign sweetness or violent poetry
   Of their beautiful or terrible delight.
   All thought can know or widest sight perceive
   And all that thought and sight can never know,
   All things occult and rare, remote and strange
   Were near to heart's contact, felt by spirit-sense.
   ~ Sri Aurobindo, Savitri, The World-Stair,
159:The Vedic poets regarded their poetry as mantras, they were the vehicles of their own realisations and could become vehicles of realisation for others. Naturally, these mostly would be illuminations, not the settled and permanent realisation that is the goal of Yoga - but they could be steps on the way or at least lights on the way. Many have such illuminations, even initial realisations while meditating on verses of the Upanishads or the Gita. Anything that carries the Word, the Light in it, spoken or written, can light this fire within, open a sky, as it were, bring the effective vision of which the Word is the body. In all ages spiritual seekers have expressed their aspirations or their experiences in poetry or inspired language and it has helped themselves and others. Therefore there is nothing absurd in my assigning to such poetry a spiritual or psychic value and effectiveness to poetry of a psychic or spiritual character.
   ~ Sri Aurobindo, Letters On Yoga - II,
160:Few poets can keep for a very long time a sustained level of the highest inspiration. The best poetry does not usually come by streams except in poets of a supreme greatness though there may be in others than the greatest long-continued wingings at a considerable height. The very best comes by intermittent drops, though sometimes three or four gleaming drops at a time. Even in the greatest poets, even in those with the most opulent flow of riches like Shakespeare, the very best is comparatively rare. All statements are subject to qualification. What Lawrence states1 is true in principle, but in practice most poets have to sustain the inspiration by industry. Milton in his later days used to write every day fifty lines; Virgil nine which he corrected and recorrected till it was within half way of what he wanted. In other words he used to write under any conditions and pull at his inspiration till it came. Usually the best lines, passages, etc. come like that.
   ~ Sri Aurobindo, The Future Poetry, Inspiration and Effort - II,
161:A major part of the book is devoted to poetry. It opens with Sri Aurobindo's Savitri. The author has a novel way of appreciating this most wonderful epic, which continually overwhelms and bewilders us. He has taken this bewilderment as the subject of the chapter "An Uninitiated Reader's Response to Savitri". This is a rarely explored area, namely the magical poetic beauty of Savitri that casts a spell on the reader even when he does not always understand its content. For the lover of poetry is attracted by its "beauty and strength", "he is overawed by the grandeur of the animated spirituality". Any time spent with Savitri thus becomes a special moment in his life. Later in the book we find another kind of appreciation of the epic in the chapter on K. D. Sethna as a "crusader of aesthetic yoga". There the author calls Savitri the "Odyssey of Integral Yoga" where yoga and poetry come together. He also appreciates the "sensitive analysis of stylistic effect" by Sethna, who uses wonderful quotations from Savitri as examples of adequate style, effective style, illumined style, etc. (From the Near to Far by Dr. Saurendranth Basu) ~ Nandita Chatterjee, review of the book,
162:To us poetry is a revel of intellect and fancy, imagination a plaything and caterer for our amusement, our entertainer, the nautch-girl of the mind. But to the men of old the poet was a seer, a revealer of hidden truths, imagination no dancing courtesan but a priestess in God's house commissioned not to spin fictions but to image difficult and hidden truths; even the metaphor or simile in the Vedic style is used with a serious purpose and expected to convey a reality, not to suggest a pleasing artifice of thought. The image was to these seers a revelative symbol of the unrevealed and it was used because it could hint luminously to the mind what the precise intellectual word, apt only for logical or practical thought or to express the physical and the superficial, could not at all hope to manifest. To them this symbol of the Creator's body was more than an image, it expressed a divine reality. Human society was for them an attempt to express in life the cosmic Purusha who has expressed himself otherwise in the material and the supraphysical universe. Man and the cosmos are both of them symbols and expressions of the same hidden Reality.
   ~ Sri Aurobindo, The Human Cycle, Chapter 1, The Cycle of Society,
163:Inspiration is always a very uncertain thing; it comes when it chooses, stops suddenly before it has finished its work, refuses to descend when it is called. This is a well-known affliction, perhaps of all artists, but certainly of poets. There are some who can command it at will; those who, I think, are more full of an abundant poetic energy than careful for perfection; others who oblige it to come whenever they put pen to paper but with these the inspiration is either not of a high order or quite unequal in its levels. Again there are some who try to give it a habit of coming by always writing at the same time; Virgil with his nine lines first written, then perfected every morning, Milton with his fifty epic lines a day, are said to have succeeded in regularising their inspiration. It is, I suppose, the same principle which makes Gurus in India prescribe for their disciples a meditation at the same fixed hour every day. It succeeds partially of course, for some entirely, but not for everybody. For myself, when the inspiration did not come with a rush or in a stream,-for then there is no difficulty,-I had only one way, to allow a certain kind of incubation in which a large form of the thing to be done threw itself on the mind and then wait for the white heat in which the entire transcription could rapidly take place. But I think each poet has his own way of working and finds his own issue out of inspiration's incertitudes.
   ~ Sri Aurobindo, The Future Poetry, Inspiration and Effort - I,
164:1st row Homer, Shakespeare, Valmiki
2nd row Dante, Kalidasa, Aeschylus, Virgil, Milton
3rd row Goethe
...
I am not prepared to classify all the poets in the universe - it was the front bench or benches you asked for. By others I meant poets like Lucretius, Euripides, Calderon, Corneille, Hugo. Euripides (Medea, Bacchae and other plays) is a greater poet than Racine whom you want to put in the first ranks. If you want only the very greatest, none of these can enter - only Vyasa and Sophocles. Vyasa could very well claim a place beside Valmiki, Sophocles beside Aeschylus. The rest, if you like, you can send into the third row with Goethe, but it is something of a promotion about which one can feel some qualms. Spenser too, if you like; it is difficult to draw a line.

Shelley, Keats and Wordsworth have not been brought into consideration although their best work is as fine poetry as any written, but they have written nothing on a larger scale which would place them among the greatest creators. If Keats had finished Hyperion (without spoiling it), if Shelley had lived, or if Wordsworth had not petered out like a motor car with insufficient petrol, it might be different, but we have to take things as they are. As it is, all began magnificently, but none of them finished, and what work they did, except a few lyrics, sonnets, short pieces and narratives, is often flawed and unequal. If they had to be admitted, what about at least fifty others in Europe and Asia? ~ Sri Aurobindo, Letters On Poetry And Art,
165:At first, needing the companionship of the human voice, he had listened to classical plays especially the works of Shaw, Ibsen, and Shakespeare - or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them.

So he switched to opera - usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more.

Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years. ~ Arthur C Clarke, 2001: A Space Odyssey,
166:... Every one knew how laborious the usual method is of attaining to arts and sciences; whereas, by his contrivance, the most ignorant person, at a reasonable charge, and with a little bodily labour, might write books in philosophy, poetry, politics, laws, mathematics, and theology, without the least assistance from genius or study." He then led me to the frame, about the sides, whereof all his pupils stood in ranks. It was twenty feet square, placed in the middle of the room. The superfices was composed of several bits of wood, about the bigness of a die, but some larger than others. They were all linked together by slender wires. These bits of wood were covered, on every square, with paper pasted on them; and on these papers were written all the words of their language, in their several moods, tenses, and declensions; but without any order. The professor then desired me "to observe; for he was going to set his engine at work." The pupils, at his command, took each of them hold of an iron handle, whereof there were forty fixed round the edges of the frame; and giving them a sudden turn, the whole disposition of the words was entirely changed. He then commanded six-and-thirty of the lads, to read the several lines softly, as they appeared upon the frame; and where they found three or four words together that might make part of a sentence, they dictated to the four remaining boys, who were scribes. This work was repeated three or four times, and at every turn, the engine was so contrived, that the words shifted into new places, as the square bits of wood moved upside down. ~ Jonathan Swift, Gullivers Travels,
167:Disciple : What part does breathing exercise - Pranayama - play in bringing about the higher consciousness?

Sri Aurobindo : It sets the Pranic - vital - currents free and removes dullness of the brain so that the higher consciousness can come down. Pranayama does not bring dullness in the brain. My own experience, on the contrary, is that brain becomes illumined. When I was practising Pranayama at Baroda, I used to do it for about five hours in the day, - three hours in the morning and two in the evening. I found that the mind began to work with great illumination and power. I used to write poetry in those days. Before the Pranayama practice, usually I wrote five to eight lines per day; and about two hundred lines in a month. After the practice I could write 200 lines within half an hour. That was not the only result. Formerly my memory was dull. But after this practice I found that when the inspiration came I could remember all the lines in their order and write them down correctly at any time. Along with these enhanced functionings I could see an electrical activity all round the brain, and I could feel that it was made up of a subtle substance. I could feel everything as the working of that substance. That was far from your carbon-dioxide!

Disciple : How is it that Pranayama develops mental capacities? What part does it play in bringing about the higher consciousness?

Sri Aurobindo : It is the Pranic - vital - currents which sustain mental activity. When these currents are changed by Pranayama, they bring about a change in the brain. The cause of dullness of the brain is some obstruction in it which does not allow the higher thought to be communicated to it. When this obstruction is removed the higher mental being is able to communicate its action easily to the brain. When the higher consciousness is attained the brain does not become dull. My experience is that it becomes illumined.

~ Sri Aurobindo, A B Purani, Evening Talks With Sri Aurobindo, 19-9-1926,
168:One thing is needful. -- To "give style" to one's character-- a great and rare art! It is practiced by those who survey all the strengths and weaknesses of their nature and then fit them into an artistic plan until every one of them appears as art and reason and even weaknesses delight the eye. Here a large mass of second nature has been added; there a piece of original nature has been removed -- both times through long practice and daily work at it. Here the ugly that could not be removed is concealed; there it has been reinterpreted and made sublime. Much that is vague and resisted shaping has been saved and exploited for distant views; it is meant to beckon toward the far and immeasurable. In the end, when the work is finished, it becomes evident how the constraint of a single taste governed and formed everything large and small. Whether this taste was good or bad is less important than one might suppose, if only it was a single taste!

It will be the strong and domineering natures that enjoy their finest gaiety in such constraint and perfection under a law of their own; the passion of their tremendous will relaxes in the face of all stylized nature, of all conquered and serving nature. Even when they have to build palaces and design gardens they demur at giving nature freedom.

Conversely, it is the weak characters without power over themselves that hate the constraint of style. They feel that if this bitter and evil constraint were imposed upon them they would be demeaned; they become slaves as soon as they serve; they hate to serve. Such spirits -- and they may be of the first rank -- are always out to shape and interpret their environment as free nature: wild, arbitrary, fantastic, disorderly, and surprising. And they are well advised because it is only in this way that they can give pleasure to themselves. For one thing is needful: that a human being should attain satisfaction with himself, whether it be by means of this or that poetry or art; only then is a human being at all tolerable to behold. Whoever is dissatisfied with himself is continually ready for revenge, and we others will be his victims, if only by having to endure his ugly sight. For the sight of what is ugly makes one bad and gloomy. ~ Friedrich Nietzsche, The Gay Science, mod trans. Walter Kaufmann,
169:Countless books on divination, astrology, medicine and other subjects
Describe ways to read signs. They do add to your learning,
But they generate new thoughts and your stable attention breaks up.
Cut down on this kind of knowledge - that's my sincere advice.

You stop arranging your usual living space,
But make everything just right for your retreat.
This makes little sense and just wastes time.
Forget all this - that's my sincere advice.

You make an effort at practice and become a good and knowledgeable person.
You may even master some particular capabilities.
But whatever you attach to will tie you up.
Be unbiased and know how to let things be - that's my sincere advice.

You may think awakened activity means to subdue skeptics
By using sorcery, directing or warding off hail or lightning, for example.
But to burn the minds of others will lead you to lower states.
Keep a low profile - that's my sincere advice.

Maybe you collect a lot of important writings,
Major texts, personal instructions, private notes, whatever.
If you haven't practiced, books won't help you when you die.
Look at the mind - that's my sincere advice.

When you focus on practice, to compare understandings and experience,
Write books or poetry, to compose songs about your experience
Are all expressions of your creativity. But they just give rise to thinking.
Keep yourself free from intellectualization - that's my sincere advice.

In these difficult times you may feel that it is helpful
To be sharp and critical with aggressive people around you.
This approach will just be a source of distress and confusion for you.
Speak calmly - that's my sincere advice.

Intending to be helpful and without personal investment,
You tell your friends what is really wrong with them.
You may have been honest but your words gnaw at their heart.
Speak pleasantly - that's my sincere advice.

You engage in discussions, defending your views and refuting others'
Thinking that you are clarifying the teachings.
But this just gives rise to emotional posturing.
Keep quiet - that's my sincere advice.

You feel that you are being loyal
By being partial to your teacher, lineage or philosophical tradition.
Boosting yourself and putting down others just causes hard feelings.
Have nothing to do with all this - that's my sincere advice.
~ Longchenpa, excerpts from 30 Pieces of Sincere Advice
,
170:The poet-seer sees differently, thinks in another way, voices himself in quite another manner than the philosopher or the prophet. The prophet announces the Truth as the Word, the Law or the command of the Eternal, he is the giver of the message; the poet shows us Truth in its power of beauty, in its symbol or image, or reveals it to us in the workings of Nature or in the workings of life, and when he has done that, his whole work is done; he need not be its explicit spokesman or its official messenger. The philosopher's business is to discriminate Truth and put its parts and aspects into intellectual relation with each other; the poet's is to seize and embody aspects of Truth in their living relations, or rather - for that is too philosophical a language - to see her features and, excited by the vision, create in the beauty of her image.

   No doubt, the prophet may have in him a poet who breaks out often into speech and surrounds with the vivid atmosphere of life the directness of his message; he may follow up his injunction "Take no thought for the morrow," by a revealing image of the beauty of the truth he enounces, in the life of Nature, in the figure of the lily, or link it to human life by apologue and parable. The philosopher may bring in the aid of colour and image to give some relief and hue to his dry light of reason and water his arid path of abstractions with some healing dew of poetry. But these are ornaments and not the substance of his work; and if the philosopher makes his thought substance of poetry, he ceases to be a philosophic thinker and becomes a poet-seer of Truth. Thus the more rigid metaphysicians are perhaps right in denying to Nietzsche the name of philosopher; for Nietzsche does not think, but always sees, turbidly or clearly, rightly or distortedly, but with the eye of the seer rather than with the brain of the thinker. On the other hand we may get great poetry which is full of a prophetic enthusiasm of utterance or is largely or even wholly philosophic in its matter; but this prophetic poetry gives us no direct message, only a mass of sublime inspirations of thought and image, and this philosophic poetry is poetry and lives as poetry only in so far as it departs from the method, the expression, the way of seeing proper to the philosophic mind. It must be vision pouring itself into thought-images and not thought trying to observe truth and distinguish its province and bounds and fences.

   ~ Sri Aurobindo, The Future Poetry,
171:INVOCATION
   The ultimate invocation, that of Kia, cannot be performed. The paradox is that as Kia has no dualized qualities, there are no attributes by which to invoke it. To give it one quality is merely to deny it another. As an observant dualistic being once said:
   I am that I am not.
   Nevertheless, the magician may need to make some rearrangements or additions to what he is. Metamorphosis may be pursued by seeking that which one is not, and transcending both in mutual annihilation. Alternatively, the process of invocation may be seen as adding to the magician's psyche any elements which are missing. It is true that the mind must be finally surrendered as one enters fully into Chaos, but a complete and balanced psychocosm is more easily surrendered.
   The magical process of shuffling beliefs and desires attendant upon the process of invocation also demonstrates that one's dominant obsessions or personality are quite arbitrary, and hence more easily banished.
   There are many maps of the mind (psychocosms), most of which are inconsistent, contradictory, and based on highly fanciful theories. Many use the symbology of god forms, for all mythology embodies a psychology. A complete mythic pantheon resumes all of man's mental characteristics. Magicians will often use a pagan pantheon of gods as the basis for invoking some particular insight or ability, as these myths provide the most explicit and developed formulation of the particular idea's extant. However it is possible to use almost anything from the archetypes of the collective unconscious to the elemental qualities of alchemy.
   If the magician taps a deep enough level of power, these forms may manifest with sufficient force to convince the mind of the objective existence of the god. Yet the aim of invocation is temporary possession by the god, communication from the god, and manifestation of the god's magical powers, rather than the formation of religious cults.
   The actual method of invocation may be described as a total immersion in the qualities pertaining to the desired form. One invokes in every conceivable way. The magician first programs himself into identity with the god by arranging all his experiences to coincide with its nature. In the most elaborate form of ritual he may surround himself with the sounds, smells, colors, instruments, memories, numbers, symbols, music, and poetry suggestive of the god or quality. Secondly he unites his life force to the god image with which he has united his mind. This is accomplished with techniques from the gnosis. Figure 5 shows some examples of maps of the mind. Following are some suggestions for practical ritual invocation.
   ~ Peter J Carroll, Liber Null,
172:The modern distinction is that the poet appeals to the imagination and not to the intellect. But there are many kinds of imagination; the objective imagination which visualises strongly the outward aspects of life and things; the subjective imagination which visualises strongly the mental and emotional impressions they have the power to start in the mind; the imagination which deals in the play of mental fictions and to which we give the name of poetic fancy; the aesthetic imagination which delights in the beauty of words and images for their own sake and sees no farther. All these have their place in poetry, but they only give the poet his materials, they are only the first instruments in the creation of poetic style. The essential poetic imagination does not stop short with even the most subtle reproductions of things external or internal, with the richest or delicatest play of fancy or with the most beautiful colouring of word or image. It is creative, not of either the actual or the fictitious, but of the more and the most real; it sees the spiritual truth of things, - of this truth too there are many gradations, - which may take either the actual or the ideal for its starting-point. The aim of poetry, as of all true art, is neither a photographic or otherwise realistic imitation of Nature, nor a romantic furbishing and painting or idealistic improvement of her image, but an interpretation by the images she herself affords us, not on one but on many planes of her creation, of that which she conceals from us, but is ready, when rightly approached, to reveal.

   This is the true, because the highest and essential aim of poetry; but the human mind arrives at it only by a succession of steps, the first of which seems far enough from its object. It begins by stringing its most obvious and external ideas, feelings and sensations of things on a thread of verse in a sufficient language of no very high quality. But even when it gets to a greater adequacy and effectiveness, it is often no more than a vital, an emotional or an intellectual adequacy and effectiveness. There is a strong vital poetry which powerfully appeals to our sensations and our sense of life, like much of Byron or the less inspired mass of the Elizabethan drama; a strong emotional poetry which stirs our feelings and gives us the sense and active image of the passions; a strong intellectual poetry which satisfies our curiosity about life and its mechanism, or deals with its psychological and other "problems", or shapes for us our thoughts in an effective, striking and often quite resistlessly quotable fashion. All this has its pleasures for the mind and the surface soul in us, and it is certainly quite legitimate to enjoy them and to enjoy them strongly and vividly on our way upward; but if we rest content with these only, we shall never get very high up the hill of the Muses.

   ~ Sri Aurobindo, The Future Poetry,
173:HOW CAN I READ SAVITRI?
An open reply by Dr Alok Pandey to a fellow devotee

A GIFT OF LOVE TO THE WORLD
Most of all enjoy Savitri. It is Sri Aurobindo's gift of Love to the world. Read it from the heart with love and gratitude as companions and drown in its fiery bliss. That is the true understanding rather than one that comes by a constant churning of words in the head.

WHEN
Best would be to fix a time that works for you. One can always take out some time for the reading, even if it be late at night when one is done with all the daily works. Of course, a certain receptivity is needed. If one is too tired or the reading becomes too mechanical as a ritual routine to be somehow finished it tends to be less effective, as with anything else. Hence the advice is to read in a quiet receptive state.

THE PACE
As to the pace of reading it is best to slowly build up and keep it steady. To read a page or a passage daily is better than reading many pages one day and then few lines or none for days. This brings a certain discipline in the consciousness which makes one receptive. What it means is that one should fix up that one would read a few passages or a page or two daily, and then if an odd day one is enjoying and spontaneously wants to read more then one can go by the flow.

COMPLETE OR SELECTIONS?
It is best to read at least once from cover to cover. But if one is not feeling inclined for that do read some of the beautiful cantos and passages whose reference one can find in various places. This helps us familiarise with the epic and the style of poetry. Later one can go for the cover to cover reading.

READING ALOUD, SILENTLY, OR WRITING DOWN?
One can read it silently. Loud reading is needed only if one is unable to focus with silent reading. A mantra is more potent when read subtly. I am aware that some people recommend reading it aloud which is fine if that helps one better. A certain flexibility in these things is always good and rigid rules either ways are not helpful.

One can also write some of the beautiful passages with which one feels suddenly connected. It is a help in the yoga since such a writing involves the pouring in of the consciousness of Savitri through the brain and nerves and the hand.

Reflecting upon some of these magnificent lines and passages while one is engaged in one\s daily activities helps to create a background state for our inner being to get absorbed in Savitri more and more.

HOW DO I UNDERSTAND THE MEANING? DO I NEED A DICTIONARY?
It is helpful if a brief background about the Canto is known. This helps the mind top focus and also to keep in sync with the overall scene and sense of what is being read.

But it is best not to keep referring to the dictionary while reading. Let the overall sense emerge. Specifics can be done during a detailed reading later and it may not be necessary at all. Besides the sense that Sri Aurobindo has given to many words may not be accurately conveyed by the standard dictionaries. A flexibility is required to understand the subtle suggestions hinted at by the Master-poet.

In this sense Savitri is in the line of Vedic poetry using images that are at once profound as well as commonplace. That is the beauty of mystic poetry. These are things actually experienced and seen by Sri Aurobindo, and ultimately it is Their Grace that alone can reveal the intrinsic sense of this supreme revelation of the Supreme. ~ Dr Alok Pandey,
174:(Nirodbaran:) "It was the first week of January 1930.
     At about 3 p.m., I reached Dilip Kumar Roy's place. "Oh, you have come! Let us go," he said, and cutting a rose from his terrace-garden he added, "Offer this to the Mother." When we arrived at the Ashram he left me at the present Reading Room saying, "Wait here." My heart was beating nervously as if I were going to face an examination. A stately chair in the middle of the room attracted momentarily my attention. In a short while the Mother came accompanied by Nolini, Amrita and Dilip. She took her seat in the chair, the others stood by her side. I was dazzled by the sight. Was it a ‘visionary gleam’ or a reality? Nothing like it had I seen before. Her fair complexion, set off by a finely coloured sari and a headband, gave me the impression of a goddess such as we see in pictures or in the idols during the Durga Puja festival. She was all smiles and redolent with grace. I suppose this was the Mahalakshmi smile Sri Aurobindo had spoken of in his book The Mother. She bathed me in the cascade of her smile and heart-melting look. I stood before her, shy and speechless, made more so by the presence of the others who were enjoying the silent sweet spectacle. Minutes passed. Then I offered to her hand my rose and did my pranam at her feet which had gold anklets on them. She stooped and blessed me. On standing up, I got again the same enchanting smile like moonbeams from a magic sky. After a time she said to the others, "He is very shy." "[1]

(Amal Kiran:) "Now to come back to all the people, all – the undamned all who were there in the Ashram. Very soon after my coming Dilip Kumar Roy came with Sahana Devi. They came and settled down. And, soon after that, I saw the face of my friend Nirod. It was of course an unforgettable face. (laughter) I think he had come straight from England or via some place in Bengal, but he carried something of the air of England. (laughter) He had passed out as a doctor at Edinburgh. I saw him, we became friends and we have remained friends ever since. But when he came as a doctor he was not given doctoring work here. As far as I remember he was made the head of a timber godown! (laughter) All sorts of strange jobs were being given to people. Look at the first job I got. The Mother once told me, "I would like you to do some work." I said, "All right, I am prepared to do some work." Then she said,"Will you take charge of our stock of furniture?" (laughter)"[2]

(Amal Kiran:) "To return to my friend Nirod – it was after some time that he got the Dispensary. I don't know whether he wanted it, or liked it or not, but he established his reputation as the frowning physician. (laughter) People used to come to him with a cold and he would stand and glare at them, and say, "What? You have a cold!" Poor people, they would simply shiver (laughter) and this had a very salutary effect because they thought that it was better not to fall ill than face the doctor's drastic disapproval of any kind of illness which would give him any botheration. (laughter) But he did his job all right, and every time he frightened off a patient he went to his room and started trying to write poetry (laughter) – because that, he thought, was his most important job. And, whether he succeeded as a doctor or not, as a poet he has eminently succeeded. Sri Aurobindo has really made him a poet.

    The doctoring as well as the poetry was a bond between us, because my father had been a doctor and medicine ran in my blood. We used to discuss medical matters sometimes, but more often the problems and pains of poetry."[3] ~ https://wiki.auroville.org.in/wiki/Nirodbaran
175:Reading list (1972 edition)[edit]
1. Homer - Iliad, Odyssey
2. The Old Testament
3. Aeschylus - Tragedies
4. Sophocles - Tragedies
5. Herodotus - Histories
6. Euripides - Tragedies
7. Thucydides - History of the Peloponnesian War
8. Hippocrates - Medical Writings
9. Aristophanes - Comedies
10. Plato - Dialogues
11. Aristotle - Works
12. Epicurus - Letter to Herodotus; Letter to Menoecus
13. Euclid - Elements
14.Archimedes - Works
15. Apollonius of Perga - Conic Sections
16. Cicero - Works
17. Lucretius - On the Nature of Things
18. Virgil - Works
19. Horace - Works
20. Livy - History of Rome
21. Ovid - Works
22. Plutarch - Parallel Lives; Moralia
23. Tacitus - Histories; Annals; Agricola Germania
24. Nicomachus of Gerasa - Introduction to Arithmetic
25. Epictetus - Discourses; Encheiridion
26. Ptolemy - Almagest
27. Lucian - Works
28. Marcus Aurelius - Meditations
29. Galen - On the Natural Faculties
30. The New Testament
31. Plotinus - The Enneads
32. St. Augustine - On the Teacher; Confessions; City of God; On Christian Doctrine
33. The Song of Roland
34. The Nibelungenlied
35. The Saga of Burnt Njal
36. St. Thomas Aquinas - Summa Theologica
37. Dante Alighieri - The Divine Comedy;The New Life; On Monarchy
38. Geoffrey Chaucer - Troilus and Criseyde; The Canterbury Tales
39. Leonardo da Vinci - Notebooks
40. Niccolò Machiavelli - The Prince; Discourses on the First Ten Books of Livy
41. Desiderius Erasmus - The Praise of Folly
42. Nicolaus Copernicus - On the Revolutions of the Heavenly Spheres
43. Thomas More - Utopia
44. Martin Luther - Table Talk; Three Treatises
45. François Rabelais - Gargantua and Pantagruel
46. John Calvin - Institutes of the Christian Religion
47. Michel de Montaigne - Essays
48. William Gilbert - On the Loadstone and Magnetic Bodies
49. Miguel de Cervantes - Don Quixote
50. Edmund Spenser - Prothalamion; The Faerie Queene
51. Francis Bacon - Essays; Advancement of Learning; Novum Organum, New Atlantis
52. William Shakespeare - Poetry and Plays
53. Galileo Galilei - Starry Messenger; Dialogues Concerning Two New Sciences
54. Johannes Kepler - Epitome of Copernican Astronomy; Concerning the Harmonies of the World
55. William Harvey - On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals
56. Thomas Hobbes - Leviathan
57. René Descartes - Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy
58. John Milton - Works
59. Molière - Comedies
60. Blaise Pascal - The Provincial Letters; Pensees; Scientific Treatises
61. Christiaan Huygens - Treatise on Light
62. Benedict de Spinoza - Ethics
63. John Locke - Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education
64. Jean Baptiste Racine - Tragedies
65. Isaac Newton - Mathematical Principles of Natural Philosophy; Optics
66. Gottfried Wilhelm Leibniz - Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology
67.Daniel Defoe - Robinson Crusoe
68. Jonathan Swift - A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal
69. William Congreve - The Way of the World
70. George Berkeley - Principles of Human Knowledge
71. Alexander Pope - Essay on Criticism; Rape of the Lock; Essay on Man
72. Charles de Secondat, baron de Montesquieu - Persian Letters; Spirit of Laws
73. Voltaire - Letters on the English; Candide; Philosophical Dictionary
74. Henry Fielding - Joseph Andrews; Tom Jones
75. Samuel Johnson - The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets
   ~ Mortimer J Adler,
176:Death & Fame

When I die

I don't care what happens to my body throw ashes in the air, scatter 'em in East River bury an urn in Elizabeth New Jersey, B'nai Israel Cemetery

But I want a big funeral St. Patrick's Cathedral, St. Mark's Church, the largest synagogue in Manhattan

First, there's family, brother, nephews, spry aged Edith stepmother 96, Aunt Honey from old Newark,

Doctor Joel, cousin Mindy, brother Gene one eyed one ear'd, sister-in-law blonde Connie, five nephews, stepbrothers & sisters their grandchildren, companion Peter Orlovsky, caretakers Rosenthal & Hale, Bill Morgan--

Next, teacher Trungpa Vajracharya's ghost mind, Gelek Rinpoche, there Sakyong Mipham, Dalai Lama alert, chance visiting America, Satchitananda Swami Shivananda, Dehorahava Baba, Karmapa XVI, Dudjom Rinpoche, Katagiri & Suzuki Roshi's phantoms Baker, Whalen, Daido Loorie, Qwong, Frail White-haired Kapleau Roshis, Lama Tarchen --

Then, most important, lovers over half-century Dozens, a hundred, more, older fellows bald & rich young boys met naked recently in bed, crowds surprised to see each other, innumerable, intimate, exchanging memories

"He taught me to meditate, now I'm an old veteran of the thousandday retreat --"

"I played music on subway platforms, I'm straight but loved him he loved me"

"I felt more love from him at 19 than ever from anyone"

"We'd lie under covers gossip, read my poetry, hug & kiss belly to belly arms round each other"

"I'd always get into his bed with underwear on & by morning my skivvies would be on the floor"

"Japanese, always wanted take it up my bum with a master"

"We'd talk all night about Kerouac & Cassady sit Buddhalike then sleep in his captain's bed."

"He seemed to need so much affection, a shame not to make him happy"

"I was lonely never in bed nude with anyone before, he was so gentle my stomach shuddered when he traced his finger along my abdomen nipple to hips-- "

"All I did was lay back eyes closed, he'd bring me to come with mouth & fingers along my waist"

"He gave great head"

So there be gossip from loves of 1948, ghost of Neal Cassady commin-gling with flesh and youthful blood of 1997 and surprise -- "You too? But I thought you were straight!"

"I am but Ginsberg an exception, for some reason he pleased me."

"I forgot whether I was straight gay queer or funny, was myself, tender and affectionate to be kissed on the top of my head, my forehead throat heart & solar plexus, mid-belly. on my prick, tickled with his tongue my behind"

"I loved the way he'd recite 'But at my back allways hear/ time's winged chariot hurrying near,' heads together, eye to eye, on a pillow --"

Among lovers one handsome youth straggling the rear

"I studied his poetry class, 17 year-old kid, ran some errands to his walk-up flat, seduced me didn't want to, made me come, went home, never saw him again never wanted to... "

"He couldn't get it up but loved me," "A clean old man." "He made sure I came first"

This the crowd most surprised proud at ceremonial place of honor--

Then poets & musicians -- college boys' grunge bands -- age-old rock star Beatles, faithful guitar accompanists, gay classical con-ductors, unknown high Jazz music composers, funky trum-peters, bowed bass & french horn black geniuses, folksinger fiddlers with dobro tamborine harmonica mandolin auto-harp pennywhistles & kazoos

Next, artist Italian romantic realists schooled in mystic 60's India, Late fauve Tuscan painter-poets, Classic draftsman Massa-chusets surreal jackanapes with continental wives, poverty sketchbook gesso oil watercolor masters from American provinces

Then highschool teachers, lonely Irish librarians, delicate biblio-philes, sex liberation troops nay armies, ladies of either sex

"I met him dozens of times he never remembered my name I loved him anyway, true artist"

"Nervous breakdown after menopause, his poetry humor saved me from suicide hospitals"

"Charmant, genius with modest manners, washed sink, dishes my studio guest a week in Budapest"

Thousands of readers, "Howl changed my life in Libertyville Illinois"

"I saw him read Montclair State Teachers College decided be a poet-- "

"He turned me on, I started with garage rock sang my songs in Kansas City"

"Kaddish made me weep for myself & father alive in Nevada City"

"Father Death comforted me when my sister died Boston l982"

"I read what he said in a newsmagazine, blew my mind, realized others like me out there"

Deaf & Dumb bards with hand signing quick brilliant gestures

Then Journalists, editors's secretaries, agents, portraitists & photo-graphy aficionados, rock critics, cultured laborors, cultural historians come to witness the historic funeral Super-fans, poetasters, aging Beatnicks & Deadheads, autograph-hunters, distinguished paparazzi, intelligent gawkers

Everyone knew they were part of 'History" except the deceased who never knew exactly what was happening even when I was alive
February 22, 1997
~ Allen Ginsberg,
177:It does not matter if you do not understand it - Savitri, read it always. You will see that every time you read it, something new will be revealed to you. Each time you will get a new glimpse, each time a new experience; things which were not there, things you did not understand arise and suddenly become clear. Always an unexpected vision comes up through the words and lines. Every time you try to read and understand, you will see that something is added, something which was hidden behind is revealed clearly and vividly. I tell you the very verses you have read once before, will appear to you in a different light each time you re-read them. This is what happens invariably. Always your experience is enriched, it is a revelation at each step.

But you must not read it as you read other books or newspapers. You must read with an empty head, a blank and vacant mind, without there being any other thought; you must concentrate much, remain empty, calm and open; then the words, rhythms, vibrations will penetrate directly to this white page, will put their stamp upon the brain, will explain themselves without your making any effort.

Savitri alone is sufficient to make you climb to the highest peaks. If truly one knows how to meditate on Savitri, one will receive all the help one needs. For him who wishes to follow this path, it is a concrete help as though the Lord himself were taking you by the hand and leading you to the destined goal. And then, every question, however personal it may be, has its answer here, every difficulty finds its solution herein; indeed there is everything that is necessary for doing the Yoga.

*He has crammed the whole universe in a single book.* It is a marvellous work, magnificent and of an incomparable perfection.

You know, before writing Savitri Sri Aurobindo said to me, *I am impelled to launch on a new adventure; I was hesitant in the beginning, but now I am decided. Still, I do not know how far I shall succeed. I pray for help.* And you know what it was? It was - before beginning, I warn you in advance - it was His way of speaking, so full of divine humility and modesty. He never... *asserted Himself*. And the day He actually began it, He told me: *I have launched myself in a rudderless boat upon the vastness of the Infinite.* And once having started, He wrote page after page without intermission, as though it were a thing already complete up there and He had only to transcribe it in ink down here on these pages.

In truth, the entire form of Savitri has descended "en masse" from the highest region and Sri Aurobindo with His genius only arranged the lines - in a superb and magnificent style. Sometimes entire lines were revealed and He has left them intact; He worked hard, untiringly, so that the inspiration could come from the highest possible summit. And what a work He has created! Yes, it is a true creation in itself. It is an unequalled work. Everything is there, and it is put in such a simple, such a clear form; verses perfectly harmonious, limpid and eternally true. My child, I have read so many things, but I have never come across anything which could be compared with Savitri. I have studied the best works in Greek, Latin, English and of course French literature, also in German and all the great creations of the West and the East, including the great epics; but I repeat it, I have not found anywhere anything comparable with Savitri. All these literary works seems to me empty, flat, hollow, without any deep reality - apart from a few rare exceptions, and these too represent only a small fraction of what Savitri is. What grandeur, what amplitude, what reality: it is something immortal and eternal He has created. I tell you once again there is nothing like in it the whole world. Even if one puts aside the vision of the reality, that is, the essential substance which is the heart of the inspiration, and considers only the lines in themselves, one will find them unique, of the highest classical kind. What He has created is something man cannot imagine. For, everything is there, everything.

It may then be said that Savitri is a revelation, it is a meditation, it is a quest of the Infinite, the Eternal. If it is read with this aspiration for Immortality, the reading itself will serve as a guide to Immortality. To read Savitri is indeed to practice Yoga, spiritual concentration; one can find there all that is needed to realise the Divine. Each step of Yoga is noted here, including the secret of all other Yogas. Surely, if one sincerely follows what is revealed here in each line one will reach finally the transformation of the Supramental Yoga. It is truly the infallible guide who never abandons you; its support is always there for him who wants to follow the path. Each verse of Savitri is like a revealed Mantra which surpasses all that man possessed by way of knowledge, and I repeat this, the words are expressed and arranged in such a way that the sonority of the rhythm leads you to the origin of sound, which is OM.

My child, yes, everything is there: mysticism, occultism, philosophy, the history of evolution, the history of man, of the gods, of creation, of Nature. How the universe was created, why, for what purpose, what destiny - all is there. You can find all the answers to all your questions there. Everything is explained, even the future of man and of the evolution, all that nobody yet knows. He has described it all in beautiful and clear words so that spiritual adventurers who wish to solve the mysteries of the world may understand it more easily. But this mystery is well hidden behind the words and lines and one must rise to the required level of true consciousness to discover it. All prophesies, all that is going to come is presented with the precise and wonderful clarity. Sri Aurobindo gives you here the key to find the Truth, to discover the Consciousness, to solve the problem of what the universe is. He has also indicated how to open the door of the Inconscience so that the light may penetrate there and transform it. He has shown the path, the way to liberate oneself from the ignorance and climb up to the superconscience; each stage, each plane of consciousness, how they can be scaled, how one can cross even the barrier of death and attain immortality. You will find the whole journey in detail, and as you go forward you can discover things altogether unknown to man. That is Savitri and much more yet. It is a real experience - reading Savitri. All the secrets that man possessed, He has revealed, - as well as all that awaits him in the future; all this is found in the depth of Savitri. But one must have the knowledge to discover it all, the experience of the planes of consciousness, the experience of the Supermind, even the experience of the conquest of Death. He has noted all the stages, marked each step in order to advance integrally in the integral Yoga.

All this is His own experience, and what is most surprising is that it is my own experience also. It is my sadhana which He has worked out. Each object, each event, each realisation, all the descriptions, even the colours are exactly what I saw and the words, phrases are also exactly what I heard. And all this before having read the book. I read Savitri many times afterwards, but earlier, when He was writing He used to read it to me. Every morning I used to hear Him read Savitri. During the night He would write and in the morning read it to me. And I observed something curious, that day after day the experiences He read out to me in the morning were those I had had the previous night, word by word. Yes, all the descriptions, the colours, the pictures I had seen, the words I had heard, all, all, I heard it all, put by Him into poetry, into miraculous poetry. Yes, they were exactly my experiences of the previous night which He read out to me the following morning. And it was not just one day by chance, but for days and days together. And every time I used to compare what He said with my previous experiences and they were always the same. I repeat, it was not that I had told Him my experiences and that He had noted them down afterwards, no, He knew already what I had seen. It is my experiences He has presented at length and they were His experiences also. It is, moreover, the picture of Our joint adventure into the unknown or rather into the Supermind.

These are experiences lived by Him, realities, supracosmic truths. He experienced all these as one experiences joy or sorrow, physically. He walked in the darkness of inconscience, even in the neighborhood of death, endured the sufferings of perdition, and emerged from the mud, the world-misery to breathe the sovereign plenitude and enter the supreme Ananda. He crossed all these realms, went through the consequences, suffered and endured physically what one cannot imagine. Nobody till today has suffered like Him. He accepted suffering to transform suffering into the joy of union with the Supreme. It is something unique and incomparable in the history of the world. It is something that has never happened before, He is the first to have traced the path in the Unknown, so that we may be able to walk with certitude towards the Supermind. He has made the work easy for us. Savitri is His whole Yoga of transformation, and this Yoga appears now for the first time in the earth-consciousness.

And I think that man is not yet ready to receive it. It is too high and too vast for him. He cannot understand it, grasp it, for it is not by the mind that one can understand Savitri. One needs spiritual experiences in order to understand and assimilate it. The farther one advances on the path of Yoga, the more does one assimilate and the better. No, it is something which will be appreciated only in the future, it is the poetry of tomorrow of which He has spoken in The Future Poetry. It is too subtle, too refined, - it is not in the mind or through the mind, it is in meditation that Savitri is revealed.

And men have the audacity to compare it with the work of Virgil or Homer and to find it inferior. They do not understand, they cannot understand. What do they know? Nothing at all. And it is useless to try to make them understand. Men will know what it is, but in a distant future. It is only the new race with a new consciousness which will be able to understand. I assure you there is nothing under the blue sky to compare with Savitri. It is the mystery of mysteries. It is a *super-epic,* it is super-literature, super-poetry, super-vision, it is a super-work even if one considers the number of lines He has written. No, these human words are not adequate to describe Savitri. Yes, one needs superlatives, hyperboles to describe it. It is a hyper-epic. No, words express nothing of what Savitri is, at least I do not find them. It is of immense value - spiritual value and all other values; it is eternal in its subject, and infinite in its appeal, miraculous in its mode and power of execution; it is a unique thing, the more you come into contact with it, the higher will you be uplifted. Ah, truly it is something! It is the most beautiful thing He has left for man, the highest possible. What is it? When will man know it? When is he going to lead a life of truth? When is he going to accept this in his life? This yet remains to be seen.

My child, every day you are going to read Savitri; read properly, with the right attitude, concentrating a little before opening the pages and trying to keep the mind as empty as possible, absolutely without a thought. The direct road is through the heart. I tell you, if you try to really concentrate with this aspiration you can light the flame, the psychic flame, the flame of purification in a very short time, perhaps in a few days. What you cannot do normally, you can do with the help of Savitri. Try and you will see how very different it is, how new, if you read with this attitude, with this something at the back of your consciousness; as though it were an offering to Sri Aurobindo. You know it is charged, fully charged with consciousness; as if Savitri were a being, a real guide. I tell you, whoever, wanting to practice Yoga, tries sincerely and feels the necessity for it, will be able to climb with the help of Savitri to the highest rung of the ladder of Yoga, will be able to find the secret that Savitri represents. And this without the help of a Guru. And he will be able to practice it anywhere. For him Savitri alone will be the guide, for all that he needs he will find Savitri. If he remains very quiet when before a difficulty, or when he does not know where to turn to go forward and how to overcome obstacles, for all these hesitations and incertitudes which overwhelm us at every moment, he will have the necessary indications, and the necessary concrete help. If he remains very calm, open, if he aspires sincerely, always he will be as if lead by the hand. If he has faith, the will to give himself and essential sincerity he will reach the final goal.

Indeed, Savitri is something concrete, living, it is all replete, packed with consciousness, it is the supreme knowledge above all human philosophies and religions. It is the spiritual path, it is Yoga, Tapasya, Sadhana, in its single body. Savitri has an extraordinary power, it gives out vibrations for him who can receive them, the true vibrations of each stage of consciousness. It is incomparable, it is truth in its plenitude, the Truth Sri Aurobindo brought down on the earth. My child, one must try to find the secret that Savitri represents, the prophetic message Sri Aurobindo reveals there for us. This is the work before you, it is hard but it is worth the trouble. - 5 November 1967

~ The Mother, Sweet Mother, The Mother to Mona Sarkar, [T0],
178:One little picture in this book, the Magic Locket, was drawn by 'Miss Alice Havers.' I did not state this on the title-page, since it seemed only due, to the artist of all these (to my mind) wonderful pictures, that his name should stand there alone.
The descriptions, of Sunday as spent by children of the last generation, are quoted verbatim from a speech made to me by a child-friend and a letter written to me by a lady-friend.
The Chapters, headed 'Fairy Sylvie' and 'Bruno's Revenge,' are a reprint, with a few alterations, of a little fairy-tale which I wrote in the year 1867, at the request of the late Mrs. Gatty, for 'Aunt Judy's Magazine,' which she was then editing.
It was in 1874, I believe, that the idea first occurred to me of making it the nucleus of a longer story.
As the years went on, I jotted down, at odd moments, all sorts of odd ideas, and fragments of dialogue, that occurred to me--who knows how?--with a transitory suddenness that left me no choice but either to record them then and there, or to abandon them to oblivion. Sometimes one could trace to their source these random flashes of thought--as being suggested by the book one was reading, or struck out from the 'flint' of one's own mind by the 'steel' of a friend's chance remark but they had also a way of their own, of occurring, a propos of nothing --specimens of that hopelessly illogical phenomenon, 'an effect without a cause.' Such, for example, was the last line of 'The Hunting of the Snark,' which came into my head (as I have already related in 'The Theatre' for April, 1887) quite suddenly, during a solitary walk: and such, again, have been passages which occurred in dreams, and which I cannot trace to any antecedent cause whatever. There are at least two instances of such dream-suggestions in this book--one, my Lady's remark, 'it often runs in families, just as a love for pastry does', the other, Eric Lindon's badinage about having been in domestic service.

And thus it came to pass that I found myself at last in possession of a huge unwieldy mass of litterature--if the reader will kindly excuse the spelling --which only needed stringing together, upon the thread of a consecutive story, to constitute the book I hoped to write. Only! The task, at first, seemed absolutely hopeless, and gave me a far clearer idea, than I ever had before, of the meaning of the word 'chaos': and I think it must have been ten years, or more, before I had succeeded in classifying these odds-and-ends sufficiently to see what sort of a story they indicated: for the story had to grow out of the incidents, not the incidents out of the story I am telling all this, in no spirit of egoism, but because I really believe that some of my readers will be interested in these details of the 'genesis' of a book, which looks so simple and straight-forward a matter, when completed, that they might suppose it to have been written straight off, page by page, as one would write a letter, beginning at the beginning; and ending at the end.

It is, no doubt, possible to write a story in that way: and, if it be not vanity to say so, I believe that I could, myself,--if I were in the unfortunate position (for I do hold it to be a real misfortune) of being obliged to produce a given amount of fiction in a given time,--that I could 'fulfil my task,' and produce my 'tale of bricks,' as other slaves have done. One thing, at any rate, I could guarantee as to the story so produced--that it should be utterly commonplace, should contain no new ideas whatever, and should be very very weary reading!
This species of literature has received the very appropriate name of 'padding' which might fitly be defined as 'that which all can write and none can read.' That the present volume contains no such writing I dare not avow: sometimes, in order to bring a picture into its proper place, it has been necessary to eke out a page with two or three extra lines : but I can honestly say I have put in no more than I was absolutely compelled to do.
My readers may perhaps like to amuse themselves by trying to detect, in a given passage, the one piece of 'padding' it contains. While arranging the 'slips' into pages, I found that the passage was 3 lines too short. I supplied the deficiency, not by interpolating a word here and a word there, but by writing in 3 consecutive lines. Now can my readers guess which they are?

A harder puzzle if a harder be desired would be to determine, as to the Gardener's Song, in which cases (if any) the stanza was adapted to the surrounding text, and in which (if any) the text was adapted to the stanza.
Perhaps the hardest thing in all literature--at least I have found it so: by no voluntary effort can I accomplish it: I have to take it as it come's is to write anything original. And perhaps the easiest is, when once an original line has been struck out, to follow it up, and to write any amount more to the same tune. I do not know if 'Alice in Wonderland' was an original story--I was, at least, no conscious imitator in writing it--but I do know that, since it came out, something like a dozen storybooks have appeared, on identically the same pattern. The path I timidly explored believing myself to be 'the first that ever burst into that silent sea'--is now a beaten high-road: all the way-side flowers have long ago been trampled into the dust: and it would be courting disaster for me to attempt that style again.

Hence it is that, in 'Sylvie and Bruno,' I have striven with I know not what success to strike out yet another new path: be it bad or good, it is the best I can do. It is written, not for money, and not for fame, but in the hope of supplying, for the children whom I love, some thoughts that may suit those hours of innocent merriment which are the very life of Childhood; and also in the hope of suggesting, to them and to others, some thoughts that may prove, I would fain hope, not wholly out of harmony with the graver cadences of Life.
If I have not already exhausted the patience of my readers, I would like to seize this opportunity perhaps the last I shall have of addressing so many friends at once of putting on record some ideas that have occurred to me, as to books desirable to be written--which I should much like to attempt, but may not ever have the time or power to carry through--in the hope that, if I should fail (and the years are gliding away very fast) to finish the task I have set myself, other hands may take it up.
First, a Child's Bible. The only real essentials of this would be, carefully selected passages, suitable for a child's reading, and pictures. One principle of selection, which I would adopt, would be that Religion should be put before a child as a revelation of love--no need to pain and puzzle the young mind with the history of crime and punishment. (On such a principle I should, for example, omit the history of the Flood.) The supplying of the pictures would involve no great difficulty: no new ones would be needed : hundreds of excellent pictures already exist, the copyright of which has long ago expired, and which simply need photo-zincography, or some similar process, for their successful reproduction. The book should be handy in size with a pretty attractive looking cover--in a clear legible type--and, above all, with abundance of pictures, pictures, pictures!
Secondly, a book of pieces selected from the Bible--not single texts, but passages of from 10 to 20 verses each--to be committed to memory. Such passages would be found useful, to repeat to one's self and to ponder over, on many occasions when reading is difficult, if not impossible: for instance, when lying awake at night--on a railway-journey --when taking a solitary walk-in old age, when eyesight is failing or wholly lost--and, best of all, when illness, while incapacitating us for reading or any other occupation, condemns us to lie awake through many weary silent hours: at such a time how keenly one may realise the truth of David's rapturous cry "O how sweet are thy words unto my throat: yea, sweeter than honey unto my mouth!"
I have said 'passages,' rather than single texts, because we have no means of recalling single texts: memory needs links, and here are none: one may have a hundred texts stored in the memory, and not be able to recall, at will, more than half-a-dozen--and those by mere chance: whereas, once get hold of any portion of a chapter that has been committed to memory, and the whole can be recovered: all hangs together.
Thirdly, a collection of passages, both prose and verse, from books other than the Bible. There is not perhaps much, in what is called 'un-inspired' literature (a misnomer, I hold: if Shakespeare was not inspired, one may well doubt if any man ever was), that will bear the process of being pondered over, a hundred times: still there are such passages--enough, I think, to make a goodly store for the memory.
These two books of sacred, and secular, passages for memory--will serve other good purposes besides merely occupying vacant hours: they will help to keep at bay many anxious thoughts, worrying thoughts, uncharitable thoughts, unholy thoughts. Let me say this, in better words than my own, by copying a passage from that most interesting book, Robertson's Lectures on the Epistles to the Corinthians, Lecture XLIX. "If a man finds himself haunted by evil desires and unholy images, which will generally be at periodical hours, let him commit to memory passages of Scripture, or passages from the best writers in verse or prose. Let him store his mind with these, as safeguards to repeat when he lies awake in some restless night, or when despairing imaginations, or gloomy, suicidal thoughts, beset him. Let these be to him the sword, turning everywhere to keep the way of the Garden of Life from the intrusion of profaner footsteps."
Fourthly, a "Shakespeare" for girls: that is, an edition in which everything, not suitable for the perusal of girls of (say) from 10 to 17, should be omitted. Few children under 10 would be likely to understand or enjoy the greatest of poets: and those, who have passed out of girlhood, may safely be left to read Shakespeare, in any edition, 'expurgated' or not, that they may prefer: but it seems a pity that so many children, in the intermediate stage, should be debarred from a great pleasure for want of an edition suitable to them. Neither Bowdler's, Chambers's, Brandram's, nor Cundell's 'Boudoir' Shakespeare, seems to me to meet the want: they are not sufficiently 'expurgated.' Bowdler's is the most extraordinary of all: looking through it, I am filled with a deep sense of wonder, considering what he has left in, that he should have cut anything out! Besides relentlessly erasing all that is unsuitable on the score of reverence or decency, I should be inclined to omit also all that seems too difficult, or not likely to interest young readers. The resulting book might be slightly fragmentary: but it would be a real treasure to all British maidens who have any taste for poetry.
If it be needful to apologize to any one for the new departure I have taken in this story--by introducing, along with what will, I hope, prove to be acceptable nonsense for children, some of the graver thoughts of human life--it must be to one who has learned the Art of keeping such thoughts wholly at a distance in hours of mirth and careless ease. To him such a mixture will seem, no doubt, ill-judged and repulsive. And that such an Art exists I do not dispute: with youth, good health, and sufficient money, it seems quite possible to lead, for years together, a life of unmixed gaiety--with the exception of one solemn fact, with which we are liable to be confronted at any moment, even in the midst of the most brilliant company or the most sparkling entertainment. A man may fix his own times for admitting serious thought, for attending public worship, for prayer, for reading the Bible: all such matters he can defer to that 'convenient season', which is so apt never to occur at all: but he cannot defer, for one single moment, the necessity of attending to a message, which may come before he has finished reading this page,' this night shalt thy soul be required of thee.'
The ever-present sense of this grim possibility has been, in all ages, 1 an incubus that men have striven to shake off. Few more interesting subjects of enquiry could be found, by a student of history, than the various weapons that have been used against this shadowy foe. Saddest of all must have been the thoughts of those who saw indeed an existence beyond the grave, but an existence far more terrible than annihilation--an existence as filmy, impalpable, all but invisible spectres, drifting about, through endless ages, in a world of shadows, with nothing to do, nothing to hope for, nothing to love! In the midst of the gay verses of that genial 'bon vivant' Horace, there stands one dreary word whose utter sadness goes to one's heart. It is the word 'exilium' in the well-known passage

Omnes eodem cogimur, omnium
Versatur urna serius ocius
Sors exitura et nos in aeternum
Exilium impositura cymbae.

Yes, to him this present life--spite of all its weariness and all its sorrow--was the only life worth having: all else was 'exile'! Does it not seem almost incredible that one, holding such a creed, should ever have smiled?
And many in this day, I fear, even though believing in an existence beyond the grave far more real than Horace ever dreamed of, yet regard it as a sort of 'exile' from all the joys of life, and so adopt Horace's theory, and say 'let us eat and drink, for to-morrow we die.'
We go to entertainments, such as the theatre--I say 'we', for I also go to the play, whenever I get a chance of seeing a really good one and keep at arm's length, if possible, the thought that we may not return alive. Yet how do you know--dear friend, whose patience has carried you through this garrulous preface that it may not be your lot, when mirth is fastest and most furious, to feel the sharp pang, or the deadly faintness, which heralds the final crisis--to see, with vague wonder, anxious friends bending over you to hear their troubled whispers perhaps yourself to shape the question, with trembling lips, "Is it serious?", and to be told "Yes: the end is near" (and oh, how different all Life will look when those words are said!)--how do you know, I say, that all this may not happen to you, this night?
And dare you, knowing this, say to yourself "Well, perhaps it is an immoral play: perhaps the situations are a little too 'risky', the dialogue a little too strong, the 'business' a little too suggestive.
I don't say that conscience is quite easy: but the piece is so clever, I must see it this once! I'll begin a stricter life to-morrow." To-morrow, and to-morrow, and tomorrow!

"Who sins in hope, who, sinning, says,
'Sorrow for sin God's judgement stays!'
Against God's Spirit he lies; quite stops Mercy with insult; dares, and drops,
Like a scorch'd fly, that spins in vain
Upon the axis of its pain,
Then takes its doom, to limp and crawl,
Blind and forgot, from fall to fall."

Let me pause for a moment to say that I believe this thought, of the possibility of death--if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going. Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
But, once realise what the true object is in life--that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds'--but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man--and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!
One other matter may perhaps seem to call for apology--that I should have treated with such entire want of sympathy the British passion for 'Sport', which no doubt has been in by-gone days, and is still, in some forms of it, an excellent school for hardihood and for coolness in moments of danger.
But I am not entirely without sympathy for genuine 'Sport': I can heartily admire the courage of the man who, with severe bodily toil, and at the risk of his life, hunts down some 'man-eating' tiger: and I can heartily sympathize with him when he exults in the glorious excitement of the chase and the hand-to-hand struggle with the monster brought to bay. But I can but look with deep wonder and sorrow on the hunter who, at his ease and in safety, can find pleasure in what involves, for some defenceless creature, wild terror and a death of agony: deeper, if the hunter be one who has pledged himself to preach to men the Religion of universal Love: deepest of all, if it be one of those 'tender and delicate' beings, whose very name serves as a symbol of Love--'thy love to me was wonderful, passing the love of women'--whose mission here is surely to help and comfort all that are in pain or sorrow!

'Farewell, farewell! but this I tell
To thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both man and bird and beast.
He prayeth best, who loveth best
All things both great and small;
For the dear God who loveth us,
He made and loveth all.' ~ Lewis Carroll, Sylvie and Bruno,

*** WISDOM TROVE ***

1:The poetry of speech. ~ lord-byron, @wisdomtrove
2:Painting is silent poetry. ~ plutarch, @wisdomtrove
3:Let yourself become living poetry. ~ rumi, @wisdomtrove
4:History is the new poetry. ~ thomas-carlyle, @wisdomtrove
5:It's not easy to define poetry. ~ bob-dylan, @wisdomtrove
6:Poetry gave me back my voice. ~ maya-angelou, @wisdomtrove
7:Is not poetry the food of love? ~ jane-austen, @wisdomtrove
8:Poetry is the Devil's wine. ~ saint-augustine, @wisdomtrove
9:Poetry cannot be translation. ~ samuel-johnson, @wisdomtrove
10:Dancing is the poetry of the foot. ~ john-dryden, @wisdomtrove
11:Poetry is a life-cherishing force. ~ mary-oliver, @wisdomtrove
12:Poetry should only occupy the idle. ~ lord-byron, @wisdomtrove
13:Wine is bottled poetry. ~ robert-louis-stevenson, @wisdomtrove
14:I find I cannot exist without Poetry ~ john-keats, @wisdomtrove
15:I'm only interested in poetry. ~ charles-bukowski, @wisdomtrove
16:Explanations are such cheap poetry. ~ stephen-king, @wisdomtrove
17:One can be well-bred and write bad poetry ~ moliere, @wisdomtrove
18:Patriarchal Poetry makes mistakes. ~ gertrude-stein, @wisdomtrove
19:Poetry comes fine-spun from a mind at peace. ~ ovid, @wisdomtrove
20:The poetry of the earth is never dead. ~ john-keats, @wisdomtrove
21:Poetry is nearer to vital truth than history. ~ plato, @wisdomtrove
22:When power corrupts, poetry cleanses ~ john-f-kennedy, @wisdomtrove
23:History after all is the true poetry. ~ thomas-carlyle, @wisdomtrove
24:Why then we should drop into poetry. ~ charles-dickens, @wisdomtrove
25:Ye stars! which are the poetry of heaven! ~ lord-byron, @wisdomtrove
26:Poetry fettered fetters the human race. ~ william-blake, @wisdomtrove
27:Poetry is what gets lost in translation. ~ robert-frost, @wisdomtrove
28:Why should poetry have to make sense? ~ charlie-chaplan, @wisdomtrove
29:All bad poetry springs from genuine feeling. ~ oscar-wilde, @wisdomtrove
30:Poetry is music written for the human voice. ~ maya-angelou, @wisdomtrove
31:To elevate the soul, poetry is necessary. ~ edgar-allan-poe, @wisdomtrove
32:Poetry is a way of taking life by the throat. ~ robert-frost, @wisdomtrove
33:The crown of literature is poetry. ~ william-somerset-maugham, @wisdomtrove
34:Poetry and philosophy will become friends. ~ swami-vivekananda, @wisdomtrove
35:Poetry is evidently a contagious complaint. ~ washington-irving, @wisdomtrove
36:Music and art and poetry attune the soul to God. ~ thomas-merton, @wisdomtrove
37:Poetry is what happens when nothing else can. ~ charles-bukowski, @wisdomtrove
38:My brain hums with scraps of poetry and madness. ~ virginia-woolf, @wisdomtrove
39:Poetry, therefore, we will call Musical Thought. ~ thomas-carlyle, @wisdomtrove
40:A vein of poetry exists in the hearts of all men. ~ thomas-carlyle, @wisdomtrove
41:Poetry is the art of uniting pleasure with truth. ~ samuel-johnson, @wisdomtrove
42:Genuine poetry can communicate before it is understood. ~ t-s-eliot, @wisdomtrove
43:When we share - that is poetry in the prose of life. ~ sigmund-freud, @wisdomtrove
44:Poetry contains philosophy as the soul contains reason. ~ victor-hugo, @wisdomtrove
45:Poetry had breathed over and sanctified the land. ~ washington-irving, @wisdomtrove
46:The unconscious mind writes poetry if it's left alone. ~ stephen-king, @wisdomtrove
47:To cast aside from Poetry, all that is not Inspiration ~ william-blake, @wisdomtrove
48:Photography is an austere and blazing poetry of the real. ~ amsel-adams, @wisdomtrove
49:Poetry is the rhythmical creation of beauty in words. ~ edgar-allan-poe, @wisdomtrove
50:Poetry makes life what lights and music do the stage. ~ charles-dickens, @wisdomtrove
51:We learn what poetry is - if we ever learn - by reading it. ~ t-s-eliot, @wisdomtrove
52:With me poetry has not been a purpose, but a passion. ~ edgar-allan-poe, @wisdomtrove
53:Superstition is part of the poetry of life. ~ johann-wolfgang-von-goethe, @wisdomtrove
54:He drove his mind into the abyss where poetry is written. ~ george-orwell, @wisdomtrove
55:Painting is silent poetry, and poetry is painting that speaks. ~ plutarch, @wisdomtrove
56:Personality is everything in art and poetry. ~ johann-wolfgang-von-goethe, @wisdomtrove
57:Poetry consists in a rhyming dictionary and things seen. ~ gertrude-stein, @wisdomtrove
58:Poetry is about the grief. Politics is about the grievance. ~ robert-frost, @wisdomtrove
59:As poetry is the harmony of words, so music is that of notes. ~ john-dryden, @wisdomtrove
60:Poetry should be common in experience but uncommon in books. ~ robert-frost, @wisdomtrove
61:Reasoning is never, like poetry, judged from the outside at all. ~ c-s-lewis, @wisdomtrove
62:We can't separate our humanity from our poetry. ~ elizabeth-barrett-browning, @wisdomtrove
63:Exercises are like prose, whereas yoga is the poetry of movements. ~ amit-ray, @wisdomtrove
64:I am all the time thinking about poetry and fiction and you. ~ virginia-woolf, @wisdomtrove
65:one can never be sure whether it's good poetry or bad acid ~ charles-bukowski, @wisdomtrove
66:Satire is a kind of poetry in which human vices are reprehended. ~ john-dryden, @wisdomtrove
67:Some people go to priests; others to poetry; I to my friends. ~ virginia-woolf, @wisdomtrove
68:I got saved by poetry and I got saved by the beauty of the world. ~ mary-oliver, @wisdomtrove
69:Poetry is either something that lives like fire inside you ~ f-scott-fitzgerald, @wisdomtrove
70:Poetry is the mathematics of writing and closely kin to music. ~ john-steinbeck, @wisdomtrove
71:Pure mathematics is, in its way, the poetry of logical ideas. ~ albert-einstein, @wisdomtrove
72:That music in itself, whose sounds are song, The poetry of speech. ~ lord-byron, @wisdomtrove
73:Wandering in many a coral grove, / Fair Nine, forsaking Poetry! ~ william-blake, @wisdomtrove
74:Great poetry needs no interpreter other than a responsive heart. ~ hellen-keller, @wisdomtrove
75:The one stream of poetry which is continually flowing is slang. ~ g-k-chesterton, @wisdomtrove
76:Fiction—and poetry and drama— cleanse the doors of perception. ~ ursula-k-le-guin, @wisdomtrove
77:Poetry is not a turning loose of emotion, but an escape from emotion, ~ t-s-eliot, @wisdomtrove
78:The poetry is all in the anticipation, for there is none in reality. ~ mark-twain, @wisdomtrove
79:One thing I do know is that poetry, to be understood, must be clear. ~ mary-oliver, @wisdomtrove
80:Poetry has done enough when it charms, but prose must also convince. ~ h-l-mencken, @wisdomtrove
81:Poetry springs from something deeper; it's beyond intelligence. ~ jorge-luis-borges, @wisdomtrove
82:So poetry, which is in Oxford made An art, in London only is a trade. ~ john-dryden, @wisdomtrove
83:Well, write poetry, for God's sake, it's the only thing that matters. ~ e-e-cummings, @wisdomtrove
84:But poetry, beauty, romance, love, these are what we stay alive for. ~ robin-williams, @wisdomtrove
85:Heroic poetry has ever been esteemed the greatest work of human nature. ~ john-dryden, @wisdomtrove
86:Poetry is the art of putting into words the inexpressible. ~ sri-nisargadatta-maharaj, @wisdomtrove
87:Poets like Shakespeare know more about poetry than any $25 an hour man. ~ robert-frost, @wisdomtrove
88:The central idea of poetry is the idea of guessing right, like a child. ~ g-k-chesterton, @wisdomtrove
89:True poetry is not of earth, &
90:Was not writing poetry a secret transaction, a voice answering a voice? ~ virginia-woolf, @wisdomtrove
91:Careful poetry and careful people live only long enough to die safely. ~ charles-bukowski, @wisdomtrove
92:Poetry is a reaching out forward expression, an effort to find fulfillment ~ robert-frost, @wisdomtrove
93:Poetry remembers that it was an oral art before it was a written art. ~ jorge-luis-borges, @wisdomtrove
94:If a poem hasn't ripped apart your soul; you haven't experienced poetry. ~ edgar-allan-poe, @wisdomtrove
95:Poetry is the attempt which man makes to render his existence harmonious. ~ thomas-carlyle, @wisdomtrove
96:Poetry is a comforting piece of fiction set to more or less lascivious music. ~ h-l-mencken, @wisdomtrove
97:Poetry is the alchemy which teaches us to convert ordinary materials into gold. ~ anais-nin, @wisdomtrove
98:People want poetry. They need poetry. They get it. They don't want fancy work. ~ mary-oliver, @wisdomtrove
99:Eroticism is one of the basic means of self-knowledge, as indispensable as poetry. ~ anais-nin, @wisdomtrove
100:Poetry is when an emotion has found its thought and the thought has found words. ~ robert-frost, @wisdomtrove
101:To write at the same temperature at which I live I should write nothing but poetry. ~ anais-nin, @wisdomtrove
102:Be aroused by poetry; structure yourself with propriety, refine yourself with music. ~ confucius, @wisdomtrove
103:It is part of my creed that the only poetry is history, could we tell it right. ~ thomas-carlyle, @wisdomtrove
104:Poetry is the art of substantiating shadows, and of lending existence to nothing. ~ edmund-burke, @wisdomtrove
105:Poetry is what is lost in translation. It is also what is lost in interpretation. ~ robert-frost, @wisdomtrove
106:Who are you, a hundred years from today, reading my poetry with curiosity? ~ rabindranath-tagore, @wisdomtrove
107:Zen Makes use, to a great extent, of poetical expressions; Zen is wedded to poetry. ~ d-t-suzuki, @wisdomtrove
108:The end of writing is to instruct; the end of poetry is to instruct by pleasing. ~ samuel-johnson, @wisdomtrove
109:The heaven of poetry and romance still lies around us and within us. ~ henry-wadsworth-longfellow, @wisdomtrove
110:Originally, poetry creates the myth, while the prose-writer draws its portrait. ~ jean-paul-sartre, @wisdomtrove
111:Poetry is the lifeblood of rebellion, revolution, and the raising of consciousness. ~ alice-walker, @wisdomtrove
112:Poetry is what gets lost in translation. It is also what is lost in interpretation. ~ robert-frost, @wisdomtrove
113:Poetry puts starch in your backbone so you can stand, so you can compose your life. ~ maya-angelou, @wisdomtrove
114:I learned about love from your perfection. I learned about poetry and song from your beauty. ~ rumi, @wisdomtrove
115:Poetry's unnat'ral; no man ever talked poetry &
116:Poetry is not an assertion of truth, but the making of that truth more fully real to us. ~ t-s-eliot, @wisdomtrove
117:The specific excellence of verbal expression in poetry is to be clear without being low. ~ aristotle, @wisdomtrove
118:If I feel physically as if the top of my head were taken off, I know that is poetry. ~ emily-dickinson, @wisdomtrove
119:On poetry: Everyone wants to know what it means. But nobody is asking, How does it feel? ~ mary-oliver, @wisdomtrove
120:Rhyme, that enslaved queen, that supreme charm of our poetry, that creator of our meter. ~ victor-hugo, @wisdomtrove
121:To see the Summer Sky Is Poetry, though never in a Book it lie— True Poems flee— ~ emily-dickinson, @wisdomtrove
122:I may turn out an intellectual, but I'll never write anything but mediocre poetry. ~ f-scott-fitzgerald, @wisdomtrove
123:Poetry is essentially the discovery, the love, the passion for the name of everything. ~ gertrude-stein, @wisdomtrove
124:There is something about writing poetry that brings a man close to the cliff's edge. ~ charles-bukowski, @wisdomtrove
125:Oh! That was poetry!" said Pippin. "Do you really mean to start before the break of day? ~ j-r-r-tolkien, @wisdomtrove
126:Poetry demands a man with a special gift for it, or else one with a touch of madness in him. ~ aristotle, @wisdomtrove
127:Bad poetry is caused by people who sit down and think, Now I am going to write a Poem. ~ charles-bukowski, @wisdomtrove
128:Neither poetry, nor ambition, nor love have any alertness of countenance as they pass by me. ~ john-keats, @wisdomtrove
129:Honest criticism and sensible appreciation are directed not upon the poet but upon the poetry. ~ t-s-eliot, @wisdomtrove
130:It is the misfortune of poetry, to be seldom safely enjoyed by those who enjoy it completely. ~ jane-austen, @wisdomtrove
131:Poetry, I have discovered, is always unexpected and always as faithful and honest as dreams. ~ alice-walker, @wisdomtrove
132:Yet, it is true, poetry is delicious; the best prose is that which is most full of poetry. ~ virginia-woolf, @wisdomtrove
133:For awhile after you quit Keats all other poetry seems to be only whistling or humming. ~ f-scott-fitzgerald, @wisdomtrove
134:Poetry is play. I'd even rather have you think of it as a sport. For instance, like football. ~ robert-frost, @wisdomtrove
135:Poetry too is a little incarnation, giving body to what had been before invisible and inaudible. ~ c-s-lewis, @wisdomtrove
136:Eloquence is heard; poetry is overheard ... All poetry is of the nature of the soliloquy. ~ john-stuart-mill, @wisdomtrove
137:Let a man be stimulated by poetry, established by the rules of propriety, and perfected by music. ~ confucius, @wisdomtrove
138:Boston: Their hotels are bad. Their pumpkin pies are delicious. Their poetry is not so good. ~ edgar-allan-poe, @wisdomtrove
139:All religion, my friend, is simply evolved out of fraud, fear, greed, imagination, and poetry. ~ edgar-allan-poe, @wisdomtrove
140:Chess has this in common with making poetry; that the desire for it comes upon the amateur in gusts. ~ a-a-milne, @wisdomtrove
141:My definition of poetry (if I were forced to give one) would be this: words that have become deeds. ~ robert-frost, @wisdomtrove
142:Disobedience to conscience is voluntary; bad poetry, on the other hand, is usually not made on purpose. ~ c-s-lewis, @wisdomtrove
143:I could define poetry this way: it is that which is lost out of both prose and verse in translation. ~ robert-frost, @wisdomtrove
144:I think what we lack isn't science, but poetry that reveals what the heart is ready to recognize. ~ joseph-campbell, @wisdomtrove
145:If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry. ~ emily-dickinson, @wisdomtrove
146:Poetry is the renewal of words, setting them free, and that's what a poet is doing: loosening the words. ~ robert-frost, @wisdomtrove
147:Love is an irresistable desire to be irresistably desired." "Poetry begins in delight and ends in wisdom. ~ robert-frost, @wisdomtrove
148:There is no Frigate like a book to take us lands away nor any coursers like a page of prancing Poetry. ~ emily-dickinson, @wisdomtrove
149:The three ingredients of poetry: the mystery of the universe, spiritual curiosity, the energy of language. ~ mary-oliver, @wisdomtrove
150:Poetry should help, not only to refine the language of the time, but to prevent it from changing too rapidly. ~ t-s-eliot, @wisdomtrove
151:It seems just possible that a poem might happen to a very young man: but a poem is not poetry -That is a life. ~ t-s-eliot, @wisdomtrove
152:but as God said, crossing his legs, I see where I have made plenty of poets but not so very much poetry. ~ charles-bukowski, @wisdomtrove
153:It is strange how a scrap of poetry works in the mind and makes the legs move in time to it along the road. ~ virginia-woolf, @wisdomtrove
154:Poetry is like painting: one piece takes your fancy if you stand close to it, another if you keep at some distance. ~ horace, @wisdomtrove
155:I don't think there's any essential difference, at least for me, between writing poetry and writing prose. ~ jorge-luis-borges, @wisdomtrove
156:Nothing is so improving to the temper as the study of the beauties either of poetry, eloquence, music, or painting. ~ david-hume, @wisdomtrove
157:As men advance in life, all passions resolve themselves into money. Love, ambition, even poetry, end in this. ~ benjamin-disraeli, @wisdomtrove
158:Science arose from poetry... when times change the two can meet again on a higher level as friends. ~ johann-wolfgang-von-goethe, @wisdomtrove
159:The Bible has noble poetry in it... and some good morals and a wealth of obscenity, and upwards of a thousand lies. ~ mark-twain, @wisdomtrove
160:In the hands of a genius, engineering turns to magic, philosophy becomes poetry, and science pure imagination. ~ benjamin-disraeli, @wisdomtrove
161:Poetry should... should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance. ~ john-keats, @wisdomtrove
162:The aim of art is almost divine: to bring to life again if it is writing history, to create if it is writing poetry. ~ victor-hugo, @wisdomtrove
163:Nearly everybody is looking for something brave to do. I don't know why people shouldn't write poetry. That's brave. ~ robert-frost, @wisdomtrove
164:There is nothing at all that can be talked about adequately, and the whole art of poetry is to say what can't be said. ~ alan-watts, @wisdomtrove
165:Probably the best nonsense poetry is produced gradually and accidentally, by communities rather than by individuals. ~ george-orwell, @wisdomtrove
166:We only have one story. All novels, all poetry are built on the never-ending contest in ourselves of good and evil. ~ john-steinbeck, @wisdomtrove
167:Poetry is finer and more philosophical than history; for poetry expresses the universal, and history only the particular. ~ aristotle, @wisdomtrove
168:We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. ~ robin-williams, @wisdomtrove
169:Poetry is one of the original arts, and it began, as did all the fine arts, within the original wilderness of the earth. ~ mary-oliver, @wisdomtrove
170:Poetry, Painting & Music, the three Powers in man of conversing with Paradise, which the flood did not sweep away. ~ william-blake, @wisdomtrove
171:Before now poetry has taken notice Of wars, and what are wars but politics Transformed from chronic to acute and bloody? ~ robert-frost, @wisdomtrove
172:The central fact of my life has been the existence of words and the possibility of weaving those words into poetry. ~ jorge-luis-borges, @wisdomtrove
173:A man of eighty has outlived probably three new schools of painting, two of architecture and poetry and a hundred in dress. ~ lord-byron, @wisdomtrove
174:On the meridian of time, there is no injustice: there is only the poetry of motion creating the illusion of truth and drama. ~ henry-miller, @wisdomtrove
175:Poetry isn't a profession, it's a way of life. It's an empty basket; you put your life into it and make something out of that. ~ mary-oliver, @wisdomtrove
176:Poetry, she thought, wasn't written to be analyzed; it was meant to inspire without reason, to touch without understanding. ~ nicholas-sparks, @wisdomtrove
177:They wanted to come in after the pounds", explained Pooh, "so I let them. It's the best way to write poetry, letting things come. ~ a-a-milne, @wisdomtrove
178:We especially need imagination in science. It is not all mathematics, nor all logic, but it is somewhat beauty and poetry. ~ maria-montessori, @wisdomtrove
179:Now there's a word to lift your hat to... to find that phosphorescence, that light within, that's the genius behind poetry. ~ emily-dickinson, @wisdomtrove
180:A long poem is a test of invention which I take to be the Polar star of poetry, as fancy is the sails, and imagination the rudder. ~ john-keats, @wisdomtrove
181:Nightmares exist outside of logic, and there's little fun to be had in explanations; they're antithetical to the poetry of fear. ~ stephen-king, @wisdomtrove
182:In high school I was drawn to the study of literature, poetry Shakespeare, contemporary fiction, drama, you name it - I read it. ~ frederick-lenz, @wisdomtrove
183:Poetry, with all its obscurity, has a more general as well as a more powerful dominion over the passions than the art of painting. ~ edmund-burke, @wisdomtrove
184:My songs were influenced not so much by poetry on the page but by poetry being recited by the poets who recited poems with jazz bands. ~ bob-dylan, @wisdomtrove
185:Poetry is an attenuation, a rehandling, an echo of crude experience; it is itself a theoretic vision of things at arm's length. ~ george-santayana, @wisdomtrove
186:A mind that is lively and inquiring, compassionate, curious, angry, full of music, full of feeling, is a mind full of possible poetry. ~ mary-oliver, @wisdomtrove
187:No one is a poet from eight to twelve and from two to six. Whoever is a poet is one always, and continually assaulted by poetry. ~ jorge-luis-borges, @wisdomtrove
188:If I had my life to live over again, I would have made a rule to read some poetry and listen to some music at least once every week. ~ charles-darwin, @wisdomtrove
189:Men yearn for poetry though they may not confess it; they desire that joy shall be graceful and sorrow august and infinity have a form. ~ e-m-forster, @wisdomtrove
190:So far as I am concerned, poetry and every other art was, is, and forever will be strictly and distinctly a question of individuality. ~ e-e-cummings, @wisdomtrove
191:Poetry is a serious business; literature is the apparatus through which the world tries to keep intact its important ideas and feelings. ~ mary-oliver, @wisdomtrove
192:We like to think we live in daylight, but half the world is always dark, and fantasy, like poetry, speaks the language of the night. ~ ursula-k-le-guin, @wisdomtrove
193:We speak of the masculine and the feminine, but they are the wrong labels. It is really more a matter of poetry versus intellectualization. ~ anais-nin, @wisdomtrove
194:I enjoy poetry where I can talk as bizarre as I please, but theology or philosophy, I always respect the truth by taking it a step further. ~ criss-jami, @wisdomtrove
195:Someone handed me Mexico City Blues in St. Paul [Minnesota] in 1959 and it blew my mind. It was the first poetry that spoke my own language. ~ bob-dylan, @wisdomtrove
196:If more politicians knew poetry, and more poets knew politics, I am convinced the world would be a little better place in which to live. ~ john-f-kennedy, @wisdomtrove
197:Sir, what is poetry? Why, Sir, it is much easier to say what it is not. We all know what light is; but it is not easy to tell what it is. ~ samuel-johnson, @wisdomtrove
198:Who would not spout the family teapot in order to talk with Keats for an hour about poetry, or with Jane Austen about the art of fiction? ~ virginia-woolf, @wisdomtrove
199:If we are moved by a poem, it has meant something, perhaps something important, to us; if we are not moved, then it is, as poetry, meaningless. ~ t-s-eliot, @wisdomtrove
200:In the Book of Poetry there are three hundred poems, but the meaning of all of them may be put in a single sentence: Have no debasing thoughts. ~ confucius, @wisdomtrove
201:the four virtues a person needs in order to be safe and happy in life: intelligence, friendship, strength and (I love this one) poetry. ~ elizabeth-gilbert, @wisdomtrove
202:To me Art (poetry) is a continuous and continuing process and that when a man fails to write good poetry he fails to live fully or well. ~ charles-bukowski, @wisdomtrove
203:It is a test (a positive test, I do not assert that it is always valid negatively), that genuine poetry can communicate before it is understood. ~ t-s-eliot, @wisdomtrove
204:Exercises are like prose, whereas yoga is the poetry of movements. Once you understand the grammar of yoga; you can write your poetry of movements. ~ amit-ray, @wisdomtrove
205:Music is the vapor of art. It is to poetry what reverie is to thought, what fluid is to solid, what the ocean of clouds is to the ocean of waves. ~ victor-hugo, @wisdomtrove
206:The greatest productions of art, whether painting, music, sculpture or poetry, have invariably this quality-something approaching the work of God. ~ d-t-suzuki, @wisdomtrove
207:I don't know if you actually get something out of writing poetry. I think poetry is an autonomous muse that decides to come and sit on your couch. ~ alice-walker, @wisdomtrove
208:Poetry should be great and unobtrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself, but with its subject. ~ john-keats, @wisdomtrove
209:The fact is that poetry is not the books in the library . . . Poetry is the encounter of the reader with the book, the discovery of the book. ~ jorge-luis-borges, @wisdomtrove
210:He must be theory-mad beyond redemption who ... shall ... persist in attempting to reconcile the obstinate oils and waters of Poetry and Truth. ~ edgar-allan-poe, @wisdomtrove
211:Poetry is the gate through which I enter the land of enchantment. Once inside the flaming wall, my limitations fall from me, and my spirit is free. ~ hellen-keller, @wisdomtrove
212:Just as we don't spend a lot of time worrying about how all those poets out there are going to monetize their poetry, the same is true for most bloggers. ~ seth-godin, @wisdomtrove
213:Pain is essential. Often I cannot avoid it.Therefore all one can do is redeem it; and the only way to redeem it is through literature, art, poetry, music. ~ elie-wiesel, @wisdomtrove
214:Poetry fettered, fetters the human race. Nations are destroyed or flourish in proportion as their poetry, painting, and music are destroyed or flourish. ~ william-blake, @wisdomtrove
215:Lastly, this threefold poetry flows from three great sources - The Bible, Homer, Shakespeare... . The Bible before the Iliad, the Iliad before Shakespeare. ~ victor-hugo, @wisdomtrove
216:There is a majesty and mystery in nature, take her as you will. The essence of poetry comes breathing to a mind that feels from every province of her empire. ~ thomas-carlyle, @wisdomtrove
217:Has it ever occurred to you,' he said, &
218:Human beings love poetry. They don't even know it sometimes... whether they're the songs of Bono, or the songs of Justin Bieber... they're listening to poetry. ~ maya-angelou, @wisdomtrove
219:A young man is afraid of his demon and puts his hand over the demon's mouth sometimes and speaks for him. And the things the young man says are very rarely poetry. ~ d-h-lawrence, @wisdomtrove
220:Romantic poetry had its heyday when people like Lord Byron were kicking it large. But you try and make a living as a poet today, and you'll find it's very different! ~ alan-moore, @wisdomtrove
221:Then I grasped the meaning of the greatest secret that human poetry and human thought and belief have to impart: The salvation of man is through love and in love. ~ viktor-frankl, @wisdomtrove
222:Poetry should surprise by a fine excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance. ~ john-keats, @wisdomtrove
223:When I said. A rose is a rose is a rose. And then later made that into a ring I made poetry and what did I do I caressed completely caressed and addressed a noun. ~ gertrude-stein, @wisdomtrove
224:I try to see their moral relevance [in the Bible] and, of course, to admire the literary beauty of the text. Prophetic poetry: No one has written the way Isaiah does. ~ elie-wiesel, @wisdomtrove
225:In the end, for congenial sympathy, for poetry, for work, for original feeling and expression, for perfect companionship with one's friends&
226:The poetry of earth is never dead When all the birds are faint with the hot sun, And hide I cooling trees, a voice will run From hedge to hedge about the new-mown mead. ~ john-keats, @wisdomtrove
227:But it isn't easy,' said Pooh. &
228:Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness. ~ edgar-allan-poe, @wisdomtrove
229:The incalculable winds of fantasy and music and poetry, the mere face of a girl, the song of a bird, or the sight of a horizon, are always blowing evil’s whole structure away. ~ c-s-lewis, @wisdomtrove
230:Poetry, whose material is language, is perhaps the most human and least worldly of the arts, the one in which the end product remains closest to the thought that inspired it. ~ hannah-arendt, @wisdomtrove
231:The young student sits with his head bent over his books, and his mind straying in youth's dreamland; where prose is prowling on the desk and poetry hiding in the heart. ~ rabindranath-tagore, @wisdomtrove
232:The business of the poet is not to find new emotions, but to use the ordinary ones and, in working them up into poetry, to express feelings which are not in actual emotions at all. ~ t-s-eliot, @wisdomtrove
233:You cannot lecture on really pure poetry any more than you can talk about the ingredients of pure water-it is adulterated, methylated, sanded poetry that makes the best lectures. ~ virginia-woolf, @wisdomtrove
234:I was attracted to poetry, which is perhaps the purest of the art forms, where love is the medium of exchange and the nobility of love is considered. It's a land of higher ideals. ~ frederick-lenz, @wisdomtrove
235:Most songs have bridges in them, to distract listeners from the main verses of a song so they don't get bored. My songs don't have a lot of bridges because lyric poetry never had them. ~ bob-dylan, @wisdomtrove
236:It's hot tonight and half the neighborhood is drunk. the other half is dead. if I have any advice about writing poetry it's - don't. I'm going to send out for some fried chicken. ~ charles-bukowski, @wisdomtrove
237:So of all the particulars of health and exercise, and fit nutriment, and tonics. Some people will tell you there is a great deal of poetry and fine sentiment in a chest of tea. ~ ralph-waldo-emerson, @wisdomtrove
238:The tragic element in poetry is like Saturn in alchemy, the Malevolent, the Destroyer of Nature ; but without it no true Aurum Potabile, or Elixir of Life, can be made. ~ henry-wadsworth-longfellow, @wisdomtrove
239:The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry. ~ bertrand-russell, @wisdomtrove
240:Wonder, and its expression in poetry and the arts, are among the most important things which seem to distinguish men from other animals, and intelligent and sensitive people from morons. ~ alan-watts, @wisdomtrove
241:I teach Zen, tantric mysticism, jnana yoga, bhakti yoga, Tibetan mysticism, occultism and psychic development. I also teach poetry and literature, film and many other different things. ~ frederick-lenz, @wisdomtrove
242:For my part, I love to give myself up to the illusion of poetry. A hero of fiction that never existed is just as valuable to me as a hero of history that existed a thousand years ago. ~ washington-irving, @wisdomtrove
243:I'm happy to be a writer - of prose, poetry, every kind of writing. Every person in the world who isn't a recluse, hermit or mute uses words. I know of no other art form that we always use. ~ maya-angelou, @wisdomtrove
244:The genius of poetry must work out its own salvation in a man; it cannot be matured by law and precept, but by sensation and watchfulness in itself. That which is creative must create itself. ~ john-keats, @wisdomtrove
245:Fiction is of the essence of poetry as well as of painting; there is a resemblance in one of human bodies, things, and actions which are not real, and in the other of a true story by fiction. ~ john-dryden, @wisdomtrove
246:In reading, in literature and poetry, I found an artistic freedom that I didn't see at Woolworth's. I would read everything from Shakespeare to science fiction ... sometimes a book a day. ~ frederick-lenz, @wisdomtrove
247:I love this quote uttered by the character Widget in The Night Circus. He credits it to Herr Thiessen but knows it is a literary quote by the another author. "Wine is bottled poetry ~ robert-louis-stevenson, @wisdomtrove
248:I think of mythology as the homeland of the muses, the inspirers of art, the inspirers of poetry. To see life as a poem and yourself participating in a poem is what the myth does for you.   ~ joseph-campbell, @wisdomtrove
249:My wife has a beastly habit of comparing poetry - all literature in fact - to the droppings of the goats among the rocks - mere excreta that fertilises the ground it falls on. ~ d-h-lawrence, @wisdomtrove
250:The trouble with poetry is it's often written to the sound of a drum only the poet may hear; nonetheless, blessed are those poets who always manage to find unshakeable pleasure in their own works. ~ criss-jami, @wisdomtrove
251:We were romantics. We didn't just read poetry. We let it drip from our tongues like honey. Spirits soared. Women swooned, and gods were created, gentlemen. Not a bad way to spend an evening, eh? ~ robin-williams, @wisdomtrove
252:Imagining is in itself the very height and life of poetry, which, by a kind of enthusiasm or extraordinary emotion of the soul, makes it seem to us that we behold those things which the poet paints. ~ john-dryden, @wisdomtrove
253:The sort of poetry I seek only resides in objects Man can't touch - like England &
254:Poetry's unnat'ral; no man ever talked poetry &
255:In the beginning was the myth. God, in his search for self-expression, invested the souls of Hindus, Greeks, and Germans with poetic shapes and continues to invest each child's soul with poetry every day. ~ hermann-hesse, @wisdomtrove
256:Political system is contrary to everything a feminine heart stands for. It lacks tenderness. It lacks poetry. It doesn't nurture. It doesn't love. And without those things, a woman's soul is bereft. ~ marianne-williamson, @wisdomtrove
257:The critics could never mortify me out of heart - because I love poetry for its own sake, - and, tho' with no stoicism and some ambition, care more for my poems than for my poetic reputation. ~ elizabeth-barrett-browning, @wisdomtrove
258:Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness. ~ nathaniel-hawthorne, @wisdomtrove
259:Don't talk to me any more about poetry for months - unless it is other men's work. I really love verse, even rubbish. But I'm fearfully busy at a novel, and brush all the gossamer of verse off my face. ~ d-h-lawrence, @wisdomtrove
260:In poetry, and in my study in graduate school, I was drawn to a particular poet, Theodore Roethke. I did a dissertation on "The Evolution of Matter and Spirit in the Poetry of Theodore Roethke" for my Ph.D. ~ frederick-lenz, @wisdomtrove
261:Every age has its own poetry; in every age the circumstances of history choose a nation, a race, a class to take up the torch by creating situations that can be expressed or transcended only through poetry. ~ jean-paul-sartre, @wisdomtrove
262:If I had life to live over again, I would give my life to poetry, to music, to literature, and to art to make life richer and happier. In my youth I steeled myself against them and thought them so much waste. ~ charles-darwin, @wisdomtrove
263:If it falls your lot to be a street sweeper, sweep streets as Raphael painted pictures, sweep streets as Michelangelo carved marble, sweep streets as Beethoven composed music, or Shakespeare wrote poetry. ~ martin-luther-king, @wisdomtrove
264:One cannot build life from refrigerators, politics, credit statements and crossword puzzles. That is impossible. Nor can one exist for any length of time without poetry, without color, without love. ~ antoine-de-saint-exupery, @wisdomtrove
265:Evolution does not isolate us from the rest of the Kosmos, it unites us with the rest of the Kosmos: the same currents that produced birds from dust and poetry from rocks produce egos from ids and sages from egos. ~ ken-wilber, @wisdomtrove
266:The loss of these tastes [for poetry and music] is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature. ~ charles-darwin, @wisdomtrove
267:In a way, you are poetry material; You are full of cloudy subtleties I am willing to spend a lifetime figuring out. Words burst in your essence and you carry their dust in the pores of your ethereal individuality. ~ franz-kafka, @wisdomtrove
268:The object, Truth, or the satisfaction of the intellect, and the object, Passion, or the excitement of the heart, are, although attainable, to a certain extent, in poetry, far more readily attainable in prose. ~ edgar-allan-poe, @wisdomtrove
269:Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives are mostly a constant evasion of ourselves. ~ t-s-eliot, @wisdomtrove
270:Astronomy, that micography of heaven, is the most magnificent of the sciences. ... Astronomy has its clear side and its luminous side; on its clear side it is tinctured with algebra, on its luminous side with poetry. ~ victor-hugo, @wisdomtrove
271:Since a true knowledge of nature gives us pleasure, a lively imitation of it, either in poetry or painting, must produce a much greater; for both these arts are not only true imitations of nature, but of the best nature. ~ john-dryden, @wisdomtrove
272:Anybody is qualified, according to everybody, for giving opinions upon poetry. It is not so in chemistry and mathematics. Nor is it so, I believe, in whist and the polka. But then these are more serious things. ~ elizabeth-barrett-browning, @wisdomtrove
273:The crown of literature is poetry. It is its end and aim. It is the sublimest activity of the human mind. It is the achievement of beauty and delicacy. The writer of prose can only step aside when the poet passes. ~ william-somerset-maugham, @wisdomtrove
274:When power leads man toward arrogance, poetry reminds him of his limitations. When power narrows the area of man's concern, poetry reminds him of the richness and diversity of existence. When power corrupts, poetry cleanses. ~ john-f-kennedy, @wisdomtrove
275:A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the heart. ~ johann-wolfgang-von-goethe, @wisdomtrove
276:Homosexuals are delicate and bad poetry is delicate and [Allen] Ginsberg turned the tables by making homosexual poetry strong poetry, almost manly poetry; but in the long run, the homo will remain the homo and not the poet. ~ charles-bukowski, @wisdomtrove
277:I'm a failed poet. Maybe every novelist wants to write poetry first, finds he can't and then tries the short story which is the most demanding form after poetry. And failing at that, only then does he take up novel writing. ~ william-faulkner, @wisdomtrove
278:To be creative means to be in love with life. You can be creative only if you love life enough that you want to enhance its beauty, you want to bring a little more music to it, a little more poetry to it, a little more dance to it. ~ rajneesh, @wisdomtrove
279:The borderline between prose and poetry is one of those fog-shrouded literary minefields where the wary explorer gets blown to bits before ever seeing anything clearly. It is full of barbed wire and the stumps of dead opinions. ~ ursula-k-le-guin, @wisdomtrove
280:Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a real wilderness, and those who go there should not feel too safe. ~ ursula-k-le-guin, @wisdomtrove
281:I'm a failed poet. Maybe every novelist wants to write poetry first, finds he can't, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing. ~ william-faulkner, @wisdomtrove
282:If you find that the reader of popular romances&
283:There was no really good true war book during the entire four years of the war. The only true writing that came through during the war was in poetry. One reason for this is that poets are not arrested as quickly as prose writers. ~ ernest-hemingway, @wisdomtrove
284:You've often heard me say - perhaps too often - that poetry is what is lost in translation. It is also what is lost in interpretation. That little poem means just what it says and it says what it means, nothing less but nothing more. ~ robert-frost, @wisdomtrove
285:A work of art always arises from the background: consciousness. Be it music, painting, architecture, poetry or sculpture, it is always seen by the artist in an instant, like a flash of lightning, as it surges forth from deep within him. ~ jean-klein, @wisdomtrove
286:I take as metaphysical poetry that in which what is ordinarily apprehensible only by thought is brought within the grasp of feeling, or that in which what is ordinarily only felt is transformed into thought without ceasing to be feeling. ~ t-s-eliot, @wisdomtrove
287:women have always been poor, not for two hundred years merely, but from the beginning of time. ... Women, then, have not had a dog's chance of writing poetry. That is why I have laid so much stress on money and a room of one's own. ~ virginia-woolf, @wisdomtrove
288:she thought it was the misfortune of poetry, to be seldom safely enjoyed by those who enjoyed it completely; and that the strong feelings which alone could estimate it truly, were the very feelings which ought to taste it but sparingly. ~ jane-austen, @wisdomtrove
289:With me poetry has been not a purpose, but a passion; and the passions should be held in reverence: they must not they cannot at will be excited, with an eye to the paltry compensations, or the more paltry commendations, of mankind. ~ edgar-allan-poe, @wisdomtrove
290:My friends tell me that I am an intruder, that I don't really write when I attempt poetry. But those of my friends who write in prose say that I'm no writer when I attempt prose. So really I don't know what to do, I'm in a quandary. ~ jorge-luis-borges, @wisdomtrove
291:She dotes on poetry, sir. She adores it; I may say that her whole soul and mind are wound up, and entwined with it. She has produced some delightful pieces, herself, sir. You may have met with her &
292:The acting that one sees upon the stage does not show how human beings comport themselves in crises, but how actors think they ought to. It is thus, like poetry and religion, a device for gladdening the heart with what is palpably not true. ~ h-l-mencken, @wisdomtrove
293:If I read a book and it makes my whole body so cold no fire can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way? ~ emily-dickinson, @wisdomtrove
294:Men grind and grind in the mill of a truism, and nothing comes out but what was put in. But the moment they desert the tradition for a spontaneous thought, then poetry, wit, hope, virtue, learning, anecdote, and all flock to their aid. ~ ralph-waldo-emerson, @wisdomtrove
295:How does the ordinary person come to the transcendent? For a start, I would say, study poetry. Learn how to read a poem. You need not have the experience to get the message, or at least some indication of the message. It may come gradually.  ~ joseph-campbell, @wisdomtrove
296:As things are, and as fundamentally they must always be, poetry is not a career, but a mug's game. No honest poet can ever feel quite sure of the permanent value of what he has written: He may have wasted his time and messed up his life for nothing. ~ t-s-eliot, @wisdomtrove
297:In the sphere of natural investigation, as in poetry and painting, the delineation of that which appeals most strongly to the imagination, derives its collective interest from the vivid truthfulness with which the individual features are portrayed. ~ david-hume, @wisdomtrove
298:Songwriting and poetry are so commonly birthed from underdogs because one can make even the ugliest situations admirable, or more beautiful than the beautiful situations - they are the most graceful media in which the lines of society are distorted. ~ criss-jami, @wisdomtrove
299:The great charm of poetry consists in lively pictures of the sublime passions, magnanimity, courage, disdain of fortune; or thoseof the tender affections, love and friendship; which warm the heart, and diffuse over it similar sentiments and emotions. ~ david-hume, @wisdomtrove
300:Poetry most often communicates emotions, not directly, but by creating imaginatively the grounds for those emotions. It therefore communicates something more than the emotion; only by means of that something more does it communicate the emotion at all. ~ c-s-lewis, @wisdomtrove
301:Words, sentences, ideas, no matter how subtle or ingenious, the maddest flights of poetry, the most profound dreams, the most hallucinating visions, are but crude hieroglyphs chiseled in pain and sorrow to commemorate an event which is untransmissible. ~ henry-miller, @wisdomtrove
302:Tell me", he wanted to say, "everything in the whole world" - for he had the wildest, most absurd, extravagant ideas about poets and poetry - but how to speak to a man who does not see you? who sees ogres, satyrs, perhaps the depth of the sea instead? ~ virginia-woolf, @wisdomtrove
303:Perhaps there never was a monument more characteristic of an age and people than the Alhambra; a rugged fortress without, a voluptuous palace within; war frowning from its battlements; poetry breathing throughout the fairy architecture of its halls. ~ washington-irving, @wisdomtrove
304:Poetry is either something that lives like fire inside you - like music to the musician or Marxism to the Communist - or else it is nothing, an empty, formalized bore around which pedants can endlessly drone their notes and explanations. ~ f-scott-fitzgerald, @wisdomtrove
305:A farce is that in poetry which grotesque (caricature) is in painting. The persons and actions of a farce are all unnatural, and the manners false, that is, inconsistent with the characters of mankind; and grotesque painting is the just resemblance of this. ~ john-dryden, @wisdomtrove
306:Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things. ~ t-s-eliot, @wisdomtrove
307:Religion, like poetry, is not a mere idea, it is expression. The self-expression of God is in the endless variety of creation; and our attitude toward the Infinite Being must also in its expression have a variety of individuality ceaseless and unendi. ~ rabindranath-tagore, @wisdomtrove
308:But I have seen my obstacles: trivialities, learning and poetry. This last needs explaining: the old artist's readiness to dissolve characters into a haze. Characters cannot come alive and fight and guide the world unless the novelist wants them to remain characters. ~ e-m-forster, @wisdomtrove
309:Poetry is the universal art of the spirit which has become free in itself and which is not tied down for its realization to external sensuous material; instead, it launches out exclusively in the inner space and the inner time of ideas and feelings. ~ georg-wilhelm-friedrich-hegel, @wisdomtrove
310:I would define, in brief, the Poetry of words as the Rhythmical Creation of Beauty. Its sole arbiter is taste. With the intellect or with the conscience, it has only collateral relations. Unless incidentally, it has no concern whatever either with duty or with truth. ~ edgar-allan-poe, @wisdomtrove
311:I have been used to consider poetry as "the food of love" said Darcy. "Of a fine, stout, healthy love it may. Everything nourishes what is strong already. But if it be only a slight, thin sort of inclination, I am convinced that one good sonnet will starve it entirely away. ~ jane-austen, @wisdomtrove
312:The theoretician believes in logic and believes that he despises dreams, intuition, and poetry. He does not recognize that these three fairies have only disguised themselves in order to dazzle him... . He does not know that he owes his greatest discoveries to them. ~ antoine-de-saint-exupery, @wisdomtrove
313:A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words‚or rather the poetry behind the words, for the words themselves are mere symbols‚spring to life, and we have a resurrection of the word. ~ jorge-luis-borges, @wisdomtrove
314:I've always written. There's a journal which I kept from about 9 years old. The man who gave it to me lived across the street from the store and kept it when my grandmother's papers were destroyed. I'd written some essays. I loved poetry, still do. But I really, really loved it then. ~ maya-angelou, @wisdomtrove
315:It starts off like climbing a tree or solving a puzzle - poetry, if nothing else, is just fun to write. But deeper into each and every piece, you no longer hesitate to call it work. It's passion. A poet's sense of lyrical accomplishment is then his food and water, his means of survival. ~ criss-jami, @wisdomtrove
316:When I first started doing my stand-up act, I played the banjo, did comedy, magic tricks, juggled, read poetry. I stuck it all in. I didn't know you were supposed to just stand up and tell jokes. Essentially, that's what my act became: those five elements - except I dropped the poetry. ~ steve-martin, @wisdomtrove
317:Science boasts of the distance of its stars; of the terrific remoteness of the things of which it has to speak. But poetry and religion always insist upon the proximity, the almost menacing closeness of the things with which they are concerned. Always the Kingdom of Heaven is "At Hand." ~ g-k-chesterton, @wisdomtrove
318:If you are ambitious of climbing up to the difficult, and in a manner inaccessible, summit of the Temple of Fame, your surest way is to leave on one hand the narrow path of Poetry, and follow the narrower track of Knight-Errantry, which in a trice may raise you to an imperial throne. ~ miguel-de-cervantes, @wisdomtrove
319:The only way to increase it is to cultivate your own garden. And the only thing that will help you is poetry, which is the most concentrated form of style... . I don't care how clever the other professor is, one can't raise a discussion of modern prose to anything above tea-table level. ~ f-scott-fitzgerald, @wisdomtrove
320:A poem needs understanding through the senses. The point of diving in a lake is not immediately to swim to the shore; it’s to be in the lake, to luxuriate in the sensation of water. You do not work the lake out. It is an experience beyond thought. Poetry soothes and emboldens the soul to accept mystery. ~ john-keats, @wisdomtrove
321:I find that when people haven't found God and do not know the new birth and the Spirit is not on them, yet they have the ancient impulse to worship something. If they're not educated they kill a chicken and put a funny thing on their head and dance around. If they are educated they write poetry. ~ aiden-wilson-tozer, @wisdomtrove
322:If a man is called to be a streetsweeper, he should sweep streets even as Michelangelo painted, or Beethoven composed music, or Shakespeare wrote poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, here lived a great streetsweeper who did his job well. ~ martin-luther-king, @wisdomtrove
323:Consciousness is not wholly, nor even primarily a device for receiving sense-impressions. …there is another outlook than the scientific one, because in practice a more transcendental outlook is almost universally admitted. …who does not prize these moments that reveal to us the poetry of existence? ~ sir-arthur-eddington, @wisdomtrove
324:The Gettysburg Adress has been included, of late, in several anthologies of poetry. It actually meets the major requirement of all poetry: It is a mellifluous and emotional statement of the obviously not true. The men who fought for self-determination at Gettysburg were not the Federals but the Confederates. ~ h-l-mencken, @wisdomtrove
325:Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theatre, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions. ~ susan-sontag, @wisdomtrove
326:We have only one story. All novels, all poetry, are built on the neverending contest in ourselves of good and evil. And it occurs to me that evil must constantly respawn, while good, while virtue, is immortal. Vice has always a new fresh young face, while virtue is venerable as nothing else in the world is. ~ john-steinbeck, @wisdomtrove
327:Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song. ~ jorge-luis-borges, @wisdomtrove
328:My father died and left me his blessing and his business. His blessing brought no money into my pocket, and as to his business, it soon deserted me, for I was busy writing poetry, and could not attend to law, and my clients, though they had great respect for my talents, had no faith in a poetical attorney. ~ washington-irving, @wisdomtrove
329:The aesthetic event is something as evident, as immediate, as indefinable as love, the taste of fruit, of water. We feel poetry as we feel the closeness of a woman, or as we feel a mountain or a bay. If we feel it immediately, why dilute it with other words, which no doubt will be weaker than our feelings? ~ jorge-luis-borges, @wisdomtrove
330:If a man is called to be a street sweeper, he should sweep streets even as a Michaelangelo painted, or Beethoven composed music or Shakespeare wrote poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, &
331:If you are a person this world will seem full of persons. When you are the being you will not feel bound. You will know every being, look in the eyes of every being, and you know, you will recognize yourself. These things are not poetry. They are simple truths. You will experience them. In your heart they will be confirmed. ~ mooji, @wisdomtrove
332:What has praise and fame to do with poetry? Was not writing poetry a secret transaction, a voice answering a voice? So that all this chatter and praise, and blame and meeting people who admired one and meeting people who did not admire one was as ill suited as could be to the thing itself- a voice answering a voice. ~ virginia-woolf, @wisdomtrove
333:The ladies men admire, I've heard, Would shudder at a wicked word. Their candle gives a single light, They'd rather stay at home at night. They do not keep awake 'till three, Nor read erotic poetry. They never sanction the impure, Nor recognize an overture. They shrink from powders and from paints... So far I've had no complaints. ~ dorothy-parker, @wisdomtrove
334:Dont teach my boy poetry, an English mother recently wrote the Provost of Harrow. Dont teach my boy poetry; he is going to stand for Parliament. Well, perhaps she was rightbut if more politicians knew poetry, and more poets knew politics, I am convinced the world would be a little better place to live on this Commencement Day of 1956. ~ john-f-kennedy, @wisdomtrove
335:Some of the old folk singers used to phrase things in an interesting way, and then, I got my style from seeing a lot of outdoor-type poets, who would recite their poetry. When you don't have a guitar, you recite things differently, and there used to be quite a few poets in the jazz clubs, who would recite with a different type of attitude. ~ bob-dylan, @wisdomtrove
336:Amory took to writing poetry on spring afternoons, in the gardens of the big estates near Princeton, while swans made effective atmosphere in the artificial pools, and slow clouds sailed harmoniously above the willow. May came too soon, and suddenly unable to bear walls, he wandered the campus at all hours through starlight and rain. ~ f-scott-fitzgerald, @wisdomtrove
337:The art of writing is mysterious; the opinions we hold are ephemeral , and I prefer the Platonic idea of the Muse to that of Poe, who reasoned, or feigned to reason, that the writing of a poem is an act of the intelligence. It never fails to amaze me that the classics hold a romantic theory of poetry, and a romantic poet a classical theory. ~ jorge-luis-borges, @wisdomtrove
338:The church and the whorehouse arrived in the Far West simultaneously. And each would have been horrified to think it was a different facet of the same thing. But surely they were both intended to accomplish the same thing: the singing, the devotion, the poetry of the churches took a man out of his bleakness for a time, and so did the brothels. ~ john-steinbeck, @wisdomtrove
339:Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself. ~ robert-frost, @wisdomtrove
340:Poetry is a river; many voices travel in it; poem after poem moves along in the exciting crests and falls of the river waves. None is timeless; each arrives in an historical context; almost everything, in the end, passes. But the desire to make a poem, and the world's willingness to receive it&
341:As we speak of poetical beauty, so ought we to speak of mathematical beauty and medical beauty. But we do not do so; and that reason is that we know well what is the object of mathematics, and that it consists in proofs, and what is the object of medicine, and that it consists in healing. But we do not know in what grace consists, which is the object of poetry. ~ blaise-pascal, @wisdomtrove
342:The aim of poetry, it appears, is to fill the mind with lofty thoughts&
343:Mythology is not a lie, mythology is poetry, it is metaphorical. It has been well said that mythology is the penultimate truth&
344:Sometimes, looking at the many books I have at home, I feel I shall die before I come to the end of them, yet I cannot resist the temptation of buying new books. Whenever I walk into a bookstore and find a book on one of my hobbies ‚ for example, Old English or Old Norse poetry ‚ I say to myself, ‚What a pity I can't buy that book, for I already have a copy at home. ~ jorge-luis-borges, @wisdomtrove
345:I'll never be a poet,' said Amory as he finished. &
346:Few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconceptions when we read, that would be an admirable beginning. ~ virginia-woolf, @wisdomtrove
347:For the first time in my life I saw the truth as it is set into song by so many poets, proclaimed as the final wisdom by so many thinkers. The truth - that Love is the ultimate and highest goal to which man can aspire. Then I grasped the meaning of the greatest secret that human poetry and human thought and belief have to impart: The salvation of man is through love and in love. ~ viktor-frankl, @wisdomtrove
348:Reading [poetry], you know, is rather like opening the door to a horde of rebels who swarm out attacking one in twenty places at once - hit, roused, scraped, bared, swung through the air, so that life seems to flash by; then again blinded, knocked on the head - all of which are agreeable sensations for a reader (since nothing is more dismal than to open the door and get no response). ~ virginia-woolf, @wisdomtrove
349:What would it mean if there were a theory that explained everything? And just what does "everything" actually mean, anyway? Would this new theory in physics explain, say the meaning of human poetry? Or how economics work? Or the stages of psychosexual development? Can this new physics explain the currents of ecosystems, or the dynamics of history, or why human wars are so terribly common? ~ ken-wilber, @wisdomtrove
350:Christmas poem to a man in jail hello Bill Abbott: I appreciate your passing around my books in jail there, my poems and stories. if I can lighten the load for some of those guys with my books, fine. but literature, you know, is difficult for the average man to assimilate (and for the unaverage man too); I don't like most poetry, for example, so I write mine the way I like to read it. ~ charles-bukowski, @wisdomtrove
351:To evade such temptations is the first duty of the poet. For as the ear is the antechamber to the soul, poetry can adulterate and destroy more surely then lust or gunpowder. The poet's, then, is the highest office of all. His words reach where others fall short. A silly song of Shakespeare's has done more for the poor and the wicked than all the preachers and philanthropists in the world. ~ virginia-woolf, @wisdomtrove
352:I have spent a good many years since‚ too many, I think‚ being ashamed about what I write. I think I was forty before I realized that almost every writer of fiction or poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that's all. ~ stephen-king, @wisdomtrove
353:Poetry is one of the ancient arts, and it began, as did all the fine arts, within the original wilderness of the earth. Also, it began through the process of seeing, and feeling, and hearing, and smelling, and touching, and then remembering&
354:Fantasy is not antirational, but pararational; not realistic but surrealistic, a heightening of reality. In Freud's terminology, it employs primary not secondary process thinking. It employs archetypes which, as Jung warned us, are dangerous things. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a wilderness, and those who go there should not feel too safe. ~ ursula-k-le-guin, @wisdomtrove
355:The Aztec gods and goddesses are, as far as we have known anything about them, an unlovely and unlovable lot. In their myths there is no grace or charm, no poetry. Only this perpetual grudge, grudge, grudging, one god grudging another, the gods grudging men their existence, and men grudging the animals. The goddess of love is goddess of dirt and prostitution, a dirt-eater, a horror, without a touch of tenderness. ~ d-h-lawrence, @wisdomtrove
356:I have just been to a city in the West, a city full of poets, a city they have made safe for poets. The whole city is so lovely that you do not have to write it up to make it poetry; it is ready-made for you. But, I don't know - the poetry written in that city might not seem like poetry if read outside of the city. It would be like the jokes made when you were drunk; you have to get drunk again to appreciate them. ~ robert-frost, @wisdomtrove
357:The English tourist in American literature wants above all things something different from what he has at home. For this reason the one American writer whom the English whole-heartedly admire is Walt Whitman. There, you will hear them say, is the real American undisguised. In the whole of English literature there is no figure which resembles his - among all our poetry none in the least comparable to Leaves of Grass ~ virginia-woolf, @wisdomtrove
358:The real you is still a little child who never grew up. Sometimes that little child comes out when you are having fun or playing, when you feel happy, when you are painting, or writing poetry, or playing the piano, or expressing yourself in some way. These are the happiest moments of your life — when the real you comes out, when you don’t care about the past and you don’t worry about the future. You are childlike. ~ don-miguel-ruiz, @wisdomtrove
359:Poetry begins in trivial metaphors, pretty metaphors, "grace" metaphors, and goes on to the profoundest thinking that we have. Poetry provides the one permissible way of saying one thing and meaning another. People say, "Why don’t you say what you mean?" We never do that, do we, being all of us too much poets. We like to talk in parables and in hints and in indirections — whether from diffidence or some other instinct. ~ robert-frost, @wisdomtrove
360:In Europe life retreats out of the cold, and exquisite fireside myths have resulted—Balder, Persephone—but [in India] the retreat is from the source of life, the treacherous sun, and no poetry adorns it because disillusionment cannot be beautiful. Men yearn for poetry though they may not confess it; they desire that joy shall be graceful and sorrow august and infinity have a form, and India fails to accommodate them. ~ e-m-forster, @wisdomtrove
361:To our senses, the elements are four and have ever been, and will ever be for they are the elements of life, of poetry, and of perception, the four Great Ones, the Four Roots, the First Four of Fire and the Wet, Earth and the wide Air of the World. To find the other many elements, you must go to the laboratory and hunt them down. But the four we have always with us, they are our world. Or rather, they have us with them. ~ d-h-lawrence, @wisdomtrove
362:Perhaps the chief cause which has retarded the progress of poetry in America, is the want of that exclusive cultivation, which so noble a branch of literature would seem to require. Few here think of relying upon the exertion of poetic talent for a livelihood, and of making literature the profession of life. The bar or the pulpit claims the greater part of the scholar's existence, and poetry is made its pastime. ~ henry-wadsworth-longfellow, @wisdomtrove
363:Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of man. Nothing was ever created by two men. There are no good collaborations, whether in music, in art, in poetry, in mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies in the lonely mind of a man. ~ john-steinbeck, @wisdomtrove
364:We read Charlotte Bronte not for exquisite observation of character - her characters are vigorous and elementary; not for comedy - hers is grim and crude; not for a philosophic view of life - hers is that of a country parson's daughter; but for her poetry. Probably that is so with all writers who have, as she has, an overpowering personality, so that, as we say in real life, they have only to open the door to make themselves felt. ~ virginia-woolf, @wisdomtrove
365:I've seen a lot of patriots and they all died just like anybody else if it hurt bad enough and once they were dead their patriotism was only good for legends; it was bad for their prose and made them write bad poetry. If you are going to be a great patriot i.e. loyal to any existing order of government (not one who wishes to destroy the existing for something better) you want to be killed early if your life and works won't stink. ~ ernest-hemingway, @wisdomtrove
366:I read the text; and then I come to the Shirat ha-Yam, to the Song of the Sea [Exodus 15], to the poetry. Who could have written such a poem except someone who went through it? It is so full of life, so full of truth, of passion, of concern. And the thousands and thousands of commentaries in the Talmudic tradition that have been written on it. It had to have happened. But even if not, I would attribute the same beauty to the text as I do now. ~ elie-wiesel, @wisdomtrove
367:Poetry is concerned with using with abusing, with losing with wanting, with denying with avoiding with adoring with replacing the noun. It is doing that always doing that, doing that and doing nothing but that. Poetry is doing nothing but using losing refusing and pleasing and betraying and caressing nouns. That is what poetry does, that is what poetry has to do no matter what kind of poetry it is. And there are a great many kinds of poetry. ~ gertrude-stein, @wisdomtrove
368:We hate poetry that has a palpable design upon us - and if we do not agree, seems to put its hand in its breeches pocket. Poetry should be great & unobtrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself but with its subject. - How beautiful are the retired flowers! how would they lose their beauty were they to throng into the highway crying out, "admire me I am a violet! dote upon me I am a primrose!" ~ john-keats, @wisdomtrove
369:&
370:And I learned what is obvious to a child. That life is simply a collection of little lives, each lived one day at a time. That each day should be spent finding beauty in flowers and poetry and talking to animals. That a day spent with dreaming and sunsets and refreshing breezes cannot be bettered. But most of all, I learned that life is about sitting on benches next to ancient creeks with my hand on her knee and sometimes, on good days, for falling in love. ~ nicholas-sparks, @wisdomtrove
371:We have our little theory on all human and divine things. Poetry, the workings of genius itself, which, in all times, with one or another meaning, has been called Inspiration, and held to be mysterious and inscrutable, is no longer without its scientific exposition. The building of the lofty rhyme is like any other masonry or bricklaying: we have theories of its rise, height, decline and fall - which latter, it would seem, is now near, among all people. ~ thomas-carlyle, @wisdomtrove
372:I think of myself primarily as a reader, then also a writer, but that's more or less irrelevant. I think I'm a good reader, I'm a good reader in many languages, especially in English, since poetry came to me through the English language, initially through my father's love of Swinburn, of Tennyson, and also of Keats, Shelley and so on - not through my native tongue, not through Spanish. It came to me as a kind of spell. I didn't understand it, but I felt it. ~ jorge-luis-borges, @wisdomtrove
373:I went from one to the other holding my sorrow - no, not my sorrow but the incomprehensible nature of this our life - for their inspection. Some people go to priests; others to poetry; I to my friends, I to my own heart, I to seek among phrases and fragments something unbroken - I to whom there is no beauty enough in moon or tree; to whom the touch of one person with another is all, yet who cannot grasp even that, who am so imperfect, so weak, so unspeakably lonely. ~ virginia-woolf, @wisdomtrove
374:There was one person who greatly and directly benefited my career&
375:Never mind failures; they are quite natural, they are the beauty of life, these failures. What would life be without them? It would not be worth having if it were not for struggles. Where would be the poetry of life? Never mind the struggles, the mistakes. I never heard a cow tell a lie, but it is only a cow-never a man. So never mind these failures, these little backslidings; hold the ideal a thousand times, and if you fail a thousand times, make the attempt once more. ~ swami-vivekananda, @wisdomtrove
376:That perhaps is your task&
377:I should think that many of our poets, the honest ones, will confess to having no manifesto. It is a painful confession but the art of poetry carries its own powers without having to break them down into critical listings. I do not mean that poetry should be raffish and irresponsible clown tossing off words into the void. But the very feeling of a good poem carries its own reason for being... Art is its own excuse, and it’s either Art or it’s something else. It’s either a poem or a piece of cheese. ~ charles-bukowski, @wisdomtrove
378:A living body is not a fixed thing but a flowing event, like a flame or a whirlpool: the shape alone is stable, for the substance is a stream of energy going in at one end and out at the other. We are particularly and temporarily identifiable wiggles in a stream that enters us in the form of light, heat, air, water, milk, bread, fruit, beer, beef Stroganoff, caviar, and pate de foie gras. It goes out as gas and excrement - and also as semen, babies, talk, politics, commerce, war, poetry, and music. And philosophy. ~ alan-watts, @wisdomtrove
379:There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability. ~ oliver-sacks, @wisdomtrove
380:The best generals I have known were... stupid or absent-minded men. Not only does a good army commander not need any special qualities, on the contrary he needs the absence of the highest and best human attributes - love, poetry, tenderness, and philosophic inquiring doubt. He should be limited, firmly convinced that what he is doing is very important (otherwise he will not have sufficient patience), and only then will he be a brave leader. God forbid that he should be humane, should love, or pity, or think of what is just and unjust. ~ leo-tolstoy, @wisdomtrove
381:She couldn't think of anyone else who remotely resembled him. He was complicated, almost contradictory in so many ways, yet simple, a strangely erotic combination. On the surface he was a country boy, home from war, and he probably saw himself in those terms. Yet there was so much more to him. Perhaps it was the poetry that made him different, or perhaps it was the values his father had instilled in him, growing up. Either way, he seemed to savor life more fully than others appeared to, and that was what had first attracted her to him. ~ nicholas-sparks, @wisdomtrove
382:The design of a book is the pattern of a reality controlled and shaped by the mind of the writer. This is completely understood about poetry or fiction, but it is too seldom realized about books of fact. And yet the impulse which drives a man to poetry will send another man into the tide pools and force him to try to report what he finds there... . It would be good to know the impulse truly, not to be confused by the &
383:Nobody is publicly accepted as an expert on poetry unless he displays the sign of poet, mathematician, etc., but universal men want no sign and make hardly any distinction between the crafts of poet and embroiderer. Universal men are not called poets or mathematicians, etc. But they are all these things and judges of them too. No one could guess what they are, and they will talk about whatever was being talked about when they came in. One quality is not more noticeable in them than another, unless it becomes necessary to put it into practice, and then we remember it. ~ blaise-pascal, @wisdomtrove
384:Note, to-day, an instructive, curious spectacle and conflict. Science, (twin, in its fields, of Democracy in its)—Science, testing absolutely all thoughts, all works, has already burst well upon the world—a sun, mounting, most illuminating, most glorious—surely never again to set. But against it, deeply entrench'd, holding possession, yet remains, (not only through the churches and schools, but by imaginative literature, and unregenerate poetry,) the fossil theology of the mythic-materialistic, superstitious, untaught and credulous, fable-loving, primitive ages of humanity. ~ walt-whitman, @wisdomtrove
385:So far as I am concerned, poetry and every other art was and is and forever will be strictly and distinctly a question of individuality... If poetry is your goal, you've got to forget all about punishments and all about rewards and all about self-styled obligations and duties and responsibilities etcetera ad infinitum and remember one thing only: that it's you - nobody else - who determine your destiny and decide your fate. Nobody else can be alive for you; nor can you be alive for anybody else... There's the artist's responsibility; and the most awful responsibility on earth. ~ e-e-cummings, @wisdomtrove
386:My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain that alone on which the higher tastes depend, I cannot conceive. A man with a mind more highly organised or better constituted than mine would not, I suppose, have thus suffered, and if I had to live my life over again, I would have made a rule to read some poetry and listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept alive through use. ~ charles-darwin, @wisdomtrove
387:My passions are all asleep from my having slumbered till nearly eleven and weakened the animal fiber all over me to a delightful sensation about three degrees on this sight of faintness - if I had teeth of pearl and the breath of lilies I should call it languor - but as I am I must call it laziness. In this state of effeminacy the fibers of the brain are relaxed in common with the rest of the body, and to such a happy degree that pleasure has no show of enticement and pain no unbearable frown. Neither poetry, nor ambition, nor love have any alertness of countenance as they pass by me. ~ john-keats, @wisdomtrove
388:We are afraid that Heaven is a bribe, and that if we make it our goal we shall no longer be disinterested. It is not so. Heaven offers nothing that the mercenary soul can desire. It is safe to tell the pure in heart that they shall see God, for only the pure in heart want to. There are rewards that do not sully motives. A man's love for a woman is not mercenary because he wants to marry her, nor his love for poetry mercenary because he wants to read it, nor his love of exercise less disinterested because he wants to run and leap and walk. Love, by definition, seeks to enjoy its object. ~ c-s-lewis, @wisdomtrove

*** NEWFULLDB 2.4M ***

1:The poetry of speech. ~ Lord Byron,
2:Poetry is a mug's game. ~ T S Eliot,
3:POETRY SHAPES MY GENDER. ~ Amy King,
4:She wore poetry. ~ Vladimir Nabokov,
5:Poetry is God's work. ~ Katy Lederer,
6:Dancing is silent poetry. ~ Simonides,
7:I love to write poetry. ~ Shayne Ward,
8:~ Jalaluddin Rumi#poetry#mysticpoetry,
9:O. A. Manning’s poetry ~ Charles Todd,
10:Painting is silent poetry. ~ Plutarch,
11:Poetry is fired by love. ~ Erica Jong,
12:Poetry is not a luxury. ~ Audre Lorde,
13:Poetry to me is prayer. ~ Anne Sexton,
14:You call that poetry? ~ Andrew Peterson,
15:Only poetry isn't shit. ~ Roberto Bola o,
16:Poetry is mostly hunches. ~ John Ashbery,
17:Poetry keeps longing alive. ~ Robert Bly,
18:Poetry makes nothing happen. ~ W H Auden,
19:The poetry is myself. ~ Gwendolyn Brooks,
20:I love romantic poetry. ~ Richard Dawkins,
21:It's history. It's poetry. ~ J D Salinger,
22:It’s history. It’s poetry. ~ J D Salinger,
23:Let yourself become living poetry. ~ Rumi,
24:Only poetry can address grief. ~ Starhawk,
25:Poetry is an act of peace. ~ Pablo Neruda,
26:Poetry is devil's wine. ~ Saint Augustine,
27:STUFF POETS STILL LIKE: POETRY ~ Amy King,
28:Beaches are God's poetry. ~ Steve Maraboli,
29:I like to write poetry. ~ Rebecca Ferguson,
30:Let yourself becoming living poetry ~ Rumi,
31:Poetry became my doctor, my lover. ~ J Ivy,
32:Poetry’s not made of words ~ Ariana Reines,
33:Fucking was poetry unbound. ~ Emily Maguire,
34:History is the new poetry. ~ Thomas Carlyle,
35:It's not easy to define poetry. ~ Bob Dylan,
36:Dancing is very like poetry. ~ Martha Graham,
37:I'm not a great poetry fan. ~ Rupert Everett,
38:I read poetry to save time. ~ Marilyn Monroe,
39:Love her but leave her Wild ~ Atticus Poetry,
40:Money is a kind of poetry. ~ Wallace Stevens,
41:Poetry can magnify experience. ~ May Swenson,
42:Poetry gave me back my voice. ~ Maya Angelou,
43:Poetry is a sort of homecoming. ~ Paul Celan,
44:Poetry is language in orbit. ~ Seamus Heaney,
45:Poetry is life distilled. ~ Gwendolyn Brooks,
46:Poetry is the breath of beauty. ~ Leigh Hunt,
47:Poetry's a mere drug, Sir. ~ George Farquhar,
48:All poetry is a call to action. ~ Amor Towles,
49:Every day is a poetry day. ~ Naomi Shihab Nye,
50:Is not poetry the food of love? ~ Jane Austen,
51:Love her but leave her wild. ~ Atticus Poetry,
52:Love her but leave her wild  ~ Atticus Poetry,
53:Mad Ireland hurt you into poetry. ~ W H Auden,
54:Poetry = Anger x Imagination ~ Sherman Alexie,
55:Poetry cannot be translation ~ Samuel Johnson,
56:Poetry is the Devil's wine. ~ Saint Augustine,
57:Poetry was alive and dangerous. ~ Terry Jones,
58:Science is the poetry of reality. ~ Anonymous,
59:Wine is poetry in a bottle. ~ Clifton Fadiman,
60:In poetry, only emotion endures. ~ X J Kennedy,
61:Love her, but leave her wild. ~ Atticus Poetry,
62:Love is a strange dark magic. ~ Atticus Poetry,
63:Music is poetry with personality. ~ Ross Lynch,
64:Poetry is impervious to bullets. ~ Sholeh Wolp,
65:Poetry is talking on tiptoe. ~ George Meredith,
66:Poetry is the scholar's art. ~ Wallace Stevens,
67:Poetry's object is truth. ~ Christine de Pizan,
68:Language is fossil poetry ~ Ralph Waldo Emerson,
69:Love is poetry plus biology. ~ Lawrence Durrell,
70:Poetry is all nouns and verbs. ~ Marianne Moore,
71:Poetry is an orphan of silence. ~ Charles Simic,
72:Poetry lies its way to the truth. ~ John Ciardi,
73:Slogan-making is not poetry. ~ Ernesto Cardenal,
74:The secret of poetry is cruelty. ~ Jon Anderson,
75:Time is all we have and don’t. ~ Atticus Poetry,
76:Wine is bottled poetry ~ Robert Louis Stevenson,
77:You can't have adventures without poetry. ~ Avi,
78:All poetry comes from repetition. ~ Kenneth Koch,
79:—and poetry, surely, is a crisis. ~ J D Salinger,
80:Dancing is the poetry of the foot. ~ John Dryden,
81:Habit has a kind of poetry. ~ Simone de Beauvoir,
82:Language is fossil Poetry. ~ Ralph Waldo Emerson,
83:Poetry is a life-cherishing force. ~ Mary Oliver,
84:Poetry should only occupy the idle. ~ Lord Byron,
85:Proper names are poetry in the raw. ~ W H Auden,
86:The man was poetry in motion. ~ Danielle Bourdon,
87:Time is all we have and don’t.  ~ Atticus Poetry,
88:What can be explained is not poetry. ~ W B Yeats,
89:Wine is bottled poetry. ~ Robert Louis Stevenson,
90:After a full belly all is poetry. ~ Frank McCourt,
91:All poetry is misrepresentation. ~ Jeremy Bentham,
92:Before now poetry has taken notice ~ Robert Frost,
93:For poetry, he's past his prime, ~ Jonathan Swift,
94:I find I cannot exist without Poetry ~ John Keats,
95:I'm only interested in poetry. ~ Charles Bukowski,
96:Made poetry a mere mechanic art. ~ William Cowper,
97:Poetry and I fit together. ~ Lee Bennett Hopkins,
98:Poetry dovetails contradictions. ~ Marilyn Hacker,
99:Poetry is a religion with no hope. ~ Jean Cocteau,
100:Poetry is prose in slow motion. ~ Nicholson Baker,
101:Poetry is the enemy of the poem. ~ Stanley Kunitz,
102:Prose talks and poetry sings. ~ Franz Grillparzer,
103:Songs live longer than kingdoms. ~ Atticus Poetry,
104:The fear of poetry is the fear. ~ Muriel Rukeyser,
105:Adjectives are the potbelly of poetry. ~ W H Auden,
106:Explanations are such cheap poetry. ~ Stephen King,
107:I just need you and some sunsets. ~ Atticus Poetry,
108:In me the heart of poetry bleeds. ~ Vladim r Holan,
109:It is poetry that changes everything. ~ Bell Hooks,
110:Only poetry inspires poetry. ~ Ralph Waldo Emerson,
111:Poetry is a big space and I love it. ~ Selima Hill,
112:Poetry is a finikin thing of air ~ Wallace Stevens,
113:Poetry is a means of redemption. ~ Wallace Stevens,
114:Poetry is a mode of consciousness. ~ Fred Chappell,
115:Poetry is fact given over to imagery. ~ Rod McKuen,
116:Poetry is good for unleashing images. ~ Paula Rego,
117:Poetry is the memory of language ~ Jacques Roubaud,
118:Poetry - poiesis means a thing made. ~ Anne Carson,
119:She wore moonlight like lingerie. ~ Atticus Poetry,
120:Songs live longer than kingdoms.  ~ Atticus Poetry,
121:The fatal problem with poetry: poems. ~ Ben Lerner,
122:But the truth is poor poetry ~ Christopher Ruocchio,
123:Her lips write silent poetry upon mine. ~ B L Berry,
124:I am the great illusion of myself. ~ Atticus Poetry,
125:I don't think I've ever read poetry, ever. ~ Eminem,
126:I just need you and some sunsets.  ~ Atticus Poetry,
127:Love is the poetry of the senses! ~ Honor de Balzac,
128:Love is the reality, and poetry is the drum. ~ Rumi,
129:One can be well-bred and write bad poetry ~ Moliere,
130:Patriarchal Poetry makes mistakes. ~ Gertrude Stein,
131:Poetry comes fine spun from a mind at peace. ~ Ovid,
132:Poetry comes fine-spun from a mind at peace. ~ Ovid,
133:Poetry contains nothing haphazard. ~ William Empson,
134:Poetry drives out or suspends lust. ~ Javier Mar as,
135:POETRY HAS A PEPTIC PRESENCE. PRESENTLY. ~ Amy King,
136:Poetry isn't math was our battle cry ~ Gayle Forman,
137:Prose is walking; poetry is flying ~ Galway Kinnell,
138:Science is the poetry of reality. ~ Richard Dawkins,
139:The poetry of the earth is never dead. ~ John Keats,
140:All poetry is experimental poetry. ~ Wallace Stevens,
141:Deprivation is the mother of poetry. ~ Leonard Cohen,
142:I'll love you, but just this twice. ~ Atticus Poetry,
143:Indignation leads to the making of poetry. ~ Juvenal,
144:Let yourself become living poetry. ~ Jalaluddin Rumi,
145:Love is the poetry of the senses. ~ Honore de Balzac,
146:Poetry is an abstraction bloodied. ~ Wallace Stevens,
147:Poetry is telling something to someone. ~ Marie Howe,
148:Poetry is the ultimate democracy. ~ Brendan Kennelly,
149:Poetry reveals that there is no empty space. ~ Hafez,
150:She lives the poetry she cannot write. ~ Oscar Wilde,
151:She was so beautiful with kindness. ~ Atticus Poetry,
152:She wore compliments like diamonds. ~ Atticus Poetry,
153:All art is in revolution of tyranny. ~ Atticus Poetry,
154:Banksy is a poet, but so was hitler. ~ Atticus Poetry,
155:Explanations are such cheap poetry. My ~ Stephen King,
156:Gently touching with the charm of poetry. ~ Lucretius,
157:I have my books and poetry to protect me ~ Paul Simon,
158:I’ll eat you to live: that’s poetry. ~ Terrance Hayes,
159:I see poetry as spiritual medicine. ~ Mahmoud Darwish,
160:No one ever expects poetry to sell... ~ Alan Lightman,
161:Poetry and prayer are very similar. ~ Carol Ann Duffy,
162:Poetry is a game of loser-take-all. ~ Jean Luc Godard,
163:Poetry is nearer to vital truth than history. ~ Plato,
164:Poetry is queer really, just by nature. ~ Will Walton,
165:Poetry is the deification of reality. ~ Edith Sitwell,
166:Poetry must be as well written as prose. ~ Ezra Pound,
167:She wore his love like a loaded gun. ~ Atticus Poetry,
168:That was not sex. That was naked poetry. ~ Hank Moody,
169:Time gives poetry to a battlefield... ~ Graham Greene,
170:When power corrupts, poetry cleanses ~ John F Kennedy,
171:…wisely mingled poetry and prose. ~ Louisa May Alcott,
172:Zen is poetry; poetry is Zen. ~ Reginald Horace Blyth,
173:Find someone and live in awe of them. ~ Atticus Poetry,
174:Good memories are my retirement plan. ~ Atticus Poetry,
175:Her eyes are classic novels and poetry. ~ Isaac Marion,
176:History after all is the true poetry. ~ Thomas Carlyle,
177:It takes a brave man to be truly mad. ~ Atticus Poetry,
178:Love is the poetry of the senses.” Some ~ Jillian Dodd,
179:More people write poetry than read it. ~ George Carlin,
180:No time for poetry but exactly what is. ~ Jack Kerouac,
181:Poetry heals the wounds inflicted by reason. ~ Novalis,
182:Poetry is a kind of ingenious nonsense. ~ Isaac Newton,
183:Poetry is itself a thing of God; ~ Philip James Bailey,
184:Poetry is the most bodily of the arts. ~ Robert Pinsky,
185:Poets are fools until they are kings. ~ Atticus Poetry,
186:She wore his love like a loaded gun.  ~ Atticus Poetry,
187:She wore the moonlight like lingerie. ~ Atticus Poetry,
188:There’s poetry in nature. A symmetry. ~ Saffron A Kent,
189:When power corrupts, poetry cleanses. ~ John F Kennedy,
190:Why then we should drop into poetry. ~ Charles Dickens,
191:Ye stars! which are the poetry of heaven! ~ Lord Byron,
192:Chase your stars fool, life is short.  ~ Atticus Poetry,
193:Let yourself become living poetry.
   ~ Jalaluddin Rumi,
194:Our best history is still poetry. ~ Ralph Waldo Emerson,
195:Poetry, after all, milks the unconscious. ~ Anne Sexton,
196:Poetry fettered fetters the human race. ~ William Blake,
197:Poetry heals the wounds inflicted by reason. ~ Novalis,
198:Poetry is a presentiment of the truth. ~ Anna Kamienska,
199:Poetry is to hold judgment on your soul. ~ Henrik Ibsen,
200:Poetry is what gets lost in translation. ~ Robert Frost,
201:Poetry led me by the hand out of madness. ~ Anne Sexton,
202:She wore the moonlight like lingerie.  ~ Atticus Poetry,
203:The crown of literature is poetry. ~ W Somerset Maugham,
204:This poetry. I never know what I'm going to say. ~ Rumi,
205:Why should poetry have to make sense? ~ Charlie Chaplin,
206:Adventure runs on all sorts of whiskey. ~ Atticus Poetry,
207:Forget math and peotry. Especially poetry. ~ C J Redwine,
208:How poetry comes to the poet is a mystery. ~ John Lennon,
209:I didn't choose poetry: poetry chose me. ~ Philip Larkin,
210:I have my books and my poetry to protect me ~ Paul Simon,
211:Obsessions are nine tenths of my flaws. ~ Atticus Poetry,
212:Poetry and music I have banished, ~ William Butler Yeats,
213:Poetry is a lot harder to sell than corn. ~ Eloisa James,
214:Poetry is what makes my toenails twinkle. ~ Dylan Thomas,
215:The difference between poetry and rhetoric ~ Audre Lorde,
216:The primary pigment of poetry is the IMAGE. ~ Ezra Pound,
217:The real thing creates its own poetry. ~ Anzia Yezierska,
218:You cannot spell Poetry without try ~ Brandon Villasenor,
219:Adventure runs on all sorts of whiskey.  ~ Atticus Poetry,
220:Flip had written many volumes of poetry: ~ David Walliams,
221:I can recite poetry, but I cannot write it. ~ Irrfan Khan,
222:I have my books and my poetry to protect me. ~ Paul Simon,
223:Lonely you linger in a league above poetry. ~ Mie Hansson,
224:One must read poetry with one's nerves. ~ Wallace Stevens,
225:poetry as a language within a language, ~ Walter Isaacson,
226:poetry.
is the fire leaving my body. ~ Nayyirah Waheed,
227:Poetry is everywhere; it just needs editing. ~ James Tate,
228:Poetry is the mysticism of mankind. ~ Henry David Thoreau,
229:Poetry is what is gained in translation. ~ Joseph Brodsky,
230:religion is poetry, - poetry is religion. ~ Marie Corelli,
231:Remember, we are mortal, but poetry is not. ~ Patti Smith,
232:Songwriting is an art distinct from poetry. ~ Nick Hornby,
233:You are enough, a thousand times enough. ~ Atticus Poetry,
234:All bad poetry springs from genuine feeling. ~ Oscar Wilde,
235:breathe in experience breathe out poetry ~ Muriel Rukeyser,
236:Dancing is poetry with arms and legs. ~ Charles Baudelaire,
237:Even almost bad poetry is better than life ~ Malcolm Lowry,
238:Honesty and Poetry are the same thing ~ Arthur Conan Doyle,
239:I find a lot of poetry to be narcissistic. ~ Joni Mitchell,
240:I think poetry is best read to oneself. ~ Rickie Lee Jones,
241:It was her chaos that made her beautiful. ~ Atticus Poetry,
242:My atoms love you atoms, it’s chemistry.  ~ Atticus Poetry,
243:My atoms love your atoms, it’s chemistry. ~ Atticus Poetry,
244:Poetry helps my soul escape its encasement. ~ Maya Angelou,
245:Poetry is language playing with itself. ~ Harryette Mullen,
246:Poetry is the sound of the human animal. ~ Suniti Namjoshi,
247:Poetry is to prose as dancing is to walking. ~ Paul Val ry,
248:poetry is where the language is renewed. ~ Margaret Atwood,
249:The poetry of country music will survive. ~ Rodney Crowell,
250:Writing poetry is a state of free float. ~ Margaret Atwood,
251:You campaign in poetry. You govern in prose. ~ Mario Cuomo,
252:campaign in poetry and govern in prose”—and ~ David Axelrod,
253:Hip-hop is a perfect mix between poetry and boxing. ~ Jay Z,
254:I am a self-appointed ambassador for poetry. ~ Anne Waldman,
255:It was her chaos that made her beautiful.  ~ Atticus Poetry,
256:My idea of good poetry is any dog doing anything. ~ J Boone,
257:Poetry increases the feeling for reality. ~ Wallace Stevens,
258:Poetry is an echo asking a shadow to dance. ~ Carl Sandburg,
259:Poetry is music written for the human voice. ~ Maya Angelou,
260:Poetry is nothing but healthy speech. ~ Henry David Thoreau,
261:Poetry is what Milton saw when he went blind. ~ Don Marquis,
262:Poetry stumbled upon never seems accidental. ~ Sheridan Hay,
263:Poetry was a secret vice, and properly so. ~ John Steinbeck,
264:Points are not the point. The point is poetry. ~ Allan Wolf,
265:The flavor of wine is like delicate poetry. ~ Louis Pasteur,
266:There is no poetry where there are no mistakes. ~ Joy Harjo,
267:There is poetry of sailing as old as the world, ~ E L James,
268:Thinking of you is a poison I drink often. ~ Atticus Poetry,
269:To elevate the soul, poetry is necessary. ~ Edgar Allan Poe,
270:we have let rhetoric do the job of poetry. ~ Cherrie Moraga,
271:What can be explained is not poetry. ~ William Butler Yeats,
272:You can't write poetry on the computer. ~ Quentin Tarantino,
273:A grain of poetry suffices to season a century. ~ Jose Marti,
274:Breathe-in experience, breathe-out poetry. ~ Muriel Rukeyser,
275:Drink wine, drink poetry, drink virtue. ~ Charles Baudelaire,
276:I really came to literature through poetry. ~ Cheryl Strayed,
277:Just enough madness to make her interesting ~ Atticus Poetry,
278:Poetry cannot take sides except with life. ~ Stephen Spender,
279:Poetry is an echo, asking a shadow to dance. ~ Carl Sandburg,
280:Poetry is a packsack of invisible keepsakes. ~ Carl Sandburg,
281:Poetry is as precise a thing as geometry. ~ Gustave Flaubert,
282:Poetry is a totally different art than film. ~ Stan Brakhage,
283:Poetry is a way of taking life by the throat. ~ Robert Frost,
284:Poetry surprises us with what we already know. ~ John Fuller,
285:She made gentle the wild oceans of my soul. ~ Atticus Poetry,
286:Sometimes, to be alone is the best company. ~ Atticus Poetry,
287:The essence of poetry is will and passion. ~ William Hazlitt,
288:The unpleasant, acrid smell of burnt poetry. ~ P G Wodehouse,
289:Thinking of you is a poison I drink often.  ~ Atticus Poetry,
290:We are surrounded by poetry on all sides. ~ Vincent Van Gogh,
291:Writing poetry after Auschwitz is barbaric. ~ Theodor Adorno,
292:I like the way the prose and poetry interact. ~ Rachel Zucker,
293:In the afternoon I drank Coke and wrote poetry. ~ Don DeLillo,
294:I wait on my fix:
I am a poetry junkie. ~ Charles Bukowski,
295:Just enough madness to make her interesting. ~ Atticus Poetry,
296:May poetry and God's name have mercy on us! ~ Mahmoud Darwish,
297:Poetry and art are the breath of life to her. ~ Edith Wharton,
298:Poetry is a verdict rather than an intention. ~ Leonard Cohen,
299:Poetry is to a painting what life is to man. ~ Georges Braque,
300:She was not for everyone but she was for me. ~ Atticus Poetry,
301:The finest poetry was first experience. ~ Ralph Waldo Emerson,
302:The truest poetry is the most feigning. ~ William Shakespeare,
303:We are all wolves, howling to the same moon. ~ Atticus Poetry,
304:A grain of poetry suffices to season a century.
~ Jos Mart,
305:Conscious writing can be the death of poetry. ~ Marianne Moore,
306:Here let dead poetry rise once more to life. ~ Dante Alighieri,
307:His voice reminded me of poetry and sex. ~ Francesca Lia Block,
308:If you want to understand poetry, ~ Johann Wolfgang von Goethe,
309:I make no distinction between poetry and painting. ~ Joan Miro,
310:It’s always safe to do nothing when it rains. ~ Atticus Poetry,
311:Maybe all pain in the world requires poetry. ~ Sandra Cisneros,
312:Poetry and philosophy will become friends. ~ Swami Vivekananda,
313:Poetry and prison have always been neighbors. ~ Roberto Bolano,
314:Poetry and prison have always been neighbors. ~ Roberto Bola o,
315:Poetry a riprap on the slick rock of metaphysics ~ Gary Snyder,
316:Poetry cannot be defined, only experienced ~ Christopher Logue,
317:Poetry is a subject as precise as geometry. ~ Gustave Flaubert,
318:Poetry is as vital to thinking as knowledge. ~ Brooks Atkinson,
319:Poetry is the key to the hieroglyphics of nature. ~ David Hare,
320:Poetry is ... the physical enactment of a process ~ Mark Doty,
321:Poetry is what makes the invisible appear. ~ Nathalie Sarraute,
322:She was always wild but he had made her free. ~ Atticus Poetry,
323:She was not for everyone but she was for me.  ~ Atticus Poetry,
324:Sometimes,
to be alone is the best company ~ Atticus Poetry,
325:There is poetry in a pork chop to a hungry man. ~ Philip Gibbs,
326:Writing poetry after Auschwitz is barbaric. ~ Theodor W Adorno,
327:A sky full of stars and he was staring at her. ~ Atticus Poetry,
328:Cosmos and its stars; poet and his poetry! ~ Mehmet Murat ildan,
329:Dying is the easy part
living is the trick. ~ Atticus Poetry,
330:Fire will run like poetry through your blood. ~ Rachel Neumeier,
331:he found poetry more comforting than Scripture ~ Paul Kalanithi,
332:If food is poetry, is not poetry also food? ~ Joyce Carol Oates,
333:It is good sometimes for poetry to disenchant us. ~ Robert Hass,
334:Jealousy, like poetry, is incomprehensible to me. ~ Kij Johnson,
335:Never let the mud puddle get lost in the poetry ~ Valerie Worth,
336:#Poetry atrophies when it gets too far from music. ~ Ezra Pound,
337:Poetry comes alive to me through recitation. ~ Natalie Merchant,
338:Poetry is a controlled refinement of sobbing. ~ Nicholson Baker,
339:Poetry is a good medium for revolutionary hope. ~ Susan Griffin,
340:Poetry is a language pared down to its essentials. ~ Ezra Pound,
341:Poetry is evidently a contagious complaint. ~ Washington Irving,
342:Poetry is the language of a state of crisis. ~ St phane Mallarm,
343:Poetry makes people nervous. Especially in schools. ~ Sarah Kay,
344:Poetry must be as new as foam & old as rock. ~ Delmore Schwartz,
345:Poetry must be simple, sensuous, or impassioned. ~ Emma Lazarus,
346:Reason cannot produce the poetry disorder does. ~ Angela Carter,
347:The points are not the point; the point is poetry. ~ Allan Wolf,
348:There is no hierarchy in Japanese Buddhist poetry. ~ Robert Bly,
349:The truth is sometimes you can both do better. ~ Atticus Poetry,
350:To write poetry after Auschwitz is barbaric. ~ Theodor W Adorno,
351:You have to have been in love to write poetry. ~ Raymond Carver,
352:Your brain amazes me. Your thoughts are poetry. ~ Jamie McGuire,
353:Auntie Flip had written many volumes of poetry: ~ David Walliams,
354:Coding like poetry should be short and concise. ~ Santosh Kalwar,
355:I believe poetry has very little to do with memory. ~ Nick Flynn,
356:It is barbaric to write poetry after Auschwitz. ~ Theodor Adorno,
357:It's a sad thing, protecting a breakable heart. ~ Atticus Poetry,
358:I've always resented mirrors for their honesty. ~ Atticus Poetry,
359:Music and art and poetry attune the soul to God. ~ Thomas Merton,
360:My poetry definitely comes out of a female body. ~ Rachel Zucker,
361:Poetry and art and knowledge are sacred and pure. ~ George Eliot,
362:Poetry, a speaking picture to teach and delight. ~ Philip Sidney,
363:Poetry is a sky dark with a wild-duck migration. ~ Carl Sandburg,
364:Poetry is so vital to us until school spoils it. ~ Russell Baker,
365:Poetry is the language of a state of crisis. ~ Stephane Mallarme,
366:Poetry ... is the music and painting of the mind. ~ Sonia Orwell,
367:Poetry is what happens when nothing else can. ~ Charles Bukowski,
368:Reading someone's poetry is like seeing them naked. ~ John Green,
369:Reading someone’s poetry is like seeing them naked. ~ John Green,
370:Superstition is the poetry of life. ~ Johann Wolfgang von Goethe,
371:The best poetry, then, comes in the roughest speech? ~ C S Lewis,
372:The words he writes to his music, they’re poetry. ~ Gayle Forman,
373:This is why there is poetry. For days like these. ~ Paula McLain,
374:To have ruined one's self over poetry is an honour ~ Oscar Wilde,
375:What good are wings without the courage to fly? ~ Atticus Poetry,
376:A lot of innovation in language comes from poetry. ~ Jim Jarmusch,
377:felt, because it was structured poetry. There were ~ Stephen King,
378:I've got magic. I've got poetry at my fingertips. ~ Charlie Sheen,
379:My brain hums with scraps of poetry and madness. ~ Virginia Woolf,
380:Poetry can cause irreparable harm when misapplied ~ Gail Carriger,
381:Poetry is a fireplace in summer or a fan in winter. ~ Robert Hass,
382:Poetry is indispensable - if I only knew what for. ~ Jean Cocteau,
383:Poetry is ordinary language raised to the Nth power. ~ Paul Engle,
384:poetry is the sung voice of accurate perception. ~ Patricia Hampl,
385:Poetry: Language against which we have no defences. ~ David Whyte,
386:Poetry, therefore, we will call Musical Thought. ~ Thomas Carlyle,
387:The prettiest girls shine brightest in the dark. ~ Atticus Poetry,
388:These bits of poetry that stick to her like burrs. ~ Jenny Offill,
389:The spectacles of books. ~ John Dryden, Essay on Dramatic Poetry.,
390:Thinking is always the stumbling stone to poetry. ~ Khalil Gibran,
391:Truth is poetry; it is the grandest poetry. ~ Edwin Hubbel Chapin,
392:WRITING POETRY IS an unnatural act,” Elizabeth Bishop ~ Anonymous,
393:Accuracy is sacrificed in the name of better poetry. ~ N K Jemisin,
394:A vein of poetry exists in the hearts of all men. ~ Thomas Carlyle,
395:Break my heart and you will find yourself inside. ~ Atticus Poetry,
396:High School is the place where poetry goes to die. ~ Billy Collins,
397:History is still in large measure poetry to me. ~ Jacob Burckhardt,
398:It’s a lonely thing protecting a breakable heart. ~ Atticus Poetry,
399:I've never met a strong person with an easy past. ~ Atticus Poetry,
400:I've written some poetry I don't understand myself ~ Carl Sandburg,
401:On no account allow a Vogon to read poetry at you. ~ Douglas Adams,
402:Poetry -- even bad poetry -- may be our final hope. ~ Edward Abbey,
403:Poetry has been the longest pleasure of my life. ~ Shirley Hazzard,
404:Poetry is all that is worth remembering in life. ~ William Hazlitt,
405:Poetry is everything that headline news is not. ~ Naomi Shihab Nye,
406:Poetry is the art of uniting pleasure with truth. ~ Samuel Johnson,
407:Poetry is the synthesis of hyacinths and biscuits. ~ Carl Sandburg,
408:Poetry will die when love and pain cease to exist. ~ Kellie Elmore,
409:Protest poetry -- could there be consensus poetry? ~ William Edgar,
410:She had the whisky licking, skinny dipping smile. ~ Atticus Poetry,
411:Sometimes his words were like single lines of poetry. ~ Kiera Cass,
412:The prettiest girls shine brightest in the dark.  ~ Atticus Poetry,
413:To poetry they prefer paradise.
Matter of taste. ~ Louis Aragon,
414:What she lacks in poetry she makes up for in venom ~ Sarra Manning,
415:Whenever God lays His glance, Life starts clapping! ~ Hafiz#poetry,
416:Writing poetry and reading books causes brain damage. ~ Pat Conroy,
417:Break my heart and you will find yourself inside.  ~ Atticus Poetry,
418:Confession may well be a dirty word in poetry. ~ Lucie Brock Broido,
419:Don’t find her and lose you. Find her to find you. ~ Atticus Poetry,
420:Don’t find her and lose you. Find you to find her. ~ Atticus Poetry,
421:Genuine poetry can communicate before it is understood. ~ T S Eliot,
422:He who improvises can never make a perfect line of poetry. ~ Titian,
423:I am not interested in poetry for poetry's sake. ~ Ernesto Cardenal,
424:I never had much education in English poetry as such. ~ Anne Carson,
425:It's not poetry. It's not metaphor. It's instructions. ~ John Green,
426:It was at that age that poetry came in search of me. ~ Pablo Neruda,
427:I've written some poetry I don't understand myself. ~ Carl Sandburg,
428:LIFE
IS THE ART
OF FAILING
MAGNIFICENTLY. ~ Atticus Poetry,
429:Poetry helps heal wounds.
Makes them tangible. ~ Isabel Quintero,
430:Poetry is emotion recollected in tranquillity. ~ William Wordsworth,
431:Poetry is the morning dream of great minds. ~ Alphonse de Lamartine,
432:Poetry is thoughts that breathe, and words that burn. ~ Thomas Gray,
433:Poetry should be made by all and not by one. ~ Comte de Lautr amont,
434:Poetry: the best words in the best order. ~ Samuel Taylor Coleridge,
435:Robert Louis Stevenson called wine “bottled poetry, ~ Bianca Bosker,
436:Sentiment is the poetry of the imagination. ~ Alphonse de Lamartine,
437:The blood jet is poetry and there is no stopping it. ~ Sylvia Plath,
438:the comfort of reclusion, the poetry of hibernation ~ Marcel Proust,
439:The doubters are just dreamers with broken hearts. ~ Atticus Poetry,
440:There is but one poetry,--true poetry. ~ Johann Wolfgang von Goethe,
441:the ugly and alien logic of predestination. Poetry ~ G K Chesterton,
442:We are made of those who have built and broken us. ~ Atticus Poetry,
443:Well, I like to write poetry. I'm a published poet. ~ Misha Collins,
444:You deserve to be the person you were meant to be. ~ Atticus Poetry,
445:All the poetry in the world is in that face. ~ Christopher Isherwood,
446:Country music is the poetry of the American spirit. ~ Steve Maraboli,
447:he will taste
like the poetry
i wish i could write ~ Rupi Kaur,
448:I credit poetry for making this space-walk possible. ~ Seamus Heaney,
449:I keep trying to define poetry, but its so difficult. ~ Jack Gleeson,
450:I want a fever, in poetry: a fever, and tranquillity. ~ James Dickey,
451:I write all the time - I write poetry, I love to write ~ Colin Quinn,
452:...one expects poetry, if it is Poetry, to offend. ~ Gregory Maguire,
453:Poetry is a kinetic arrangement of static syllables. ~ Carl Sandburg,
454:Poetry is language against which you have no defenses. ~ David Whyte,
455:Poetry is not something you have to retire from ~ John Cooper Clarke,
456:Poetry is the mother-tongue of the human race. ~ Johann Georg Hamann,
457:She had just enough madness to make her interesting ~ Atticus Poetry,
458:SHE WASN’T BORED, JUST RESTLESS BETWEEN ADVENTURES. ~ Atticus Poetry,
459:The poetry of fashion lies in the creation of illusion ~ Coco Chanel,
460:They say pu$$y and paper is poetry power and pistols. ~ Tupac Shakur,
461:To a poet every curve of her was a well place word. ~ Atticus Poetry,
462:What a strange world, we trade our days for things. ~ Atticus Poetry,
463:When we share - that is poetry in the prose of life. ~ Sigmund Freud,
464:You deserve to be the person you were meant to be.  ~ Atticus Poetry,
465:All emotions are the ore from which poetry may be sifted. ~ T E Hulme,
466:don't get too close,
i'll turn you
into poetry ~ Orion Carloto,
467:i am permanently
tanned
in the summer of poetry. ~ Sanober Khan,
468:I have been used to consider poetry as the food of love ~ Jane Austen,
469:I have nothing to say. And I am saying it. That's poetry. ~ John Wain,
470:Only that is poetry which cleanses and mans me. ~ Ralph Waldo Emerson,
471:Poetry contains philosophy as the soul contains reason. ~ Victor Hugo,
472:Poetry had breathed over and sanctified the land. ~ Washington Irving,
473:Poetry has never been a favorite American pastime. ~ Natalie Goldberg,
474:Poetry has saved me on occasions when people couldn't. ~ Sanober Khan,
475:Poetry is a peerless proficiency of the imagination. ~ Marianne Moore,
476:Poetry is not the record of an event: it is an event. ~ Robert Lowell,
477:Poetry is not the thing said, but the way of saying it. ~ A E Housman,
478:Poetry is the connecting link between body and mind. ~ Camille Paglia,
479:She was everything real in a world of make-believe.  ~ Atticus Poetry,
480:The Bible is to religion what the Iliad is to poetry ~ Joseph Joubert,
481:The death of childhood is the beginning of poetry. ~ Andrei Tarkovsky,
482:The unconscious mind writes poetry if it's left alone. ~ Stephen King,
483:the unconscious mind writes poetry if it’s left alone. ~ Stephen King,
484:Water is the ink that writes the poetry of life. ~ Alexandra Cousteau,
485:American poetry is a mess. Long live American poetry. ~ David Biespiel,
486:And so proceed ad infinitum. ~ Jonathan Swift, On Poetry: A Rhapsody. ,
487:ASK NOT IF POETRY IS DEAD, ASK HOW YOU CAN LIVE FOR POETRY. ~ Amy King,
488:Dante, or the hyena that writes poetry in tombs. ~ Friedrich Nietzsche,
489:Everything since Homer has improved, except poetry. ~ Giacomo Leopardi,
490:genuine poetry can communicate before it is understood ~ Adam Nicolson,
491:Great poetry does not have to be technically intricate. ~ James Fenton,
492:I believe that poetry is a primal impulse within us all. ~ Stephen Fry,
493:I blessed the power which has filled my life with poetry. ~ Mary Butts,
494:I feel like girls who drink whisky tell good stories. ~ Atticus Poetry,
495:If poetry does not come as naturally as leaves to a tree, ~ John Keats,
496:If Rilke cut himself shaving, he would bleed poetry. ~ Stephen Spender,
497:I have been used to consider poetry as the food of love, ~ Jane Austen,
498:I have been used to consider poetry as the food of love. ~ Jane Austen,
499:It is always fatal to have music or poetry interrupted. ~ George Eliot,
500:Only poetry or madness could do justice to the noises. ~ H P Lovecraft,
501:Other than fiction and poetry I tend to read history. ~ Stephen Dobyns,
502:Pare down to the essence, but don't remove the poetry. ~ Leonard Koren,
503:Poetry calls into question what it means to be human ~ Sandra Alcosser,
504:Poetry is a natural energy resource of our country. ~ Richard Eberhart,
505:Poetry is a satifying of the desire for resemblance. ~ Wallace Stevens,
506:The people need poetry that will be their own secret ~ Osip Mandelstam,
507:There is no poetry without want. Desperate want. ~ Richelle E Goodrich,
508:There may be more poetry than justice in poetic justice. ~ George Will,
509:To cast aside from Poetry, all that is not Inspiration ~ William Blake,
510:To fine that light within--that's the genius of poetry. ~ Julie Harris,
511:What is one man's hate speech is another man's poetry. ~ Flemming Rose,
512:What is poetry which does not save nations or people? ~ Czes aw Mi osz,
513:What is poetry which does not save nations or people? ~ Czeslaw Milosz,
514:What, you don’t think I’m capable of poetry after sex? ~ Richelle Mead,
515:All poetry is putting the infinite within the finite. ~ Robert Browning,
516:As far as I know Misha wrote the first cyberpunk poetry. ~ John Shirley,
517:Don't be someone else's slogan because you are poetry. ~ Sandra Bullock,
518:Don't worry—
you see,
to some you are magic. ~ Atticus Poetry,
519:Fine art, poetry, that kind of thing, elevates a nation. ~ George Eliot,
520:Good poetry ... makes the universe ... reveal its ... 'secret' ~ Hafiz,
521:If society abolishes poetry it commits spiritual suicide. ~ Octavio Paz,
522:I’m a man full of doubts and I doubt that will change. ~ Atticus Poetry,
523:I myself always want to talk about "poetry," not "the poem." ~ Paul Fry,
524:Maybe every talk about poetry is a defense of poetry... ~ Tony Hoagland,
525:Our poetry is courage, audacity and revolt. ~ Filippo Tommaso Marinetti,
526:Photography is an austere and blazing poetry of the real. ~ Ansel Adams,
527:Poetry is, among other things, a criticism of language. ~ Adrienne Rich,
528:Poetry is language at its most distilled and most powerful. ~ Rita Dove,
529:Poetry is language trying to become bodily experience. ~ Herbert McCabe,
530:Poetry is not truth, it is the resurrection of presences. ~ Octavio Paz,
531:poetry is the breath and finer spirit of knowledge ~ William Wordsworth,
532:Poetry is the liquid voice that can wear through stone. ~ Adrienne Rich,
533:Poetry is the rhythmical creation of beauty in words. ~ Edgar Allan Poe,
534:Poetry makes life what lights and music do the stage. ~ Charles Dickens,
535:We are made of all those who have built and broken us. ~ Atticus Poetry,
536:We learn what poetry is - if we ever learn - by reading it. ~ T S Eliot,
537:We were clever enough to turn a laundry list into poetry. ~ Umberto Eco,
538:What is a Professor of Poetry? How can poetry be professed? ~ W H Auden,
539:With me poetry has not been a purpose, but a passion. ~ Edgar Allan Poe,
540:Without poetry the soul and heart of man starves and dies. ~ Amy Lowell,
541:Don't know what poetry is even. Must be in a certain mood. ~ James Joyce,
542:Eroticism cannot be entirely revealed without poetry. ~ Georges Bataille,
543:Hip-hop is about the brilliance of pavement poetry. ~ Michael Eric Dyson,
544:If you want to annoy a poet, explain his poetry. ~ Nassim Nicholas Taleb,
545:I hate to be alone
there are too many voices talking ~ Atticus Poetry,
546:I have to admit that I had a lot of problems with poetry. ~ Jane Campion,
547:I just can't get the poetry of the trees," he said. ~ Katherine Paterson,
548:I love you most in that place between coffee and sleep. ~ Atticus Poetry,
549:I've spent a life chasing stories to tell when I'm old. ~ Atticus Poetry,
550:Love could be labeled poison and we’d drink it anyways. ~ Atticus Poetry,
551:Only poetry or madness could do justice to the noises... ~ H P Lovecraft,
552:Poetry cannot breathe in the scholar's atmosphere. ~ Henry David Thoreau,
553:Poetry had to be as hasty and rough as eating, sleep or sex. ~ Anonymous,
554:Poetry is a kind of ingenious nonsense (Spence, Anecdotes ~ Isaac Barrow,
555:Poetry is a way of looking at the world for the first time. ~ W S Merwin,
556:Poetry is man's rebellion against being what he is ~ James Branch Cabell,
557:Poetry is really a way of sharing feelings and ideas. ~ Caroline Kennedy,
558:Poetry is when words are robbed of their attributed truth. ~ Gunter Brus,
559:Poetry must be made by all and not by one. ~ Isidore Ducasse Lautreamont,
560:Poetry reading is the chamber music of the actor's craft. ~ Robert Lacey,
561:Poetry today is easier to write but harder to remember. ~ Stanley Kunitz,
562:Prose and poetry are as different as food and drink. ~ Franz Grillparzer,
563:She conquered her demons and wore her scars like wings. ~ Atticus Poetry,
564:Superstition is part of the poetry of life. ~ Johann Wolfgang von Goethe,
565:The materials for poetry are all about you in profusion. ~ Masaoka Shiki,
566:The true subject of poetry is the loss of the beloved. ~ Faiz Ahmad Faiz,
567:All slang is metaphor, and all metaphor is poetry. ~ Gilbert K Chesterton,
568:Black Poetry is not for Black People…it is for everybody ~ Nikki Giovanni,
569:He drove his mind into the abyss where poetry is written. ~ George Orwell,
570:Her courage was her crown, and she wore it like a Queen. ~ Atticus Poetry,
571:He read the verses backwards but then they were not poetry. ~ James Joyce,
572:I don't believe in tame poetry. . . . Poetry busts guts. ~ Frank Stanford,
573:If poetry could truly tell it backwards, then it would. ~ Carol Ann Duffy,
574:I'm full of poetry now. Rot and poetry. Rotten poetry. ~ Ernest Hemingway,
575:It is impossible to translate poetry. Can you translate music? ~ Voltaire,
576:It probably started in poetry; almost everything does. ~ Raymond Chandler,
577:Let my
death
be a long
and magnificent
life. ~ Atticus Poetry,
578:Not reading poetry amounts to a national pastime here. ~ Phyllis McGinley,
579:Painting is mute poetry, and poetry is blind painting ~ Leonardo da Vinci,
580:Painting is silent poetry, and poetry is painting that speaks. ~ Plutarch,
581:People who live in my stone house shouldn't throw glass. ~ Atticus Poetry,
582:Personality is everything in art and poetry. ~ Johann Wolfgang von Goethe,
583:Poetry consists in a rhyming dictionary and things seen. ~ Gertrude Stein,
584:Poetry, far more than fiction, reveals the soul of humanity. ~ Amy Lowell,
585:Poetry has become the higher algebra of metaphors. ~ Jose Ortega y Gasset,
586:Poetry is a connection to a change within you. ~ Katerina Stoykova Klemer,
587:Poetry is concerned with using with abusing, with losing ~ Gertrude Stein,
588:"Poetry is not truth, it is the resurrection of presences." ~ Octavio Paz,
589:[Poetry] is the liquid voice that can wear through stone. ~ Adrienne Rich,
590:poetry utters universal truths, history particular statements ~ Aristotle,
591:She conquered her demons and wore her scars like wings.  ~ Atticus Poetry,
592:Silly girl, your different was your beautiful all along. ~ Atticus Poetry,
593:Some nights you drink tea, some nights you drink whisky. ~ Atticus Poetry,
594:There is no access to contemporary poetry in the libraries. ~ Kwame Dawes,
595:There's a sameness about American poetry that I don't ~ Yusef Komunyakaa,
596:What you feel in Japanese poetry is always entirely longing. ~ Robert Bly,
597:You weren’t given wings
to see the world from a tree. ~ Atticus Poetry,
598:Color in painting lures the eyes as verses do in poetry. ~ Nicolas Poussin,
599:Don't call my lyrics poetry. It's an insult to real poets. ~ Bernie Taupin,
600:Good prose is written only face to face with poetry. ~ Friedrich Nietzsche,
601:I don't want to because boys don't write poetry. Girls do. ~ Sharon Creech,
602:I have written some poetry that I don't understand myself. ~ Carl Sandburg,
603:One doesn't read poetry while thinking of other things. ~ Gaston Bachelard,
604:OUR
SONGS
LIVE
LONGER
THAN
OUR
KINGDOMS ~ Atticus Poetry,
605:Poetry has, in a way, been my bridge to my acting career. ~ Omari Hardwick,
606:Poetry is about the grief. Politics is about the grievance. ~ Robert Frost,
607:Poetry is a dividend from what you know and what you are. ~ Czeslaw Milosz,
608:Poetry is a perfectly reasonable means of overcoming chaos. ~ I A Richards,
609:Poetry is philosophy's sister, the one that wears makeup. ~ Jennifer Grotz,
610:Poetry, that is to say the poetic, is a primal necessity. ~ Marianne Moore,
611:Poetry uses the hub of a torque converter for a jello mold. ~ Diane Glancy,
612:She was another broken doll dreaming of a boy with glue.  ~ Atticus Poetry,
613:That's what I love about poetry. The more abstract, the better ~ Jay Asher,
614:There are magnets in my bones for that iron in her blood. ~ Atticus Poetry,
615:There is poetry as soon as we realize that we possess nothing. ~ John Cage,
616:Thus I fled, ridiculous hairy creature torn apart by poetry ~ John Gardner,
617:Virginity is the poetry, not the reality, of life. ~ Alphonse de Lamartine,
618:We've given up making a living, its all this crazy love poetry now! ~ Rumi,
619:All poetry is difficult to read - The sense of it anyhow. ~ Robert Browning,
620:As poetry is the harmony of words, so music is that of notes. ~ John Dryden,
621:Black Poetry is not for Black People...it is for everybody ~ Nikki Giovanni,
622:Don’t be scared to change the prince’s name in your story. ~ Atticus Poetry,
623:Each of us has his own alphabet with which to create poetry. ~ Irving Stone,
624:God said, Let there be pain. And there was poetry. Eventually. ~ Ian McEwan,
625:Gonna cuss an' swear an' here the poetry of folks talkin'. ~ John Steinbeck,
626:I love poetry and my country above all else in the world. ~ Fyodor Tyutchev,
627:I love poetry, but I find it so difficult to write well. ~ Emily Susan Rapp,
628:my poetry is merely a body.
you are the soul in my words. ~ Sanober Khan,
629:No two people have ever battled that read each other’s poetry, ~ Hugh Howey,
630:Poetry is adolescence fermented, and thus preserved. ~ Jose Ortega y Gasset,
631:Poetry is always close kin to the impossible, isn't it? ~ Reginald Shepherd,
632:Poetry is the shortest distance between two humans. ~ Lawrence Ferlinghetti,
633:Poetry keeps me
in a highly drunken state
of divinity. ~ Sanober Khan,
634:Poetry must be as new as foam and as old as the rock. ~ Ralph Waldo Emerson,
635:Poetry should be common in experience but uncommon in books. ~ Robert Frost,
636:That's what I love about poetry. The more abstract, the better. ~ Jay Asher,
637:The purpose of poetry is to make life complete in itself. ~ Wallace Stevens,
638:There is hurt here that cannot be fixed by band-aids or poetry. ~ Sarah Kay,
639:The things I like to find in a story are punch and poetry. ~ Sean O Faolain,
640:the unconscious mind writes poetry if it’s left alone. Maybe ~ Stephen King,
641:To be alive is the strange and wondrous miracle we forget. ~ Atticus Poetry,
642:Anyone who sees the realism in Lynch truly understand poetry! ~ Armond White,
643:I always wanted to write poetry, even when I was very young. ~ Ama Ata Aidoo,
644:I could no more define poetry than a terrier can define a rat. ~ A E Housman,
645:I have defined poetry as a 'passionate pursuit of the Real. ~ Czes aw Mi osz,
646:I have defined poetry as a 'passionate pursuit of the Real. ~ Czeslaw Milosz,
647:In Australia, not reading poetry is the national pastime. ~ Phyllis McGinley,
648:It's poetry in motion, when she turned her tender eyes to me. ~ Thomas Dolby,
649:Only in Russia poetry is respected--it gets people killed. ~ Osip Mandelstam,
650:Painting is silent poetry,
and poetry is painting that speaks. ~ Plutarch,
651:Poetry being ... when we look from the center outward. ~ Ralph Waldo Emerson,
652:Poetry comes from the highest happiness or the deepest sorrow. ~ Abdul Kalam,
653:Poetry is, above all, an approach to the truth of feeling. ~ Muriel Rukeyser,
654:Poetry is a matter of life, not just a matter of language. ~ Lucille Clifton,
655:Poetry is an affair of sanity, of seeing things as they are. ~ Philip Larkin,
656:Poetry is an investigation, not an expression, of what you know. ~ Mark Doty,
657:Poetry is my life, my postmark, my hands, my kitchen, my face. ~ Anne Sexton,
658:Poetry is the art of saying what you mean but disguising it. ~ Diane Wakoski,
659:Poetry is to be found nowhere unless we carry it within us. ~ Joseph Joubert,
660:Poetry is what happens when an anxiety meets a technique. ~ Lawrence Durrell,
661:Poetry must be as new as foam, and as old as the rock. ~ Ralph Waldo Emerson,
662:Rap is poetry set to music. But to me it's like a jackhammer. ~ Bette Midler,
663:Reasoning is never, like poetry, judged from the outside at all. ~ C S Lewis,
664:Sholeh Wolpé poetry proves to be rumination, prayer, song. ~ Nathalie Handal,
665:Somewhere there is someone looking for the strange you are. ~ Atticus Poetry,
666:There is no happiness like mine.
I have been eating poetry. ~ Mark Strand,
667:There's nothing worse in the world than a poetry recital. ~ Charles Bukowski,
668:We can't separate our humanity from our poetry. ~ Elizabeth Barrett Browning,
669:We do not enjoy poetry unless we know it to be poetry. ~ Henry David Thoreau,
670:When it comes to atoms, language can be used only as in poetry. ~ Niels Bohr,
671:Writing poetry is supernatural. Or, it should be. ~ Katerina Stoykova Klemer,
672:Writing poetry is what I am. I wouldn’t know what else to be. ~ Alice Notley,
673:Agitation is all about poetry, governance is all about prose. ~ Jairam Ramesh,
674:But you hate poetry! Yes, but you make me want to write it. ~ Cassandra Clare,
675:Exercises are like prose, whereas yoga is the poetry of movements. ~ Amit Ray,
676:For me, poetry is an evasion of the real job of writing prose. ~ Sylvia Plath,
677:I am all the time thinking about poetry and fiction and you. ~ Virginia Woolf,
678:I cannot speak truth without poetry, because truth is beauty. ~ Bryant McGill,
679:In a lethal world, poetry is necessary for survival. ~ Mary Caroline Richards,
680:Mathematics is the poetry of logic and the music of reason. ~ Albert Einstein,
681:Never fear: Thank Home, and Poetry, and the Force behind both. ~ Wilfred Owen,
682:one can never be sure whether it's good poetry or bad acid ~ Charles Bukowski,
683:Only in Russia poetry is respected - it gets people killed. ~ Osip Mandelstam,
684:Poetry can be tedious. Too many words to say a simple thing. ~ Ashley Gardner,
685:Poetry,’ I continued, ‘is too sensational for young minds. ~ Elizabeth Peters,
686:Poetry isn't written from the idea down. It's written from ~ Margaret Atwood,
687:Public toilets have a duty to be accessible, poetry does not. ~ Geoffrey Hill,
688:Pure mathematics is in its way the poetry of logical ideas. ~ Albert Einstein,
689:RT @mysticpoetry#Lightwill somedaysplit you open. ~ Hafiz#poetry#mysticpoetry,
690:Theater is far superior to film in poetry, in abstract poetry. ~ Julie Taymor,
691:The movement
Of the body is

Where poetry
Begins ~ Clint Catalyst,
692:The poetry was so ahead of its time no one has deciphered it yet ~ Harper Lee,
693:Well you can't teach the poetry, but you can teach the craft. ~ David Hockney,
694:What will they say about my poetry who never touched my blood? ~ Pablo Neruda,
695:WORDS
WILL
SCRATCH
MORE
HEARTS
THAN
SWORDS ~ Atticus Poetry,
696:Good poetry ... makes the universe ... reveal its ... 'secret' ~ Hafiz #poetry,
697:I learn poetry, learn text, and that really keeps you alive. ~ Anthony Hopkins,
698:It
was
her
chaos
that
made
her
beautiful ~ Atticus Poetry,
699:It's just poetry, beauty and love. How hard can that be to act? ~ Robin Wright,
700:My old teacher's definition of poetry is an attempt to understand. ~ Thom Gunn,
701:Oh, come on, he was twenty-six. And he had poetry on his lips. ~ Frances Mayes,
702:... passion for survival is the great theme of women's poetry. ~ Adrienne Rich,
703:Perfume is a story in odors, sometimes a poetry of memory ~ Jean Claude Ellena,
704:Poetry, is a life long war waged
against ineffable beauty. ~ Atticus Poetry,
705:Poetry is a political act because it involves telling the truth. ~ June Jordan,
706:Poetry is evidence that the heart thinks and the mind feels. ~ Nayyirah Waheed,
707:Poetry is the least imposition on silence in a world of chatter. ~ Marvin Bell,
708:Poetry is the work of the bard and of the people who inspire him. ~ Jose Marti,
709:Poetry might be defined as the clear expression of mixed feelings. ~ W H Auden,
710:Satire is a kind of poetry in which human vices are reprehended. ~ John Dryden,
711:She wasn't looking for a knight, she was looking for a sword. ~ Atticus Poetry,
712:Some people go to priests; others to poetry; I to my friends. ~ Virginia Woolf,
713:Some say they see poetry in my paintings; I see only science. ~ Georges Seurat,
714:There was a magnificent human shining brightly behind her shy ~ Atticus Poetry,
715:The sense of the preciousness of the body - vehicle for poetry. ~ Anne Waldman,
716:When Rimbaud became a slave trader, he stopped writing poetry. ~ Chinua Achebe,
717:Who can ever say the perfect thing to the poet about his poetry? ~ Alice Munro,
718:Why speak of the use
of poetry? Poetry
is what uses us. ~ Hayden Carruth,
719:You turn him into poetry because you can’t have him any other way. ~ Lang Leav,
720:Because I didn't want to forget was the heart and soul of poetry. ~ Andr Aciman,
721:But the more poetry one reads the more one longs to read! ~ Katherine Mansfield,
722:Ethics are no more a part of poetry than theyare of painting. ~ Wallace Stevens,
723:Great poetry needs no interpreter other than a responsive heart. ~ Helen Keller,
724:Here is our poetry, for we have pulled down the stars to our will. ~ Ezra Pound,
725:I can find some way to make poetry out of my life's experiences. ~ Shelby Lynne,
726:I can’t explain. Or want to. Explanations are such cheap poetry. ~ Stephen King,
727:If history is a record of survivors, Poetry shelters other voices. ~ Susan Howe,
728:If there's no money in poetry, neither is there poetry in money ~ Robert Graves,
729:If you can't give me poetry, can't you give me poetical science? ~ Ada Lovelace,
730:I had loved poetry and the theatre. Now I loved adventure more. ~ Sara Sheridan,
731:I’ll let you into my heart
but wipe your feet at the door. ~ Atticus Poetry,
732:In fact, you could say that I became a poet by renouncing poetry. ~ Aim C saire,
733:In those days I used to talk to myself as if reciting poetry. ~ Haruki Murakami,
734:Israel is moving from the realm of poetry to the realm of prose. ~ Shimon Peres,
735:It is as impossible to translate poetry as it is to translate music. ~ Voltaire,
736:Let us discuss why poetry has lost the power of making men brave. ~ E M Forster,
737:Let us guard against stripping our science of its share of poetry. ~ Marc Bloch,
738:No really sensible person ever remembers enough poetry to recite it. ~ E W Howe,
739:Our
songs
live
longer
than
our
kingdoms. ~ Atticus Poetry,
740:Poetry is a language in which man explores his own amazement. ~ Christopher Fry,
741:Poetry is either something that lives like fire inside you ~ F Scott Fitzgerald,
742:Poetry is the art of understanding what it is to be alive. ~ Archibald MacLeish,
743:Poetry is the mathematics of writing and closely kin to music. ~ John Steinbeck,
744:Poetry is the only art people haven't learned to consume like soup. ~ W H Auden,
745:Poetry is very similar to music, only less notes and more words. ~ Eddie Izzard,
746:Poetry often enters through the window of irrelevance. ~ Mary Caroline Richards,
747:Poetry translation is like playing a piano sonata on a trombone. ~ Nataly Kelly,
748:Poetry will exist as long as there is a problem of life and death ~ Ruben Dario,
749:Pure mathematics is, in its way, the poetry of logical ideas. ~ Albert Einstein,
750:She wasn't looking for a knight
She was looking for a sword ~ Atticus Poetry,
751:She wasn't looking for a knight, she was looking for a sword.  ~ Atticus Poetry,
752:She was that wild thing I loved.
My dark between the stars. ~ Atticus Poetry,
753:Teaching poetry, teaching as such, is worthy - if back breaking. ~ Gerald Stern,
754:That music in itself, whose sounds are song, The poetry of speech. ~ Lord Byron,
755:The beauty of poetry is that the creation transcends the poet. ~ Mahatma Gandhi,
756:The belief in poetry is a magnificent fury, or it is nothing. ~ Wallace Stevens,
757:The sources of poetry are in the spirit seeking completeness. ~ Muriel Rukeyser,
758:The state of the world calls out for poetry to save it. ~ Lawrence Ferlinghetti,
759:With wine, poetry, or virtue as you choose. But get drunk. ~ Charles Baudelaire,
760:Abstract evidence retreats before the poetry of forms and colors. ~ Albert Camus,
761:Alone we live short rebellions of death,
together we defy it ~ Atticus Poetry,
762:But you hate poetry!
Yes, but you make me want to write it. ~ Cassandra Clare,
763:I don't live for poetry. I live far more than anybody else does. ~ Charles Olson,
764:I got saved by poetry. And I got saved by the beauty of the world. ~ Mary Oliver,
765:I know that poetry is indispensable, but to what I could not say. ~ Jean Cocteau,
766:I've inherited the bad poetry genes, but not the inventor genes. ~ Kit Harington,
767:I wanted to write poetry almost a little more than I wanted to eat. ~ Paul Engle,
768:Look around—there's only one thing of danger for you here—poetry. ~ Pablo Neruda,
769:Mathematics and poetry are the two ways to drink the beauty of truth. ~ Amit Ray,
770:Only fever and poetry provoke visions.
Only love and memory. ~ Roberto Bola o,
771:POETRY: A sliver of the moon lost in the belly of a golden frog. ~ Carl Sandburg,
772:Poetry creates the myth, the prose writer draws its portrait. ~ Jean Paul Sartre,
773:Poetry, dreams, desire, everything leads me to you. ~ Johann Wolfgang von Goethe,
774:Poetry, like love, is something we never truly say goodbye to. ~ Robert Browning,
775:Poetry might be defined as the clear expression of mixed feelings. c ~ W H Auden,
776:Poetry must be human. If it is not human, it is not poetry. ~ Vicente Aleixandre,
777:Poetry searches for music amidst the tumult of the dictionary. ~ Boris Pasternak,
778:Poetry's work is the clarification and magnification of being. ~ Jane Hirshfield,
779:Poets are souls at war with words
from battles waged within. ~ Atticus Poetry,
780:Rural poetry is the pleasure ground of those who live in cities. ~ Samuel Palmer,
781:She wasn't
bored
just restless
between
adventures. ~ Atticus Poetry,
782:The braves thing
she ever did
was to stay alive each day. ~ Atticus Poetry,
783:The points are not the point; the point is poetry.” —Allan Wolf ~ Colleen Hoover,
784:We all wear scars, find someone who makes yours feel beautiful. ~ Atticus Poetry,
785:We just want the world to love the little monsters that we are. ~ Atticus Poetry,
786:We will never get back the life we waste
trying to be normal ~ Atticus Poetry,
787:You can lose yourself in a book, but you find yourself in Poetry ~ Jasper Fforde,
788:As civilization advances, poetry almost necessarily declines. ~ Thomas B Macaulay,
789:As I get older, I recognize that my thinking about poetry may or ~ Robert Creeley,
790:Between skin and skin there is only light. And there was my poetry. ~ John Fowles,
791:Birth is the start of loneliness and loneliness the start of poetry. ~ Erica Jong,
792:Fiction—and poetry and drama— cleanse the doors of perception. ~ Ursula K Le Guin,
793:Her smile was like laughter to me— it bubbled in like champagne. ~ Atticus Poetry,
794:I could never love her, the fear of losing would be too strong.  ~ Atticus Poetry,
795:I hope to arrive at my death, late, in love, and a little drunk. ~ Atticus Poetry,
796:I hope to arrive to my death, late, in love, and a little drunk. ~ Atticus Poetry,
797:Inspiration is needed in geometry, just as much as in poetry. ~ Alexander Pushkin,
798:I want to write a book of poetry, as well as children's stories. ~ Bobby McFerrin,
799:Like poetry, fashion does not state anything. It merely suggests ~ Karl Lagerfeld,
800:My verses are my diary. My poetry is a poetry of proper names. ~ Marina Tsvetaeva,
801:One of the ways in which I feel close to God is writing poetry. ~ Christian Wiman,
802:Poetry is not a turning loose of emotion, but an escape from emotion. ~ T S Eliot,
803:Poetry is not a way of saying things; it's a way of seeing things. ~ Karl Shapiro,
804:Poetry is the art of creating imaginary gardens with real toads. ~ Marianne Moore,
805:Poetry must have something in it that is barbaric, vast and wild. ~ Denis Diderot,
806:Poverty, Poetry, and new Titles of Honor, make Men ridiculous ~ Benjamin Franklin,
807:Reading someone's poetry is like seeing them naked" -Davis Pritchett ~ John Green,
808:She wasn't waiting for a knight,
she was waiting for a sword. ~ Atticus Poetry,
809:She wasn’t waiting for a knight—
she was waiting for a sword. ~ Atticus Poetry,
810:Take the sweet poetry of life away, and what remains behind? ~ William Wordsworth,
811:The attitude of the American to the dollar contains poetry. ~ Vladimir Mayakovsky,
812:...the collective wisdom of humanity [is] enshrined in its poetry. ~ Robyn Donald,
813:The poetry is all in the anticipation, for there is none in reality. ~ Mark Twain,
814:There is a great amount of poetry in unconscious fastidiousness. ~ Marianne Moore,
815:The strongest part of a religion today is its unconscious poetry ~ Matthew Arnold,
816:You're a tall drink of half drunk whiskey, my pigeon toed gypsy. ~ Atticus Poetry,
817:A sky
full
of stars
and he
was staring
at her. ~ Atticus Poetry,
818:Don't send me a text message. I seldom respond to them. Use poetry. ~ Jos N Harris,
819:I always thought that writing poetry was in itself a political act. ~ John Ashbery,
820:I hope to arrive at my death, late, in love, and a little drunk.  ~ Atticus Poetry,
821:I see woefully obscure poetry as simply a kind of verbal rudeness. ~ Billy Collins,
822:It is not enough that poetry is agreeable, it should also be interesting. ~ Horace,
823:Like poetry, fashion does not state anything. It merely suggests. ~ Karl Lagerfeld,
824:One thing I do know is that poetry, to be understood, must be clear. ~ Mary Oliver,
825:Oskar recited every strand of Annieran poetry he could remember. ~ Andrew Peterson,
826:Poetry,
like history, is made;
poetry,
like truth, is seen. ~ Octavio Paz,
827:Poetry has done enough when it charms, but prose must also convince. ~ H L Mencken,
828:Poetry is either language lit up by life or life lit up by language ~ Peter Porter,
829:Poetry is language surprised in the act of changing into meaning. ~ Stanley Kunitz,
830:Poetry is news brought to the mountains by a unicorn and an echo. ~ Czeslaw Milosz,
831:Poetry is the outcome of emotions recollected in tranquility. ~ William Wordsworth,
832:Poetry is the shadow cast by our streetlight imaginations. ~ Lawrence Ferlinghetti,
833:Poets should ignore most criticism and get on with making poetry. ~ Anne Stevenson,
834:The hardest step we all must take is blindly trust in who we are. ~ Atticus Poetry,
835:The machinations of ambiguity are among the very roots of poetry. ~ William Empson,
836:The one stream of poetry which is continually flowing is slang. – ~ G K Chesterton,
837:There is no money in poetry, but then there is no poetry in money. ~ Robert Graves,
838:There’s no money in poetry, but there’s no poetry in money, either ~ Robert Graves,
839:True poetry is not of earth, 'T is more of Heaven by its birth. ~ William Faulkner,
840:We all need ways to express ourselves, and poetry is one of mine. ~ Jack Prelutsky,
841:When I read poetry, I read it aloud. It's so much better that way. ~ Oprah Winfrey,
842:With the city like this, don’t we have greater needs than poetry? ~ China Mi ville,
843:You know, I can imagine not writing a novel and writing poetry only. ~ Vikram Seth,
844:Always in a foreign country, the poet uses poetry as an interpreter. ~ Edmond Jabes,
845:I am not perfect for you, but I will always imperfectly try to be. ~ Atticus Poetry,
846:I grew up in a sad, depressed place. I got out. Poetry saved my life. ~ Mary Oliver,
847:I have been used to consider poetry as the food of love," said Darcy. ~ Jane Austen,
848:Images are the heart of poetry ... You're not a poet without imagery. ~ Anne Sexton,
849:Maybe poetry's not so important, but ... it makes life worth living. ~ Arda Collins,
850:Naked poetry, always mine,
that I have loved my whole life! ~ Juan Ram n Jim nez,
851:Poetry has been the guardian angel of humanity in all ages. ~ Alphonse de Lamartine,
852:Poetry is music, and nothing but music. Words with musical emphasis. ~ Amiri Baraka,
853:Poetry is only secondarily about words. Primarily, it is about truth. ~ Dan Simmons,
854:Poetry is that / which arrives at the intellect / by way of the heart. ~ R S Thomas,
855:Poetry is the statement of a relation between a man and the world ~ Wallace Stevens,
856:Poetry springs from something deeper; it's beyond intelligence. ~ Jorge Luis Borges,
857:Poetry: three mismatched shoes at the entrance of a dark alley.
~ Charles Simic,
858:She wasn’t scared to walk away, she was scared he wouldn’t follow. ~ Atticus Poetry,
859:Since physics is poetry, then poetry is physics, he propounded. ~ Rebecca Goldstein,
860:So poetry, which is in Oxford made An art, in London only is a trade. ~ John Dryden,
861:The involuntary poetry of one who is not fluent in the language. ~ Leah Hager Cohen,
862:The poetry was all in the anticipation - there is none in the reality. ~ Mark Twain,
863:There is always a glimmer in those who have been through the dark. ~ Atticus Poetry,
864:There's no money in poetry, but there's no poetry in money, either. ~ Robert Graves,
865:There’s no money in poetry, but there’s no poetry in money, either. ~ Robert Graves,
866:Two girls discover the secret of life in a sudden line of poetry. ~ Denise Levertov,
867:You will find poetry nowhere unless you bring some of it with you. ~ Joseph Joubert,
868:ah, christ, what a CREW:
more
poetry, always more
POETRY ~ Charles Bukowski,
869:All the old poetry makes sense when you look at one whom you have loved. ~ Anne Rice,
870:Beauty makes one lose one's head. Poetry is born of this decapitation ~ Jean Cocteau,
871:Don't use the phone. People are never ready to answer it. Use poetry. ~ Jack Kerouac,
872:For poetry the idea is everything; the rest is a world of illusion. ~ Matthew Arnold,
873:From the moment I saw her I knew this one was worth a broken heart. ~ Atticus Poetry,
874:He was the one that healed her, that made her scars feel beautiful. ~ Atticus Poetry,
875:I like to think of poetry as statements made on the way to the grave. ~ Dylan Thomas,
876:I look for poetry in English because it's the only language I read. ~ Jack Prelutsky,
877:In writing, fidelity to fact leads eventually to the poetry of truth. ~ Edward Abbey,
878:I was sensitive to music and poetry, and it was around me growing up. ~ Rosanne Cash,
879:Money is everywhere but so is poetry. What we lack are the poets. ~ Federico Fellini,
880:My poetry is a game. My life is a game. But I am not a game. ~ Federico Garcia Lorca,
881:My style of performance poetry came from the beatniks, Allen Ginsberg. ~ Patti Smith,
882:only poetry could best fit into the vast emptiness created by men. ~ Manning Marable,
883:Poetry and slave trading cannot be bedfellows. That's where I stand. ~ Chinua Achebe,
884:Poetry has never brought me in enough money to buy shoestrings. ~ William Wordsworth,
885:Poetry is eternal graffiti written in the heart of everyone. ~ Lawrence Ferlinghetti,
886:Poetry is something in-between the dream and its interpretation. ~ Lou Andreas Salom,
887:Sometimes I lay my body down on a marble slab . . . and become poetry. ~ Linda Gregg,
888:The bravest thing
she ever did
was to stay alive
each day. ~ Atticus Poetry,
889:The greatest works of poetry are the stories we tell about ourselves. ~ Tara Conklin,
890:Truth speaks best in the language of poetry and symbolism, I think. ~ Grant Morrison,
891:Well, write poetry, for God's sake, it's the only thing that matters. ~ e e cummings,
892:When a man is unhappy he writes damned bad poetry, I find. ~ Samuel Taylor Coleridge,
893:Writing was a political act and poetry was a cultural weapon. ~ Linton Kwesi Johnson,
894:Art takes time—
Monet grew his gardens
before he painted them. ~ Atticus Poetry,
895:But poetry, beauty, romance, love, these are what we stay alive for. ~ Robin Williams,
896:Don’t waste any more tomorrows
on someone who wastes your todays. ~ Atticus Poetry,
897:Heroic poetry has ever been esteemed the greatest work of human nature. ~ John Dryden,
898:It's a
lonely
thing,
protecting
a breakable
heart ~ Atticus Poetry,
899:Justice is the grammar of things. Mercy is the poetry of things. ~ Frederick Buechner,
900:Much of our poetry has the very best manners, but no character. ~ Henry David Thoreau,
901:Only poetry can measure the distance between ourselves and the Other. ~ Charles Simic,
902:Painting was called silent poetry and poetry speaking painting. ~ Ralph Waldo Emerson,
903:Philosophy ought really to be written only as a form of poetry. ~ Ludwig Wittgenstein,
904:[Poetry] is a field where England can take on all challengers. ~ Patrick Leigh Fermor,
905:Poetry is man’s rebellion against being what he is. (1879-1958) ~ James Branch Cabell,
906:Poetry is something in-between the dream and its interpretation. ~ Lou Andreas Salome,
907:Poetry often enters through the window of irrelevance. M. C. RICHARDS ~ Julia Cameron,
908:Poetry teaches us how to live in a world in which none of us belongs. ~ Dennis Nurkse,
909:Poetry which owes no man anything, owes nevertheless one debt - ~ Archibald MacLeish,
910:Somedays I grow tired of life and long for the next great adventure. ~ Atticus Poetry,
911:Susan, Susan -- Poetry: aviation! Prose: infantry. [to Susan Sontag] ~ Joseph Brodsky,
912:The poetry of earth is never dead. The poetry of earth is ceasing never. ~ John Keats,
913:The quantity of pleasure being equal, push-pin is as good as poetry. ~ Jeremy Bentham,
914:Whoever doesn't live in poetry cannot survive here on earth. ~ Halld r Kiljan Laxness,
915:With wine, poetry, or virtue
as you choose.
But get drunk. ~ Charles Baudelaire,
916:You must
let the love
for yourself
set you
free of them. ~ Atticus Poetry,
917:As in art, poetry, music, etc., the best theology is worked out in pain ~ Steve Chalke,
918:A tough life needs a tough language - and that is what poetry is. ~ Jeanette Winterson,
919:Follow my tracks in the sand that lead Beyond thought and space. ~ Hafiz #poetry #Life,
920:If there were no girls like them in the world, there would be no poetry ~ Willa Cather,
921:I have never thought of my life as divided between poetry and politics. ~ Pablo Neruda,
922:I thought at times that poetry might be an elegant way of screaming. ~ Kathleen Rooney,
923:It is the best way to write poetry, letting things come." -Winnie-the-Pooh ~ A A Milne,
924:Maybe poetry took the life out of both of them,
Idea and friendship. ~ Kenneth Koch,
925:My love,
you have
too many smiles left in you
to be so sad. ~ Atticus Poetry,
926:Painting is silent poetry, and poetry is painting with the gift of speech. ~ Simonides,
927:Poetry and prayer put ideas in people’s heads that got them killed, ~ Colson Whitehead,
928:Poetry is one of the few nasty childhood habits I've managed to grow out of ~ Tom Holt,
929:Poets like Shakespeare know more about poetry than any $25 an hour man. ~ Robert Frost,
930:Simply called “Jim”: St. Pete poetry Miami penis arrest Dead in Paris tub ~ Tim Dorsey,
931:The one stream of poetry which is continually flowing is slang. ~ Gilbert K Chesterton,
932:There is a wonderful Hungarian literature, especially in lyric poetry. ~ Gyorgy Ligeti,
933:Two girls discover the secret of life
in a sudden line of poetry. ~ Denise Levertov,
934:You arrive at truth through poetry; I arrive at poetry through truth. ~ Joseph Joubert,
935:You can be cynical all you want, but many a life can be saved by poetry. ~ Nicola Yoon,
936:All poets write bad poetry. Bad poets publish them, good poets burn them. ~ Umberto Eco,
937:honestly, there is no better way to explore your emotions than with poetry. ~ Jay Asher,
938:I didn't want to deal in poetry. I got rid of that after a few months. ~ Tom Wesselmann,
939:I don't want to
because boys
don't write poetry.

Girls do. ~ Sharon Creech,
940:If there were no girls like them in the world, there would be no poetry. ~ Willa Cather,
941:I love writing poetry because it's pretty. I love writing pretty. ~ Richelle E Goodrich,
942:It is not death that allows us to understand each other, but poetry. ~ Ursula K Le Guin,
943:It's not death that allows us to understand one another, but poetry. ~ Ursula K Le Guin,
944:I was a 16-year-old girl at one point, so of course I wrote poetry. ~ Elizabeth Edwards,
945:Let me read you some of my poetry. My poetry just takes me to another level. ~ Rick Fox,
946:may
this poetry
be the home
you will someday
come back to. ~ Sanober Khan,
947:My poetry has become the way of my giving out what music is within me. ~ Countee Cullen,
948:Poetry can only be made out of other poems; novels out of other novels. ~ Northrop Frye,
949:Poetry is a machine that manufactures love. Its other virtues escape me. ~ Jean Cocteau,
950:Poetry is a mirror which makes beautiful that which is distorted ~ Percy Bysshe Shelley,
951:Poetry is a type-font design for an alphabet of fun, hate, love, death. ~ Carl Sandburg,
952:Poetry [is] more necessary than ever as a fire to light our tongues. ~ Naomi Shihab Nye,
953:Poetry is my politics. It's an opportunity that gives me a way to speak. ~ Eileen Myles,
954:Poetry is the music of the soul, and, above all, of great and feeling souls. ~ Voltaire,
955:Poetry is the way into a spiritual vision of society and the universe. ~ Camille Paglia,
956:Poetry is the way we help give name to the nameless so it can be thought. ~ Audre Lorde,
957:Poetry is truth... It is the highest truth, and eloquence is its attribute. ~ Anne Rice,
958:Poetry resonates differently in each culture; it doesn't in America. ~ Campbell McGrath,
959:Reality only reveals itself when it is illuminated by a ray of poetry. ~ Georges Braque,
960:She wasn't looking
for a knight, she was looking
for a sword. ~ Atticus Poetry,
961:Solitude is a silent stormthat breaks down all ourdead branches. ~ Kahlil Gibran#poetry,
962:Sometimes you have to slay a few dragons before you free the princess. ~ Atticus Poetry,
963:The more transparent the writing, the more visible the poetry. ~ Gabriel Garcia Marquez,
964:The purpose of poetry is to restore to mankind the possibility to wonder. ~ Octavio Paz,
965:There is a kind of poetry, bad and good, in everything, everywhere we look. ~ Ali Smith,
966:There is not a particle of life which does not bear poetry within it ~ Gustave Flaubert,
967:We are never alone
We are all wolves
Howling to the same moon. ~ Atticus Poetry,
968:We were strange in love, her and I. Too wild to last, too rare to die. ~ Atticus Poetry,
969:Being a great poet doesn't always mean that you write great poetry. ~ Jeanette Winterson,
970:But sometimes a kiss is not a kiss is not a kiss. Sometimes it's poetry. ~ Julie Buxbaum,
971:Contemporary poetry ... tries to transform the sign back into meaning: ~ Roland Barthes,
972:I LIVE
MY LIFE
SO
HAPPILY
IN
CRAZY
WITH
HER. ~ Atticus Poetry,
973:I think fiction goes to poetry for the intensity of its use of language. ~ Edward Hirsch,
974:I wonder who first discovered the efficacy of poetry in driving away love! ~ Jane Austen,
975:I write, but I don't write poetry. I don't rhyme or anything like that. ~ Channing Tatum,
976:Logic , like lyrical poetry , is no employment for the middle-aged ~ John Maynard Keynes,
977:Never before had a woman put such agonizing poetry on canvas as Frida did ~ Diego Rivera,
978:Poetry ain’t what you’d call truth. There ain’t room enough in the verses. ~ Neil Gaiman,
979:Poetry is a deliberate attempt to make language suggestive and imprecise. ~ Kenneth Koch,
980:Poetry is a mirror which makes beautiful that which is distorted. ~ Percy Bysshe Shelley,
981:Poetry is an art spoken, as if sung, in relation to other human beings. ~ David Biespiel,
982:That I make poetry and give pleasure - if I give pleasure - are because of you. ~ Horace,
983:The inmost is the infinite. ~ Sri Aurobindo, The Future Poetry, The Power of the Spirit,
984:There's no money in poetry, but then there's no poetry in money, either. ~ Robert Graves,
985:There’s no money in poetry, but then there’s no poetry in money, either. ~ Robert Graves,
986:To make a film you have to dream a film... that's true of poetry as well. ~ Frank Bidart,
987:Was not writing poetry a secret transaction, a voice answering a voice? ~ Virginia Woolf,
988:We all wear scars—
find someone
who makes yours
feel beautiful ~ Atticus Poetry,
989:We don't get groupies.We get teenagers who want to read us their poetry. ~ Michael Stipe,
990:Are you sure about this? It’s a bit short.” “So? It’s poetry, not dick size. ~ J L Merrow,
991:Careful poetry and careful people live only long enough to die safely. ~ Charles Bukowski,
992:Faith is the poetry of our dreams; action is the builder of our reality. ~ Steve Maraboli,
993:I believe the world is beautiful, and poetry, like bread, is for everyone. ~ Roque Dalton,
994:I consider poetry very subordinate to moral and political science. ~ Percy Bysshe Shelley,
995:I feel that poetry is going on all the time inside, an underground stream. ~ John Ashbery,
996:I love poetry, read it a lot, but make no claim to being able to write it. ~ Michael Helm,
997:I'm not an academic, but I've always loved poetry since I've been small. ~ Naveen Andrews,
998:In the total darkness, poetry is still there, and it is there for you. ~ Abbas Kiarostami,
999:It should here be added that poetry habitually takes the form of verse. ~ John Drinkwater,
1000:Lads learn nothing nowadays, but how to recite poetry and play the fiddle. ~ D H Lawrence,
1001:My mother used to say that a man who can’t appreciate poetry lacks a soul. ~ Ren e Ahdieh,
1002:NEVER
BE AFRAID
TO CHANGE
THE PRINCE’S NAME
IN YOUR
STORY ~ Atticus Poetry,
1003:...No song, no peace, no poetry, no end of days, and no forgetting. ~ Patricia A McKillip,
1004:People with no upper-body strength, who read poetry. These are my people. ~ Caitlin Moran,
1005:Poetry has a way of teaching one what one needs to know... if one is honest. ~ May Sarton,
1006:Poetry is a reaching out forward expression, an effort to find fulfillment ~ Robert Frost,
1007:Poetry is a response to the daily necessity of getting the world right. ~ Wallace Stevens,
1008:Poetry is a succession of questions which the poet constantly poses. ~ Vicente Aleixandre,
1009:Poetry is composing, you are writing words to move the world like music. ~ Atticus Poetry,
1010:Poetry is dying first. It'll be absorbed into prose sooner or later. ~ F Scott Fitzgerald,
1011:Poetry is the skin that I have between my body and the world's body. ~ Lucie Brock Broido,
1012:Poetry is the voice of the soul, whispering, celebrating, singing, even. ~ Carolyn Forche,
1013:Poetry remembers that it was an oral art before it was a written art. ~ Jorge Luis Borges,
1014:Refine your senses through the great masters of music, painting, and poetry. ~ Ernst Haas,
1015:Sculpture and painting are moments of life; poetry is life itself. ~ Walter Savage Landor,
1016:The intricacy of plotting a thriller is akin to writing formal poetry. ~ Julianna Baggott,
1017:There's real poetry in the real world. Science is the poetry of reality ~ Richard Dawkins,
1018:The trouble with poetry is that it encourages the writing of more poetry. ~ Billy Collins,
1019:What
a strange
world.
We
trade our days
for things. ~ Atticus Poetry,
1020:When a man talks from his heart, in his moment of truth, he speaks poetry. ~ Ray Bradbury,
1021:When a man talks from the heart, in his moment of truth, he speaks poetry. ~ Ray Bradbury,
1022:Wine is like poetry. If it's good wine. If it's not, then it's a tragedy. ~ Renee Carlino,
1023:Youth endures all things, kings and poetry and love. Everything but time. ~ James Crumley,
1024:Be silent now. Say fewer and fewer praise poems. Let yourself become living poetry. ~ Rumi,
1025:But sometimes a kiss is not a kiss is not a kiss. Sometimes it’s a poetry. ~ Julie Buxbaum,
1026:Darkness is all I'll ever know, maybe the key is to make poetry out of it. ~ Tarryn Fisher,
1027:Darkness is all I’ll ever know; maybe the key is to make poetry out of it. ~ Tarryn Fisher,
1028:Exaggerated history is poetry, and truth referred to a new standard. ~ Henry David Thoreau,
1029:Gender is the poetry each of us makes out of the language we are taught. ~ Leslie Feinberg,
1030:If a poem hasn't ripped apart your soul; you haven't experienced poetry. ~ Edgar Allan Poe,
1031:If it were not for poetry, few men would ever fall in love. ~ Francois de La Rochefoucauld,
1032:I hope to arrive to my death, late, in love, and a little drunk. -Atticus ~ Atticus Poetry,
1033:In practicing the art of confusion, there is no better weapon than poetry. ~ Susan Hubbard,
1034:I think many people (like myself) prefer to read poetry mixed with prose; ~ William Empson,
1035:It's a good thing to get poetry off the shelves and more into public life. ~ Billy Collins,
1036:It's amazing what a bit of rum and cocaine will do to for a back problem. ~ Atticus Poetry,
1037:I want to be a poet, from head to toe, living and dying by poetry. ~ Federico Garcia Lorca,
1038:One day I’ll paint the perfect sunset--
if I can only find the words. ~ Atticus Poetry,
1039:Painting is a kind of visual poetry as poetry is a kind of verbal painting. ~ Ahdaf Soueif,
1040:Poetry is a man arguing with himself; rhetoric is a man arguing with others. ~ Robert Hass,
1041:Poetry is a shuffling of boxes of illusions buckled with a strap of facts. ~ Carl Sandburg,
1042:Poetry is the attempt which man makes to render his existence harmonious. ~ Thomas Carlyle,
1043:Poetry makes possible the deepest kind of personal possession of the world. ~ James Dickey,
1044:Poets arguing about modern poetry: jackals snarling over a dried-up well. ~ Cyril Connolly,
1045:Poets cut corners so often it's a wonder poetry isn't written on round paper. ~ Sam Hooker,
1046:She knew she was really sad when she stopped loving the things she loved. ~ Atticus Poetry,
1047:She saw poetry where other writers merely saw failure to cope with English. ~ Alice Walker,
1048:The difference between a ‘player’ and a ‘playboy’ is a few million bucks. ~ Atticus Poetry,
1049:The productions of all arts are kinds of poetry and their craftsmen are all poets. ~ Plato,
1050:There's no money in poetry. Then again, there's no poetry in money either. ~ Robert Graves,
1051:There's real poetry in the real world. Science is the poetry of reality. ~ Richard Dawkins,
1052:Words
will
scratch
more
hearts
than
swords. ~ Atticus Poetry,
1053:Writing poetry helps me to write my fiction; each thing helps the other. ~ Sandra Cisneros,
1054:Writing poetry is like always being in love. What masochism! What luxury! ~ Jennifer Stone,
1055:You didn't realize emotion could be a weapon? Have you not read the poetry of Jewel? ~ LIZ,
1056:A certain degree of audiovisual hallucination happens when we read poetry. ~ Timothy Morton,
1057:But is this not what poetry must do? To say the nothing that cannot be said? ~ John Crowley,
1058:Come, my darling,
it is never too late
to begin
our love again. ~ Atticus Poetry,
1059:For me, the poetry in a work is that which makes visible the invisible. ~ Nathalie Sarraute,
1060:I don't like poetry that just slaps violent words on a canvas, as it were. ~ Anne Stevenson,
1061:If you can explain a poem, it is not a poem. Poetry has to be inexplicable. ~ Luis Gonzalez,
1062:In order to write poetry, you must first invent a poet who will write it. ~ Antonio Machado,
1063:I was a serious poet for quite a while and had little notebooks filled with poetry. ~ Denis,
1064:One of God’s own prototypes. . . . Too weird to live, and too rare to die. ~ Atticus Poetry,
1065:Poetry is a comforting piece of fiction set to more or less lascivious music. ~ H L Mencken,
1066:Poetry is a deal of joy and pain and wonder, with a dash of the dictionary. ~ Khalil Gibran,
1067:Poetry is not a creed or dogma. It is a special way of speaking and listening. ~ Dana Gioia,
1068:Poetry is the alchemy which teaches us to convert ordinary materials into gold. ~ Anais Nin,
1069:Poetry seldom occurs in poems. Poetry only occurs when words cause action. ~ Raoul Vaneigem,
1070:Poetry served as a sort of intellectual wallpaper to brighten up the closet. ~ Paul Monette,
1071:Prose, narratives, etcetera, can carry healing. Poetry does it more intensely. ~ Ted Hughes,
1072:There has never been a great poet who wasn't also a great reader of poetry. ~ Edward Hirsch,
1073:There is real poetry in the real world. Science is the poetry of reality. ~ Richard Dawkins,
1074:What makes poetry? A full heart, brimful of one noble passion. ~ Johann Wolfgang von Goethe,
1075:You know, people speak in poetry all the time. They just don't realize it. ~ Sherman Alexie,
1076:A certain kind of poetry looks back at experience from an older perspective. ~ Edward Hirsch,
1077:All poetry like every work of art proceeds from a swift vision of things. ~ Honore de Balzac,
1078:And in poetry, beauty is no ornament; it is the meaning. It is the truth. ~ Ursula K Le Guin,
1079:bees in Indian love poetry are said to form the bowstring of the god of lust ~ Wendy Doniger,
1080:Colloquial poetry is to the real art as the barber's wax dummy is to sculpture. ~ Ezra Pound,
1081:don't promise to live forever
promise to forever live while you're alive ~ Atticus Poetry,
1082:I am a reflection of my mother’s secret poetry as well as of her hidden angers ~ Audre Lorde,
1083:I died in 1960 from a prison sentence and poetry brought me back to life. ~ Etheridge Knight,
1084:If the poet spun for half an hour daily, his poetry would gain in richness. ~ Mahatma Gandhi,
1085:I never really read Allen Ginsberg poetry, even though I have a book he gave me. ~ Ai Weiwei,
1086:[I've] learned how to pull the mic away and attack the poetry with my body. ~ Lemon Andersen,
1087:love was never meant to be
just a metaphor
between the pages of poetry. ~ Sanober Khan,
1088:More people than ever are slowly but surely turning their ears toward poetry ~ Saul Williams,
1089:*Okay, you make eating hos sound pretty. talk poetry to me, writer boy.* ~ Christopher Moore,
1090:People want poetry. They need poetry. They get it. They don't want fancy work. ~ Mary Oliver,
1091:Poetry implies the whole truth. Philosophy expresses a particle of it. ~ Henry David Thoreau,
1092:Poetry is a dumb Buddha who thinks a donkey is as important as a diamond. ~ Natalie Goldberg,
1093:Poetry is a naked woman, a naked man, and the distance between them. ~ Lawrence Ferlinghetti,
1094:Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea. ~ Mina Loy,
1095:Poetry is such an ancient art, and I consider myself young within that art. ~ Allison Joseph,
1096:Real Martial Arts is Mathematics, Physics, Poetry; Meditation in Action ~ Soke Behzad Ahmadi,
1097:The people fancy they hate poetry, and they are all poets and mystics. ~ Ralph Waldo Emerson,
1098:To share poetry is one of the most intimate acts of friendship possible. ~ Madeleine L Engle,
1099:What is poetry which does not save nations or people?

Czesław Miłosz ~ Czes aw Mi osz,
1100:Wherever one went the world was blooming. And yet despair gave birth to poetry. ~ Paul Celan,
1101:You are poetry in perpetual motion capturing my heart with centrifugal force. ~ Truth Devour,
1102:And when a man talks from his heart, in his moment of truth, he speaks poetry. ~ Ray Bradbury,
1103:A poet's autobiography is his poetry. Anything else is just a footnote. ~ Yevgeny Yevtushenko,
1104:Charity, like poetry, should be cultivated, if only for its being graceful. ~ Herman Melville,
1105:Had enough of my poetry yet? That's why they pay me to fight demons instead. ~ Charles Stross,
1106:he responded that the unconscious mind writes poetry if it’s left alone. Maybe ~ Stephen King,
1107:Humanity and life are reflected in the stars, and the Universe itself is poetry. ~ Phil Plait,
1108:I always did poetry, and [rap music is] pretty much hip-hop melody with poems. ~ Tiffany Foxx,
1109:I don't think you can read poetry while you're watching television very well. ~ Edward Hirsch,
1110:I have been enlightened. I have fallen into poetry and it has swallowed me up. ~ Keith Haring,
1111:I have often been called insane by those who underestimate the power of poetry. ~ Dan Simmons,
1112:It seems to me, that love could be labeled poison and we'd drink it anyways. ~ Atticus Poetry,
1113:Nothing which does not transport is poetry. The lyre is a winged instrument. ~ Joseph Joubert,
1114:Only a Perfect OneWho is alwaysLaughing at the wordTwoCan make you knowOfLove. ~ Hafiz#poetry,
1115:Only the very weak-minded refuse to be influenced by literature and poetry, ~ Cassandra Clare,
1116:Only the very weak-minded refuse to be influenced by literature and poetry. ~ Cassandra Clare,
1117:Poetry, for me, conveys the essence of narrative rather than its particulars. ~ Delia Sherman,
1118:Poetry is on earth to make you serene, not corrupt your mind, thoughts,or emotions ~ Lisa See,
1119:Poetry is the only hopeEven if you do not believe it, you have to do it. ~ Andrei Voznesensky,
1120:Poetry's unnat'ral; no man ever talked poetry 'cept a beadle on boxin' day. ~ Charles Dickens,
1121:Screw poetry, it’s you I want, your taste, rain on you, mouth on your skin. ~ Margaret Atwood,
1122:Spring has returned. The Earth is like a child that knows poems. ~ Rainer Maria Rilke #poetry,
1123:There are many things you can lie your way through; poetry is not one of them. ~ Nicole Lyons,
1124:America was based on a poetic vision. What will happen when it loses its poetry? ~ Azar Nafisi,
1125:Any healthy man can go without food for two days--but not without poetry. ~ Charles Baudelaire,
1126:Boys learn too late that being the man, is not the same thing as being a man. ~ Atticus Poetry,
1127:But where, after all, would be the poetry of the sea were there no wild waves? ~ Joshua Slocum,
1128:Depression is being colorblind and constantly told how colorful the world is. ~ Atticus Poetry,
1129:Eroticism is one of the basic means of self-knowledge, as indispensable as poetry. ~ Anais Nin,
1130:Hemingway is my favourite writer, I'm just not the hugest fan of his writing. ~ Atticus Poetry,
1131:I believe that there is a kind of poetry, even a kind of truth, in simple fact. ~ Edward Abbey,
1132:I don't think I solve problems in my poetry; I think I uncover the problems. ~ Margaret Atwood,
1133:If epic poetry is a definite species, the sagas do not fall within it. ~ Lascelles Abercrombie,
1134:If the object of poetry is, to make men, then poetry is the heir of prophecy. ~ Muhammad Iqbal,
1135:If you days of poetry are behind you, Count Rostov, then it is we are are sorry. ~ Amor Towles,
1136:I have nothing to say
and I am saying it
and that is poetry
as I need it. ~ John Cage,
1137:I'm very sensual and very rhythm-oriented and into poetry. Women can feel that. ~ Steven Tyler,
1138:It is through beauty, poetry and visionary power that the world will be renewed. ~ Maria Tatar,
1139:novels pass in and out of my hands while volumes of poetry are mine for life. ~ Lawrence Block,
1140:Poetry glories in excess. When it's not extolling the virtues of austerity. ~ Jacqueline Carey,
1141:Poetry holds the knowledge that we are alive and that we know we're going to die. ~ Marie Howe,
1142:Poetry is a phantom script telling how rainbows are made and why they go away. ~ Carl Sandburg,
1143:Poetry rescues things by reconciling matter and spirit in the metaphor. ~ Nicol s G mez D vila,
1144:Religion is poetry misunderstood. ~ Joseph Campbell, “Mythology and the Individual,” Lecture 4,
1145:The central idea of poetry is the idea of guessing right, like a child. ~ Gilbert K Chesterton,
1146:The crazy thing about poetry is how its simplicity makes it complicated. ~ Richelle E Goodrich,
1147:The was her magic, she could still see the sunset even on those darkest days. ~ Atticus Poetry,
1148:When power leads man toward arrogance, poetry reminds him of his limitations. ~ John F Kennedy,
1149:All poetry, as discriminated from the various paradigms of prosody, is prayer. ~ Samuel Beckett,
1150:Gil Thorpe is a great diversion and is to book writing as poetry is to prose. ~ Jerry B Jenkins,
1151:I am always surprised at the poetry with which boys can describe boning. ~ Carmen Maria Machado,
1152:I don't need poetry, prema. I just need to get near enough to touch you. ~ Colleen Houck,
1153:I think it's one of the things that drive lyric poetry, our sense of mortality. ~ Edward Hirsch,
1154:I think poetry can lead to policy, and I can hear the laughter when I say that. ~ Fred D Aguiar,
1155:Mathematics may, like poetry or music, "promote and sustain a lofty habit of mind." ~ G H Hardy,
1156:Poetry is a form of mathematics, a highly rigorous relationship with words. ~ Tahar Ben Jelloun,
1157:Poetry is a useful place for lamentation...poems are a place where we can cry out. ~ bell hooks,
1158:Poetry is nobody’s business except the poet’s, and everybody else can fuck off. ~ Philip Larkin,
1159:Poetry is only born after painful journeys into the vast regions of thought. ~ Honore de Balzac,
1160:Poetry is when an emotion has found its thought and the thought has found words. ~ Robert Frost,
1161:Poetry must be new as foam, and as old as the rock. ~ Ralph Waldo Emerson, Journals (1822–1863),
1162:Reporters heard words but not poetry, saw old politicians but not new heroes. ~ David Pietrusza,
1163:Schizophrenic language has in this sense an interesting resemblance to poetry. ~ Terry Eagleton,
1164:The dark night was the first book of poetry and the constellations were the poems. ~ Chet Raymo,
1165:The fear of poetry is an indication that we are cut off from our own reality. ~ Muriel Rukeyser,
1166:The reason we go to poetry is not for wisdom, but for the dismantling of wisdom ~ Jacques Lacan,
1167:To write at the same temperature at which I live I should write nothing but poetry. ~ Anais Nin,
1168:We were strange in love
her and I
too wild to last
too rare to die. ~ Atticus Poetry,
1169:a clear mind can appreciate the beauty of poetry and the wisdom imparted in a story; ~ Anonymous,
1170:Be aroused by poetry; structure yourself with propriety, refine yourself with music. ~ Confucius,
1171:For women, then, poetry is not a luxury. It is a vital necessity of our existence. ~ Audre Lorde,
1172:He was in the frame of mind when a weaker man would have started writing poetry. ~ P G Wodehouse,
1173:Human life without some form of poetry is not human life but animal existence. ~ Randall Jarrell,
1174:I always wrote like rock 'n' roll. And I always listen to rock 'n' roll as poetry. ~ Patti Smith,
1175:I came to poetry because I felt I couldn't live properly in the real world. ~ Lucie Brock Broido,
1176:I love being part of poetry conversations. I love talking about what I've read. ~ Victoria Chang,
1177:It is part of my creed that the only poetry is history, could we tell it right. ~ Thomas Carlyle,
1178:~ Jalaluddin Rumi #quote#poetry #mysticpoetry(pic: @everydayspirit1) twitter.com/LivingKindness…,
1179:Language is the archives of history … Language is fossil poetry. ~ Ralph Waldo Emerson, The Poet,
1180:Love
could
be
labeled
poison
and we’d
drink
it
anyways. ~ Atticus Poetry,
1181:My poetry, I think, has become the way of my giving out what music is within me ~ Countee Cullen,
1182:Poetry is an art practiced with the terribly plastic material of human language. ~ Carl Sandburg,
1183:Poetry is an awareness of the world, a particular way of relating to reality. ~ Andrei Tarkovsky,
1184:Poetry is a separate language, or more specifically, a language within a language. ~ Paul Val ry,
1185:Poetry is the art of substantiating shadows, and of lending existence to nothing. ~ Edmund Burke,
1186:Poetry is the journal of a sea animal living on land, wanting to fly in the air. ~ Carl Sandburg,
1187:Poetry is what is lost in translation. It is also what is lost in interpretation. ~ Robert Frost,
1188:Poetry looking in the mirror sees art,
and art looking in a mirror sings poetry. ~ Aberjhani,
1189:She was afraid of heights
but she was
much more afraid
of never flying ~ Atticus Poetry,
1190:The world’s perception of you
exists only in memories.
Give them new ones ~ Atticus Poetry,
1191:though no one could see her demons they could see the face that conquered them. ~ Atticus Poetry,
1192:Well, do be careful, my love. Poetry can cause irreparable harm when misapplied. ~ Gail Carriger,
1193:Who are you, a hundred years from today, reading my poetry with curiosity? ~ Rabindranath Tagore,
1194:Zen Makes use, to a great extent, of poetical expressions; Zen is wedded to poetry. ~ D T Suzuki,
1195:A few drinks and the world was hers—
she wore her whiskey like a loaded gun. ~ Atticus Poetry,
1196:Even poetry, you know, is in one sense an infinite brag & exaggeration. ~ Henry David Thoreau,
1197:Every time I read Erin Belieu work I'm pierced in that wonderful way poetry can. ~ Cheryl Strayed,
1198:If you call painting dumb poetry, the painter may call poetry blind painting. ~ Leonardo da Vinci,
1199:Im looking for a guy who makes you want to dance and write poetry all day long. ~ Angela Sarafyan,
1200:In a way, we [poets] are listeners. I go to poetry because I don’t have the words.” — ~ Joy Harjo,
1201:Is he for real? A hot guy who makes me laugh and loves poetry? Someone pinch me. ~ Colleen Hoover,
1202:One has only as much morality as one has philosophy and poetry. ~ Karl Wilhelm Friedrich Schlegel,
1203:One merit of poetry few persons will deny: it says more and in fewer words than prose. ~ Voltaire,
1204:Pictures painted with water. Poetry breathed between kisses. Too beautiful to last. ~ Ally Condie,
1205:Poetry aims for an economy of truth—loose and useless words must be discarded, ~ Ta Nehisi Coates,
1206:Poetry and prophecy stream from the same source. Plato called it "divine madness". ~ John O'Grady,
1207:Poetry?"
...
"No, just thoughts, glimpses, things running through my head. ~ Mary E Pearson,
1208:Poetry doesn't have to rhyme, it just has to touch someone where your hands couldn't. ~ Anonymous,
1209:Poetry is a counterfeit creation, and makes things that are not, as though they were ~ John Donne,
1210:Poetry is the journal of the sea animal living on land, wanting to fly the air. – ~ Carl Sandburg,
1211:Poetry was made for the bath, Mitzi believed. She was partial to Pablo Neruda. ~ Elin Hilderbrand,
1212:Singing has nothing to do with poetry, except as twins separated at birth. ~ Shirley Geok lin Lim,
1213:The end of writing is to instruct; the end of poetry is to instruct by pleasing. ~ Samuel Johnson,
1214:The heaven of poetry and romance still lies around us and within us. ~ Henry Wadsworth Longfellow,
1215:the poetry made her uncomfortable. It was too much like reading spells. ~ Shirley Rousseau Murphy,
1216:There is not enough time in life to worry about there being enough time in life. ~ Atticus Poetry,
1217:There is nothing as content on this earth as a dog doing what he was bred to do. ~ Atticus Poetry,
1218:We talk so abstractly about poetry because all of us are usually bad poets. ~ Friedrich Nietzsche,
1219:When I first wanted to be a writer, I learned to write prose by reading poetry. ~ Nicholson Baker,
1220:You and I will be lost and found a thousand times along this cobbled road of us. ~ Atticus Poetry,
1221:Your love is poetry in perpetual motion capturing my heart with centrifugal force. ~ Truth Devour,
1222:Deep feeling doesn't make for good poetry. A way with language would be a bit of help. ~ Thom Gunn,
1223:Depression is being color blind and constantly told how
colorful the world is. ~ Atticus Poetry,
1224:EVERYTHING
WE
LOVE
IS
WELL
ARRANGED
DUST.

- ATTICUS ~ Atticus Poetry,
1225:I know you'll forgive my eccentricities, she said, after all we both read poetry. ~ Roberto Bola o,
1226:I love that people want to know about poetry. It's one of the ways of keeping alive. ~ Joan Larkin,
1227:In China we believe "rob the rich to feed the poor." But robbers here have no poetry. ~ Xiaolu Guo,
1228:In politics, as in poetry, it is sometimes true that it is darkest before dawn. ~ Lawrence Summers,
1229:It's just me and my guitar, and the rhythm's from there, and the poetry of life. ~ Terrence Howard,
1230:It was as though she practiced some shameful art: black magic, voodoo, or poetry. ~ Valerie Martin,
1231:I used to joke that if acting didn't work out, poetry was my commonsense fallback. ~ Merritt Wever,
1232:Men don't interest me. Not that I'm a lesbian. Don't get that idea. I write poetry. ~ Stephen King,
1233:Originally, poetry creates the myth, while the prose-writer draws its portrait. ~ Jean Paul Sartre,
1234:Perhaps poetry will be the canary in the mine-shaft warning us of what's to come. ~ Galway Kinnell,
1235:Philosophy becomes poetry, and science imagination, in the enthusiasm of genius. ~ Isaac D Israeli,
1236:Poetry has roots, and sometimes they are aerial. Sometimes they are buried. ~ Shirley Geok lin Lim,
1237:Poetry is about as much a 'criticism of life' as red-hot iron is a criticism of fire. ~ Ezra Pound,
1238:Poetry is a fossil rock-print of a fin and a wing, with an illegible oath between. ~ Carl Sandburg,
1239:Poetry is the lifeblood of rebellion, revolution, and the raising of consciousness. ~ Alice Walker,
1240:Poetry puts starch in your backbone so you can stand, so you can compose your life. ~ Maya Angelou,
1241:Poetry speaks slowly. My mother told me that. We are usually too much in a hurry. ~ Susan Meissner,
1242:Poetry thus makes immortal all that is best and most beautiful in the world ~ Percy Bysshe Shelley,
1243:Real poetry, is to lead a beautiful life. To live poetry is better than to write it. ~ Matsuo Bash,
1244:The arts generally have had to recognize Modernism - how should poetry escape? ~ John Crowe Ransom,
1245:Theater and poetry were what helped people stay alive and want to go on living. ~ Vanessa Redgrave,
1246:The only people who still read poetry are poets, and they mostly read their own. ~ Barbara Holland,
1247:The poetry you could write about Rufus helping me out of my grave isn't lost on me. ~ Adam Silvera,
1248:To be under occupation, to be under siege, is not a good inspiration for poetry. ~ Mahmoud Darwish,
1249:To see the Summer Sky Is Poetry, though never in a Book it lie— True Poems flee— ~ Emily Dickinson,
1250:We're nature. Our minds are nature. Our desire to make poetry is nature. ~ Alison Hawthorne Deming,
1251:When a man does not write his poetry, it escapes by other vents through him. ~ Ralph Waldo Emerson,
1252:A sky
full
of stars
and he
was staring
at her.

—ATTICUS ~ Atticus Poetry,
1253:Come out of the circle of time and into the circle of Love. ~ Jalaluddin Rumi #poetry #mysticpoetry,
1254:Francesca was feeling good feelings, old feelings, poetry and music feelings. ~ Robert James Waller,
1255:Great poetry is always written by somebody straining to go beyond what he can do. ~ Stephen Spender,
1256:I have been writing poetry since 1975. My first poetry book was published in 1986. ~ Taslima Nasrin,
1257:I like it when someone gives me a new book of poetry by a poet I haven't read. ~ Nell Freudenberger,
1258:I prefer my prose evocative rather than simply effective, with a bit of poetry to it. ~ Gemma Files,
1259:On the surface simplicity
But the darkest pit in me
It's Pagan poetry
Pagan poetry ~ Bj rk,
1260:poetry
melts my bones.
enters my blood.

and changes
its composition. ~ Sanober Khan,
1261:Poetry is a diary kept by a sea creature who lives on land and wishes he could fly. ~ Carl Sandburg,
1262:Poetry is another space, like love, where we extend that extra credit to the writer. ~ Elif Batuman,
1263:Poetry is just so emo." he said. "Oh, the pain. The pain. It always rains. In my soul. ~ John Green,
1264:Real friendship, like real poetry, is extremely rare - and precious as a pearl. ~ Tahar Ben Jelloun,
1265:Real poetry, is to lead a beautiful life. To live poetry is better than to write it. ~ Matsuo Basho,
1266:Rhythm is the subtle soul of poetry. ~ Sri Aurobindo, The Future Poetry, Recent English Poetry - I,
1267:Romance and poetry, ivy, lichens and wallflowers need ruin to make them grow. ~ Nathaniel Hawthorne,
1268:She seemed to have apprehended all of the composer's coldness and none of his poetry. ~ Kate Chopin,
1269:She was afraid of heights
but she was
much more afraid
of never flying. ~ Atticus Poetry,
1270:Teaching has given me a community that cares about poetry, and I'm grateful for that. ~ Joan Larkin,
1271:The book of Job is pure Arab poetry of the highest and most antique cast. ~ Samuel Taylor Coleridge,
1272:The central issue of poetry as of politics is the destiny of the human personality. ~ Martin Carter,
1273:The great function of poetry is to give back to us the situations of our dreams. ~ Gaston Bachelard,
1274:The reason modern poetry is difficult is so that the poet's wife cannot understand it. ~ Wendy Cope,
1275:There's a book of poetry
in the lines of my hands
that no one wants to read ~ Holly Schindler,
1276:Twentieth-century American poetry has been one of the glories of modern literature. ~ Helen Vendler,
1277:We hold on to poetry because it lights a fire in our soul and keeps our bodies warm. ~ Sanober Khan,
1278:Every healthy man can do without food for two days — but without poetry, never! ~ Charles Baudelaire,
1279:Folk music had long been political but [Bob] Dylan's poetry took it to a new level. ~ Jay Michaelson,
1280:He hope she'd find somebody who would text her love poetry in the middle of the night ~ Erin Lawless,
1281:how these words, wait to die
in the arms of all the poetry..
yet to be written. ~ Sanober Khan,
1282:I began writing poetry when I was about 10. Bad poetry, but you start with bad poetry. ~ Jonas Mekas,
1283:I believe many things are magical - stars, knowledge, poetry, love and friendship. ~ Cindy Callaghan,
1284:I definitely used to write a lot at school. Comic poetry and drawings about people. ~ Sally Phillips,
1285:If poetry comes not as naturally as the leaves to a tree it had better not come at all. ~ John Keats,
1286:If you choose your subject selectively - intuitively - the camera can write poetry. ~ Harry Callahan,
1287:If you read three books a day you couldn't read all the poetry that's being published. ~ Robert Hass,
1288:It's not a love of poetry readings that attracts those who do come to them but theater. ~ A R Ammons,
1289:It was a scary thought. A man could be surrounded by poetry reading and not know it. ~ Richard Russo,
1290:I uttered my prayer: Give me your honey. Bless my tongue with rhyme, poetry, song. ~ Carol Ann Duffy,
1291:I was always making up rhymes. But I never thought that poetry would become my life. ~ Saul Williams,
1292:Music is good, not evil. Poetry is good, not evil. Primitive, but oh, so true! ~ Dmitri Shostakovich,
1293:Poetry connects you to yourself, to the self that doesn't know how to talk or negotiate. ~ Rita Dove,
1294:Poetry has roots, but they are sometimes cut off and still poetry is written. ~ Shirley Geok lin Lim,
1295:Poetry involves the mysteries of the irrational perceived through rational words. ~ Vladimir Nabokov,
1296:Poetry is like passion--it should not be merely pretty; it should overwhelm and bruise. ~ Kate Quinn,
1297:Poetry is not an assertion of truth, but the making of that truth more fully real to us. ~ T S Eliot,
1298:Poetry is the thread that leads us out of the labyrinth of despair and into the light. ~ Gregory Orr,
1299:The intellectual ages sing less easily. ~ Sri Aurobindo, The Future Poetry, The Form and the Spirit,
1300:The irony is, going to work every day became the subject of probably my best poetry. ~ Philip Levine,
1301:There is not enough time in life to be worrying about about there being enough time ~ Atticus Poetry,
1302:There's poetry in everything, everything is music; just listen and you will hear it. ~ Noam Shpancer,
1303:The specific excellence of verbal expression in poetry is to be clear without being low. ~ Aristotle,
1304:This is why I write. Because poetry begins where death is robbed of the last word. ~ Odysseus Elytis,
1305:Women who are inclined to write poetry at all are inspired by being mad at something. ~ Amy Clampitt,
1306:20th century poetry is a piñata. Images break from the earth when the poet strikes it. ~ Diane Glancy,
1307:"Confessional poetry" is another one of those labels. It goes in and out of fashion. ~ Matthea Harvey,
1308:Happiness is the inner poetry of women, just as fine clothes are the mask of beauty ~ Honor de Balzac,
1309:He says his aim is poetry. One does not aim at poetry with pistols. At poets, perhaps. ~ Tom Stoppard,
1310:I do not give the honorific name of 'poetry' to the primitive and the unaccomplished. ~ Helen Vendler,
1311:if I can’t write poetry, at least perhaps I can try to think and feel like a poet. ~ Richard B Wright,
1312:If I could get that girl [Courtney Love] to publish her poetry, the world would change. ~ Kurt Cobain,
1313:I frowned. “Are you sure about this? It’s a bit short.” “So? It’s poetry, not dick size. ~ J L Merrow,
1314:I would define, in brief, the poetry of words as the rhythmical creation of beauty. ~ Edgar Allan Poe,
1315:I would rather read poetry than eat my dinner any day. It has been so all my life. ~ Laura E Richards,
1316:Lord but I dislike poetry. How can anyone remember words that aren't put to music? ~ Patrick Rothfuss,
1317:lord, decked with jewels, sitting at the head of a table. It is a poetry of assonance ~ Peter Ackroyd,
1318:Lord do I dislike poetry, how can anyone remember words that aren't put to music". ~ Patrick Rothfuss,
1319:Poetry is always slightly mysterious, and you wonder what is your relationship to it. ~ Seamus Heaney,
1320:Poetry is not a silent art. The poem must perform, unaided, in its reader’s head. ~ Christopher Logue,
1321:Poetry is the harnessing of the paradox of earth cradling life and then entombing it. ~ Carl Sandburg,
1322:Poetry is written with tears, fiction with blood, and history with invisible ink. ~ Carlos Ruiz Zaf n,
1323:Poetry is written with tears, fiction with blood, and history with invisible ink. ~ Carlos Ruiz Zafon,
1324:Poetry makes its own pertinence, and a single stanza outweighs a book of prose. ~ Ralph Waldo Emerson,
1325:Poetry uses language to create a music borne inside human experiences and emotions. ~ Pattiann Rogers,
1326:Politics can be the graveyard of the poet. And only poetry can be his resurrection. ~ Langston Hughes,
1327:Prose: words in their best order; poetry: the best words in the best order. ~ Samuel Taylor Coleridge,
1328:Sight is the essential poetic gift. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
1329:Sometimes I want a quiet life, other times I want to go a little bit fucking Gatsby. ~ Atticus Poetry,
1330:The pure intellect cannot create poetry. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
1331:The true spirit of delight...is to be found in mathematics as surely as in poetry. ~ Bertrand Russell,
1332:Until recently, I thought 'occasional poetry' meant that you wrote only occasionally. ~ Billy Collins,
1333:Writing poetry is the only form of literary labour which gives me entire satisfaction. ~ Peter Porter,
1334:For nothing is as healing to the soul and the world's soul as poetry and wonder." The ~ Karpov Kinrade,
1335:I am in love with the serendipitous poetry with which this universe expresses itself. ~ Steve Maraboli,
1336:If I feel physically as if the top of my head were taken off, I know that is poetry. ~ Emily Dickinson,
1337:If poetry and the arts do anything, they can fortify your inner life, your inwardness. ~ Seamus Heaney,
1338:If poetry comes not as naturally as the leaves to a tree it had better not come at all. – ~ John Keats,
1339:I loved them as poets love the poetry
that kills them, as drowned sailors the sea. ~ Derek Walcott,
1340:In the last stage of civilization, Poetry, Religion, and Philosophy will be one. ~ Henry David Thoreau,
1341:In the love poetry of every age, the woman longs to be weighed down by the man's body. ~ Milan Kundera,
1342:I think all poetry is accessible in a certain sense if you spend enough time with it. ~ Matthea Harvey,
1343:I think poetry must
I think it must
Stay open all night
In beautiful cellars. ~ Thomas Merton,
1344:It is certain that at certain times talent entirely overcomes thought or poetry. ~ John Singer Sargent,
1345:Joking is a barrier between man and the world. Joking is the enemy of love and poetry. ~ Milan Kundera,
1346:LOVE
COULD
BE
LABLED
POISON
AND WE’D
DRINK
IT
ANYWAYS. ~ Atticus Poetry,
1347:Modern poetry, for me, began not in English at all but in Spanish, in the poems of Lorca. ~ W S Merwin,
1348:Now, the process of writing poetry is very messy. Not systematic, never quite the same ~ Edward Hirsch,
1349:On poetry: Everyone wants to know what it means. But nobody is asking, How does it feel? ~ Mary Oliver,
1350:People who read poetry, for example, like the feel, the heft and the smell of a book. ~ Simon Armitage,
1351:Poetry begins where language starts: in the shadows and accidents of one person’s life. ~ Eavan Boland,
1352:Poetry gives most pleasure when only generally and not perfectly understood. ~ Samuel Taylor Coleridge,
1353:Poetry in motion walking by my side, her lovely locomotion keeps my eyes open wide. ~ Johnny Tillotson,
1354:Poetry is a song without music. A song without music is like a body without a soul. ~ Patrick Rothfuss,
1355:Poetry is just evidence of life. If your life is burning well, poetry is just the ash. ~ Renee Carlino,
1356:Poetry is rather an approach to things, to life, than it is typographical production. ~ Joseph Brodsky,
1357:Rhyme, that enslaved queen, that supreme charm of our poetry, that creator of our meter. ~ Victor Hugo,
1358:She walked
through her life
heavy
from the
mighty wings
upon her back. ~ Atticus Poetry,
1359:Still, language is resilient, and poetry when it is pressured simply goes underground. ~ Diane Wakoski,
1360:Stylized acting and direction is to realistic acting and direction as poetry is to prose. ~ Elia Kazan,
1361:Tea, opera and poetry should not be missed—longevity depends on one's mental cultivation. ~ Anchee Min,
1362:that was her magic,
she could still see the sunset,
even on those darkest days. ~ Atticus Poetry,
1363:The meaning of poetry has no sureness of direction; is like the sling, it is not under control. ~ Rumi,
1364:...the trouble with poetry is
that it encourages the writing of more poetry...
~ Billy Collins,
1365:... what is great poetry, after all, but the continuation of the human voice after death? ~ Erica Jong,
1366:As in poetry, so in mythology, the figures must submit to the same dual interpretation. ~ Erich Neumann,
1367:Dreaming is the poetry of Life, and we must be forgiven if we indulge in it a little. ~ John Galsworthy,
1368:Everyone's life is a poetry rhymed with sweet and bitter words, rhythmed with moments. ~ Robert Ahaness,
1369:For poetry is a spirit; and they that would worship it must worship in spirit and in truth. ~ Anonymous,
1370:I believe that only poetry counts ... A great novelist is first of all a great poet. ~ Francois Mauriac,
1371:I believe that only poetry counts ... A great novelist is first of all a great poet. ~ Fran ois Mauriac,
1372:I may turn out an intellectual, but I'll never write anything but mediocre poetry. ~ F Scott Fitzgerald,
1373:It is only when we are aware of the earth and of the earth as poetry that we truly live. ~ Henry Beston,
1374:It's as serious as anyone ever gets, you know. It's just words. It's just good poetry. ~ Paul McCartney,
1375:Much contemporary verse reads like failed short-short stories rather than failed poetry. ~ Alice Fulton,
1376:My mother carried on and supported us; her ambition had been to write poetry and songs. ~ Philip Levine,
1377:Poetry is essentially the discovery, the love, the passion for the name of everything. ~ Gertrude Stein,
1378:Poetry is the capture of a picture, a song, or a flair, in a deliberate prism of words. ~ Carl Sandburg,
1379:Poetry, which is written while no one is looking, is meant to be looked at for all time. ~ Kenneth Koch,
1380:Silly girl,”
the old lady laughed,
“your
different
is
your
beautiful ~ Atticus Poetry,
1381:The function of poetry is to point out that the sign is not identical to the referent. ~ Roman Jakobson,
1382:The purpose of poetry is to remind us / how difficult it is to remain just one person. ~ Czeslaw Milosz,
1383:There
will always
a glimmer
in those
who have been
through the dark. ~ Atticus Poetry,
1384:There is something about writing poetry that brings a man close to the cliff's edge. ~ Charles Bukowski,
1385:What I write could only be called poetry because there is no other category to put it. ~ Marianne Moore,
1386:As I am a poet I express what I believe, and I fight against whatever I oppose, in poetry. ~ June Jordan,
1387:I am overwhelmed by the beautiful disorder of poetry, the eternal virginity of words. ~ Theodore Roethke,
1388:If it is an imperfect word, no external circumstance can heighten its value as poetry. ~ John Drinkwater,
1389:I never think of poetry or the poetry scene, only separate poems written by individuals. ~ Philip Larkin,
1390:I promise to live a life so rich of love that at the end I will not be so shy of death. ~ Atticus Poetry,
1391:I sing, I clean house, I write poetry. I cry. And I tell everyone I can, "I Believe in YOU." ~ Robin Lim,
1392:I taste like salt. You taste like toothpaste. There’s no poetry in that. It’s just life. ~ Trista Mateer,
1393:Oh! That was poetry!" said Pippin. "Do you really mean to start before the break of day? ~ J R R Tolkien,
1394:People ought to like poetry the way a child likes snow & they would if poets wrote it. ~ Wallace Stevens,
1395:Philosophy, however, is for the few, whereas poetry is more useful to the people at large. ~ Will Durant,
1396:Poetry demands a man with a special gift for it, or else one with a touch of madness in him. ~ Aristotle,
1397:Poetry like everything else in man evolves. ~ Sri Aurobindo, The Future Poetry, New Birth or Decadence?,
1398:She didn’t want love,
she wanted to be loved—
and that
was entirely different. ~ Atticus Poetry,
1399:She was cool—
the whole world
seemed
to spin around her
in smooth jazz. ~ Atticus Poetry,
1400:Stronger than alcohol, vaster than poetry, Ferment the freckled red bitterness of love! ~ Arthur Rimbaud,
1401:There’s no money in poetry, but then there’s no poetry in money either.” - Robert Graves ~ Robert Graves,
1402:To see the Summer Sky
Is Poetry, though never in a Book it lie—
True Poems flee— ~ Emily Dickinson,
1403:Very little of my time is spent thinking about poetry, except the time I spend in class. ~ Rachel Zucker,
1404:We humans
are so tortured
by not properly guessing
what will make us happy. ~ Atticus Poetry,
1405:We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry. ~ W B Yeats,
1406:What poetry can, must, and will always do for us: it complicates us, it doesn’t ‘soothe.’ ~ Jorie Graham,
1407:You'll never know that you had all of me. You'll never know the poetry you've stirred in me. ~ Kate Bush,
1408:Art has the answers
to many
of the questions
we weren’t brave
enough to ask. ~ Atticus Poetry,
1409:At some point my need for a solution was replaced by the poetry of my continuous failure. ~ Charles Simic,
1410:ᴀɴᴅ ᴛʜᴇ sᴛᴀʀs ʙʟɪɴᴋᴇᴅ
ᴀs ᴛʜᴇʏ ᴡᴀᴛᴄʜᴇᴅ ʜᴇʀ ᴄᴀʀᴇғᴜʟʟʏ
ᴊᴇᴀʟᴏᴜs ᴏғ ᴛʜᴇ ᴡᴀʏ sʜᴇ sʜᴏɴᴇ ~ Atticus Poetry,
1411:Bad poetry is caused by people who sit down and think, Now I am going to write a Poem. ~ Charles Bukowski,
1412:Despair leads to boredom, electronic games, computer hacking, poetry and other bad habits. ~ Edward Abbey,
1413:Don't you just love poetry that gives you a crinkly feeling up and down your back? ~ Lucy Maud Montgomery,
1414:If that kind of poetry doesn’t make your bosom heave then I fear we shall never be friends. ~ Stephen Fry,
1415:I love to read poetry but I haven't written anything that I'm willing to show anybody. ~ Abraham Verghese,
1416:In its youth a people produce mythology and poetry; in its decadence, philosophy and logic. ~ Will Durant,
1417:I really think that everyone should have watercolors, magnetic poetry, and a harmonica. ~ Stephen Chbosky,
1418:Let yourself become living poetry.― Rumi ~ Jalaluddin Rumi #HappyFriday #Poetry #Spring #Beautiful #birds,
1419:My poetry had the same functional origin and the same formal configuration as teenage acne. ~ Umberto Eco,
1420:Neither poetry, nor ambition, nor love have any alertness of countenance as they pass by me. ~ John Keats,
1421:On poetry: Everyone wants to know what it means.
But nobody is asking, How does it feel? ~ Mary Oliver,
1422:Poetry carries its history within it, and it is oral in origin. Its transmission was oral. ~ James Fenton,
1423:Poetry is the hardest thing that there is. It fascinates me, so I want to write more of it. ~ Steve Earle,
1424:Poetry is what happens when nothing else can.

("Writing," New Poems Book Three) ~ Charles Bukowski,
1425:Poetry, rather than being a phenomenology of the mind, is a phenomenology of the soul. ~ Gaston Bachelard,
1426:Poetry's always dead, you know? You don't realize how good poetry is until 15 years later. ~ Richard Hell,
1427:Poetry's medium is not merely light as air, it is air: vital and deep as ordinary breath. ~ Robert Pinsky,
1428:Prose is prose because of what it includes; poetry is poetry because of what it leaves out. ~ Marvin Bell,
1429:Prose = words in their best order; – poetry = the best words in the best order. ~ Samuel Taylor Coleridge,
1430:Put a girl in
moonlight
and tell only truths
and every man
becomes a poet. ~ Atticus Poetry,
1431:Real poetry is to lead a beautiful life.
To live poetry is better than to write it. ~ Matsuo Basho,
1432:She was music, poetry, and the enchantment which lies just over the edge of thought. ~ Patricia Wentworth,
1433:The purpose of poetry is to remind us / how difficult it is to remain just one person... ~ Czes aw Mi osz,
1434:THE RIGHT
POEM
FINDS
US
EXACTLY
WHEN IT
NEEDS TO.

—ATTICUS ~ Atticus Poetry,
1435:The wild woman is fluent in the language of dreams, images, passion, and poetry. ~ Clarissa Pinkola Estes,
1436:Unlike Woody Allen, I would be happy to be part of any (poetry) club that would have me. ~ Denise Duhamel,
1437:We think according to what we are. ~ Sri Aurobindo, Letters on Poetry and Art, Russell, Eddington, Jeans,
1438:Why is it that all men who are outstanding in philosophy, poetry or the arts are melancholic? ~ Aristotle,
1439:All great poetic utterance is discovery. ~ Sri Aurobindo, The Future Poetry, Poetic Vision and the Mantra,
1440:And honestly, there is no better way to explore your emotions than with poetry. Or audiotapes. ~ Jay Asher,
1441:And the stars blinked
as they watched her carefully
jealous of the way she shone. ~ Atticus Poetry,
1442:For even bad poetry has relevance for what it does not say for what it leaves out. ~ Lawrence Ferlinghetti,
1443:George Abbershaw's prosaic mind quivered on the verge of poetry when he looked at her. ~ Margery Allingham,
1444:Honest criticism and sensible appreciation are directed not upon the poet but upon the poetry. ~ T S Eliot,
1445:I always say that one's poetry is a solace to oneself and a nuisance to one's friends. ~ Hortense Calisher,
1446:I don't know if he's brave or out of his mind. Maybe poetry requires a little bit of both. ~ Peter Tieryas,
1447:I don't write poetry and then strum some chords and then fit the words on top of the chords. ~ Andrew Bird,
1448:In the earliest ages science was poetry, as in the later poetry has become science. ~ James Russell Lowell,
1449:I wonder who first discovered the efficacy of poetry in driving away love!- Elizabeth Bennet ~ Jane Austen,
1450:Keep your head up, he said, you are a lion, don’t forget that and neither will the sheep. ~ Atticus Poetry,
1451:Love was even more mathematical than poetry. It was the pure mathematics of the spirit. ~ Charles Williams,
1452:Maybe it is something to do with age, but I have become fonder of poetry than of prose. ~ Aung San Suu Kyi,
1453:One cannot have "success" in poetry. If I wanted to be successful, I'd have become a lawyer. ~ Cate Marvin,
1454:One can't write for all readers. A poet cannot write for people who don't like poetry. ~ Nathalie Sarraute,
1455:Poetry gets to be the poetry of life by successfully becoming first the poetry of poetry. ~ John Hollander,
1456:Poetry is a lyrical insinuation. Often, its melodic subtlety kisses the subconscious mind. ~ Masiela Lusha,
1457:Poetry is a mock of a cry at finding a million dollars and a mock of a laugh at losing it. ~ Carl Sandburg,
1458:Poetry is just the evidence of life. If your life is burning well, poetry is just the ash. ~ Leonard Cohen,
1459:Poetry is just the evidence of life. If your life is burning well, poetry is just the ash. ~ Renee Carlino,
1460:Sunlight on its own holds little appeal, but angle it against the ocean, make it dance—poetry. ~ Anonymous,
1461:The first question at that time in poetry was simply the question of honesty, of sincerity. ~ George Oppen,
1462:The mystical poetry of William Blake's artwork also forms the basis for the album cover. ~ Bruce Dickinson,
1463:There are two ways of disliking poetry, one way is to dislike it, the other is to read Pope. ~ Oscar Wilde,
1464:What is poetry? The suggestion, by the imagination, of noble grounds for the noble emotions. ~ John Ruskin,
1465:When you meet a swordsman, draw your sword: Do not recite poetry to one who is not a poet. ~ Robert Greene,
1466:Whether we call it sacrifice, or poetry, or adventure, it is always the same voice that calls. ~ Aristotle,
1467:As a very young poet, I had been brought up on that dogma that politics was bad for poetry. ~ Adrienne Rich,
1468:chromosomal dance oh, heavenly happenstance rare creation, you -Marcus (Poetry Spam #22) ~ Megan McCafferty,
1469:Dating is poetry. Marriage is a novel. There are times, maybe years, that are all exposition. ~ Ada Calhoun,
1470:Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry. ~ T S Eliot,
1471:If language had been the creation, not of poetry, but of logic, we should only have one. ~ Friedrich Hebbel,
1472:If you’ve lived this long, it’s because you’ve squashed any poetry you had in you. ~ Louis Ferdinand C line,
1473:if you've lived this long, it's because you've squashed any poetry you had in you. ~ Louis Ferdinand C line,
1474:If you want to change the world's spirit, I will suggest that only poetry can do this. ~ Andrei Voznesensky,
1475:It is the misfortune of poetry, to be seldom safely enjoyed by those who enjoy it completely. ~ Jane Austen,
1476:It sometime takes a long time and a hard time to realize he just doesn’t deserve your you. ~ Atticus Poetry,
1477:My idea is to bring happiness, respect, vision, poetry, surrealism and magic [to design]. ~ Philippe Starck,
1478:Poetry, I have discovered, is always unexpected and always as faithful and honest as dreams. ~ Alice Walker,
1479:Poetry is a religion without hope, but its martyrs guarantee the eternal truth of its dogma. ~ Jean Cocteau,
1480:Poetry is the art of overhearing ourselves say things from which it is impossible to retreat. ~ David Whyte,
1481:Poetry is the first and last of all knowledge - it is as immortal as the heart of man. ~ William Wordsworth,
1482:Poetry is the record of the best and happiest moments of the happiest and best minds ~ Percy Bysshe Shelley,
1483:Poetry, when it takes sides, when it proposes solutions, isn't any smarter than anybody else. ~ Robert Hass,
1484:Science is the poetry of the intellect and poetry the science of the heart's affections. ~ Lawrence Durrell,
1485:Stronger than alcohol, vaster than poetry,
Ferment the freckled red bitterness of love! ~ Arthur Rimbaud,
1486:“When I am silent I fall into that place where everything is music.” ~ Jalaluddin Rumi#poetry #mysticpoetry,
1487:When it comes to love
we are primates breaking sticks
while pointing to our hearts. ~ Atticus Poetry,
1488:When I was writing pretty poor poetry, this girl with midnight black hair told me to go on. ~ Carl Sandburg,
1489:Why do you always write poetry? Why do you not write prose? Prose is so much more difficult. ~ Walter Pater,
1490:Women like poetry. A soft word in their ears and they melt - a grease spot on the grass. ~ Mary Ann Shaffer,
1491:Yet, it is true, poetry is delicious; the best prose is that which is most full of poetry. ~ Virginia Woolf,
1492:...and then, I have nature and art and poetry, and if that is not enough, what is enough? ~ Vincent Van Gogh,
1493:...and then, I have nature and art and poetry, and if that is not enough, what is enough? ~ Vincent van Gogh,
1494:As you live deeper in the heart, the mirror gets clearer and clearer. ~ Jalaluddin Rumi #rumi #quote #poetry,
1495:Eloquence is heard; poetry is overheard ... All poetry is of the nature of the soliloquy. ~ John Stuart Mill,
1496:For awhile after you quit Keats all other poetry seems to be only whistling or humming. ~ F Scott Fitzgerald,
1497:Her heart was wild, but I didn’t want to catch it, I wanted to run with it, to set me free. ~ Atticus Poetry,
1498:HE SHIELDED
HER HEART
LIKE A FLAME
IN A STORM—
HIS BACK
AGAINST
THE WIND. ~ Atticus Poetry,
1499:How much of twentieth-century poetry, how much of my own poetry, is the cry of the damned? ~ Christian Wiman,
1500:If I’d have wanted civilization I’d have stayed in Tennessee and wrote poetry for a living, ~ Larry McMurtry,

IN CHAPTERS [300/575]



  220 Integral Yoga
  214 Poetry
   35 Philosophy
   16 Occultism
   12 Fiction
   7 Christianity
   4 Yoga
   4 Psychology
   4 Mysticism
   3 Zen
   3 Education
   2 Sufism
   2 Science
   1 Thelema
   1 Mythology
   1 Islam
   1 Integral Theory
   1 Hinduism
   1 Baha i Faith


  135 Sri Aurobindo
   62 Nolini Kanta Gupta
   31 The Mother
   25 Satprem
   17 A B Purani
   13 Lalla
   13 Kobayashi Issa
   13 John Keats
   13 Aristotle
   12 Li Bai
   12 Farid ud-Din Attar
   11 Aleister Crowley
   10 Plato
   9 H P Lovecraft
   8 Jalaluddin Rumi
   8 Hakim Sanai
   7 Yosa Buson
   7 Jorge Luis Borges
   6 Yuan Mei
   6 Saint John of the Cross
   6 Nirodbaran
   6 Bulleh Shah
   5 Kabir
   5 Jakushitsu
   5 Henry David Thoreau
   5 Aldous Huxley
   4 Symeon the New Theologian
   4 Saint Teresa of Avila
   4 Percy Bysshe Shelley
   4 George Van Vrekhem
   3 Tao Chien
   3 Sri Ramakrishna
   3 Solomon ibn Gabirol
   3 Shankara
   3 Saint Augustine of Hippo
   3 Robert Browning
   3 Po Chu-i
   3 Pierre Teilhard de Chardin
   3 Mechthild of Magdeburg
   3 Mansur al-Hallaj
   3 James George Frazer
   3 Friedrich Nietzsche
   3 Abu-Said Abil-Kheir
   2 William Wordsworth
   2 William Butler Yeats
   2 William Blake
   2 Walt Whitman
   2 Sri Ramana Maharshi
   2 Sarmad
   2 Saint Therese of Lisieux
   2 Saint Francis of Assisi
   2 Rabindranath Tagore
   2 Rabbi Abraham Abulafia
   2 Nachmanides
   2 Mirabai
   2 Masahide
   2 Khwaja Abdullah Ansari
   2 Ken Wilber
   2 Jordan Peterson
   2 Johann Wolfgang von Goethe
   2 Ikkyu
   2 Hsuan Chueh of Yung Chia
   2 Hakuin
   2 Friedrich Schiller
   2 Edgar Allan Poe
   2 Dogen
   2 Chiao Jan
   2 Carl Jung
   2 Alfred Tennyson


   48 Letters On Poetry And Art
   24 Collected Works of Nolini Kanta Gupta - Vol 07
   17 Record of Yoga
   17 Evening Talks With Sri Aurobindo
   17 Collected Works of Nolini Kanta Gupta - Vol 02
   13 Poetics
   13 Keats - Poems
   12 Li Bai - Poems
   12 Letters On Yoga II
   9 Lovecraft - Poems
   9 Letters On Yoga IV
   8 The Human Cycle
   8 Collected Works of Nolini Kanta Gupta - Vol 04
   8 Collected Works of Nolini Kanta Gupta - Vol 01
   6 Vedic and Philological Studies
   6 Twelve Years With Sri Aurobindo
   6 Sri Aurobindo or the Adventure of Consciousness
   6 Letters On Yoga I
   5 Walden
   5 The Perennial Philosophy
   5 Magick Without Tears
   5 Liber ABA
   4 The Secret Doctrine
   4 Shelley - Poems
   4 Questions And Answers 1956
   4 Preparing for the Miraculous
   4 On Education
   4 Labyrinths
   3 Twilight of the Idols
   3 The Synthesis Of Yoga
   3 The Secret Of The Veda
   3 The Gospel of Sri Ramakrishna
   3 The Golden Bough
   3 City of God
   3 Browning - Poems
   3 Agenda Vol 07
   3 Agenda Vol 03
   3 Agenda Vol 02
   3 Agenda Vol 01
   2 Yeats - Poems
   2 Wordsworth - Poems
   2 The Life Divine
   2 Talks
   2 Symposium
   2 Song of Myself
   2 Some Answers From The Mother
   2 Sex Ecology Spirituality
   2 Schiller - Poems
   2 Rumi - Poems
   2 Poe - Poems
   2 Maps of Meaning
   2 Letters On Yoga III
   2 Hymns to the Mystic Fire
   2 Essays In Philosophy And Yoga
   2 Essays Divine And Human
   2 Dogen - Poems
   2 Agenda Vol 05
   2 Agenda Vol 04


00.00 - Publishers Note, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   We have pleasure in presenting the Second Volume of the Collected Works of Sri Nolini Kanta Gupta. The six books in this volume were originally published separately. The Essays are mainly concerned with Mysticism and Poetry.
   We are happy to note that the Government of India have given to our Centre of Education a grant to meet the cost of publication of this volume.

00.01 - The Mother on Savitri, #Sweet Mother - Harmonies of Light, #unset, #Zen
   Not much, but I like Poetry, it is because of that I read it.
  It does not matter if you do not understand it - Savitri, read it always. You will see that every time you read it, something new will be revealed to you. Each time you will get a new glimpse, each time a new experience; things which were not there, things you did not understand arise and suddenly become clear. Always an unexpected vision comes up through the words and lines. Every time you try to read and understand, you will see that something is added, something which was hidden behind is revealed clearly and vividly. I tell you the very verses you have read once before, will appear to you in a different light each time you re-read them. This is what happens invariably. Always your experience is enriched, it is a revelation at each step.
  --
  All this is His own experience, and what is most surprising is that it is my own experience also. It is my sadhana which He has worked out. Each object, each event, each realisation, all the descriptions, even the colours are exactly what I saw and the words, phrases are also exactly what I heard. And all this before having read the book. I read Savitri many times afterwards, but earlier, when He was writing He used to read it to me. Every morning I used to hear Him read Savitri. During the night He would write and in the morning read it to me. And I observed something curious, that day after day the experiences He read out to me in the morning were those I had had the previous night, word by word. Yes, all the descriptions, the colours, the pictures I had seen, the words I had heard, all, all, I heard it all, put by Him into Poetry, into miraculous Poetry. Yes, they were exactly my experiences of the previous night which He read out to me the following morning. And it was not just one day by chance, but for days and days together. And every time I used to compare what He said with my previous experiences and they were always the same. I repeat, it was not that I had told Him my experiences and that He had noted them down afterwards, no, He knew already what I had seen. It is my experiences He has presented at length and they were His experiences also. It is, moreover, the picture of Our joint adventure into the unknown or rather into the Supermind.
  These are experiences lived by Him, realities, supracosmic truths. He experienced all these as one experiences joy or sorrow, physically. He walked in the darkness of inconscience, even in the neighborhood of death, endured the sufferings of perdition, and emerged from the mud, the world-misery to brea the the sovereign plenitude and enter the supreme Ananda. He crossed all these realms, went through the consequences, suffered and endured physically what one cannot imagine. Nobody till today has suffered like Him. He accepted suffering to transform suffering into the joy of union with the Supreme. It is something unique and incomparable in the history of the world. It is something that has never happened before, He is the first to have traced the path in the Unknown, so that we may be able to walk with certitude towards the Supermind. He has made the work easy for us. Savitri is His whole Yoga of transformation, and this Yoga appears now for the first time in the earth-consciousness.
  And I think that man is not yet ready to receive it. It is too high and too vast for him. He cannot understand it, grasp it, for it is not by the mind that one can understand Savitri. One needs spiritual experiences in order to understand and assimilate it. The farther one advances on the path of Yoga, the more does one assimilate and the better. No, it is something which will be appreciated only in the future, it is the Poetry of tomorrow of which He has spoken in The Future Poetry. It is too subtle, too refined, - it is not in the mind or through the mind, it is in meditation that Savitri is revealed.
  And men have the audacity to compare it with the work of Virgil or Homer and to find it inferior. They do not understand, they cannot understand. What do they know? Nothing at all. And it is useless to try to make them understand. Men will know what it is, but in a distant future. It is only the new race with a new consciousness which will be able to understand. I assure you there is nothing under the blue sky to compare with Savitri. It is the mystery of mysteries. It is a *super-epic,* it is super-literature, super- Poetry, super-vision, it is a super-work even if one considers the number of lines He has written. No, these human words are not adequate to describe Savitri. Yes, one needs superlatives, hyperboles to describe it. It is a hyper-epic. No, words express nothing of what Savitri is, at least I do not find them. It is of immense value - spiritual value and all other values; it is eternal in its subject, and infinite in its appeal, miraculous in its mode and power of execution; it is a unique thing, the more you come into contact with it, the higher will you be uplifted. Ah, truly it is something! It is the most beautiful thing He has left for man, the highest possible. What is it? When will man know it? When is he going to lead a life of truth? When is he going to accept this in his life? This yet remains to be seen.

0.00 - INTRODUCTION, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
   As his love for God deepened, he began either to forget or to drop the formalities of worship. Sitting before the image, he would spend hours singing the devotional songs of great devotees of the Mother, such as Kamalakanta and Ramprasad. Those rhapsodical songs, describing the direct vision of God, only intensified Sri Ramakrishna's longing. He felt the pangs of a child separated from its mother. Sometimes, in agony, he would rub his face against the ground and weep so bitterly that people, thinking he had lost his earthly mother, would sympathize with him in his grief. Sometimes, in moments of scepticism, he would cry: "Art Thou true, Mother, or is it all fiction — mere Poetry without any reality? If Thou dost exist, why do I not see Thee? Is religion a mere fantasy and art Thou only a figment of man's imagination?" Sometimes he would sit on the prayer carpet for two hours like an inert object. He began to behave in an abnormal manner
  , most of the time unconscious of the world. He almost gave up food; and sleep left him altogether.

0.00 - The Book of Lies Text, #The Book of Lies, #Aleister Crowley, #Philosophy
    and the rest of the chapter in Poetry, the upward.
     The first part shows the fall from Nought in four
  --
  the Poetry.
   The master salutes the previous paragraphs as horses which, although in

0.05 - Letters to a Child, #Some Answers From The Mother, #The Mother, #Integral Yoga
  music, painting and Poetry, he later became a teacher of music
  in the Sri Aurobindo International Centre of Education. He
  --
  I want to ask you something concerning my Poetry.
  It has stopped now. Is there some inner preparation
  --
  Yes, I think in fact that your Poetry has stopped so that you
  can prepare yourself for a higher inspiration. You were going
  --
  You have my full consent to write Poetry, and Sri Aurobindo
  says that there is no doubt about your poetic capacity. Today's

01.02 - Sri Aurobindo - Ahana and Other Poems, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Sri Aurobindo: The Age of Sri Aurobindo Mystic Poetry
   Other Authors Nolini Kanta Gupta Poets and MysticsSri Aurobindo: Ahana and Other Poems
  --
   What is the world that Sri Aurobindo sees and creates? Poetry is after all passion. By passion I do not mean the fury of emotion nor the fume of sentimentalism, but what lies behind at their source, what lends them the force they have the sense of the "grandly real," the vivid and pulsating truth. What then is the thing that Sri Aurobindo has visualised, has endowed with a throbbing life and made a poignant reality? Victor Hugo said: Attachez Dieu au gibet, vous avez la croixTie God to the gibbet, you have the cross. Even so, infuse passion into a thing most prosaic, you create sublime Poetry out of it. What is the dead matter that has found life and glows and vibrates in Sri Aurobindo's passion? It is something which appears to many poetically intractable, not amenable to aesthetic treatment, not usually, that is to say, nor in the supreme manner. Sri Aurobindo has thrown such a material into his poetic fervour and created a sheer beauty, a stupendous reality out of it. Herein lies the greatness of his achievement. Philosophy, however divine, and in spite of Milton, has been regarded by poets as "harsh and crabbed" and as such unfit for poetic delineation. Not a few poets indeed foundered upon this rock. A poet in his own way is a philosopher, but a philosopher chanting out his philosophy in sheer Poetry has been one of the rarest spectacles.1 I can think of only one instance just now where a philosopher has almost succeeded being a great poet I am referring to Lucretius and his De Rerum Natura. Neither Shakespeare nor Homer had anything like philosophy in their poetic creation. And in spite of some inclination to philosophy and philosophical ideas Virgil and Milton were not philosophers either. Dante sought perhaps consciously and deliberately to philosophise in his Paradiso I Did he? The less Dante then is he. For it is his Inferno, where he is a passionate visionary, and not his Paradiso (where he has put in more thought-power) that marks the nee plus ultra of his poetic achievement.
   And yet what can be more poetic in essence than philosophy, if by philosophy we mean, as it should mean, spiritual truth and spiritual realisation? What else can give the full breath, the integral force to poetic inspiration if it is not the problem of existence itself, of God, Soul and Immortality, things that touch, that are at the very root of life and reality? What can most concern man, what can strike the deepest fount in him, unless it is the mystery of his own being, the why and the whither of it all? But mankind has been taught and trained to live merely or mostly on earth, and Poetry has been treated as the expression of human joys and sorrows the tears in mortal things of which Virgil spoke. The savour of earth, the thrill of the flesh has been too sweet for us and we have forgotten other sweetnesses. It is always the human element that we seek in Poetry, but we fail to recognise that what we obtain in this way is humanity in its lower degrees, its surface formulations, at its minimum magnitude.
   We do not say that poets have never sung of God and Soul and things transcendent. Poets have always done that. But what I say is this that presentation of spiritual truths, as they are in their own home, in other words, treated philosophically and yet in a supreme poetic manner, has always been a rarity. We have, indeed, in India the Gita and the Upanishads, great philosophical poems, if there were any. But for one thing they are on dizzy heights out of the reach of common man and for another they are idolised more as philosophy than as Poetry. Doubtless, our Vaishnava poets sang of God and Love Divine; and Rabindranath, in one sense, a typical modern Vaishnava, did the same. And their songs are masterpieces. But are they not all human, too human, as the mad prophet would say? In them it is the human significance, the human manner that touches and moves us the spiritual significance remains esoteric, is suggested, is a matter of deduction. Sri Aurobindo has dealt with spiritual experiences in a different way. He has not clothed them in human symbols and allegories, in images and figures of the mere earthly and secular life: he presents them in their nakedness, just as they are seen and realised. He has not sought to tone down the rigour of truth with contrivances that easily charm and captivate the common human mind and heart. Nor has he indulged like so many poet philosophers in vague generalisations and colourless or too colourful truisms that do not embody a clear thought or rounded idea, a radiant judgment. Sri Aurobindo has given us in his Poetry thoughts that are clear-cut, ideas beautifully chiselledhe is always luminously forceful.
   Take these Vedantic lines that in their limpidity and harmonious flow beat anything found in the fine French poet Lamartine:
  --
   This is sheer philosophy, told with an almost philosophical bluntnessmay be, but is it mere philosophy and mediocre Poetry? Once more listen to the Upanishadic lines:
   Deep in the luminous secrecy, the mute
  --
   We have been speaking of philosophy and the philosophic manner. But what are the exact implications of the words, let us ask again. They mean nothing more and nothing lessthan the force of thought and the mass of thought content. After all, that seems to be almost the whole difference between the past and the present human consciousness in so far at least as it has found expression in Poetry. That element, we wish to point out, is precisely what the old-world poets lacked or did not care to possess or express or stress. A poet meant above all, if not all in all, emotion, passion, sensuousness, sensibility, nervous enthusiasm and imagination and fancy: remember the classic definition given by Shakespeare of the poet
   Of imagination all compact.. . .
  --
   The heart and its urges, the vital and its surges, the physical impulsesit is these of which the poets sang in their infinite variations. But the mind proper, that is to say, the higher reflective ideative mind, was not given the right of citizenship in the domain of Poetry. I am not forgetting the so-called Metaphysicals. The element of metaphysics among the Metaphysicals has already been called into question. There is here, no doubt, some theology, a good dose of mental cleverness or conceit, but a modern intellectual or rather rational intelligence is something other, something more than that. Even the metaphysics that was commandeered here had more or less a decorative value, it could not be taken into the pith and substance of poetic truth and beauty. It was a decoration, but not unoften a drag. I referred to the Upanishads, but these strike quite a different, almost an opposite line in this connection. They are in a sense truly metaphysical: they bypass the mind and the mental powers, get hold of a higher mode of consciousness, make a direct contact with truth and beauty and reality. It was Buddha's credit to have forged this missing link in man's spiritual consciousness, to have brought into play the power of the rational intellect and used it in support of the spiritual experience. That is not to say that he was the very first person, the originator who initiated the movement; but at least this seems to be true that in him and his au thentic followers the movement came to the forefront of human consciousness and attained the proportions of a major member of man's psychological constitution. We may remember here that Socrates, who started a similar movement of rationalisation in his own way in Europe, was almost a contemporary of the Buddha.
   Poetry as an expression of thought-power, Poetry weighted with intelligence and rationalised knowledge that seems to me to be the end and drive, the secret sense of all the mystery of modern technique. The combination is risky, but not impossible. In the spiritual domain the Gita achieved this miracle to a considerable degree. Still, the power of intelligence and reason shown by Vyasa is of a special order: it is a sublimated function of the faculty, something aloof and other-worldly"introvert", a modern mind would term it that is to say, something a priori, standing in its own au thenticity and self-sufficiency. A modern intelligence would be more scientific, let us use the word, more matter-of-fact and sense-based: the mental light should not be confined in its ivory tower, however high that may be, but brought down and placed at the service of our perception and appreciation and explanation of things human and terrestrial; made immanent in the mundane and the ephemeral, as they are commonly called. This is not an impossibility. Sri Aurobindo seems to have done the thing. In him we find the three terms of human consciousness arriving at an absolute fusion and his Poetry is a wonderful example of that fusion. The three terms are the spiritual, the intellectual or philosophical and the physical or sensational. The intellectual, or more generally, the mental, is the intermediary, the Paraclete, as he himself will call it later on in a poem9 magnificently exemplifying the point we are trying to make out the agent who negotiates, bridges and harmonises the two other firmaments usually supposed to be antagonistic and incompatible.
   Indeed it would be wrong to associate any cold ascetic nudity to the spiritual body of Sri Aurobindo. His Poetry is philosophic, abstract, no doubt, but every philosophy has its practice, every abstract thing its concrete application,even as the soul has its body; and the fusion, not mere union, of the two is very characteristic in him. The deepest and unseizable flights of thought he knows how to clo the with a Kalidasian richness of imagery, or a Keatsean gusto of sensuousness:
   . . . . .O flowers, O delight on the tree-tops burning!
  --
   The Greek sings of the humanity of man, the Indian the divinity of man. It is the Hellenic spirit that has very largely moulded our taste and we have forgotten that an equally poetic world exists in the domain of spiritual life, even in its very severity, as in that of earthly life and its sweetness. And as we are passionate about the earthly life, even so Sri Aurobindo has made a passion of the spiritual life. Poetry after all has a mission; the phrase "Art for Art's sake" may be made to mean anything. Poetry is not merely what is pleasing, not even what is merely touching and moving but what is at the same time, inspiring, invigorating, elevating. Truth is indeed beauty but it is not always the beauty that captivates the eye or the mere aesthetic sense.
   And because our Vedic poets always looked beyond humanity, beyond earth, therefore could they make divine Poetry of humanity and what is of earth. Therefore it was that they were pervadingly so grandiose and sublime and puissant. The heroic, the epic was their natural element and they could not but express themselves in the grand manner Sri Aurobindo has the same outlook and it is why we find in him the ring of the old-world manner.
   Mark the stately march, the fullness of voice, the wealth of imagery, the vigour of movement of these lines:
  --
   This is Poetry salutary indeed if there were any. We are so often and so much enamoured of the feminine languidness of Poetry; the clear, the sane, the virile, that is a type of Poetry that our nerves cannot always or for long stand. But there is Poetry that is agrable and there is Poetry that is grand, as Sainte Beuve said. There are the pleasures of Poetry and there are the "ardours of Poetry". And the great poets are always grand rather than agrable, full of the ardours of Poetry rat her than the pleasures of Poetry.
   And if there is something in the creative spirit of Sri Aurobindo which tends more towards the strenuous than the genial, the arduous than the mellifluous, and which has more of the austerity of Vyasa than the easy felicity of Valmiki, however it might have affected the ultimate value of his creation, according to certain standards,14 it has illustrated once more that Poetry is not merely beauty but power, it is not merely sweet imagination but creative visionit is even the Rik, the mantra that impels the gods to manifest upon earth, that fashions divinity in man.
   James H. Cousins in his New Ways in English Literature describes Sri Aurobindo as "the philosopher as poet."
  --
   Sri Aurobindo: The Age of Sri Aurobindo Mystic Poetry

01.03 - Mystic Poetry, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  object:01.03 - Mystic Poetry
  author class:Nolini Kanta Gupta
  --
   Sri Aurobindo: Ahana and Other Poems The Poetry in the Making
   Other Authors Nolini Kanta Gupta Poets and MysticsMystic Poetry
   Mystic Poetry
   I would like to make a distinction between mystic Poetry and spiritual Poetry. To equate mysticism and spirituality is not always happy or even correct. Thus, when Tagore sings:
   Who comes along singing and steering his boat?
  --
   When the Spirit speaks its own language in its own name, we have spiritual Poetry. If, however, the Spirit speaksfrom choice or necessity-an alien language and manner, e.g., that of a profane consciousness, or of the consciousness of another domain, idealistic or philosophical or even occult, puts on or imitates spirit's language and manner, we have what we propose to call mystic Poetry proper. When Samain sings of the body of the dancer:
   Et Pannyre deviant fleur, flamme, papillon! ...
  --
   It is not merely by addressing the beloved as your goddess that you can attain this mysticism; the Elizabethan did that in merry abundance,ad nauseam.A finer temper, a more delicate touch, a more subtle sensitiveness and a kind of artistic wizardry are necessary to tune the body into a rhythm of the spirit. The other line of mysticism is common enough, viz., to express the spirit in terms and rhythms of the flesh. Tagore did that liberally, the Vaishnava poets did nothing but that, the Song of Solomon is an exquisite example of that procedure. There is here, however, a difference in degrees which is an interesting feature worth noting. Thus in Tagore the reference to the spirit is evident, that is the major or central chord; the earthly and the sensuous are meant as the name and form, as the body to render concrete, living and vibrant, near and intimate what otherwise would perhaps be vague and abstract, afar, aloof. But this mundane or human appearance has a value in so far as it is a support, a pointer or symbol of the spiritual import. And the mysticism lies precisely in the play of the two, a hide-and-seek between them. On the other hand, as I said, the greater portion of Vaishnava Poetry, like a precious and beautiful casket, no doubt, hides the spiritual import: not the pure significance but the sign and symbol are luxuriously elaborated, they are placed in the foreground in all magnificence: as if it was their very purpose to conceal the real meaning. When the Vaishnava poet says,
   O love, what more shall I, shall Radha speak,
  --
   one can explain that it is the Christ calling the Church or God appealing to the human soul or one can simply find in it nothing more than a man pining for his woman. Anyhow I would not call it spiritual Poetry or even mystic Poetry. For in itself it does not carry any double or oblique meaning, there is no suggestion that it is applicable to other fields or domains of consciousness: it is, as it were, monovalent. An allegory is never mysticism. There is more mysticism in Wordsworth, even in Shelley and Keats, than in Spenser, for example, who stands in this respect on the same ground as Bunyan in his The Pilgrim's Progress. Take Wordsworth as a Nature-worshipper,
   Breaking the silence of the seas
  --
   I do not know if this is not mysticism, what else is. Neither is religious Poetry true mysticism (or true spirituality). I find more mysticism in
   Come, let us run
  --
   I am anticipating however, I shall come to the point presently again. I was speaking of spiritual Poetry. Listen once more to these simple, transparent, yet vibrant lines:
   But how shall body not seem a hollow space
  --
   This is spiritual matter and spiritual manner that can never be improved upon. This is spiritual Poetry in its quintessence. I am referring naturally here to the original and not to the translation which can never do full justice, even at its very best, to the poetic value in question. For apart from the individual genius of the poet, the greatness of the language, the instrument used by the poet, is also involved. It may well be what is comparatively easy and natural in the language of the gods (devabhasha) would mean a tour de force, if not altogether an impossibility, in a human language. The Sanskrit language was moulded and fashioned in the hands of the Rishis, that is to say, those who lived and moved and had their being in the spiritual consciousness. The Hebrew or even the Zend does not seem to have reached that peak, that absoluteness of the spiritual tone which seems inherent in the Indian tongue, although those too breathed and grew in a spiritual atmosphere. The later languages, however, Greek or Latin or their modern descendants, have gone still farther from the source, they are much nearer to the earth and are suffused with the smell and effluvia of this vale of tears.
   Among the ancients, strictly speaking, the later classical Lucretius was a remarkable phenomenon. By nature he was a poet, but his mental interest lay in metaphysical speculation, in philosophy, and unpoetical business. He turned away from arms and heroes, wrath and love and, like Seneca and Aurelius, gave himself up to moralising and philosophising, delving 'into the mystery, the why and the how and the whither of it all. He chose a dangerous subject for his poetic inspiration and yet it cannot be said that his attempt was a failure. Lucretius was not a religious or spiritual poet; he was rather Marxian,atheistic, materialistic. The dialectical materialism of today could find in him a lot of nourishment and support. But whatever the content, the manner has made a whole difference. There was an idealism, a clarity of vision and an intensity of perception, which however scientific apparently, gave his creation a note, an accent, an atmosphere high, tense, aloof, ascetic, at times bordering on the supra-sensual. It was a high light, a force of consciousness that at its highest pitch had the ring and vibration of something almost spiritual. For the basic principle of Lucretius' inspiration is a large thought-force, a tense perception, a taut nervous reactionit is not, of course, the identity in being with the inner realities which is the hallmark of a spiritual consciousness, yet it is something on the way towards that.
   There have been other philosophical poets, a good number of them since thennot merely rationally philosophical, as was the vogue in the eighteenth century, but metaphysically philosophical, that is to say, inquiring not merely into the phenomenal but also into the labyrinths of the noumenal, investigating not only what meets the senses, but also things that are behind or beyond. Amidst the earlier efflorescence of this movement the most outstanding philosopher poet is of course Dante, the Dante of Paradiso, a philosopher in the mediaeval manner and to the extent a lesser poet, according to some. Goe the is another, almost in the grand modern manner. Wordsworth is full of metaphysics from the crown of his head to the tip of his toe although his Poetry, perhaps the major portion of it, had to undergo some kind of martyrdom because of it. And Shelley, the supremely lyric singer, has had a very rich undertone of thought-content genuinely metaphysical. And Browning and Arnold and Hardyindeed, if we come to the more moderns, we have to cite the whole host of them, none can be excepted.
   We left out the Metaphysicals, for they can be grouped as a set apart. They are not so much metaphysical as theological, religious. They have a brain-content stirring with theological problems and speculations, replete with scintillating conceits and intricate fancies. Perhaps it is because of this philosophical burden, this intellectual bias that the Metaphysicals went into obscurity for about two centuries and it is precisely because of that that they are slowly coming out to the forefront and assuming a special value with the moderns. For the modern mind is characteristically thoughtful, introspective"introvert"and philosophical; even the exact physical sciences of today are rounded off in the end with metaphysics.
   The growth of a philosophical thought-content in Poetry has been inevitable. For man's consciousness in its evolutionary march is driving towards a consummation which includes and presupposes a development along that line. The mot d'ordre in old-world Poetry was "fancy", imaginationremember the famous lines of Shakespeare characterising a poet; in modern times it is Thought, even or perhaps particularly abstract metaphysical thought. Perceptions, experiences, realisationsof whatever order or world they may beexpressed in sensitive and aesthetic terms and figures, that is Poetry known and appreciated familiarly. But a new turn has been coming on with an increasing insistencea definite time has been given to that, since the Renaissance, it is said: it is the growing importance of Thought or brain-power as a medium or atmosphere in which poetic experiences find a sober and clear articulation, a definite and strong formulation. Rationalisation of all experiences and realisations is the keynote of the modern mentality. Even when it is said that reason and rationality are not ultimate or final or significant realities, that the irrational or the submental plays a greater role in our consciousness and that art and Poetry likewise should be the expression of such a mentality, even then, all this is said and done in and through a strong rational and intellectual stress and frame the like of which cannot be found in the old-world frankly non-intellectual creations.
   The religious, the mystic or the spiritual man was, in the past, more or Jess methodically and absolutely non-intellectual and anti-intellectual: but the modern age, the age of scientific culture, is tending to make him as strongly intellectual: he has to explain, not only present the object but show up its mechanism alsoexplain to himself so that he may have a total understanding and a firmer grasp of the thing which he presents and explains to others as well who demand a similar approach. He feels the necessity of explaining, giving the rationality the rationale the science, of his art; for without that, it appears to him, a solid ground is not given to the structure of his experience: analytic power, preoccupation with methodology seems inherent in the modern creative consciousness.
   The philosophical trend in Poetry has an interesting history with a significant role: it has acted as a force of purification, of sublimation, of katharsis. As man has risen from his exclusively or predominantly vital nature into an increasing mental poise, in the same way his creative activities too have taken this new turn and status. In the earlier stages of evolution the mental life is secondary, subordinate to the physico-vital life; it is only subsequently that the mental finds an independent and self-sufficient reality. A similar movement is reflected in poetic and artistic creation too: the thinker, the philosopher remains in the background at the outset, he looks out; peers through chinks and holes from time to time; later he comes to the forefront, assumes a major role in man's creative activity.
   Man's consciousness is further to rise from the mental to over-mental regions. Accordingly, his life and activities and along with that his artistic creations too will take on a new tone and rhythm, a new mould and constitution even. For this transition, the higher mentalwhich is normally the field of philosophical and idealistic activitiesserves as the Paraclete, the Intercessor; it takes up the lower functionings of the consciousness, which are intense in their own way, but narrow and turbid, and gives, by purifying and enlarging, a wider frame, a more luminous pattern, a more subtly articulated , form for the higher, vaster and deeper realities, truths and harmonies to express and manifest. In the old-world spiritual and mystic poets, this intervening medium was overlooked for evident reasons, for human reason or even intelligence is a double-edged instrument, it can make as well as mar, it has a light that most often and naturally shuts off other higher lights beyond it. So it was bypassed, some kind of direct and immediate contact was sought to be established between the normal and the transcendental. The result was, as I have pointed out, a pure spiritual Poetry, on the one hand, as in the Upanishads, or, on the other, religious Poetry of various grades and denominations that spoke of the spiritual but in the terms and in the manner of the mundane, at least very much coloured and dominated by the latter. Vyasa was the great legendary figure in India who, as is shown in his Mahabharata, seems to have been one of the pioneers, if not the pioneer, to forge and build the missing link of Thought Power. The exemplar of the manner is the Gita. Valmiki's represented a more ancient and primary inspiration, of a vast vital sensibility, something of the kind that was at the basis of Homer's genius. In Greece it was Socrates who initiated the movement of speculative philosophy and the emphasis of intellectual power slowly began to find expression in the later poets, Sophocles and Euripides. But all these were very simple beginnings. The moderns go in for something more radical and totalitarian. The rationalising element instead of being an additional or subordinate or contri buting factor, must itself give its norm and form, its own substance and manner to the creative activity. Such is the present-day demand.
   The earliest preoccupation of man was religious; even when he concerned himself with the world and worldly things, he referred all that to the other world, thought of gods and goddesses, of after-death and other where. That also will be his last and ultimate preoccupation though in a somewhat different way, when he has passed through a process of purification and growth, a "sea-change". For although religion is an aspiration towards the truth and reality beyond or behind the world, it is married too much to man's actual worldly nature and carries always with it the shadow of profanity.
   The religious poet seeks to tone down or cover up the mundane taint, since he does not know how to transcend it totally, in two ways: (1) by a strong thought-element, the metaphysical way, as it may be called and (2) by a strong symbolism, the occult way. Donne takes to the first course, Blake the second. And it is the alchemy brought to bear in either of these processes that transforms the merely religious into the mystic poet. The truly spiritual, as I have said, is still a higher grade of consciousness: what I call Spirit's own Poetry has its own matter and mannerswabhava and swadharma. A nearest approach to it is echoed in those famous lines of Blake:
   To see a World in a grain of Sand,
  --
   This is what I was trying to make out as the distinguishing trait of the real spiritual consciousness that seems to be developing in the poetic creation of tomorrow, e.g., it has the same rationality, clarity, concreteness of perception as the scientific spirit has in its own domain and still it is rounded off with a halo of magic and miracle. That is the nature of the logic of the infinite proper to the spiritual consciousness. We can have a Science of the Spirit as well as a Science of Matter. This is the Thought element or what corresponds to it, of which I was speaking, the philosophical factor, that which gives form to the formless or definition to that which is vague, a nearness and familiarity to that which is far and alien. The fullness of the spiritual consciousness means such a thing, the presentation of a divine name and form. And this distinguishes it from the mystic consciousness which is not the supreme solar consciousness but the nearest approach to it. Or, perhaps, the mystic dwells in the domain of the Divine, he may even be suffused with a sense of unity but would not like to acquire the Divine's nature and function. Normally and generally he embodies all the aspiration and yearning moved by intimations and suggestions belonging to the human mentality, the divine urge retaining still the human flavour. We can say also, using a Vedantic terminology, that the mystic consciousness gives us the tatastha lakshana, the nearest approximative attribute of the attri buteless; or otherwise, it is the hiranyagarbha consciousness which englobes the multiple play, the coruscated possibilities of the Reality: while the spiritual proper may be considered as prajghana, the solid mass, the essential lineaments of revelatory knowledge, the typal "wave-particles" of the Reality. In the former there is a play of imagination, even of fancy, a decorative aesthesis, while in the latter it is vision pure and simple. If the spiritual Poetry is solar in its nature, we can say, by extending the analogy, that mystic Poetry is characteristically lunarMoon representing the delight and the magic that Mind and mental imagination, suffused, no doubt, with a light or a reflection of some light from beyond, is capable of (the Upanishad speaks of the Moon being born of the Mind).
   To sum up and recapitulate. The evolution of the poetic expression in man has ever been an attempt at a return and a progressive approach to the spiritual source of poetic inspiration, which was also the original, though somewhat veiled, source from the very beginning. The movement has followed devious waysstrongly negative at timeseven like man's life and consciousness in general of which it is an organic member; but the ultimate end and drift seems to have been always that ideal and principle even when fallen on evil days and evil tongues. The poet's ideal in the dawn of the world was, as the Vedic Rishi sang, to raise things of beauty in heaven by his poetic power,kavi kavitv divi rpam sajat. Even a Satanic poet, the inaugurator, in a way, of modernism and modernistic consciousness, Charles Baudelaire, thus admonishes his spirit:
  --
   Poetry, actually however, has been, by and large, a profane and mundane affair: for it expresses the normal man's perceptions and feelings and experiences, human loves and hates and desires and ambitions. True. And yet there has also always been an attempt, a tendency to deal with them in such a way as can bring calm and puritykatharsisnot trouble and confusion. That has been the purpose of all Art from the ancient days. Besides, there has been a growth and development in the historic process of this katharsis. As by the sublimation of his bodily and vital instincts and impulses., man is gradually growing into the mental, moral and finally spiritual consciousness, even so the artistic expression of his creative activity has followed a similar line of transformation. The first and original transformation happened with religious Poetry. The religious, one may say, is the profane inside out; that is to say, the religious man has almost the same tone and temper, the same urges and passions, only turned Godward. Religious Poetry too marks a new turn and development of human speech, in taking the name of God human tongue acquires a new plasticity and flavour that transform or give a new modulation even to things profane and mundane it speaks of. Religious means at bottom the colouring of mental and moral idealism. A parallel process of katharsis is found in another class of poetic creation, viz., the allegory. Allegory or parable is the stage when the higher and inner realities are expressed wholly in the modes and manner, in the form and character of the normal and external, when moral, religious or spiritual truths are expressed in the terms and figures of the profane life. The higher or the inner ideal is like a loose clothing upon the ordinary consciousness, it does not fit closely or fuse. In the religious, however, the first step is taken for a mingling and fusion. The mystic is the beginning of a real fusion and a considerable ascension of the lower into the higher. The philosopher poet follows another line for the same katharsisinstead of uplifting emotions and sensibility, he proceeds by thought-power, by the ideas and principles that lie behind all movements and give a pattern to all things existing. The mystic can be of either type, the religious mystic or the philosopher mystic, although often the two are welded together and cannot be very well separated. Let us illustrate a little:
   The spacious firmament on high,
  --
   This is religious Poetry, pure and simple, expressing man's earliest and most elementary feeling, marked by a broad candour, a rather shallow monotone. But that feeling is raised to a pitch of fervour and scintillating sensibility in Vaughan's
   They are all gone into the world of light
  --
   Sri Aurobindo: Ahana and Other Poems The Poetry in the Making

01.04 - The Intuition of the Age, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   Now, what is the intuition that lies behind the movements of the new age? What is the intimate realisation, the underlying view-point which is guiding and modelling all our efforts and achievementsour science and art, our Poetry and philosophy, our religion and society? For, there is such a common and fundamental note which is being voiced forth by the human spirit through all the multitude of its present-day activities.
   A new impulse is there, no one can deny, and it has vast possibilities before it, that also one need not hesitate to accept. But in order that we may best fructuate what has been spontaneously sown, we must first recognise it, be luminously conscious of it and develop it along its proper line of growth. For, also certain it is that this new impulse or intuition, however true and strong in itself, is still groping and erring and miscarrying; it is still wasting much of its energy in tentative things, in mere experiments, in even clear failures. The fact is that the intuition has not yet become an enlightened one, it is still moving, as we shall presently explain, in the dark vital regions of man. And vitalism is naturally and closely affianced to pragmatism, that is to say, the mere vital impulse seeks immediately to execute itself, it looks for external effects, for changes in the form, in the machinery only. Thus it is that we see in art and literature discussions centred upon the scheme of composition, as whether the new Poetry should be lyrical or dramatic, popular or aristocratic, metrical or free of metre, and in practical life we talk of remodelling the state by new methods of representation and governance, of purging society by bills and legislation, of reforming humanity by a business pact.
   All this may be good and necessary, but there is the danger of leaving altogether out of account the one thing needful. We must then pause and turn back, look behind the apparent impulsion that effectuates to the Will that drives, behind the ideas and ideals of the mind to the soul that informs and inspires; we must carry ourselves up the stream and concentrate upon the original source, the creative intuition that lies hidden somewhere. And then only all the new stirrings that we feel in our heartour urges and ideals and visions will attain an effective clarity, an unshaken purpose and an inevitable achievement.

01.04 - The Poetry in the Making, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  object:01.04 - The Poetry in the Making
  author class:Nolini Kanta Gupta
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   Mystic Poetry Rabindranath Tagore: A Great Poet, a Great Man
   Other Authors Nolini Kanta Gupta Poets and Mystics The Poetry in the Making
   The Poetry in the Making
   Is the artist the supreme artist, when he is a genius, that is to sayconscious in his creation or is he unconscious? Two quite opposite views have been taken of the problem by the best of intelligences. On the one hand, it is said that genius is genius precisely because it acts unconsciously, and on the other it is asserted with equal emphasis that genius is the capacity of taking infinite pains, which means it is absolutely a self conscious activity.
  --
   But the Yogi is a wholly conscious being; a perfect Yogi is he who possesses a conscious and willed control over his instruments, he silences them, as and when he likes, and makes them convey and express with as little deviation as possible truths and realities from the Beyond. Now the question is, is it possible for the poet also to do something like that, to consciously create and not to be a mere unconscious or helpless channel? Conscious artistry, as we have said, means to be conscious on two levels of consciousness at the same time, to be at home in both equally and simultaneously. The general experience, however, is that of "one at a time": if the artist dwells more in the one, the other retires into the background to the same measure. If he is in the over-consciousness, he is only half-conscious in his brain consciousness, or even not conscious at allhe does not know how he has created, the sources or process of his creative activity, he is quite oblivious of them" gone through them all as if per saltum. Such seems to have been the case with the primitives, as they are called, the elemental poetsShakespeare and Homer and Valmiki. In some others, who come very near to them in poetic genius, yet not quite on a par, the instrumental intelligence is strong and active, it helps in its own way but in helping circumscribes and limits the original impulsion. The art here becomes consciously artistic, but loses something of the initial freshness and spontaneity: it gains in correctness, polish and elegance and has now a style in lieu of Nature's own naturalness. I am thinking of Virgil and Milton and Kalidasa. Dante's place is perhaps somewhere in between. Lower in the rung where the mental medium occupies a still more preponderant place we have intellectual Poetry, Poetry of the later classical age whose representatives are Pope and Dryden. We can go farther down and land in the domain of versificationalthough here, too, there can be a good amount of beauty in shape of ingenuity, cleverness and conceit: Voltaire and Delille are of this order in French Poetry.
   The three or four major orders I speak of in reference to conscious artistry are exampled characteristically in the history of the evolution of Greek Poetry. It must be remembered, however, at the very outset that the Greeks as a race were nothing if not rational and intellectual. It was an element of strong self-consciousness that they brought into human culture that was their special gift. Leaving out of account Homer who was, as I said, a primitive, their classical age began with Aeschylus who was the first and the most spontaneous and intuitive of the Great Three. Sophocles, who comes next, is more balanced and self-controlled and pregnant with a reasoned thought-content clothed in polished phrasing. We feel here that the artist knew what he was about and was exercising a conscious control over his instruments and materials, unlike his predecessor who seemed to be completely carried away by the onrush of the poetic enthousiasmos. Sophocles, in spite of his artistic perfection or perhaps because of it, appears to be just a little, one remove, away from the purity of the central inspiration there is a veil, although a thin transparent veil, yet a veil between which intervenes. With the third of the Brotherhood, Euripides, we slide lower downwe arrive at a predominantly mental transcription of an experience or inner conception; but something of the major breath continues, an aura, a rhythm that maintains the inner contact and thus saves the Poetry. In a subsequent age, in Theocritus, for example, Poetry became truly very much 'sicklied o'er with the pale cast of thought', so much of virtuosity and precocity entered into it; in other words, the poet then was an excessively self-conscious artist. That seems to be the general trend of all literature.
   But should there be an inherent incompatibility between spontaneous creation and self-consciousness? As we have seen, a harmony and fusion can and do happen of the superconscious and the normally conscious in the Yogi. Likewise, an artist also can be wakeful and transparent enough so that he is conscious on both the levels simultaneouslyabove, he is conscious of the source and origin of his inspiration, and on the level plain he is conscious of the working of the instrument, how the vehicle transcribes and embodies what comes from elsewhere. The poet's consciousness becomes then divalent as it werethere is a sense of absolute passivity in respect of the receiving apparatus and coupled and immisced with it there is also the sense of dynamism, of conscious agency as in his secret being he is the master of his apparatus and one with the Inspirerin other words, the poet is both a seer (kavih) and a creator or doer (poits).
  --
   The consciously purposive activity of the poetic consciousness in fact, of all artistic consciousness has shown itself with a clear and unambiguous emphasis in two directions. First of all with regard to the subject-matter: the old-world poets took things as they were, as they were obvious to the eye, things of human nature and things of physical Nature, and without questioning dealt with them in the beauty of their normal form and function. The modern mentality has turned away from the normal and the obvious: it does not accept and admit the "given" as the final and definitive norm of things. It wishes to discover and establish other norms, it strives to bring about changes in the nature and condition of things, envisage the shape of things to come, work for a brave new world. The poet of today, in spite of all his effort to remain a pure poet, in spite of Housman's advocacy of nonsense and not-sense being the essence of true Art, is almost invariably at heart an incorrigible prophet. In revolt against the old and established order of truths and customs, against all that is normally considered as beautiful,ideals and emotions and activities of man or aspects and scenes and movements of Natureagainst God or spiritual life, the modern poet turns deliberately to the ugly and the macabre, the meaningless, the insignificant and the triflingtins and teas, bone and dust and dustbin, hammer and sicklehe is still a prophet, a violent one, an iconoclast, but one who has his own icon, a terribly jealous being, that seeks to pull down the past, erase it, to break and batter and knead the elements in order to fashion out of them something conforming to his heart's desire. There is also the class who have the vision and found the truth and its solace, who are prophets, angelic and divine, messengers and harbingers of a new beauty that is to dawn upon earth. And yet there are others in whom the two strains mingle or approach in a strange way. All this means that the artist is far from being a mere receiver, a mechanical executor, a passive unconscious instrument, but that he is supremely' conscious and master of his faculties and implements. This fact is doubly reinforced when we find how much he is preoccupied with the technical aspect of his craft. The richness and variety of patterns that can be given to the poetic form know no bounds today. A few major rhythms were sufficient for the ancients to give full expression to their poetic inflatus. For they cared more for some major virtues, the basic and fundamental qualitiessuch as truth, sublimity, nobility, forcefulness, purity, simplicity, clarity, straightforwardness; they were more preoccupied with what they had to say and they wanted, no doubt, to say it beautifully and powerfully; but the modus operandi was not such a passion or obsession with them, it had not attained that almost absolute value for itself which modern craftsmanship gives it. As technology in practical life has become a thing of overwhelming importance to man today, become, in the Shakespearean phrase, his "be-all and end-all", even so the same spirit has invaded and pervaded his aesthetics too. The subtleties, variations and refinements, the revolutions, reversals and inventions which the modern poet has ushered and takes delight in, for their own sake, I repeat, for their intrinsic interest, not for the sake of the subject which they have to embody and clothe, have never been dream by Aristotle, the supreme legislator among the ancients, nor by Horace, the almost incomparable craftsman among the ancients in the domain of Poetry. Man has become, to be sure, a self-conscious creator to the pith of his bone.
   Such a stage in human evolution, the advent of Homo Faber, has been a necessity; it has to serve a purpose and it has done admirably its work. Only we have to put it in its proper place. The salvation of an extremely self-conscious age lies in an exceeding and not in a further enhancement or an exclusive concentration of the self-consciousness, nor, of course, in a falling back into the original unconsciousness. It is this shift in the poise of consciousness that has been presaged and prepared by the conscious, the scientific artists of today. Their task is to forge an instrument for a type of poetic or artistic creation completely new, unfamiliar, almost revolutionary which the older mould would find it impossible to render adequately. The yearning of the human consciousness was not to rest satisfied with the familiar and the ordinary, the pressure was for the discovery of other strands, secret stores of truth and reality and beauty. The first discovery was that of the great Unconscious, the dark and mysterious and all-powerful subconscient. Many of our poets and artists have been influenced by this power, some even sought to enter into that region and become its denizens. But artistic inspiration is an emanation of Light; whatever may be the field of its play, it can have its origin only in the higher spheres, if it is to be truly beautiful and not merely curious and scientific.
  --
   Mystic Poetry Rabindranath Tagore: A Great Poet, a Great Man

01.05 - Rabindranath Tagore: A Great Poet, a Great Man, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   The Poetry in the Making Vivekananda
   Other Authors Nolini Kanta Gupta Poets and MysticsRabindranath Tagore: A Great Poet, a Great Man
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   Tagore was a poet; this poetic power of his he put in the service of the great cause for the divine uplift of humanity. Naturally, it goes without saying, his Poetry did not preach or propagandize the truths for which he stoodhe had a fine and powerful weapon in his prose to do the work, even then in a poetic way but to sing them. And he sang them not in their philosophical bareness, like a Lucretius, or in their sheer transcendental austerity like some of the Upanishadic Rishis, but in and through human values and earthly norms. The especial aroma of Tagore's Poetry lies exactly here, as he himself says, in the note of unboundedness in things bounded that it describes. A mundane, profane sensuousness, Kalidasian in richness and sweetness, is matched or counterpointed by a simple haunting note imbedded or trailing somewhere behind, a lyric cry persevering into eternity, the nostalgic cry of the still small voice.2
   Thus, on the one hand, the Eternity, the Infinity, the Spirit is brought nearer home to us in its embodied symbols and living vehicles and vivid formulations, it becomes easily available to mortals, even like the father to his son, to use a Vedic phrase; on the other hand, earthly things, mere humanities are uplifted and suffused with a "light that never was, on sea or land."
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   The Poetry in the Making Vivekananda

01.12 - Goethe, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   The year 1949 has just celebrated the 200th anniversary of the birth of the great force of light that was Goethe. We too remember him on the occasion, and will try to present in a few words, as we see it, the fundamental experience, the major Intuition that stirred this human soul, the lesson he brought to mankind. Goe the was a great poet. He showed how a language, perhaps least poetical by nature, can be moulded to embody the great beauty of great Poetry. He made the German language sing, even as the sun's ray made the stone of Memnon sing when falling upon it. Goe the was a man of consummate culture. Truly and almost literally it could be said of him that nothing human he considered foreign to his inquiring mind. And Goe the was a man of great wisdom. His observation and judgment on thingsno matter to whatever realm they belonghave an arresting appropriateness, a happy and revealing insight. But above all, he was an aspiring soulaspiring to know and be in touch with the hidden Divinity in man and the world.
   Goe the and the Problem of Evil

01.13 - T. S. Eliot: Four Quartets, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   The Word was made flesh and the Word was made Poetry. To express the supreme Word in life, that is the work of the sage, the Rishi. To express the Word in speech, that is the labour of the Poet. Eliot undertook this double function of the poet and the sage and he found the task difficult. The poet has to utter the unutterable, if he is to clo the in words the mystic experience of the sage in him. That is Eliot's ambition:
   .... Words, after speech, reach
  --
   Our poet is too self-conscious, he himself feels that he has not the perfect voice. A Homer, even a Milton possesses a unity of tone and a wholeness of perception which are denied to the modern. To the modern, however, the old masters are not subtle enough, broad enough, psychological enough, let us say the word, spiritual enough. And yet the poetic inspiration, more than the religious urge, needs the injunction not to be busy with too many things, but to be centred upon the one thing needful, viz., to create poetically and not to discourse philosophically or preach prophetically. Not that it is impossible for the poet to swallow the philosopher and the prophet, metabolising them into the substance of his bone and marrow, of "the trilling wire in his blood", as Eliot graphically expresses. That perhaps is the consummation towards which Poetry is tending. But at present, in Eliot, at least, the strands remain distinct, each with its own temper and rhythm, not fused and moulded into a single streamlined form of beauty. Our poet flies high, very high indeed at times, often or often he flies low, not disdaining the perilous limit of bathos. Perhaps it is all wilful, it is a mannerism which he cherishes. The mannerism may explain his psychology and enshrine his philosophy. But the poet, the magician is to be looked for elsewhere. In the present collection of poems it is the philosophical, exegetical, discursive Eliot who dominates: although the high lights of the subject-matter may be its justification. Still even if we have here doldrums like
   That the past has another pattern, and ceases to be a mere sequence

0.11 - Letters to a Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
  Although there is a certain charm and Poetry in the
  fact that there is no formal date for the creation of

0 1960-08-10 - questions from center of Education - reading Sri Aurobindo, #Agenda Vol 01, #unset, #Zen
   Then they asked some questions about teaching literature and Poetry. I answered them. And then, at the bottom, I added this:
   If you carefully study what Sri Aurobindo has written on every subject

0 1960-10-02b, #Agenda Vol 01, #unset, #Zen
   Yes, my dear little one, it is much better like thatit becomes Poetry.3
   With all my tender affection.

0 1960-11-08, #Agenda Vol 01, #unset, #Zen
   What I saw is this world, this realm where people are like that, they live that, for its necessary to get out from below and this is a wayits a way, the only way. It was the only way for the vital formation and the vital creation to enter into the material world, into inert matter. An intellectualized vital, a vital of ideas, an artist; it even fringes upon or has the first drops of Poetrythis Poetry which upon its peaks goes beyond the mind and becomes an expression of the Spirit. Well, when these first drops fall on earth, it stirs up mud.
   And I wondered why people are so rigid and severe, why they condemn others (but one day Ill understand this as well). I say this because very often I run into these two states of mind in my activities (the grave and serious mind which sees hypocrisy and vice, and the religious and yogic mind which sees the illusion that prevents you from nearing the Divine)and without being openly criticized, Im criticized Ill tell you about this one day

0 1961-07-04, #Agenda Vol 02, #The Mother, #Integral Yoga
   You know, Savitri is an exact descriptionnot literature, not Poetry (although the form is very poetical)an exact description, step by step, paragraph by paragraph, page by page; as I read, I relived it all. Besides, many of my own experiences that I recounted to Sri Aurobindo seem to have been incorporated into Savitri. He has included many of themNolini says so; he was familiar with the first version Sri Aurobindo wrote long ago, and he said that an enormous number of experiences were added when it was taken up again. This explained to me why suddenly, as I read it, I live the experienceline by line, page by page. The realism of it is astounding.
   As for me, Im now on the second part of On Himself ; I am beginning to enjoy myself.

0 1961-09-23, #Agenda Vol 02, #The Mother, #Integral Yoga
   I have the right to 150 pages! The publisher is giving me 150 pages in his collection. Terrible. But in this Sri Aurobindo, you understand, I would like to make his whole poetic aspect stand out, that Poetry which is like the Veda, like a revelation, so a bit of space is required: it cant be squeezed into a few lines, or reduced to a skeleton.
   This analogy between the ancient form of spiritual revelations and Savitri, this blossoming into Poetry of his prophetic revelation is what could be called the most exceptional part of his work. And what is remarkable (I saw him do it) is that he changed Savitri: he went along changing it as his experience changed.
   It is clearly the continuing expression of his experience.

0 1961-11-12, #Agenda Vol 02, #The Mother, #Integral Yoga
   Not including Poetry.
   ***

0 1962-07-21, #Agenda Vol 03, #The Mother, #Integral Yoga
   You may say, what need is there of a Samgha? Let me be free and live in every vessel; let all become one without form and let whatever must be happen in the midst of that vast formlessness. There is a truth there, but only one side of the truth. Our business is not with the formless Spirit alone; we have also to direct the movement of life. And there can be no effective movement of life without form. It is the Formless that has taken form and that assumption of name and form is not a caprice of Maya. Form is there because it is indispensable. We do not want to rule out any activity of the world as beyond our province. Politics, industry, society, Poetry, literature, art will all remain, but we must give them a new soul and a new form.
   Why have I left politics? Because the politics of the country is not a genuine thing belonging to India. It is an importation from Europe and an imitation. At one time there was a need of it. We also have done politics of the European kind. If we had not done it, the country would not have risen and we too would not have gained experience and attained full development. There is still some need of it, not so much in Bengal as in the other provinces of India. But the time has come to stop the shadow from extending and to seize on the reality. We must get to the true soul of India and in its image fashion all works.

0 1962-09-18, #Agenda Vol 03, #The Mother, #Integral Yoga
   I am not doing it to show it to people or to have anyone read it, but to remain in Savitris atmosphere, for I love that atmosphere. It will give me an hour of concentration, and Ill see if by chance. I have no gift for Poetry, but Ill see if it comes! (It surely wont come from a mentality developed in this present existence theres no poetic gift!) So its interesting, Ill see if anything comes. I am going to give it a try.
   I know that light. I am immediately plunged into it each time I read Savitri. It is a very, very beautiful light.

0 1962-10-12, #Agenda Vol 03, #The Mother, #Integral Yoga
   It would be all right if I was writing stories or Poetry, but to write something that has to hang together.
   That doesnt matter! It will hang together by an invisible thread, and that will be far more interesting.

0 1963-01-30, #Agenda Vol 04, #The Mother, #Integral Yoga
   It isnt thought out, it just comes. Its probably not Poetry, not even free verse, but it does contain something.
   So I made a resolve (because its neither to be published nor to be shown, but its a marvelous delight): I will simply keep it the way I keep the Agenda. I have a feeling that, later, perhaps (how can I put it?) when people can be less mental in their activity, it will put them in touch with that light [of Savitri]you know, immediately I enter something purely white and silent, light and alive: a sort of beatitude.
  --
   So I will go on. If there are corrections, they can only come through the same process, because at this point to correct anyhow would spoil it all. There is also the mixing (for the logical mind) of future and present tenses but that too is deliberate. It all seems to come in another way. And well, I cant say, I havent read any French for ages, I have no knowledge of modern literatureto me everything is in the rhythm of the sound. I dont know what rhythm they use now, nor have I read what Sri Aurobindo wrote in The Future Poetry. They tell me that Savitris verse follows a certain rule he explained on the number of stresses in each line (and for this you should pronounce in the pure English way, which somewhat puts me off), and perhaps some rule of this kind will emerge in French? We cant say. I dont know. Unless languages grow more fluid as the body and mind grow more plastic? Possible. Language too, maybe: instead of creating a new language, there may be transitional languages, as, for instance (not a particularly fortunate departure, but still), the way American is emerging from English. Maybe a new language will emerge in a similar way?
   In my case it was from the age of twenty to thirty that I was concerned with French (before twenty I was more involved in vision: painting; and sound: music), but as regards language, literature, language sounds (written or spoken), it was approximately from twenty to thirty. The Prayers and Meditations were written spontaneously with that rhythm. If I stayed in an ordinary consciousness I would get the knack of that rhythm but now it doesnt work that way, it wont do!

0 1963-03-13, #Agenda Vol 04, #The Mother, #Integral Yoga
   I believe its his Messageall the rest is preparation, while Savitri is the Message. Unfortunately, there were two morons here who fancied correcting himwhile he was alive! (A. especially, hes a poet.) Hence all those Letters on Poetry Sri Aurobindo wrote. Ive always refused to read them I find it outrageous. He was forced to explain a whole poetic technique the very idea! Its just the contrary: it comes down from above, and AFTERWARDS you explain. Like a punch in sawdust: inspiration comes down, and afterwards you explain why its all arranged as it is but that just doesnt interest me!
   (silence)

0 1964-01-08, #Agenda Vol 05, #The Mother, #Integral Yoga
   Oh, if we wanted to make Poetry (its no longer a philosophical or spiritual way of seeing, but a pictorial way), we could imagine a Lord who is a totality of all the possible and impossible possibilities, in quest of a Purity and Perfection that can never be reached and are ever progressive and the Lord would get rid of all in the Manifestation that weighs down His unfoldingHe would begin with the nastiest. You see it? Total Night, total Unconsciousness, total Hatred (no, hatred still implies that Love exists), the incapacity to feel. Nothingness.
   Were on the way. I still have a little bit of it [that total Unconsciousness] left.

0 1964-04-19, #Agenda Vol 05, #The Mother, #Integral Yoga
   People are miserable in the midst of their wealth, their faces are hard and closed, they are harassed. There are fine beings, but all their energy is devoured by this devouring life I will never come back here, I dont belong here, Ive never belonged here! The best of their ideal is as aggressive as they themselves are I like them, but they are thousands and thousands of miles away from any true truth, it will take them many centuries to broaden a little. At any rate, it is clear that no book, no word will be able to change that, another Power is needed. I will nonetheless write that Sannyasin, but afterwards nothing but tales or Poetry.
   ***

0 1965-12-28, #Agenda Vol 06, #The Mother, #Integral Yoga
   Pretty paper to write Poetry on!
   Will you write?
  --
   The first Poetry I was able to appreciate in my life was Savitri. Previously, I was closed. To me it was always words: hollow, hollow, hollow, just wordswords for words sake. So as a sound its pretty, but I prefer music. Music is better!
   This translation of Savitri gives me a whole lot of fun, its great fun for me.

0 1966-02-23, #Agenda Vol 07, #The Mother, #Integral Yoga
   But there is a sequel to the story. He came afterwards. Once he was formed again, he came; he stayed near me and told me, I have come because it was my desire and intention to go to India with you, and I want to accomplish it. And he came with me; when I left for India (the second time), he came with me. And long after my returnlong after, when Pavitra came hereone night, I suddenly saw F. and Pavitra embracing each other! Just like that. Then F. entered him. And the interesting thing is that Pavitra had no liking for Poetry and very little interest in art, and after that boy united with him, he began having a very special understanding of Poetry and showing interest in art! He really felt a change in him (I hadnt told him what had happened).
   I have seen several such cases, but that one was so clear! So clear, so precise. And without the collaboration of active thought I wasnt thinking about it at all: one night I saw them like that, Pavitra having come out of his body, and the other leaving (he was always in repose in my aura), he left my aura, they embraced, and then one entered the other.1

0 1966-03-04, #Agenda Vol 07, #The Mother, #Integral Yoga
   There is here a level (gesture at breast level) where something plays with words, images, sentences, like that (shimmering, undulating gesture): it makes pretty images; and it has a power to put you in contact with the thing, maybe a greater power (at least as great, but maybe greater) than here (gesture at the top of the forehead), than the metaphysical expression (metaphysical is a way of putting it). Images. That is, Poetry. There is in it an almost more direct access to that inexpressible Vibration. I see Sri Aurobindos expression in its poetic form, it has a charm and a simplicitya simplicity and a softness and a penetrating charm that puts you in direct contact much more intimately than all those things of the head.
   There. So in fact, we havent done a thing (laughing), weve wasted our time!

0 1966-06-15, #Agenda Vol 07, #The Mother, #Integral Yoga
   My idea (if I have one), and what makes me persist in writing, is that all that I have said in an intellectual way, which appeals to peoples intellectual consciousness, Id like to say it in a deeper way, which is a rhythm (people call it Poetry, but as for me I dont understand a thing about Poetry). What Id like is to express an inner rhythm, to touch another layer of the being, deeper than those things of the intellect. The Adventure of Consciousness appeals to peoples intellectual consciousness, its to make them understand. But what Id like is to touch something else. To say the same thing with an inner rhythm images.
   Maybe thats why, maybe I am also responsible?

0 1970-09-12, #Agenda Vol 11, #The Mother, #Integral Yoga
   Oh, isnt that Poetry?
   Of course not, Mother! Thats how it IS. One just has to see: the outer world is more and more infernal.

02.01 - The World-Stair, #Savitri, #Sri Aurobindo, #Integral Yoga
    And the sovereign sweetness or violent Poetry
    Of their beautiful or terrible delight.

02.01 - The World War, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   When man was a dweller of the forest,a jungle man,akin to his forbear the ape, his character was wild and savage, his motives and impulsions crude, violent, egoistic, almost wholly imbedded in, what we call, the lower vital level; the light of the higher intellect and intelligence had not entered into them. Today there is an uprush of similar forces to possess and throw man back to a similar condition. This new order asks only one thing of man, namely, to be strong and powerful, that is to say, fierce, ruthless, cruel and regimented. Regimentation can be said to be the very characteristic of the order, the regimentation of a pack of wild dogs or wolves. A particular country, nation or raceit is Germany in Europe and, in her wake, Japan in Asiais to be the sovereign nation or master race (Herrenvolk); the rest of mankindo ther countries and peoplesshould be pushed back to the status of servants and slaves, mere hewers of wood and drawers of water. What the helots were in ancient times, what the serfs were in the mediaeval ages, and what the subject peoples were under the worst forms of modern imperialism, even so will be the entire mankind under the new overlordship, or something still worse. For whatever might have been the external conditions in those ages and systems, the upward aspirations of man were never doubted or questioned they were fully respected and honoured. The New Order has pulled all that down and cast them to the winds. Furthermore in the new regime, it is not merely the slaves that suffer in a degraded condition, the masters also, as individuals, fare no better. The individual here has no respect, no freedom or personal value. This society or community of the masters even will be like a bee-hive or an ant-hill; the individuals are merely functional units, they are but screws and bolts and nuts and wheels in a huge relentless machinery. The higher and inner realities, the spontaneous inspirations and self-creations of a free soulart, Poetry, literaturesweetness and light the good and the beautifulare to be banished for ever; they are to be regarded as things of luxury which enervate the heart, diminish the life-force, distort Nature's own virility. Man perhaps would be the worshipper of Science, but of that Science which brings a tyrannical mastery over material Nature, which serves to pile up tools and instruments, arms and armaments, in order to ensure a dire efficiency and a grim order in practical life.
   Those that have stood against this Dark Force and its over-shadowing menaceeven though perhaps not wholly by choice or free-will, but mostly compelled by circumstancesyet, because of the stand they have taken, now bear the fate of the world on their shoulders, carry the whole future of humanity in their march. It is of course agreed that to have stood against the Asura does not mean that one has become sura, divine or godlike; but to be able to remain human, human instruments of the Divine, however frail, is sufficient for the purpose, that ensures safety from the great calamity. The rule of life of the Asura implies the end of progress, the arrest of all evolution; it means even a reversal for man. The Asura is a fixed type of being. He does not change, his is a hardened mould, a settled immutable form of a particular consciousness, a definite pattern of qualities and activitiesgunakarma. Asura-nature means a fundamental ego-centricism, violent and concentrated self-will. Change is possible for the human being; he can go downward, but he can move upward too, if he chooses. In the Puranas a distinction has been made between the domain of enjoyment and the domain of action. Man is the domain of action par excellence; by him and through him evolve new and fresh lines of activity and impulsion. The domain of enjoyment, on the other hand, is where we reap the fruits of our past Karma; it is the result of an accumulated drive of all that we have done, of all the movements we have initiated and carried out. It is a status of being where there is only enjoyment, not of becoming where there can be development and new creation. It is a condition of gestation, as it were; there is no new Karma, no initiative or change in the stuff of the consciousness. The Asuras are bhogamaya purusha, beings of enjoyment; their domain is a cumulus of enjoyings. They cannot strike out a fresh line of activity, put forth a new mode of energy that can work out a growth or transformation of nature. Their consciousness is an immutable entity. The Asuras do not mend, they can only end. Man can certainly acquire or imbibe Asuric force or Asura-like qualities and impulsions; externally he can often act very much like the Asura; and yet there is a difference. Along with the dross that soils and obscures human nature, there is something more, a clarity that opens to a higher light, an inner core of noble metal which does not submit to any inferior influence. There is this something More in man which always inspires and enables him to break away from the Asuric nature. Moreover, though there may be an outer resemblance between the Asuric qualities of man and the Asuric qualities of the Asura, there is an intrinsic different, a difference in tone and temper, in rhythm and vibration, proceeding as they do, from different sources. However cruel, hard, selfish, egocentric man may be, he knows, he admitsat times, if hot always, at heart, if not openly, subconsciously, if not wholly consciously that such is not the ideal way, that these qualities are not qualifications, they are unworthy elements and have to be discarded. But the Asura is ruthless, because he regards ruthlessness as the right thing, as the perfect thing, it is an integral part of his swabhava and swadharma, his law of being and his highest good. Violence is the ornament of his character.

02.03 - The Shakespearean Word, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   One can go on ad infinitum, for in a sense Poetry is nothing but images. Still I am tempted to give a last citation from Dante, the superb Dante, in his grand style simple:
   Logiornosen'andava, el'aerbruno
  --
   In the world of Poetry Dante is a veritable avatar . His language is a supreme magic. The word-unit in him is a quantum of highly concentrated perceptive energy, Tapas. In Kalidasa the quantum is that of the energy of the light in sensuous beauty. And Homer's voice is a quantum of the luminous music of the spheres.
   The word-unit, the language quantum in Sri Aurobindo's Poetry is a packet of consciousness-force, a concentrated power of Light (instinct with a secret Delight)listen:
   Lone in the silence and to the vastness bared,

02.06 - Boris Pasternak, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Pasternak's Poetry is characterized by this tragic sensitivity, a nostalgia woven into the fabric of the utterance, its rhythm and imagery, its thought and phrasing. "The eternal note of sadness" which Arnold heard and felt in the lines of Sophocles, we hear in the verses of Pasternak as well. Almost echoing the psalmist's cry of Vanity of vanities, Pasternak sings:
   But who are we, where do we come from

02.07 - George Seftris, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Seferis' Poetry sobsexplicit or muffledmuttering or murmuring like a refraina mantra:
   Oh the pity of it all!
  --
   His Poetry fulfils perfectly the function of the tragic drama, in the Aristotelian waypurification by evoking terror and pityevoking terror, for example in these lines:
   On our left the south wind blows and drives us mad,
  --
   This is what exactly Seferis says about this "old man" of Greece. "He has no inclination to reform. On the contrary, he has an obvious loathing for any reformer. He writes as though he were telling us: if men are such as they are, let them go where they deserve to be. It is not my business to correct them." Poetry (Chicago), October 1964.
   "Just a little more", Mythistorema.

02.08 - Jules Supervielle, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   His Poetry is very characteristic and adds almost a new vein to the spirit and manner of French Poetry. He has bypassed the rational and emotional tradition of his adopted country, brought in a mystic way of vision characteristic of the East. This mysticism is not however the normal spiritual way but a kind of oblique sight into what is hidden behind the appearance. By the oblique way I mean the sideway to enter into the secret of things, a passage opening through the side. The mystic vision has different ways of approachone may look at the thing straight, face to face, being level with it with a penetrating gaze, piercing a direct entry into the secrets behind. This frontal gaze is also the normal human way of knowing and understanding, the scientific way. It becomes mystic when it penetrates sufficiently behind and strikes a secret source of another light and sight, that is, the inner sight of the soul. The normal vision which I said is the scientist's vision, stops short at a certain distance and so does not possess the key to the secret knowledge. But an aspiring vision can stretch itself, drill into the surface obstacle confronting it, and make its contact with the hidden ray behind. There is also another mystic way, not a gaze inward but a gaze upward. The human intelligence and the higher brain consciousness seeks a greater and intenser light, a vaster knowledge and leaps upward as it were. There develops a penetrating gaze towards heights up and above, to such a vision the mystery of the spirit slowly reveals itself. That is Vedantic mysticism. There is a look downward also below the life-formation and one enters into contact with forces and beings and creatures of another type, a portion of which is named Hell or Hades in Europe, and in India Ptl and rastal. But here we are speaking of another way, not a frontal or straight movement, but as I said, splitting the side and entering into it, something like opening the shell of a mother of pearl and finding the pearl inside. There is a descriptive mystic: the suprasensuous experience is presented in images and feeling forms. That is the romantic way. There is an explanatory mysticism: the suprasensuous is set in intellectual or mental terms, making it somewhat clear to the normal understanding. That is I suppose classical mysticism. All these are more or less direct ways, straight approaches to the mystic reality. But the oblique is differentit is a seeking of the mind and an apprehension of the senses that are allusive, indirect, that move through contraries and negations, that point to a different direction in order just to suggest the objective aimed at. The Vedantic (and the Scientific too) is the straight, direct, rectilinear gaze the Vedantin says, May I look at the Sun with a transfixed gaze'; whether he looks upward or inward or downward. But the modem mystic is of a different mould. He has not that clear absolute vision, he has the apprehension of an aspiring consciousness. His is not religious Poetry for that matter, but it is an aspiration and a yearning to perceive and seize truth and reality that eludes the senses, but seems to be still there. We shall understand better by taking a poem of his as example. Thus:
   Alter Ego
  --
   The poet speaks obliquely but the language he speaks by itself is straight, clear, simple, limpid. No rhetoric is there, no exaggeration, no effort at effect; the voice is not raised above the normal speech level. That is indeed the new modern poetic style. For according to the new consciousness prose and Poetry are not two different orders, the old order created Poetry in heaven, the new Poetry wants it upon earth; level with earth, the common human speech, the spoken tongues give the supreme intrinsic beauty of poetic cadence. The best Poetry embodies the quintessence of prose-rhythm, its pure spontaneousand easy and felicitous movement. In English the hiatus between the poetic speech and prose is considerable, in French it is not so great, still the two were kept separate. In England Eliot came to demolish the barrier, in France a whole company has come up and very significant among them is this foreigner from Spain who is so obliquely simple and whose Muse has a natural yet haunting magic of divine things:
   Elle lve les yeux et la brises'arrte

02.09 - Two Mystic Poems in Modern French, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Poetry, Volume 104, No 5, August 1964.
   "Et Les l Ies Feront Silence," 6.

02.11 - Hymn to Darkness, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Two Mystic Poems in Modern Bengali Mysticism in Bengali Poetry
   Other Authors Nolini Kanta Gupta Seer PoetsHymn to Darkness
  --
   Two Mystic Poems in Modern Bengali Mysticism in Bengali Poetry

02.12 - Mysticism in Bengali Poetry, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  object:02.12 - Mysticism in Bengali Poetry
  author class:Nolini Kanta Gupta
  --
   Other Authors Nolini Kanta Gupta Seer PoetsMysticism in Bengali Poetry
   Mysticism in Bengali Poetry
   Bengali Poetry was born some time towards the end of an era of decline in the Indian consciousness, almost towards the close of what is called the Buddhist period, but it was born with a veritable crown on its head. For it was sheer mystic Poetry, mystic in substance, mystic in manner and expression. The poets were themselves mystics, that is to say spiritual seekers, sadhaks they were called Siddhas or Siddhacharyas. They told of their spiritual, rather occult experiences in an occult or oblique manner, the very manner of the ancient Vedic Rishis, in figures and symbols and similes. It was a form of beauty, not merely of truthof abstract metaphysical truth that rose all on a sudden, as it were, out of an enveloping darkness. It shone for a time and then faded slowly, perhaps spread itself out in the common consciousness of the people and continued to exist as a backwash in popular songs and fables and proverbs. But it was there and came up again a few centuries later and the crest is seen once more in a more elevated, polished and dignified form with a content of mental illumination. I am referring to Chandidasa, who was also a sadhak poet and is usually known as the father of Bengali Poetry, being the creator of modern Bengali Poetry. He flourished somewhere in the fourteenth century. That wave too subsided and retired into the background, leaving in interregnum again of a century or more till it showed itself once more in another volume of mystic Poetry in the hands of a new type of spiritual practitioners. They were the Yogis and Fakirs, and although of a popular type, yet possessing nuggets of gold in their utterances, and they formed a large family. This almost synchronised with the establishment and consolidation of the Western Power, with its intellectual and rational enlightenment, in India. The cultivation and superimposition of this Western or secular light forced the native vein of mysticism underground; it was necessary and useful, for it added an element which was missing before; a new synthesis came up in a crest with Tagore. It was a neo-mysticism, intellectual, philosophical, broad-based, self-conscious. Recently however we have been going on the downward slope, and many, if not the majority among us, have been pointing at mysticism and shouting: "Out, damned spot!" But perhaps we have struck the rock-bottom and are wheeling round.
   For in the present epoch we are rising on a new crest and everywhere, in all literatures, signs are not lacking of a supremely significant spiritual Poetry being born among us.
   In order to give you a taste of what this Poetry is and how it evolved I shall cite samples of the various waves at their crest as they rose from epoch to epoch till today.
   The earliest Siddhacharya says:

02.13 - Rabindranath and Sri Aurobindo, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Mysticism in Bengali Poetry Appendix
   Other Authors Nolini Kanta Gupta Seer PoetsRabindranath and Sri Aurobindo
  --
   Sri Aurobindo retired from the outer political world to devote himself more intensively to the discovery and conquestof a new consciousness and force, glimpses of which he was having at the time and which alone could save mankind and recreate it. From 1910 to 1914 he was, he said, silently developing this new power in seclusion and in 1914 he began to give to the world the result of his realisations through his monthly review Arya. In five major sequences published month after month through several years, he envisaged, in the main, the progressive march of man towards a divine life on earth, towards the unity of mankind and a perfect social order. One of these serials was called The Future Poetry in which he traced the growth and development that world Poetry is undergoing towards its future form that would voice the dawn of a New Age of the Spirit. Sri Aurobindo hailed those who feel and foresee this distant dawn behind the horizon as the Forerunners of the new Spirit, among whom he included Rabindranath, because he saw in Tagore's the first beginnings, "a glint of the greater era of man's living", something that "seems to be in promise." "The Poetry of Tagore," Sri Aurobindo says, "owes its sudden and universal success to this advantage that he gives us more of this discovery and fusion for which the mind of our age is in quest than any other creative writer of the time. His work is a constant music of the overpassing of the borders, a chant-filled realm in which the subtle sounds and lights of the truth of the spirit give new meanings to the finer subtleties of life."
   Characterising Tagore's Poetry, in reference to a particular poem, Sri Aurobindo once wrote: "But the poignant sweetness, passion and spiritual depth and mystery of a poem like this, the haunting cadences subtle with a subtlety which is not of technique but of the soul, and the honey-laden felicity of the expression, these are the essential Rabindranath and cannot be imitated because they are things of the spirit and one must have the same sweetness and depth of soul before one can hope to catch any of these desirable qualities." Furthermore: "One of the most remarkable peculiarities of Rabindra Babu's genius is the happiness and originality with which he has absorbed the whole spirit of Vaishnava Poetry and turned it into something essentially the same and yet new and modern. He has given the old sweet spirit of emotional and passionate religion an expression of more delicate and complex richness voiceful of subtler and more penetratingly spiritual shades of feeling than the deep-hearted but simple early age of Bengal could know."
   Certain coincidences and correspondences in their lives may be noticed here. The year 1905 and those that immediately followed found them together on the crest wave of India's first nationalist resurgence. Again both saw in the year 1914 a momentous period marked by events of epochal importance, one of which was the First World War. For Tagore it was yuga-sandhi, the dying of the old age of Night to the dawning of a new with its blood-red sunrise emerging through the travail of death, sorrow and pain". For Sri Aurobindo it was a cataclysm intended by Nature to effect a first break in the old order to usher in the new. The significant year 1914 was also the period when Rabindranath expressed in the magnificent series of poems of the Balaka his visions and experiences of the forces at work on earth, and Sri Aurobindo began revealing through the pages of the Arya the truths of the supramental infinities that were then pouring down into him and through him into the earth's atmosphere.
  --
   Mysticism in Bengali Poetry Appendix

02.14 - Appendix, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   I did not come to appreciate the Poetry of Wordsworth in my school days, it happened in college, and to a large extent thanks to Professor Manmohan Ghose. In our school days, the mind and heart of Bengali students were saturated with the Poetry of Tagore: .
   In the bower of my youth the love-bird sings,
  --
   This Poetry belongs to the type once characterised as follows by our humorous novelist Prabhat Mukherji through one of his characters, asdhu, describing the charms of the Divine Name:
   It has the sweetness and the sugar
  --
   Once we cross beyond these second gates we reach an inner region, a secluded apartment of the soul where Poetry assumes the garb of magic, a transcendent skill lends to words the supernatural beauty and grace of a magician's art. How often we have read these lines and heard them repeated and yet they have not grown stale:
   A voice so thrilling never was heard. . .
  --
   Thus, with this poet we gain admittance to the very heart, the innermost sanctuary of Poetry where we fully realise what our old Indian critics had laid down as their final verdict, namely, that the poetic delight is akin to the Delight of Brahman.
   But even the moon has its spots, and in Wordsworth the spots are of a fairly considerable magnitude. Manmohan Ghose too had mentioned to us these defects. Much of Wordsworth is didactic and rhetoric, that is, of the nature of preaching, hence prosaic and non-poetical although couched in verse. Ghose used to say that even the Ode on the Intimations of Immortality which is so universally admired is mainly didactic and is by and large rhetoric, with very little real Poetry in it. I must confess however that to me personally, some of its passages have a particular charm, like
   Our birth is but a sleep and forgetting:
  --
   are indeed the highest peaks of English Poetry.
   Sri Aurobindo has said that Vyasa is the most masculine of poets. Echoing his words we may say that Wordsworth is the most masculine of English poets. This classification of poets into "masculine" and "feminine" was made by the poet Coleridge. "Masculine" means in the first place, shorn of ornament, whereas the "feminine" loves ornament. Secondly, the masculine has intellectuality and the feminine emotionalism. Then again, femininity is sweetness and charm, masculinity implies hard restraint; the feminine has movement, like the flow of a stream, the play of melody, while the masculine has immobility, like the stillness of sculpture, the stability of a rock. This is the difference between the Mahabharata and the Ramayana, between the styles of Vyasa and Valmiki. This too is the difference between Wordsworth and Shelley. The Ramayana has always been recognised for its poetic beauty; Valmiki is our first great poet, di-kavi. In the Mahabharata we appreciate not so much the beauty of poetic form as a treasury of knowledge, on polity and ethics, culture and spirituality. We consider the Gita primarily as a work of philosophy, not of Poetry. In the same way, Wordsworth has not been able to capture the mind and heart of India or Bengal as Shelley has done. In order truly to appreciate Wordsworth's Poetry, one must be something of a meditative ascetic,dhyn, tapasv indeed,
   quiet as a nun Breathless

03.08 - The Standpoint of Indian Art, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   A Greek Apollo or Venus or a Madonna of Raphael is a human form idealized to perfection,moulded to meet the criterion of beauty which the physical eye demands. The purely sthetic appeal of such forms consists in the balance and symmetry, the proportion and adjustment, a certain roundedness and uniformity and regularity, which the physical eye especially finds beautiful. This beauty is akin to the beauty of diction in Poetry.
   Apart from the beauty of the mere form, there is behind it and informing it what may be called the beauty of character, the beauty revealed in the expression of psychological movement. It corresponds to the beauty of rhythm in Poetry. Considered sthetically, the beauty of character, in so far as it is found in what we have called formal art, is a corollary,an ornamental and secondary theme whose function is to heighten the effect of the beauty of form, or create the atmosphere and environment necessary for its display.
   A Chinese or a Japanese piece of artistic creation is more of a study in character than in form; but it is a study in character in a deeper sense than the meaning which the term usually bears to an European mind or when it is used in reference to Europe's art-creations.

03.09 - Art and Katharsis, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   The voice of Art is sweetly persuasivekntsmmita, as the Sanskrit rhetoricians say-it is the voice of the beloved, not that of the school-master. The education of Poetry is like the education of Nature: the poet said of the child that grew in sun and shower
   And beauty born of murmuring sound

03.10 - Hamlet: A Crisis of the Evolving Soul, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   Art and Katharsis Modernist Poetry
   Other Authors Nolini Kanta Gupta The Malady of the CenturyHamlet: A Crisis of the Evolving Soul
  --
   Over against the personality of Hamlet stands another which represents false height, the wrong perfection, the counterfeit ideal. Polonius is humanity arrested in its path of straight development and deviated into a cut-de-sac of self-conceit and surface urbanity, apparent cleverness and success and pretentious and copy-book morality. When one has outgrown the barbarian, one runs the risk of becoming a snob or philistine. It is a side table-land, as it were, on mid-heights, the standard perhaps of a commoner humanity, but which the younger ideal has to transcend or avoid or even to destroy, so that it may find itself and live its own life. To the philistine too the mere biological man is a taboo, but he seeks to confine human nature into a scheme of codes and maxims and lifeless injunctions and prohibitions. He is also the man of Reason but without the higher inflatus, the living and creative Something More the Poetry, the vision, the dream that would transfigure the merely pragmatic, practical, worldly wise the bourgeoisinto the princely aristocratic idealist, elevate the drab terre terre To-day into the glory of a soaring To-morrow.
   What is the crisis that confronts the ascending visionary soul? What is the obstacle that the Idealist has to face, the danger zone that he has to traverse in order to arrive at- the realisation of his ideal?
  --
   Art and Katharsis Modernist Poetry

03.11 - Modernist Poetry, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
  object:03.11 - Modernist Poetry
  author class:Nolini Kanta Gupta
  --
   Other Authors Nolini Kanta Gupta The Malady of the CenturyModernist Poetry
   Modernist Poetry
   A Modernist poet sings
  --
   Were formerly the potentiates of Poetry,
   But now what have they to do with one another
  --
   The modernist may chew well, but, I, am afraid, he feeds upon the husk, the chaff, the offal. Not that these things too cannot be incorporated in the poetic scheme; the spirit of Poetry is catholic enough and does not disdain them, but can transfigure them into things of eternal beauty. Still how to characterise an inspiration that is wholly or even largely pre-occupied with such objects? Is it not sure evidence that the inspiration is a low and slow flame and does not possess the transfiguring white heat? Bottrall's own lines do not seem to have that quality, it is merely a lessona rhetorical lesson, at bestin poetics.
   A poeta true poetdoes not compose to exemplify a theory; he creates out of the fullness of an inner experience. It may be very true that the modern poetic spirit is seeking a new path, a new organisation, a "new order", as it were, in the poetic realm: the past forms and formulae do not encompass or satisfy its present inner urge. But solution of the problem does not lie in a sort of mechanical fabrication of novelties. A new creation is new, that is to say, fresh and living, not because of skilful manipulation of externals, but because of a new, a fresh and living inspiration. The fountain has to be dug deep and the revivifying waters released.

03.12 - TagorePoet and Seer, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   Modernist Poetry The March of Civilisation
   Other Authors Nolini Kanta Gupta The Malady of the CenturyTagorePoet and Seer
  --
   Modernist Poetry The March of Civilisation

04.07 - Matter Aspires, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   I said it is an amusing discussion. But what is apt to be forgotten in such "scientific" discussions is, as has been pointed out by Rev. Trethowan in his criticism of Sir Robert, that all genuine creation is a freak, that is to say, it is a movement of freedom, of incalculable spontaneity. A machine is exactly the sum of its component parts; it can give that work (both as regards quantity and quality) which is confined within the frame and function of the parts. Man's creative power is precisely this that it can make two and two not merely four but infinity. There is a force of intervention in him whichupsets the rule of the parallelogram of forces that normally governs Matter and even his own physical brain and mind. There is in him truly a deus ex machine. Poetry, art, all creative act is a revelation, an intrusion of a truth, a reality from another plane, of quite a different order, into the rigid actuality and factual determinism.. Man's secret person is a sovereignly free will. A machine is wholly composed of actualities-the given-and brings out only a resultant of the permutation and combination of the data: it is a pure deduction.
   But there is another even more interesting aspect of the matter. The attempt of the machine to embody or express something non-mechanical, to leap as high as possible from material objects to psychological values has a special significance for us today and is not all an amusing or crazy affair. It indicates, what we have been always saying, an involved pressure in Matter, a presence, a force of consciousness secreted there that seeks release and growth and expression.

05.04 - Of Beauty and Ananda, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Poetry is the soul's delight seeking perfect expression in speech.
   Speech is self-expression. It is the organ of self-consciousness. The nature of the speech shows the nature of the self-consciousness. The degree of perfection in utterance measures also the extent to which one is conscious of oneself.

07.43 - Music Its Origin and Nature, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
   There is a graded scale in the source of music. A whole category of music is there that comes from the higher vital, for example: it is very catching, perhaps even a little vulgar, something that twines round your nerves, as it were, and twists them. It catches you somewhere about your loinsnavel centre and charms you in its way. As there is a vital music there is also what can be called psychic music coming from quite a different source; there is further a music which has spiritual origin. In its own region this higher music is very magnificent; it seizes you deeply and carries you away somewhere else. But if you were to express it perfectlyexecute ityou would have to pass this music too through the vital. Your music coming from high may nevertheless fall absolutely flat in the execution, if you do not have that intensity of vital vibration which alone can give it its power and splendour. I knew people who had very high inspiration, but their music turned to be quite commonplace, because their vital did not move. Their spiritual practice put their vital almost completely to sleep; yes, it was literally asleep and did not work at all. Their music thus came straight into the physical. If you could get behind and catch the source, you would see that there was really something marvellous even there, although externally it was not forceful or effective. What came out was a poor little melody, very thin, having nothing of the power of harmony which is there when one can bring into play the vital energy. If one could put all this power of vibration that belongs to that vital into the music of higher origin we would have the music of a genius. Indeed, for music and for all artistic creation, in fact, for literature, for Poetry, for painting, etc. an intermediary is needed. Whatever one does in these domains depends doubtless for its intrinsic value upon the source of the inspiration, upon the plane or the height where one stands. But the value of the execution depends upon the strength of the vital that expresses the inspiration. For a complete genius both are necessary. The combination is rare, generally it is the one or the other, more often it is the vital that predominates and overshadows.
   When the vital only is there, you have the music of caf concert and cinema. It is extraordinarily clever and at the same time extraordinarily commonplace, even vulgar. Since, however, it is so clever, it catches hold of your brain, haunts your memory, rings in (or wrings) your nerves; it becomes so difficult to get rid of its influence, precisely because it is done so well, so cleverly. It is made vitally with vital vibrations, but what is behind is not, to say the least, wholesome. Now imagine the same vital power of expression joined to the inspiration coming from above, say, the highest possible inspiration when the entire heaven seems to open out, then it is music indeed; Some things in Csar Franck, some in Beethoven, some in Bach, some in some others possess this sovereignty. But after all it is only a moment, it comes for a moment and does not abide. There is not a single artist whose whole work is executed at such a pitch. The inspiration comes like a flash of lightning, most often it lasts just long enough to be grasped and held in a few snatches.

08.13 - Thought and Imagination, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   Thought the Creator Poetry and Poetic Inspiration
   Other Authors Nolini Kanta Gupta Part EightThought and Imagination
  --
   Thought the Creator Poetry and Poetic Inspiration

08.14 - Poetry and Poetic Inspiration, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
  object:08.14 - Poetry and Poetic Inspiration
  author class:Nolini Kanta Gupta
  --
   Poetry and Poetic Inspiration
   I have said: " Poetry is sensuality of the mind". How is it so? It is because Poetry is in relation with the forms and images of ideasforms, images, sensations, impressions, emotions attached to ideas are the sensual or, if you prefer to call it, the sensuous side of things. All such relations are sensuousness. And Poetry concerns itself with this idea of mind and thought. It approaches the world of ideas through their appearances, through the play of sensations and emotions around them. It is not like philosophy or metaphysics which endeavours to look into the inside of ideas. Poetry, on the other hand, cannot be Poetry unless it evokes, that is to say, unless it gives a form, a sensuous form to the idea. I have used an epigrammatic phrase to express this truth and even chosen the stronger word to give an edge to it. People are called sensual when they are occupied solely with the sensations of the physical life, with the forms and formations and movements of the material world, when they live with their senses and enjoy the things of the senses. The same tendency instead of going out towards the external life, the physical world, when it turns towards objects of the mind, towards ideas gives rise to Poetry. Poetry is a world under the aspect of the beauty of form. It expresses the beauty of an idea, the harmony or rhythm of a thought, giving all that a concrete shape or image: it becomes a play of images, a play of sounds, a play of words. Thus instead of a sensuality of matter, we have a sensuality of the mind. I have not taken the word in a pejorative sense, nor in a moral sense; it is simply descriptive.
   I do not mean, in other words, that such a view, the poetic view, necessarily prevents you from seeing the truth of things. It only describes the way of the poet's approach as poet. Indeed, if it were a choice between reading a book of good Poetry and reading a book of metaphysics, personally I would prefer Poetry, for that is less arid! My definition of Poetry, I assure you, is not a condemnation, it is only a description, a statement of fact, namely, that Poetry is the sensual or sensuous approach to truth. It is perhaps a somewhat paradoxical way of putting the thing: it is meant to strike the thought, to awaken it to the perception of a reality which is usually obscured by the habitual, traditional or "classical" way of thinking.
   If you mean by inspiration that the poet does not think when he writes a poem, that is to say, he has gone beyond all thought, has made his mind silent, silent and immobile, has opened himself to inner or higher regions and writes almost automatically, well, such a thing happens perhaps once a thousand years. It is not a common phenomenon. A Yogi has the power to do that. What you normally mean, however, by an inspired poet is something quite different. People who have some kind of genius, who have an opening into other and higher regions are called "inspired" ; persons who have made some discovery are also included in that category. Each time you are in relation with a thing belonging to a domain superior to the normal human consciousness, you are inspired. And when you are not totally bound to the very ordinary level you do receive "inspirations" from above. It is the same in the case of a poet. The source of his creation is elsewhere up above the ordinary mind; for that he need not possess an empty vacant mind.

08.15 - Divine Living, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   Poetry and Poetic Inspiration Perfection and Progress
   Other Authors Nolini Kanta Gupta Part EightDivine Living
  --
   Poetry and Poetic Inspiration Perfection and Progress

09.13 - On Teachers and Teaching, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   But when did I say that a student is free to come and go as he likes? You must not confuse matters. I said and I repeat that if a student feels that a particular subject is foreign to him, if for example, he has a capacity for literature and Poetry and a disgust or even dislike for mathematics, in that case, if the student comes and tells me, "I prefer not to follow the course of mathematics", I cannot answer him, "No, you must absolutely do it". But once a student has decided to follow a class, it is quite an elementary discipline for him to follow the class, to attend it regularly, to behave decently while he is there. Otherwise it is not becoming of him to go to the school at all. I have never encouraged people to loiter about during class hours or to come one day and be absent the next day, never, for, to begin with, if you are not able to submit yourself to this very elementary discipline, you will never succeed in having the least control over yourself; you will be always the slave of every impulse and fancy of yours.
   If you do not want to pursue a certain line of knowledge, it it is all right, you are not obliged to do so. But if you decide to do a thing in life, whatever it is, you must do it honestly in a disciplined, regular and methodical manner, without allowing yourself to be fanciful. I have never approved of a person being the plaything of his impulses and caprices. You can never get sanction for that out of me, for you are then no longer a human being but an animal.

1.00 - PRELUDE AT THE THEATRE, #Faust, #Johann Wolfgang von Goethe, #Poetry
  If Poetry be your vocation,
  Let Poetry your will obey!
  Full well you know what here is wanting;

10.15 - The Evolution of Language, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   Our human language cannot expect to attain that supreme height of felicity of expression but wherever something of the vibration has been communicated to it by the magic hand of the creative poet, we have the 'mantra', the supreme, the mantric Poetry.
   ***

1.01 - An Accomplished Westerner, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  Paul's School, where he had enrolled, was so surprised at the aptitude of his young student that he personally coached him in Greek. Three years later, Sri Aurobindo could skip half his classes and spend most of his time engrossed in his favorite occupation:reading. Nothing seemed to escape this voracious adolescent (except cricket, which held as little interest for him as Sunday school.) Shelley and "Prometheus Unbound," the French poets, Homer, Aristophanes, and soon all of European thought for he quickly came to master enough German and Italian to read Dante and Goe the in the original peopled a solitude of which he has said nothing. He never sought to form relationships, while Manmohan, the second brother, roamed through London in the company of his friend Oscar Wilde and would make a name for himself in English Poetry. Each of the three brothers led his separate life. However, there was nothing austere about Sri Aurobindo, and certainly nothing of the puritan (the prurient,8 as he called it); it was just that he was "elsewhere," and his world was 6
  Life of Sri Aurobindo, 8
  --
  replete. He even had a way of jesting with a straight face, which never left him: Sense of humour? It is the salt of existence. Without it the world would have got utterly out of balance it is unbalanced enough already and rushed to a blaze long ago. 9 For there is also Sri Aurobindo the humorist, and that Sri Aurobindo is perhaps more important than the philosopher whom Western universities speak of so solemnly. Philosophy, for Sri Aurobindo, was only a way of reaching those who could not understand anything without explanations; it was only a language, just as Poetry was another, clearer and truer language. But the essence of his being was humor, not the sarcastic humor of the so-called spiritual man, but a kind of joy that cannot help dancing wherever is passes. Now and then, in a flash that leaves us somewhat mystified, we sense behind the most tragic, the most distressing human situations an almost facetious laughter, as if a child were playing a tragedy and suddenly made a face at himself because it is his nature to laugh, and ultimately because nothing in the world and no one can affect that place inside ourselves where we are ever a king.
  Indeed, perhaps this is the true meaning of Sri Aurobindo's humor: a refusal to see things tragically, and, even more so, a sense of inalienable royalty.

1.01 - Economy, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  We might try our lives by a thousand simple tests; as, for instance, that the same sun which ripens my beans illumines at once a system of earths like ours. If I had remembered this it would have prevented some mistakes. This was not the light in which I hoed them. The stars are the apexes of what wonderful triangles! What distant and different beings in the various mansions of the universe are contemplating the same one at the same moment! Nature and human life are as various as our several constitutions. Who shall say what prospect life offers to another? Could a greater miracle take place than for us to look through each others eyes for an instant? We should live in all the ages of the world in an hour; ay, in all the worlds of the ages. History, Poetry,
  Mythology!I know of no reading of anothers experience so startling and informing as this would be.

1.01 - Foreward, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
  of wisdom, a great mass of inspired Poetry, the work of
  Rishis, seers and sages, who received in their illumined minds
  --
  That was the general aspect of the ancient worship in Greece, Rome, India and among other ancient peoples. But in all these countries these gods began to assume a higher, a psychological function; Pallas Athene who may have been originally a Dawn-Goddess springing in flames from the head of Zeus, the Sky-God, Dyaus of the Veda, has in classical Greece a higher function and was identified by the Romans with their Minerva, the Goddess of learning and wisdom; similarly, Saraswati, a river Goddess, becomes in India the goddess of wisdom, learning and the arts and crafts: all the Greek deities have undergone a change in this direction - Apollo, the Sun-God, has become a god of Poetry and prophecy, Hephaestus the Fire-God a divine smith, god of labour. In India the process was arrested half-way, and the Vedic Gods developed their psychological functions but retained more fixedly their external character and for higher purposes gave place to a new pantheon. They had to give precedence to Puranic deities who developed out of the early company but assumed larger cosmic functions, Vishnu, Rudra, Brahma - developing from the Vedic Brihaspati, or Brahmanaspati, - Shiva, Lakshmi, Durga. Thus in India the change in the gods was less complete, the earlier deities became the inferior divinities of the Puranic pantheon and this was largely due to the survival of the Rig Veda in which their psychological and their external functions co-existed and are both given a powerful emphasis; there was no such early literary record to maintain the original features of the Gods of Greece and Rome.
  This change was evidently due to a cultural development in these early peoples who became progressively more mentalised and less engrossed in the physical life as they advanced in civilisation and needed to read into their religion and their deities finer and subtler aspects which would support their more highly mentalised concepts and interests and find for them a true spiritual being or some celestial figure as their support and sanction.
  --
  these ancient mystics. But any rendering of such great Poetry as
  the hymns of the Rig Veda, magnificent in their colouring and

1.01 - 'Imitation' the common principle of the Arts of Poetry., #Poetics, #Aristotle, #Philosophy
  object:1.01 - 'Imitation' the common principle of the Arts of Poetry.
  I propose to treat of Poetry in itself and of its various kinds, noting the essential quality of each; to inquire into the structure of the plot as requisite to a good poem; into the number and nature of the parts of which a poem is composed; and similarly into whatever else falls within the same inquiry. Following, then, the order of nature, let us begin with the principles which come first.
  Epic Poetry and Tragedy, Comedy also and Dithyrambic: Poetry, and the music of the flute and of the lyre in most of their forms, are all in their general conception modes of imitation. They differ, however, from one: another in three respects,--the medium, the objects, the manner or mode of imitation, being in each case distinct.
  For as there are persons who, by conscious art or mere habit, imitate and represent various objects through the medium of colour and form, or again by the voice; so in the arts above mentioned, taken as a whole, the imitation is produced by rhythm, language, or 'harmony,' either singly or combined.
  --
  There are, again, some arts which employ all the means above mentioned, namely, rhythm, tune, and metre. Such are Dithyrambic and Nomic Poetry, and also Tragedy and Comedy; but between them the difference is, that in the first two cases these means are all employed in combination, in the latter, now one means is employed, now another.
  Such, then, are the differences of the arts with respect to the medium of imitation.

1.01 - The Cycle of Society, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  If we look at the beginnings of Indian society, the far-off Vedic age which we no longer understand, for we have lost that mentality, we see that everything is symbolic. The religious institution of sacrifice governs the whole society and all its hours and moments, and the ritual of the sacrifice is at every turn and in every detail, as even a cursory study of the Brahmanas and Upanishads ought to show us, mystically symbolic. The theory that there was nothing in the sacrifice except a propitiation of Nature-gods for the gaining of worldly prosperity and of Paradise, is a misunderstanding by a later humanity which had already become profoundly affected by an intellectual and practical bent of mind, practical even in its religion and even in its own mysticism and symbolism, and therefore could no longer enter into the ancient spirit. Not only the actual religious worship but also the social institutions of the time were penetrated through and through with the symbolic spirit. Take the hymn of the Rig Veda which is supposed to be a marriage hymn for the union of a human couple and was certainly used as such in the later Vedic ages. Yet the whole sense of the hymn turns about the successive marriages of Sury, daughter of the Sun, with different gods and the human marriage is quite a subordinate matter overshadowed and governed entirely by the divine and mystic figure and is spoken of in the terms of that figure. Mark, however, that the divine marriage here is not, as it would be in later ancient Poetry, a decorative image or poetical ornamentation used to set off and embellish the human union; on the contrary, the human is an inferior figure and image of the divine. The distinction marks off the entire contrast between that more ancient mentality and our modern regard upon things. This symbolism influenced for a long time Indian ideas of marriage and is even now conventionally remembered though no longer understood or effective.
  We may note also in passing that the Indian ideal of the relation between man and woman has always been governed by the symbolism of the relation between the Purusha and Prakriti (in the Veda Nri and Gna), the male and female divine Principles in the universe. Even, there is to some degree a practical correlation between the position of the female sex and this idea. In the earlier Vedic times when the female principle stood on a sort of equality with the male in the symbolic cult, though with a certain predominance for the latter, woman was as much the mate as the adjunct of man; in later times when the Prakriti has become subject in idea to the Purusha, the woman also depends entirely on the man, exists only for him and has hardly even a separate spiritual existence. In the Tantrik Shakta religion which puts the female principle highest, there is an attempt which could not get itself translated into social practice,even as this Tantrik cult could never entirely shake off the subjugation of the Vedantic idea,to elevate woman and make her an object of profound respect and even of worship.
  Or let us take, for this example will serve us best, the Vedic institution of the fourfold order, caturvara, miscalled the system of the four castes,for caste is a conventional, vara a symbolic and typal institution. We are told that the institution of the four orders of society was the result of an economic evolution complicated by political causes. Very possibly;1 but the important point is that it was not so regarded and could not be so regarded by the men of that age. For while we are satisfied when we have found the practical and material causes of a social phenomenon and do not care to look farther, they cared little or only subordinately for its material factors and looked always first and foremost for its symbolic, religious or psychological significance. This appears in the Purushasukta of the Veda, where the four orders are described as having sprung from the body of the creative Deity, from his head, arms, thighs and feet. To us this is merely a poetical image and its sense is that the Brahmins were the men of knowledge, the Kshatriyas the men of power, the Vaishyas the producers and support of society, the Shudras its servants. As if that were all, as if the men of those days would have so profound a reverence for mere poetical figures like this of the body of Brahma or that other of the marriages of Sury, would have built upon them elaborate systems of ritual and sacred ceremony, enduring institutions, great demarcations of social type and ethical discipline. We read always our own mentality into that of these ancient forefa thers and it is therefore that we can find in them nothing but imaginative barbarians. To us Poetry is a revel of intellect and fancy, imagination a plaything and caterer for our amusement, our entertainer, the nautch-girl of the mind. But to the men of old the poet was a seer, a revealer of hidden truths, imagination no dancing courtesan but a priestess in Gods house commissioned not to spin fictions but to image difficult and hidden truths; even the metaphor or simile in the Vedic style is used with a serious purpose and expected to convey a reality, not to suggest a pleasing artifice of thought. The image was to these seers a revelative symbol of the unrevealed and it was used because it could hint luminously to the mind what the precise intellectual word, apt only for logical or practical thought or to express the physical and the superficial, could not at all hope to manifest. To them this symbol of the Creators body was more than an image, it expressed a divine reality. Human society was for them an attempt to express in life the cosmic Purusha who has expressed himself otherwise in the material and the supraphysical universe. Man and the cosmos are both of them symbols and expressions of the same hidden Reality.
  From this symbolic attitude came the tendency to make everything in society a sacrament, religious and sacrosanct, but as yet with a large and vigorous freedom in all its forms,a freedom which we do not find in the rigidity of savage communities because these have already passed out of the symbolic into the conventional stage though on a curve of degeneration instead of a curve of growth. The spiritual idea governs all; the symbolic religious forms which support it are fixed in principle; the social forms are lax, free and capable of infinite development. One thing, however, begins to progress towards a firm fixity and this is the psychological type. Thus we have first the symbolic idea of the four orders, expressingto employ an abstractly figurative language which the Vedic thinkers would not have used nor perhaps understood, but which helps best our modern understanding the Divine as knowledge in man, the Divine as power, the Divine as production, enjoyment and mutuality, the Divine as service, obedience and work. These divisions answer to four cosmic principles, the Wisdom that conceives the order and principle of things, the Power that sanctions, upholds and enforces it, the Harmony that creates the arrangement of its parts, the Work that carries out what the rest direct. Next, out of this idea there developed a firm but not yet rigid social order based primarily upon temperament and psychic type2 with a corresponding ethical discipline and secondarily upon the social and economic function.3 But the function was determined by its suitability to the type and its helpfulness to the discipline; it was not the primary or sole factor. The first, the symbolic stage of this evolution is predominantly religious and spiritual; the other elements, psychological, ethical, economic, physical are there but subordinated to the spiritual and religious idea. The second stage, which we may call the typal, is predominantly psychological and ethical; all else, even the spiritual and religious, is subordinate to the psychological idea and to the ethical ideal which expresses it. Religion becomes then a mystic sanction for the ethical motive and discipline, Dharma; that becomes its chief social utility, and for the rest it takes a more and more other-worldly turn. The idea of the direct expression of the divine Being or cosmic Principle in man ceases to dominate or to be the leader and in the forefront; it recedes, stands in the background and finally disappears from the practice and in the end even from the theory of life.
  --
  The tendency of the conventional age of society is to fix, to arrange firmly, to formalise, to erect a system of rigid grades and hierarchies, to stereotype religion, to bind education and training to a traditional and unchangeable form, to subject thought to infallible authorities, to cast a stamp of finality on what seems to it the finished life of man. The conventional period of society has its golden age when the spirit and thought that inspired its forms are confined but yet living, not yet altogether walled in, not yet stifled to death and petrified by the growing hardness of the structure in which they are cased. That golden age is often very beautiful and attractive to the distant view of posterity by its precise order, symmetry, fine social architecture, the admirable subordination of its parts to a general and noble plan. Thus at one time the modern litterateur, artist or thinker looked back often with admiration and with something like longing to the mediaeval age of Europe; he forgot in its distant appearance of Poetry, nobility, spirituality the much folly, ignorance, iniquity, cruelty and oppression of those harsh ages, the suffering and revolt that simmered below these fine surfaces, the misery and squalor that was hidden behind that splendid faade. So too the Hindu orthodox idealist looks back to a perfectly regulated society devoutly obedient to the wise yoke of the Shastra, and that is his golden age,a nobler one than the European in which the apparent gold was mostly hard burnished copper with a thin gold-leaf covering it, but still of an alloyed metal, not the true Satya Yuga. In these conventional periods of society there is much indeed that is really fine and sound and helpful to human progress, but still they are its copper age and not the true golden; they are the age when the Truth we strive to arrive at is not realised, not accomplished,4 but the exiguity of it eked out or its full appearance imitated by an artistic form, and what we have of the reality has begun to fossilise and is doomed to be lost in a hard mass of rule and order and convention.
  For always the form prevails and the spirit recedes and diminishes. It attempts indeed to return, to revive the form, to modify it, anyhow to survive and even to make the form survive; but the time-tendency is too strong. This is visible in the history of religion; the efforts of the saints and religious reformers become progressively more scattered, brief and superficial in their actual effects, however strong and vital the impulse. We see this recession in the growing darkness and weakness of India in her last millennium; the constant effort of the most powerful spiritual personalities kept the soul of the people alive but failed to resuscitate the ancient free force and truth and vigour or permanently revivify a conventionalised and stagnating society; in a generation or two the iron grip of that conventionalism has always fallen on the new movement and annexed the names of its founders. We see it in Europe in the repeated moral tragedy of ecclesiasticism and Catholic monasticism. Then there arrives a period when the gulf between the convention and the truth becomes intolerable and the men of intellectual power arise, the great swallowers of formulas, who, rejecting robustly or fiercely or with the calm light of reason symbol and type and convention, strike at the walls of the prison-house and seek by the individual reason, moral sense or emotional desire the Truth that society has lost or buried in its whited sepulchres. It is then that the individualistic age of religion and thought and society is created; the Age of Protestantism has begun, the Age of Reason, the Age of Revolt, Progress, Freedom. A partial and external freedom, still betrayed by the conventional age that preceded it into the idea that the Truth can be found in outsides, dreaming vainly that perfection can be determined by machinery, but still a necessary passage to the subjective period of humanity through which man has to circle back towards the recovery of his deeper self and a new upward line or a new revolving cycle of civilisation.

10.23 - Prayers and Meditations of the Mother, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   This wonder-lyre has three strings, giving out a triple note or strain: there is a strain of philosophy, there is a strain of yoga and there is a strain of Poetry. We may also call them values and say there is a philosophical, a yogic and a poetic value in these contemplations. The philosophical strain or value means that the things said are presented, explained to the intellect so that the human mind can seize them, understand them. The principles underlying the ideal, the fundamental ideas are elaborated in terms of reason and logical comprehension, although the subject-matter treated is in the last analysis' beyond reason and logic. For example, here is true philosophy expressed in a philosophic manner as neatly as possible.
   A quoi servirait l'homme s'il n'tait pas fait pour jeter un pont entre Ce qui est ternellement, mais qui n' est pas manifest, et ce qui est manifest, entre toutes les transcendances, toutes les splendeu-rs de la vie divine et toute l'obscure et douloureuse ignorance du monde matriel? L'homme est le lien entre ce qui doit tre et ce qui est; il est la passerelle jete sur l' abme, il est le grand X en croix, le trait d'union quaternaire. Son domicile vritable, le sige effectif de sa conscience doit tre dans le monde intermdiaire au point de jonction des quatre bras de la croix, l, o tout l'infini de l'impensable vient prendre forme prcise pour tre projet dans l'innombrable manifestation.1
  --
   Once again we see emerging the third note, the note of Poetry. In fact the Prayers and Meditations abound in the most beautiful Poetry, what can be more beautiful, even more poetically beautiful than these cadences!
   Ta 'voix est si modeste, si impartiale, si sublime de patience et de misricorde qu' elle ne se fait entendre avec aucune autorit, aucune puissance de volont, mais comme une brise frache, douce et pure, comme un murmure cristallin qui donne la note d' harmonic dans le concert discordant. Seulement, pour celui qui sait couter la note, respirer la brise, elle contient de tels trsors de beaut, un tel parfum de pure srnit et de noble grandeur, que toutes les folles illusions s' vanouissent ou se transforment dans une joyeuse acceptation de la merveilleuse vrit entrevue.7

1.02 - MAPS OF MEANING - THREE LEVELS OF ANALYSIS, #Maps of Meaning, #Jordan Peterson, #Psychology
  turned to Poetry in his attempt to conceptualize this place:
  No verbiage can give it, because the verbiage is other,

1.02 - The Development of Sri Aurobindos Thought, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
  we have some ideas from his letters, his Poetry, and Nirod-
  barans Correspondence with Sri Aurobindo. At times his re-

1.02 - The Great Process, #On the Way to Supermanhood, #Satprem, #Integral Yoga
  One has to admit to a major flaw in the method, and first, to a flaw in the goal pursued. What do we know of the goal, really, sunk in matter as we are, blinded by the onrush of the world? Our first immediate reaction is to cry, It can't be here! It's not here! Not in this mud, this evil, this whirlwind, not in this dark and burdened world! We must get out at all costs, free ourselves from this weight of flesh and struggle and from that surreptitious erosion in which we seem to be eaten up by thousands of voracious trivialities. So we have proclaimed the Goal to be up above, in a heaven of liberated thoughts, a heaven of art and Poetry and music any heaven at all is better than this darkness! We came here merely to earn the leisure for our own private heaven, bookish, religious, pictorial or aesthetic the long vacation of the Spirit free at last. So we have climbed and climbed, poeticized, intellectualized, evangelized; we have rid ourselves of all that might weigh us down, erected a protective wall around our eremite contemplations, our cloistered yoga, our private meditations, traced the white circle of the Spirit, like new spiritual witch doctors. Then we stepped into it, and here we are.
  But, in so doing, we are perhaps making as great a mistake as that of the apprentice human in his first lake dwelling who would have claimed that the Goal, the mental heaven he was gropingly discovering, was not in the commonplaceness of daily life, in those tools to carve, those mouths to feed, those entangling nets, those countless snares, but in some ice cave or Australasian desert and who would have discarded his tools. Einstein's equations would never have seen the light of day. By losing his tools, man loses his goal; by discarding all the grossness and evil and darkness and burden of life, we may go dozing off into the blissful (?) reaches of the Spirit, but we are completely outside the Goal, because the Goal might very well be right here, in this grossness and darkness and evil and burden which are gross and dark and burdensome only because we look at them erroneously, as the apprentice human looked erroneously at his tools, unable to see how his tying that stone to that club was already tying the invisible train of our thought to the movement of Jupiter and Venus, and how the mental heaven actually teems everywhere here, in all our gestures and superfluous acts, just as our next heaven teems under our eyes, concealed only by our false spiritual look, imprisoned in the white circle of a so-called Spirit which is but our human approximation for the next stage of evolution. Life... Life alone is the field of our Yoga, exclaimed Sri Aurobindo.4

1.02 - The Stages of Initiation, #Knowledge of the Higher Worlds, #Rudolf Steiner, #Theosophy
   the most dangerous enemies on the way to knowledge of the higher worlds lurk in such fantastical reveries and superstitions. Yet no one need to believe that the student loses all sense of Poetry in life, all power of enthusiasm because the words: You must be rid of all prejudice, are written over the portal leading to the second trial of initiation, and because over the portal at the entrance to the first trial he read: Without normal common sense all thine efforts are in vain.
  If the candidate is in this way sufficiently advanced, a third trial awaits him. He finds here no definite goal to be reached. All is left in his own hands. He finds himself in a situation where nothing impels him to act. He must find his way all alone and out of himself. Things or people to stimulate him to action are non-existent. Nothing and nobody can give him the strength he needs but he himself alone. Failure to find this inner strength will leave him standing where he was. Few of those, however, who have successfully passed the previous trials will fail to find the necessary strength at this point. Either they will have turned back already or they succeed at this point also. All that the candidate requires is

1.02 - The Three European Worlds, #The Ever-Present Origin, #Jean Gebser, #Integral
  Besides their first suggestions of landscape painting, the murals are the first examples of what has come to be known as the "still life," i.e., the objectification of nature already expressed in the Roman garden designs of the same period and heralded by the pastoral scenes of late Bucolic Poetry such as Virgil's Ecloges. It was principally by incorporating these novel elements of ancient culture and realizing their implications that the Renaissance was able to create the three-dimensional perspectival world from a two-dimensional and unperspectival culture.
  2. The Perspectival World
  --
  This psychic inner-space breaks forth at the very moment that the Troubadours are writing the first lyric "I"-Poems, the first personal Poetry that suddenly opens an abyss between man, as poet, and the world or nature (1250 A.D.). Concurrently at the University of Paris, Thomas Aquinas, following the thought of his teacher Albertus Magnus, asserts the validity of Aristotle, thereby initiating the rational displacement of the predominantly psychic-bound Platonic world.
  And this occurred in the wake of Petrus Hispanus (PetrusLucitanus), the later Pope John XXI (d. 1277), who had authored the first comprehensive European textbook on psychology (De anima), introducing via Islam and Spain the Aristotelian theory of the soul. Shortly thereafter, Duns Scotus (d. 1308) freed theology from the hieratic rigors of scholasticism by teaching the primacy of volition and emotion. And the blindness of antiquity to time inherent in its unperspectival, psychically-stressed world (which amounted to a virtual timelessness) gave way to the visualization of and openness to time with a quantifiable, spatial character. This was exemplified by the erection of the first public clock in the courtyard of Westminister Palace in 1283,an event anticipated by Pope Sabinus, who in 604ordered the ringing of bells to announce the passing of the hours.
  --
  Aperspectivity, through which it is possible to grasp and express the new emerging consciousness structure, cannot be perceived in all its consequences be they positive or negative unless certain still valid concepts, attitudes, and forms of thought are more closely scrutinized and clarified. Otherwise we commit the error of expressing the "new" with old and inadequate means of statement. We will, for example, have to furnish evidence that the concretion of time is not only occurring in the previously cited examples from painting, but in the natural sciences and in literature, Poetry, music, sculpture, and various other areas. And this we can do only after we have worked out the new forms and modes necessary for an understanding of aperspectivity.
  The very amalgamation of time and the psyche noted earlier, with its unanticipated chaotic effect as manifested by surrealism and later by tachism, clearly demonstrate that we can show the arational nature of the aperspectival world only if we take particular precautions to prevent aperspectivity from being understood as a mere regression to irrationality (or to an unperspectival world), or as a further progression toward rationality (toward a perspectival world). Man's inertia and desire for continuity always lead him to categorize the new or novel along familiar lines, or merely as curious variants of the familiar. The labels of the venerated "Isms" lie ever at hand ready to be attached to new victims. We must avoid this new idolatry, and the task is more difficult than it first appears.

1.02 - Where I Lived, and What I Lived For, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  Every morning was a cheerful invitation to make my life of equal simplicity, and I may say innocence, with Nature herself. I have been as sincere a worshipper of Aurora as the Greeks. I got up early and bathed in the pond; that was a religious exercise, and one of the best things which I did. They say that characters were engraven on the bathing tub of king Tching-thang to this effect: Renew thyself completely each day; do it again, and again, and forever again. I can understand that. Morning brings back the heroic ages. I was as much affected by the faint hum of a mosquito making its invisible and unimaginable tour through my apartment at earliest dawn, when I was sitting with door and windows open, as I could be by any trumpet that ever sang of fame. It was Homers requiem; itself an Iliad and Odyssey in the air, singing its own wrath and wanderings. There was something cosmical about it; a standing advertisement, till forbidden, of the everlasting vigor and fertility of the world. The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night. Little is to be expected of that day, if it can be called a day, to which we are not awakened by our Genius, but by the mechanical nudgings of some servitor, are not awakened by our own newly-acquired force and aspirations from within, accompanied by the undulations of celestial music, instead of factory bells, and a fragrance filling the airto a higher life than we fell asleep from; and thus the darkness bear its fruit, and prove itself to be good, no less than the light. That man who does not believe that each day contains an earlier, more sacred, and auroral hour than he has yet profaned, has despaired of life, and is pursuing a descending and darkening way. After a partial cessation of his sensuous life, the soul of man, or its organs rather, are reinvigorated each day, and his Genius tries again what noble life it can make. All memorable events, I should say, transpire in morning time and in a morning atmosphere. The Vedas say, All intelligences awake with the morning. Poetry and art, and the fairest and most memorable of the actions of men, date from such an hour. All poets and heroes, like Memnon, are the children of Aurora, and emit their music at sunrise. To him whose elastic and vigorous thought keeps pace with the sun, the day is a perpetual morning. It matters not what the clocks say or the attitudes and labors of men. Morning is when I am awake and there is a dawn in me. Moral reform is the effort to throw off sleep.
  Why is it that men give so poor an account of their day if they have not been slumbering? They are not such poor calculators. If they had not been overcome with drowsiness, they would have performed something.
  --
  Entertainments. If we respected only what is inevitable and has a right to be, music and Poetry would resound along the streets. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence,that petty fears and petty pleasures are but the shadow of the reality. This is always exhilarating and sublime. By closing the eyes and slumbering, and consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundations. Children, who play life, discern its true law and relations more clearly than men, who fail to live it worthily, but who think that they are wiser by experience, that is, by failure. I have read in a Hindoo book, that there was a kings son, who, being expelled in infancy from his native city, was brought up by a forester, and, growing up to maturity in that state, imagined himself to belong to the barbarous race with which he lived. One of his fathers ministers having discovered him, revealed to him what he was, and the misconception of his character was removed, and he knew himself to be a prince. So soul, continues the Hindoo philosopher, from the circumstances in which it is placed, mistakes its own character, until the truth is revealed to it by some holy teacher, and then it knows itself to be _Brahme_. I perceive that we inhabitants of New England live this mean life that we do because our vision does not penetrate the surface of things. We think that that _is_ which _appears_ to be.
  If a man should walk through this town and see only the reality, where, think you, would the Mill-dam go to? If he should give us an account of the realities he beheld there, we should not recognize the place in his description. Look at a meeting-house, or a court-house, or a jail, or a shop, or a dwelling-house, and say what that thing really is before a true gaze, and they would all go to pieces in your account of them. Men esteem truth remote, in the outskirts of the system, behind the farthest star, before Adam and after the last man. In eternity there is indeed something true and sublime. But all these times and places and occasions are now and here. God himself culminates in the present moment, and will never be more divine in the lapse of all the ages. And we are enabled to apprehend at all what is sublime and noble only by the perpetual instilling and drenching of the reality that surrounds us. The universe constantly and obediently answers to our conceptions; whether we travel fast or slow, the track is laid for us.
  --
  Paris and London, through New York and Boston and Concord, through church and state, through Poetry and philosophy and religion, till we come to a hard bottom and rocks in place, which we can call _reality_, and say, This is, and no mistake; and then begin, having a _point dappui_, below freshet and frost and fire, a place where you might found a wall or a state, or set a lamp-post safely, or perhaps a gauge, not a Nilometer, but a Realometer, that future ages might know how deep a freshet of shams and appearances had gathered from time to time. If you stand right fronting and face to face to a fact, you will see the sun glimmer on both its surfaces, as if it were a cimeter, and feel its sweet edge dividing you through the heart and marrow, and so you will happily conclude your mortal career. Be it life or death, we crave only reality. If we are really dying, let us hear the rattle in our throats and feel cold in the extremities; if we are alive, let us go about our business.
  Time is but the stream I go a-fishing in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. I would drink deeper; fish in the sky, whose bottom is pebbly with stars. I cannot count one. I know not the first letter of the alphabet. I have always been regretting that I was not as wise as the day I was born. The intellect is a cleaver; it discerns and rifts its way into the secret of things.

1.036 - Ya-Seen, #Quran, #unset, #Zen
  69. We did not teach him Poetry, nor is it proper for him. It is only a reminder, and a Clear Quran.
  70. That he may warn whoever is alive, and prove the Word against the faithless.

10.37 - The Golden Bridge, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   The recoil from the brute facts of life, the concrete living realities has affected even the world of artistic creation. We are very much familiar with what has been called abstract art, that is to say, art denuded of all content. The supreme art today is this sketch of bare skeletoneven a skeleton, not in its organised form but merely dismembered bits strewn about. Even Poetry, the art that is perhaps most bound to the sense pattern, as no other, so indissolubly married to sense-life, seems to be giving way to the new impact and inspiration. A Poetry devoid of all thought-content, pure of all sentiment and understandable imagery is being worked out in the laboratory, as it were, a new Poetry made of a bizarre combination of tones and syllables with a changed form too in regard to arrangement of lines and phrases. It is the pure form that is aimed at the very essence, it is said, what is quintessential!
   In other words, mind, that is to say, the rational mind on which stands man's superiority has now been so developed, developed along a single line, has specialised itself so much that it has almost defeated its own purpose. Today it has entered a cul-de-sac, a blind alley where it has bogged itself and does not know where and how to move.

1.03 - PERSONALITY, SANCTITY, DIVINE INCARNATION, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  The will is free and we are at liberty to identify our being either exclusively with our selfness and its interests, regarded as independent of indwelling Spirit and transcendent Godhead (in which case we shall be passively damned or actively fiendish), or exclusively with the divine within us and without (in which case we shall be saints), or finally with self at one moment or in one context and with spiritual not-self at other moments and in other contexts (in which case we shall be average citizens, too theocentric to be wholly lost, and too egocentric to achieve enlightenment and a total deliverance). Since human craving can never be satisfied except by the unitive knowledge of God and since the mind-body is capable of an enormous variety of experiences, we are free to identify ourselves with an almost infinite number of possible objectswith the pleasures of gluttony, for example, or intemperance, or sensuality; with money, power or fame; with our family, regarded as a possession or actually an extension and projection of our own selfness; with our goods and chattels, our hobbies, our collections; with our artistic or scientific talents; with some favourite branch of knowledge, some fascinating special subject; with our professions, our political parties, our churches; with our pains and illnesses; with our memories of success or misfortune, our hopes, fears and schemes for the future; and finally with the eternal Reality within which and by which all the rest has its being. And we are free, of course, to identify ourselves with more than one of these things simultaneously or in succession. Hence the quite astonishingly improbable combination of traits making up a complex personality. Thus a man can be at once the craftiest of politicians and the dupe of his own verbiage, can have a passion for brandy and money, and an equal passion for the Poetry of George Meredith and under-age girls and his mother, for horse-racing and detective stories and the good of his country the whole accompanied by a sneaking fear of hell-fire, a hatred of Spinoza and an unblemished record for Sunday church-going. A person born with one kind of psycho-physical constitution will be tempted to identify himself with one set of interests and passions, while a person with another kind of temperament will be tempted to make very different identifications. But these temptations (though extremely powerful, if the constitutional bias is strongly marked) do not have to be succumbed to; people can and do resist them, can and do refuse to identify themselves with what it would be all too easy and natural for them to be; can and do become better and quite other than their own selves. In this context the following brief article on How Men Behave in Crisis (published in a recent issue of Harpers Magazine) is highly significant. A young psychiatrist, who went as a medical observer on five combat missions of the Eighth Air Force in England says that in times of great stress and danger men are likely to react quite uniformly, even though under normal circumstances, they differ widely in personality. He went on one mission, during which the B-17 plane and crew were so severely damaged that survival seemed impossible. He had already studied the on the ground personalities of the crew and had found that they represented a great diversity of human types. Of their behaviour in crisis he reported:
  Their reactions were remarkably alike. During the violent combat and in the acute emergencies that arose during it, they were all quietly precise on the interphone and decisive in action. The tail gunner, right waist gunner and navigator were severely wounded early in the fight, but all three kept at their duties efficiently and without cessation. The burden of emergency work fell on the pilot, engineer and ball turret gunner, and all functioned with rapidity, skilful effectiveness and no lost motion. The burden of the decisions, during, but particularly after the combat, rested essentially on the pilot and, in secondary details, on the co-pilot and bombar ther. The decisions, arrived at with care and speed, were unquestioned once they were made, and proved excellent. In the period when disaster was momentarily expected, the alternative plans of action were made clearly and with no thought other than the safety of the entire crew. All at this point were quiet, unobtrusively cheerful and ready for anything. There was at no time paralysis, panic, unclear thinking, faulty or confused judgment, or self-seeking in any one of them.

1.03 - Preparing for the Miraculous, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
  everything to an amanuensis, Poetry as well as prose. All
  the same, he could not refuse a request from the Mother forpr e par ing fo r the mi raculous

1.03 - Reading, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  English books will find how many with whom he can converse about it? Or suppose he comes from reading a Greek or Latin classic in the original, whose praises are familiar even to the so called illiterate; he will find nobody at all to speak to, but must keep silence about it. Indeed, there is hardly the professor in our colleges, who, if he has mastered the difficulties of the language, has proportionally mastered the difficulties of the wit and Poetry of a Greek poet, and has any sympathy to impart to the alert and heroic reader; and as for the sacred Scriptures, or Bibles of mankind, who in this town can tell me even their titles? Most men do not know that any nation but the Hebrews have had a scripture. A man, any man, will go considerably out of his way to pick up a silver dollar; but here are golden words, which the wisest men of antiquity have uttered, and whose worth the wise of every succeeding age have assured us of;and yet we learn to read only as far as Easy Reading, the primers and class-books, and when we leave school, the Little Reading, and story books, which are for boys and beginners; and our reading, our conversation and thinking, are all on a very low level, worthy only of pygmies and manikins.
  I aspire to be acquainted with wiser men than this our Concord soil has produced, whose names are hardly known here. Or shall I hear the name of Plato and never read his book? As if Plato were my townsman and I never saw him,my next neighbor and I never heard him speak or attended to the wisdom of his words. But how actually is it? His Dialogues, which contain what was immortal in him, lie on the next shelf, and yet

1.03 - The House Of The Lord, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  Sri Aurobindo, we were told, used to take his bath about midnight with very hot water, all the year round mixing very little cold water, even for the head. The story is quite believable, for we were asked to pour extremely hot water on the fractured leg to cure the occasional itching he had. "A very drastic, but effective method," he pronounced with a smile, "but not many could bear such heat." Sometimes while returning from the bath, he was seen moving his lips as though murmuring something. It prompted Champaklal to suggest to him that if he wanted to dictate some lines of Poetry, I would be willing to take them down. His intuition was correct. For a few days Sri Aurobindo did dictate verses and then stopped. Perhaps he felt that I must be given rest before I resumed my next round of duty.
  There was another tiny operation he allowed us to do, the cutting of his nails. Satyendra used to clean them daily, but we cut them only every month or two after they had grown sufficiently long and could be preserved intact. It was a very delicate operation, for the knife or scissors would sometimes graze the skin, specially when the operator's eyesight was affected. When this did happen which was fortunately very rare he would give a quick shake to the leg! When a small bit of nail fell on the carpet and got lost, a search would start for the quarry in which Sri Aurobindo himself smilingly participated, asking, "Have you got it?" All these nails, like the hair, were the legitimate property of our custodian Champaklal.

1.03 - VISIT TO VIDYASAGAR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  PUNDIT ISWAR CHANDRA VIDYASAGAR was born in the village of Beersingh, not far from Kamarpukur, Sri Ramakrishna's birthplace. He was known as a great scholar, educator, writer, and philanthropist. One of the creators of modern Bengali, he was also well versed in Sanskrit grammar and Poetry. His generosity made his name a household word with his countrymen, most of his income being given in charity to widows, orphans, indigent students, and other needy people. Nor was his compassion limited to human beings: he stopped drinking milk for years so that the calves should not be deprived of it, and he would not drive in a carriage for fear of causing discomfort to the horses. He was a man of indomitable spirit, which he showed when he gave up the lucrative position of principal of the Sanskrit College of Calcutta because of a disagreement with the authorities. His affection for his mother was especially deep. One day, in the absence of a ferryboat, he swam a raging river at the risk of his life to fulfil her wish that he should be present at his brother's wedding. His whole life was one of utter simplicity. The title Vidyasagar, meaning "Ocean of Learning", was given him in recognition of his vast erudition.
  Master's visit to the scholar

1.04 - GOD IN THE WORLD, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  It is in the literature of Mahayana and especially of Zen Buddhism that we find the best account of the psychology of the man for whom Samsara and Nirvana, time and eternity, are one and the same. More systematically perhaps than any other religion, the Buddhism of the Far East teaches the way to spiritual Knowledge in its fulness as well as in its heights, in and through the world as well as in and through the soul. In this context we may point to a highly significant fact, which is that the incomparable landscape painting of China and Japan was essentially a religious art, inspired by Taoism and Zen Buddhism; in Europe, on the contrary, landscape painting and the Poetry of nature worship were secular arts which arose when Christianity was in decline, and derived little or no inspiration from Christian ideals.
  Blind, deaf, dumb!

1.04 - Sounds, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  But while we are confined to books, though the most select and classic, and read only particular written languages, which are themselves but dialects and provincial, we are in danger of forgetting the language which all things and events speak without metaphor, which alone is copious and standard. Much is published, but little printed. The rays which stream through the shutter will be no longer remembered when the shutter is wholly removed. No method nor discipline can supersede the necessity of being forever on the alert. What is a course of history, or philosophy, or Poetry, no matter how well selected, or the best society, or the most admirable routine of life, compared with the discipline of looking always at what is to be seen? Will you be a reader, a student merely, or a seer? Read your fate, see what is before you, and walk on into futurity.
  I did not read books the first summer; I hoed beans. Nay, I often did better than this. There were times when I could not afford to sacrifice the bloom of the present moment to any work, whether of the head or hands. I love a broad margin to my life. Sometimes, in a summer morning, having taken my accustomed bath, I sat in my sunny doorway from sunrise till noon, rapt in a revery, amidst the pines and hickories and sumachs, in undisturbed solitude and stillness, while the birds sing around or flitted noiseless through the house, until by the sun falling in at my west window, or the noise of some travellers wagon on the distant highway, I was reminded of the lapse of time. I grew in those seasons like corn in the night, and they were far better than any work of the hands would have been. They were not time subtracted from my life, but so much over and above my usual allowance.

1.04 - THE APPEARANCE OF ANOMALY - CHALLENGE TO THE SHARED MAP, #Maps of Meaning, #Jordan Peterson, #Psychology
  material was not an attempt to reduce it from Poetry to a kind of plain prose sense, assuming that there is
  193
  --
  continued into the twentieth century with I.A. Richardss Science and Poetry, with its suggestion that
  mythical thinking has been superseded by scientific thinking, and that consequently poets must confine

1.04 - The Gods of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  These are negative and a priori considerations, but they are supported by more positive indications. The other Aryan religions which are most akin in conception to the Vedic and seem originally to have used the same names for their deities, present themselves to us even at their earliest vaguely historic stage as moralised religions. Their gods had not only distinct moral attri butes, but represented moral & subjective functions. Apollo is not only the god of the sun or of pestilencein Homer indeed Haelios (Saurya) & not Apollo is the Sun God but the divine master of prophecy and Poetry; Athene has lost any naturalistic significance she may ever have had and is a pure moral force, the goddess of strong intelligence, force guided by brain; Ares is the lord of battles, not a storm wind; Artemis, if she is the Moon, is also goddess of the free hunting life and of virginity; Aphrodite is only the goddess of Love & Beauty There is therefore a strong moral element in the cult & there are clear subjective notions attached to the divine personalities. But this is not all. There was not only a moral element in the Greek religion as known & practised by the layman, there was also a mystic element and an esoteric belief & practice practised by the initiated. The mysteries of Eleusis, the Thracian rites connected with the name of Orpheus, the Phrygian worship of Cybele, even the Bacchic rites rested on a mystic symbolism which gave a deep internal meaning to the exterior circumstances of creed & cult. Nor was this a modern excrescence; for its origins were lost to the Greeks in a legendary antiquity. Indeed, if we took the trouble to understand alien & primitive mentalities instead of judging & interpreting them by our own standards, I think we should find an element of mysticism even in savage rites & beliefs. The question at any rate may fairly be put, Were the Vedic Rishis, thinkers of a race which has shown itself otherwise the greatest & earliest mystics & moralisers in historical times, the most obstinately spiritual, theosophic & metaphysical of nations, so far behind the Orphic & Homeric Greeks as to be wholly Pagan & naturalistic in their creed, or was their religion too moralised & subjective, were their ceremonies too supported by an esoteric symbolism?
  The immediate or at any rate the earliest known successors of the Rishis, the compilers of the Brahmanas, the writers of theUpanishads give a clear & definite answer to this question.The Upanishads everywhere rest their highly spiritual & deeply mystic doctrines on the Veda.We read in the Isha Upanishad of Surya as the Sun God, but it is the Sun of spiritual illumination, of Agni as the Fire, but it is the inner fire that burns up all sin & crookedness. In the Kena Indra, Agni & Vayu seek to know the supreme Brahman and their greatness is estimated by the nearness with which they touched him,nedistham pasparsha. Uma the daughter of Himavan, the Woman, who reveals the truth to them is clearly enough no natural phenomenon. In the Brihadaranyaka, the most profound, subtle & mystical of human scriptures, the gods & Titans are the masters, respectively, of good and of evil. In the Upanishads generally the word devah is used as almost synonymous with the forces & functions of sense, mind & intellect. The element of symbolism is equally clear. To the terms of the Vedic ritual, to their very syllables a profound significance is everywhere attached; several incidents related in the Upanishads show the deep sense then & before entertained that the sacrifices had a spiritual meaning which must be known if they were to be conducted with full profit or even with perfect safety. The Brahmanas everywhere are at pains to bring out a minute symbolism in the least circumstances of the ritual, in the clarified butter, the sacred grass, the dish, the ladle. Moreover, we see even in the earliest Upanishads already developed the firm outlines and minute details of an extraordinary psychology, physics, cosmology which demand an ancient development and centuries of Yogic practice and mystic speculation to account for their perfect form & clearness. This psychology, this physics, this cosmology persist almost unchanged through the whole history of Hinduism. We meet them in the Puranas; they are the foundation of the Tantra; they are still obscurely practised in various systems of Yoga. And throughout, they have rested on a declared Vedic foundation. The Pranava, the Gayatri, the three Vyahritis, the five sheaths, the five (or seven) psychological strata, (bhumi, kshiti of the Vedas), the worlds that await us, the gods who help & the demons who hinder go back to Vedic origins.All this may be a later mystic misconception of the hymns & their ritual, but the other hypothesis of direct & genuine derivation is also possible. If there was no common origin, if Greek & Indian separated during the naturalistic period of the common religion supposed to be recorded in the Vedas it is surprising that even the little we know of Greek rites & mysteries should show us ideas coincident with those of Indian Tantra & Yoga.
  --
  But even such a science, when completed, could not, owing to the paucity of our records be, by itself, a perfect guide. It would be necessary to discover, fix & take always into account the actual ideas, experiences and thought-atmosphere of the Vedic Rishis; for it is these things that give colour to the words of men and determine their use. The European translations represent the Vedic Rishis as cheerful semi-savages full of material ideas & longings, ceremonialists, naturalistic Pagans, poets endowed with an often gorgeous but always incoherent imagination, a rambling style and an inability either to think in connected fashion or to link their verses by that natural logic which all except children and the most rudimentary intellects observe. In the light of this conception they interpret Vedic words & evolve a meaning out of the verses. Sayana and the Indian scholars perceive in the Vedic Rishis ceremonialists & Puranists like themselves with an occasional scholastic & Vedantic bent; they interpret Vedic words and Vedic mantras accordingly. Wherever they can get words to mean priest, prayer, sacrifice, speech, rice, butter, milk, etc, they do so redundantly and decisively. It would be at least interesting to test the results of another hypothesis,that the Vedic thinkers were clear-thinking men with at least as clear an expression as ordinary poets have and at least as high ideas and as connected and logical a way of expressing themselvesallowing for the succinctness of poetical formsas is found in other religious Poetry, say the Psalms or the Book of Job or St Pauls Epistles. But there is a better psychological test than any mere hypothesis. If it be found, as I hold it will be found, that a scientific & rational philological dealing with the text reveals to us poems not of mere ritual or Nature worship, but hymns full of psychological & philosophical religion expressed in relation to fixed practices & symbolic ceremonies, if we find that the common & persistent words of Veda, words such as vaja, vani, tuvi, ritam, radhas, rati, raya, rayi, uti, vahni etc,an almost endless list,are used so persistently because they expressed shades of meaning & fine psychological distinctions of great practical importance to the Vedic religion, that the Vedic gods were intelligently worshipped & the hymns intelligently constructed to express not incoherent poetical ideas but well-connected spiritual experiences,then the interpreter of Veda may test his rendering by repeating the Vedic experiences through Yoga & by testing & confirming them as a scientist tests and confirms the results of his predecessors. He may discover whether there are the same shades & distinctions, the same connections in his own psychological & spiritual experiences. If there are, he will have the psychological confirmation of his philological results.
  Even this confirmation may not be sufficient. For although the new version may have the immense superiority of a clear depth & simplicity supported & confirmed by a minute & consistent scientific experimentation, although it may explain rationally & simply most or all of the passages which have baffled the older & the newer, the Eastern & the Western scholars, still the confirmation may be discounted as a personal test applied in the light of a previous conclusion. If, however, there is a historical confirmation as well, if it is found that Veda has exactly the same psychology & philosophy as Vedanta, Purana, Tantra & ancient & modern Yoga & all of them indicate the same Vedic results which we ourselves have discovered in our experience, then we may possess our souls in peace & say to ourselves that we have discovered the meaning of Veda; its true meaning if not all its significance. Nor need we be discouraged, if we have to disagree with Sayana & Yaska in the actual rendering of the hymns no less than with the Europeans. Neither of these great authorities can be held to be infallible. Yaska is an authority for the interpretation of Vedic words in his own age, but that age was already far subsequent to the Vedic & the sacred language of the hymns was already to him an ancient tongue. The Vedas are much more ancient than we usually suppose. Sayana represents the scholarship & traditions of a period not much anterior to our own. There is therefore no authoritative rendering of the hymns. The Veda remains its own best authority.
  --
  Saraswati is known to us in the Purana,the Muse with her feet on the thousand leaved lotus of the mind, the goddess of thought, learning, Poetry, of all that is high in mind and its knowledge. But, so far as we can understand from the Purana, she is the goddess of mind only, of intellect & imagination and their perceptions & inspirations. Things spiritual & the mightier supra-mental energies & illuminations belong not to her, but to other powers. Well, we meet Saraswati in the Vedas;and if she is the same goddess as our Puranic & modern protectress of learning & the arts, the Personality of the Intellect, then we have a starting pointwe know that the Vedic Rishis had other than naturalistic conceptions & could call to higher powers than the thunder-flash & the storm-wind. But there is a difficultySaraswati is the name of a river, of several rivers in India, for the very name means flowing, gliding or streaming, and the Europeans identify it with a river in the Punjab. We must be careful therefore, whenever we come across the name, to be sure which of these two is mentioned or invoked, the sweet-streaming Muse or the material river.
  The first passage in which Saraswati is mentioned, is the third hymn of the first Mandala, the hymn of Madhuchchhanda Vaisvamitra, in which the Aswins, Indra, the Visve devah and Saraswati are successively invokedapparently in order to conduct an ordinary material sacrifice? That is the thing that has to be seen,to be understood. What is Saraswati, whether as a Muse or a river, doing at the Soma-offering? Or is she there as the architect of the hymn, the weaver of the Riks?

1.04 - The Origin and Development of Poetry., #Poetics, #Aristotle, #Philosophy
  object:1.04 - The Origin and Development of Poetry.
   Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most imitative of living creatures, and through imitation learns his earliest lessons; and no less universal is the pleasure felt in things imitated. We have evidence of this in the facts of experience. Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity: such as the forms of the most ignoble animals and of dead bodies. The cause of this again is, that to learn gives the liveliest pleasure, not only to philosophers but to men in general; whose capacity, however, of learning is more limited. Thus the reason why men enjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring, and saying perhaps, 'Ah, that is he.' For if you happen not to have seen the original, the pleasure will be due not to the imitation as such, but to the execution, the colouring, or some such other cause.
  Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, metres being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry.
   Poetry now diverged in two directions, according to the individual character of the writers. The graver spirits imitated noble actions, and the actions of good men. The more trivial sort imitated the actions of meaner persons, at first composing satires, as the former did hymns to the gods and the praises of famous men. A poem of the satirical kind cannot indeed be put down to any author earlier than Homer; though many such writers probably there were. But from Homer onward, instances can be cited,--his own Margites, for example, and other similar compositions. The appropriate metre was also here introduced; hence the measure is still called the iambic or lampooning measure, being that in which people lampooned one another. Thus the older poets were distinguished as writers of heroic or of lampooning verse.
  --
  Moreover, it was not till late that the short plot was discarded for one of greater compass, and the grotesque diction of the earlier satyric form for the stately manner of Tragedy. The iambic measure then replaced the trochaic tetrameter, which was originally employed when the Poetry was of the Satyric order, and had greater affinities with dancing. Once dialogue had come in, Nature herself discovered the appropriate measure.
  For the iambic is, of all measures, the most colloquial: we see it in the fact that conversational speech runs into iambic lines more frequently than into any other kind of verse; rarely into hexameters, and only when we drop the colloquial intonation. The additions to the number of 'episodes' or acts, and the other accessories of which tradition; tells, must be taken as already described; for to discuss them in detail would, doubtless, be a large undertaking.

1.04 - The Paths, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
  The alchemical conception of the universal Mercury was that of a flowing, shifting, and unstable principle, ever changing. This may account for the baboon or monkey ever in attendance upon Thoth, for the monkey is restless, ever moving, and never still, typifying the human Ruach, which must be quieted. The Norwegian Odin - the infinite wanderer, would possibly be attri buted here for precisely this reason. He is the spirit of life who, according to the legends, does not create the world himself, but only plans and arranges it. All knowledge issues from him, and he too is the inventor of Poetry and the Norse runes.
  Its magical weapon is the Caduceus wand, which has particular reference to the phenomenon of Kundalini arising in the course of Yoga practices, particularly
  --
  Msenads of Poetry and mythology, among more beautiful proofs of their superhuman character, have always to tear bulls in pieces and taste of the blood. The reader will also recall to mind the fair promise of Lord Dunsany's most interesting story, The Blessing of Pan.
  In India we see the sacred bull revered as typifying Shiva in his creative aspect ; also as glyphed in their temples by an erect Lingam. Here, the Goddess of Marriage, and

1.04 - Vital Education, #On Education, #The Mother, #Integral Yoga
  Vital education is greatly aided by stress on different kinds of fine arts and crafts. Sri Aurobindo has written at length on the contri bution that Art can make to the integral education in his important book, "The National Value of Art". He has pointed out that the first and the lowest use of Art is the purely aesthetic, the second is the intellectual and the third and the highest is the spiritual. He has even stated that music, art and Poetry are a perfect education for the soul; they make and keep its movement purified, deep and harmonious. He has added, "These, therefore, are agents which cannot profitably be neglected by humanity on its onward march or degraded to the mere satisfaction of sensuous pleasure which will disintegrate rather than build the character. They are, when properly used, great educating, edifying and civilizing forces."1
  A great lesson in vital education is to develop the will of the individual and to encourage the exercise of the will in which what is valued most is not the result, but application and doing one's best.

1.05 - CHARITY, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  The distinguishing marks of charity are disinterestedness, tranquillity and humility. But where there is disinterestedness there is neither greed for personal advantage nor fear for personal loss or punishment; where there is tranquillity, there is neither craving nor aversion, but a steady will to conform to the divine Tao or Logos on every level of existence and a steady awareness of the divine Suchness and what should be ones own relations to it; and where there is humility there is no censoriousness and no glorification of the ego or any projected alter-ego at the expense of others, who are recognized as having the same weaknesses and faults, but also the same capacity for transcending them in the unitive knowledge of God, as one has oneself. From all this it follows that charity is the root and substance of morality, and that where there is little charity there will be much avoidable evil. All this has been summed up in Augustines formula: Love, and do what you like. Among the later elaborations of the Augustinian theme we may cite the following from the writings of John Everard, one of those spiritually minded seventeenth-century divines whose teachings fell on the deaf ears of warring factions and, when the revolution and the military dictatorship were at an end, on the even deafer ears of Restoration clergymen and their successors in the Augustan age. (Just how deaf those ears could be we may judge by what Swift wrote of his beloved and morally perfect Houyhnhnms. The subject matter of their conversations, as of their Poetry, consisted of such things as friendship and benevolence, the visible operations of nature or ancient traditions; the bounds and limits of virtue, the unerring rules of reason. Never once do the ideas of God, or charity, or deliverance engage their minds. Which shows sufficiently clearly what the Dean of St. Patricks thought of the religion by which he made his money.)
  Turn the man loose who has found the living Guide within him, and then let him neglect the outward if he can! Just as you would say to a man who loves his wife with all tenderness, You are at liberty to beat her, hurt her or kill her, if you want to.

1.05 - Definition of the Ludicrous, and a brief sketch of the rise of Comedy., #Poetics, #Aristotle, #Philosophy
  Epic Poetry agrees with Tragedy in so far as it is an imitation in verse of characters of a higher type. They differ, in that Epic Poetry admits but one kind of metre, and is narrative in form. They differ, again, in their length: for Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit; whereas the Epic action has no limits of time. This, then, is a second point of difference; though at first the same freedom was admitted in Tragedy as in Epic Poetry.
  Of their constituent parts some are common to both, some peculiar to Tragedy, whoever, therefore, knows what is good or bad Tragedy, knows also about Epic Poetry. All the elements of an Epic poem are found in Tragedy, but the elements of a Tragedy are not all found in the Epic poem.
  author class:Aristotle

1.05 - Ritam, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  The second verse neither confirms as yet nor contradicts this initial suggestion. These three great gods, it says, are to the mortal as a multitude of arms which bring to him his desires & fill him with an abundant fullness and protect him from any who may will to do him hurt, rishah; fed with that fullness he grows until he is sarvah, complete in every part of his being(that is to say, if we admit the sense of a spiritual protection and a spiritual activity, in knowledge, in power, in joy, in mental, vital & bodily fullness)and by the efficacy of that protection he enjoys all this fullness & completeness unhurt. No part of it is maimed by the enemies of man, whose activities do him hurt, the Vritras, Atris, Vrikas, the Coverer on the heights, the devourer in the night, the tearer on the path.We may note in passing how important [it] is to render every Vedic word by its exact value; rish & dwish both mean enemy; but if we render them by one word, we lose the fine shade of meaning to which the poet himself calls our attention by the collocation pnti rishaharishta edhate. We see also the same care of style in the collocation sarva edhate, where, as it seems to me, it is clearly suggested that the completeness is the result of the prosperous growth, we have again the fine care & balance with which the causes pipratipnti are answered by the effects arishtahedhate. There is even a good literary reason of great subtlety & yet perfect force for the order of the words & the exact place of each word in the order. In this simple, easy & yet faultless balance & symmetry a great number of the Vedic hymns represent exactly in Poetry the same spirit & style as the Greek temple or the Greek design in architecture & painting. Nor can anyone who neglects to notice it & give full value to it, catch rightly, fully & with precision the sense of the Vedic writings.
  In the third verse we come across the first confirmation of the spiritual purport of the hymn. The protected of Varuna, Mitra & Aryama the plural is now used to generalise the idea more decisivelyare travellers to a moral & spiritual goal, nayanti durit tirah. It follows that the durgni, the obstacles in the path are moral & spiritual obstacles, not material impediments. It follows equally that the dwishah, the haters, are spiritual enemies, not human; for there would be no sense or appropriateness in the scattering of human enemies by Varuna as a condition of the seeker after Truth & Rights reaching a state of sinlessness. It is the spiritual, moral & mental obstacles, the spiritual beings & forces who are opposed to the souls perfection, Brahmadwishah, whom Varuna, Mitra & Aryama remove from the path of their worshippers. They smite them & scatter them utterly, vi durg vi dwishah,the particle twice repeated in order to emphasise the entire clearance of the path; they scatter them in front,not allowing even the least struggle to be engaged before their intervention, but going in front of the worshippers & maintaining a clear way, suga anrikshara, in which they can pass not only without hurt, but without battle. The image of the sins, the durit is that of an army besetting the way which is scattered to all sides by the divine vanguard & is compelled beyond striking distance. The armed pilgrims of the Right pass on & through & not an arrow falls across their road. The three great Kings of heaven & their hosts, rjnah, have passed before & secured the great passage for the favoured mortal.
  --
  In this simple, noble & striking hymn we arrive at a number of certainties about the ideas of the Vedic Rishis & usual images of their Poetry which are of the last importance to our inquiry. First we see that the ascension or the journey of the human soul to a state of divine Truth is among the chief objects of the prayers & sacrifices of the Veda. Secondly, we see that this Truth is not merely the simple primitive conception of truth-speaking, but a condition of consciousness consisting in delight & resulting in a perfect spontaneous & free activity in which there is no falsehood or error; it is a state of divine nature, the Vedantic amritam. Thirdly, we see that this activity of self-perfection, the sadhana of modern Yoga, is represented in the Veda under the image of a journey or of a battle or both in one image. It is a struggle to advance beset by pitfalls & difficult passages, assailed & beset by hostile spiritual forces, the enemies, hurters or destroyers. Whenever therefore we have the image of a battle or a journey, we have henceforth the right to enquire whether it is not in every case the symbol of this great spiritual & psychological process. Fourthly we see that the Vedic sacrifice is in some hymns & may be in all a symbol of the same purport. It is an activity offered to the gods, led by them in this path, directed towards the attainment of the divine Truth-Consciousness & Truth-Life &, presumably, assailed by the same spiritual enemies. Fifthly, we find that words like vasu & tokam, representing the result of the sacrifice, & usually understood as material wealth & children, are used here, must presumably be used in passages & may, possibly, be used in all in a symbolic sense to express by a concrete figure psychological conceptions like Christs treasure laid up in heaven or the common image of the children of ones brain or of ones works. We have in fact, provided always our conclusions are confirmed by the evidence of other hymns, the decisive clue to the Secret of the Veda.
    Sri Aurobindo wrote the following note at the top of a later page of the manuscript.It would seem to have been intended for insertion here: (nayath nara dity I shall take up the discussion of the proper sense of nara in another context, to avoid useless repetition I omit it here).

1.06 - Definition of Tragedy., #Poetics, #Aristotle, #Philosophy
  Of the Poetry which imitates in hexameter verse, and of Comedy, we will speak hereafter. Let us now discuss Tragedy, resuming its formal definition, as resulting from what has been already said.
  Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions. By 'language embellished,' I mean language into which rhythm, 'harmony,' and song enter. By 'the several kinds in separate parts,' I mean, that some parts are rendered through the medium of verse alone, others again with the aid of song.
  --
  The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of Poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet.
  author class:Aristotle

1.06 - Dhyana and Samadhi, #Raja-Yoga, #Swami Vivkenanda, #unset
  All ethics, all human action and all human thought, hang upon this one idea of unselfishness. The whole idea of human life can be put into that one word, unselfishness. Why should we be unselfish? Where is the necessity, the force, the power, of my being unselfish? You call yourself a rational man, a utilitarian; but if you do not show me a reason for utility, I say you are irrational. Show me the reason why I should not be selfish. To ask one to be unselfish may be good as Poetry, but Poetry is not reason. Show me a reason. Why shall I be unselfish, and why be good? Because Mr. and Mrs. So-and-so say so does not weigh with me. Where is the utility of my being unselfish? My utility is to be selfish if utility means the greatest amount of happiness. What is the answer? The utilitarian can never give it. The answer is that this world is only one drop in an infinite ocean, one link in an infinite chain. Where did those that preached unselfishness, and taught it to the human race, get this idea? We know it is not instinctive; the animals, which have instinct, do not know it. Neither is it reason; reason does not know anything about these ideas. Whence then did they come?
  We find, in studying history, one fact held in common by all the great teachers of religion the world ever had. They all claim to have got their truths from beyond, only many of them did not know where they got them from. For instance, one would say that an angel came down in the form of a human being, with wings, and said to him, "Hear, O man, this is the message." Another says that a Deva, a bright being, appeared to him. A third says he dreamed that his ancestor came and told him certain things. He did not know anything beyond that. But this is common that all claim that this knowledge has come to them from beyond, not through their reasoning power. What does the science of Yoga teach? It teaches that they were right in claiming that all this knowledge came to them from beyond reasoning, but that it came from within themselves.

1.06 - Dhyana, #Liber ABA, #Aleister Crowley, #Philosophy
  3:They exhaust the possibilities of Poetry to declare what is demonstrably untrue. For example, we find in the Shiva Sanhita that "he who daily contemplates on this lotus of the heart is eagerly desired by the daughters of Gods, has clairaudience, clairvoyance, and can walk in the air." Another person "can make gold, discover medicine for disease, and see hidden treasures." All this is filth. What is the curse upon religion that its tenets must always be associated with every kind of extravagance and falsehood?
  4:There is one exception; it is the A.'.A.'., whose members are extremely careful to make no statement at all that cannot be verified in the usual manner; or where this is not easy, at least avoid anything like a dogmatic statement. In Their second book of practical instruction, Liber O, occur these words:

1.06 - The Ascent of the Sacrifice 2 The Works of Love - The Works of Life, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  This physical mind of inertia believes in no divinity other than its own small earth-gods; it aspires perhaps to a greater comfort, order, pleasure, but asks for no uplifting and no spiritual deliverance. At the centre we meet a stronger Will of life with a greater gusto, but it is a blinded Daemon, a perverted spirit and exults in the very elements that make of life a striving turmoil and an unhappy imbroglio. It is a soul of human or Titanic desire clinging to the garish colour, disordered Poetry, violent tragedy or stirring melodrama of this mixed flux of good and evil, joy and sorrow, light and darkness, heady rapture and bitter torture.
  It loves these things and would have more and more of them or, even when it suffers and cries out against them, can accept or joy in nothing else; it hates and revolts against higher things and in its fury would trample, tear or crucify any diviner Power that has the presumption to offer to make life pure, luminous and happy and snatch from its lips the fiery brew of that exciting mixture. Another Will-in-Life there is that is ready to follow the ameliorating ideal Mind and is allured by its offer to extract some harmony, beauty, light, nobler order out of life, but this is a smaller part of the vital nature and can be easily overpowered by its more violent or darker duller yoke-comrades; nor does it readily lend itself to a call higher than that of the

1.07 - Savitri, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  In another letter of the same year: "The poem was originally written from a lower level, a mixture perhaps of the inner mind, psychic, poetic intelligence, sublimised vital, afterwards with the Higher Mind, often illumined and intuitivised, intervening. Most of the stuff of the first Book is new or else the old so altered as to be no more what it was; the best of the old has sometimes been kept almost intact because it had already the higher inspiration. Moreover, there have been made several successive revisions, each trying to lift the general level higher and higher towards a possible Overmind Poetry. As it now stands there is a general Overmind influence, I believe, sometimes coming fully through, sometimes colouring the Poetry of the other higher planes fused together, sometimes lifting any one of these higher planes to its highest or the psychic, poetic intelligence or vital towards them."
  Sri Aurobindo, sitting on the bed, used to dictate Savitri to Nirod.
  --
  The next step was to make a fair copy of the entire revised work. I don't know why it was not given straightaway for typing. There was a talk between the Mother and Sri Aurobindo about it; Sri Aurobindo might have said that because of copious additions, typing by another person would not be possible. He himself could not make a fair copy. Then the Mother suggested my name and brought a thick blue ledgerlike book for the purpose. I needed two or three reminders from the Mother before I took up the work in right earnest. Every morning I used to sit on the floor behind the head of the bed, and leaning against the wall, start copying like a student of our old Sanskrit tols. Sri Aurobindo's footstool would serve as my table. The Mother would not fail to cast a glance at my good studentship. Though much of the Poetry passed over my head, quite often the solar plexus would thrill at the sheer beauty of the images and expressions. The very first line made me gape with wonder. I don't remember if the copying and revision with Sri Aurobindo proceeded at the same time, or revision followed the entire copying. The Mother would make inquiries from time to time either, I thought, to make me abandon my jog-trot manner or because the newly started Press was clamouring for some publication from Sri Aurobindo. Especially now that people had come to know that after The Life Divine, Sri Aurobindo was busy with Savitri, they were eagerly waiting for it. But they had to wait quite a long time, for after the revision, when the whole book was handed to the Mother, it was passed on to Nolini for being typed out. Then another revision of the typescript before it was ready for the Press! Again, I cannot swear if the typing was completed first before its revision or both went on at the same time. At any rate, the whole process went very slowly, since Sri Aurobindo would not be satisfied with Savitri done less than perfectly. Neither could we give much time to it, not, I think, more than an hour a day, sometimes even less. The Press began to bring it out in fascicules by Cantos from 1946. At all stages of revision, even on Press proofs, alterations, additions never stopped. It may be mentioned that the very first appearance of anything from Savitri in public was in the form of passages quoted in the essay "Sri Aurobindo: A New Age of Mystical Poetry" by Amal, published in the Bombay Circle and later included as Part III in Amal's book: The Poetic Genius of Sri Aurobindo.
  So far the account of the procedure which was followed for working on the three Books seems approximately correct. We have been considerably helped by some dates mentioned before in the account. But in what follows about the rest of the epic, I am afraid that the report cannot claim as much exactness owing to my lapse of memory. I can sum up the position obtained at this stage by quoting Sri Aurobindo's letter to Amal in 1946. After investigating all the documents available, we have come to the following conclusions about the rest of the Books. Book IV, The Book of Birth and Quest, is fairly revised by Sri Aurobindo. Several versions before the end of 1938 have been worked upon these versions are expansions of much older drafts, one of them possibly dating back to Baroda. The revised version was later corrected and amplified with my help as scribe and has been divided into four Cantos. In re-doing Book V, The Book of Love, Sri Aurobindo took up, at a certain point, an earlier version than that of 1936. There are quite a number of versions with various titles before 1936. Here too, originally there were no different Cantos. There are three old versions of The Book of Fate of equal length. They were called Canto II, and fairly short. One of these versions was expanded into enormous length and developed into two Cantos, the very last touches given almost during the final month of Sri Aurobindo's life. An instance of the expansion is the passage "O singer of the ultimate ecstasy... will is Fate." There was no Book of Yoga in the original scheme of the poem. One old version called Book III, Death, has been changed into The Book of Yoga. It was enormously expanded and named Canto I. All the rest of the six Cantos were totally new and dictated. They were all at first divided into Cantos with different titles. Apparently all these Cantos except the first one are entirely new. I could get no trace of any old versions from which they could have been developed. I am now amazed to see that so many lines could have been dictated day after day, like The Book of Everlasting Day. The Book of Death contains three old versions all called Canto III; the final version is constructed from one of these and from another version some lines are taken to be inserted into The Book of Eternal Night, Canto IV, Night, of the early version served as the basis of The Book of Eternal Night. It was revised, lines were added and split into two Cantos. Then in the typescript further revisions took place. Canto I, first called The Passage into the Void of Night, was changed into Towards the Black Void. Book X, The Book of the Double Twilight, called only Twilight, Canto V in the earlier versions of which there are four or five, had no division into Cantos. From these early versions a fair number of lines have been taken and woven into a larger version. The old lines are now not always in their original form. Book XI had three old drafts. One which was larger than the other two has been used for the final version and was enormously expanded; even whole passages running into hundreds of lines have been added, as I have mentioned before. About The Epilogue, except for a few additions, it almost reproduces the single old version.
  --
  As far as I remember, we worked on these drafts in the evening for an hour or so after all the correspondence work was over. He would sit in a small straight-backed armchair where the big armchair now stands, and listen to my reading. The work proceeded very slowly to start with, and for a long time, either because he didn't seem to be in a hurry or because there was not much time left after attending to the miscellaneous correspondence I have mentioned elsewhere. Later on, the time was changed to the morning. After the selections had been made from one or two versions of a Book, let us say The Book of Fate, we were occupied with it. Never was any Book, except The Book of Death and The Epilogue, taken intact. He would dictate line after line, and ask me to add selected lines and passages in their proper places, but which were not always kept in their old order. I wonder how he could go on dictating lines of Poetry in this way, as if a tap had been turned on and the water flowed, not in a jet, of course, but slowly, very slowly indeed. Passages sometimes had to be reread in order to get the link or sequence, but when the turn came of The Book of Yoga and The Book of Everlasting Day, line after line began to flow from his lips like a smooth and gentle stream and it was on the next day that a revision was done to get the link for further continuation. In the morning he himself would write out new lines on small notebooks called 'bloc' notes which were incorporated in the text. This was more true as regards The Book of Fate. Sometimes there were two or even three versions of a passage. As his sight began to fail, the letters also became gradually indistinct, and I had to decipher and read them all before him. I had a good sight and, more than that, the gift of deciphering his "hieroglyphics", thanks to the preparatory training I had received during my voluminous correspondence with him before the accident. At times when I got stuck he would help me out, but there were occasions when both of us failed. Then he would say, "Give it to me, let me try." Taking a big magnifying glass, he would focus his eyes but only to exclaim, "No, can't make out!"
  When a Book was completed and copied out, it went to Nolini for typing. On the typescript again, fresh lines were added or the order changed. In this respect The Book of Fate gave us a great deal of trouble. Though Sri Aurobindo says in his letter to Amal in 1946 that the Book was almost finished, it was again taken up at the end, and many changes were introduced which contained prophetic hints of his leaving the body very probably after he had taken his decision to do so.
  As I have already recorded, one day after his bath Champaklal observed that Sri Aurobindo was moving his lips. Suspecting that he was probably murmuring lines of Poetry, he told him that if he wanted to dictate them, I could take them down. He caught up the suggestion and started dictating. Had there been no suggestion he would have retained them in his memory and dictated them next day.
  But our routine changed after the Mother started going out in the afternoon. Though the hour of work appointed for Savitri and correspondence was shifted to the morning, we could get very little time for Savitri. Many interruptions came in the way. The preliminary work of reading old versions, selections etc., took up much time before we could actually start writing. We find from the letters to Amal even at the end of 1946 the second part of the Book had not begun. After that too, the work rolled on in a jog-trot fashion till one day in 1950 he exclaimed: "My main work is being delayed." From about the middle of that year the time was fixed from 11 a.m. to 1.30 p.m. without any break or interruption. Only once in between he would ask for a peppermint pastille and Champaklal was always at hand to serve it. As soon as the clock struck 11 a.m. I was ready with the usual small heap of manuscripts and notebooks; would sit on the floor by his left side, and he would sit on the bed in an expectant attitude, give a glance of welcome and we would start from where we had stopped. Sometimes sitting upright, sometimes leaning on the left side cushion, keeping his gaze in front, he would dictate in a quiet, subdued voice slowly and distinctly, with an English accent. There was no rise or fall or any other dramatic quality in the intonation; it was in the manner of simple prose dictation with end stops, of course.
  My initiation by him into English Poetry rendered the scribe's work congenial as well as convenient. If I missed some words, I would ask again, but sometimes I put down what I thought I heard correct. Later on, after his passing away, experts found the meaning of some words to be dubious, ambiguous, or even wrong. There was faulty punctuation in abundance. Sometimes Sri Aurobindo did not dictate the punctuation and I didn't ask. One couldn't always remind the poet while he was dictating, of the necessity of punctuation, and thus put a curb on his flow. People asked whether I used shorthand for transcribing. There was no need for it at all, for the dictation was very slow and at times halted, waiting for inspiration, I suppose. I don't know what the nature was of Milton's dictation, but one thing was certain: Sri Aurobindo had not Milton's temper, and I didn't suffer his daughter's fate!
  The tempo of the work was subsequently speeded up and it proceeded smoothly without break till the seal of incomplete completion was put about two weeks before the November Darshan of 1950. Very probably he had taken the decision to withdraw from this world of the sad music of humanity and leave in compensation his divine music of Savitri. A curious incident has stuck in my memory. One day he continued working even beyond 1.30 p.m. a rare occurrence and that was the day I was invited for lunch at a friend's place. I thought I would certainly be free by 2 p.m. but no, he seemed to be unusually inspired! I believe I was showing some signs of restlessness at which he remarked, "What's the matter?" I don't remember whether I kept quiet or told him the truth. He, however, shut shop soon after. This incident reminds me strongly of Champaklal's valuable admonition that those who want to serve the Divine must have no personal ties or strings.
  During this period a long communication that had passed between Amal and a critical friend of his on Savitri as well as on some shorter mystical poems of Sri Aurobindo, was sent to Sri Aurobindo for his opinion or reaction. Amal had also put some questions on beauty and greatness in Poetry and whether spiritual Poetry could be considered greater than any other. His long illuminating commentary on his own Poetry and the detailed answers on the various other topics raised, which were dictated at this time, consumed much of our time, but we could see from the replies how Sri Aurobindo welcomed such discussion from Amal whom he had prepared in the art of Poetry. No one except Amal, or perhaps Arjava had he been alive, could have discussed with Sri Aurobindo almost as equals on English Poetry and drawn out many intricate expositions on rhythm, overhead Poetry, etc., which are now a permanent treasure in English literature.
  Sri Aurobindo's quotations from memory from Homer, Shakespeare, Milton and others which he said should be verified were, in most cases, correct. When I read Homer's lines trying to imitate Sri Aurobindo's intonation, but forgetting the quantitative length, he corrected me. That reminds me also of how he encouraged me indirectly to learn the Sanskrit alphabet. I didn't know it, as I learnt Pali in my school. So whenever I met with a Sanskrit word while reading correspondences to Sri Aurobindo, I had either to show it to him or get somebody's help. I thought this wouldn't do, I must learn at least the alphabet. I put my mind to it and, getting some smattering of it, began to show my learning before him. He Started taking interest. When I tried to articulate a word in part, he helped me with the rest as one does with a child. Fortunately I managed, after getting the Mother's approval, to learn French also during the break from my work. She said it would be very useful, and so it was, for when some French communications came, I could read them to him.
  --
  Then, with regard to hard labour on Savitri, he wrote: "That is very simple. I used Savitri as a means of ascension. I began with it on a certain mental level, each time I could reach a higher level I rewrote from that level. Moreover I was particular if part seemed to me to come from any lower levels I was not satisfied to leave it because it was good Poetry. All had to be as far as possible of the same mint. In fact, Savitri has not been regarded by me as a poem to be written and finished; but as a field of experimentation to see how far Poetry could be written from one's own Yogic consciousness and how that could be made creative. I did not rewrite Rose of God or the sonnets except for two or three verbal alterations made at the moment."
  All this was written to me in 1936. Since then the work proceeded slowly and gradually until between 1939 and 1950 he succeeded to a great extent in achieving what he aimed at, as stated in the letter above. I am sure if he had more time at his disposal and could work by himself, he would have raised it to his ideal of perfect perfection. As it is, Savitri is, I suppose, the example par excellence of the Future Poetry he speaks of in his book The Future Poetry. Founder of the New Age, pioneer in the field of Poetry, as in many others, he has left us an inexhaustible heritage of words, images, ideas, suggestions and hints about which we can only say here is God's plenty. Rameshwar Gupta very aptly calls it Eternity in Words.[5] Generation after generation will drink in its soul's nectar from this perennial source. The life span of the English language itself has increased a thousandfold. Shakespeare, it is said, increased the life span of the English language by centuries. Sri Aurobindo said about Shakespeare, "That kind of spear does not shake everywhere." Now we find another far greater that will shake the world to its very roots. If for no other reason, the English speaking races ought to be eternally grateful to the supreme poet of the grand epic for this miracle.
  Sri Aurobindo quoting in The Future Poetry these lines of an Elizabethan poet,
  Or who can tell for what great work in hand

1.07 - The Farther Reaches of Human Nature, #Sex Ecology Spirituality, #Ken Wilber, #Philosophy
  In short, no direct experience can be fully captured in words.13 Sex can't be put into words; you've either had the experience or you haven't, and no amount of Poetry will take its place. Sunsets, eating cake, listening to Bach, riding a bike, getting drunk and throwing up-believe me, none of those are captured in words.
  And thus, so what if spiritual experiences can't be captured in words either? They are no more and no less handicapped in this regard than any other experience. If I say "dog" and you've had the experience, you know exactly what I mean. If a Zen master says "Emptiness," and you've had that experience, you will know exactly what is meant. If you haven't had the experience "dog" or the experience "Emptiness," merely adding more and more words will never, under any circumstances, convey it.

1.08 - Attendants, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  Purani was already known to Sri Aurobindo from the twenties and had enjoyed his closeness during those years. It was thus with him a resumption or the old relation after a lapse of many years. Compared with him, we were youngsters and had the passport of entry by virtue of our medical profession, but some individual contact was established with the Master through correspondence so that he knew each one of us by name at least. In my own case, perhaps, I can go a little further. Had our written contact not been so intimate and various, I do not know if I could have been so free with him and of use to him in diverse ways. I have always wondered at and failed to probe the mystery of that intimacy. I have even imagined that Sri Aurobindo must have seen in his timeless vision that one day this humble self might be physically of some service to him. He prepared me for that eventual day, initiated me into love for Poetry that I might at least transcribe his epic Savitri from his dictation, gave some intellectual training that I might be useful to him in his literary work. He even made me familiar with his often baffling handwriting so that I could read his manuscripts and decipher them. These may be all weavings of fancy, but if I have been of any help in his intellectual pursuits, most of it was undoubtedly due to his previous coaching through voluminous letters, literary training and above all, his patient and persuasive manner. This long preparation had put out all fear of his awe-inspiring personality and made my approach to him free and almost unconventional, sometimes leading to an unpardonable abuse of that unstinted freedom. Things went on like a song and life would have made itself a transformed vision of the Supreme, but alas, after the novelty of the soul-contact had worn off, the other face of our nature, the subconscient, came to light and the pressure of the physical nearness began to tell. Work was no longer a joyous offering, but a duty; service alone was not a sufficient reward, it needed more concrete spiritual touches, failing which other lesser joys and satisfactions were regarded as legitimate recompense. My old maladies doubt and depression renewed their hold and transfused into the act of service their bitter stuff. The Master could at once feel the vibration, even though no word was uttered by the lips. Quite often by a look, by a quiet pressure of hands, he would communicate his understanding sympathy and the affliction would withdraw for a time. Never have I seen any displeasure or loss of temper at my delinquency, no harsh word of disapproval though he was quite aware of all inner and outer movements. A largeness, compassionate forgiveness and divine consideration have made life's stream flow through an apparently trackless solitary journey towards the ultimate vastness.
  I do not know if I have the right to speak of my other colleagues, but of Champaklal particularly I must write a few heart-felt words, for his spirit of service has left an indelible impression on my soul and taught me what true service is. Let me prelude it with the Mother's opinion about him when she introduced him to Andre, her son, in 1949. She said with great warmth: "He came here when he was very young. I taught him many kinds of work. He has himself taken up Sri Aurobindo's personal service. He looks into practically everything with regard to Sri Aurobindo. He is extremely careful, meticulous and very particular about details. He has no regular time for food; he takes it when he can. So it is with his sleep. That is why he cannot join the sports activities. He works with joy and devotion. He collects all our little things and keeps them with great care our clothes, nails, hair, etc."
  --
  Often forgetting his gravity, Purani becomes a child and joins us in a plot, when there is nothing to talk about, to draw out Sri Aurobindo who might himself be waiting for the occasion. The ball is set rolling by Purani reporting for instance, "Nirod says that his mind is getting dull and stupid!" On other occasions he starts serious discussions on modern painting, modern Poetry, philosophy, politics, history, science and what not. There is hardly any subject on which he cannot say something a versatile man indeed, and a very interesting personality. Once in the evening the Guru and the shishya had a long talk, for more than an hour, on an old legal case (Bapat case?) that must have taken place during Sri Aurobindo's stay in Baroda, and must have been famous for Purani to remember it and discuss it with Sri Aurobindo. He was lying on one side and Purani was sitting on the floor leaning against a couch opposite. It had the air of a very homely talk, as between father and son. Anybody who had seen the Master only during the Darshan could never conceive of this Sri Aurobindo who had put off his mantle of majesty and high impersonality. I stood for a while to listen to the discussion, but found it so dull that I began wondering how they could drag on ad infinitum! It was Purani's versatility that enriched much in our talks with the Master. If, however, by any chance you stepped on his toes, the old lion growled and roared! But wherever Sri Aurobindo's interest was involved, he would not spare himself. The Guru's name acted on him like a Mantra. The Aurobindonians are ever grateful to him for his yeoman service in bringing out so many valuable documents on Sri Aurobindo's early life in England and for trying to get his genius recognised by the English intellectual circle.
  One other casual attendant whose name I should include was Dr. Sanyal. He was an eminent surgeon in Calcutta and his active service was called for when Sri Aurobindo's condition became critical in the first week of December, 1950. He was sent an urgent wire to come immediately. Before this he had Sri Aurobindo's private darshan twice. The first occasion was when I consulted him in the beginning about Sri Aurobindo's illness. Next year, when again he visited the Ashram, his contact with Sri Aurobindo was renewed for the same reason. Each time he stayed for about a week and every day he had the Guru's darshan. He would come dressed in simple white dhoti and punjabi with a big bouquet of lotuses or roses and offer his pranam to the Guru in quiet devotion. Then, as Sri Aurobindo sat on the bed, he, kneeling on the floor, massaged his leg and held long talks with him at the same time. Sri Aurobindo's manner was affable and engaging, bearing a smile that egged on the speaker. Once I heard from a distance the Mother talking to Sri Aurobindo about him. From a few words that caught my ear it seemed she was very much impressed by his deportment and physiognomy. I felt that she had already marked him as one of her future instruments. All these paved the way to his last service to his Lord and permanent service to the Mother.

1.08 - Civilisation and Barbarism, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  Even in its negative work the materialism of Science had a task to perform which will be useful in the end to the human mind in its exceeding of materialism. But Science in its heyday of triumphant Materialism despised and cast aside Philosophy; its predominance discouraged by its positive and pragmatic turn the spirit of Poetry and art and pushed them from their position of leadership in the front of culture; Poetry entered into an era of decline and decadence, adopted the form and rhythm of a versified prose and lost its appeal and the support of all but a very limited audience, painting followed the curve of Cubist extravagance and espoused monstrosities of shape and suggestion; the ideal receded and visible matter of fact was enthroned in its place and encouraged an ugly realism and utilitarianism; in its war against religious obscurantism Science almost succeeded in slaying religion and the religious spirit. But philosophy had become too much a thing of abstractions, a seeking for abstract truths in a world of ideas and words rather than what it should be, a discovery of the real reality of things by which human existence can learn its law and aim and the principle of its perfection. Poetry and art had become too much cultured pursuits to be ranked among the elegances and ornaments of life, concerned with beauty of words and forms and imaginations, rather than a concrete seeing and significant presentation of truth and beauty and of the living idea and the secret divinity in things concealed by the sensible appearances of the universe. Religion itself had become fixed in dogmas and ceremonies, sects and churches and had lost for the most part, except for a few individuals, direct contact with the living founts of spirituality. A period of negation was necessary. They had to be driven back and in upon themselves, nearer to their own eternal sources. Now that the stress of negation is past and they are raising their heads, we see them seeking for their own truth, reviving by virtue of a return upon themselves and a new self-discovery. They have learned or are learning from the example of Science that Truth is the secret of life and power and that by finding the truth proper to themselves they must become the ministers of human existence.
  But if Science has thus prepared us for an age of wider and deeper culture and if in spite of and even partly by its materialism it has rendered impossible the return of the true materialism, that of the barbarian mentality, it has encouraged more or less indirectly both by its attitude to life and its discoveries another kind of barbarism,for it can be called by no other name,that of the industrial, the commercial, the economic age which is now progressing to its culmination and its close. This economic barbarism is essentially that of the vital man who mistakes the vital being for the self and accepts its satisfaction as the first aim of life. The characteristic of Life is desire and the instinct of possession. Just as the physical barbarian makes the excellence of the body and the development of physical force, health and prowess his standard and aim, so the vitalistic or economic barbarian makes the satisfaction of wants and desires and the accumulation of possessions his standard and aim. His ideal man is not the cultured or noble or thoughtful or moral or religious, but the successful man. To arrive, to succeed, to produce, to accumulate, to possess is his existence. The accumulation of wealth and more wealth, the adding of possessions to possessions, opulence, show, pleasure, a cumbrous inartistic luxury, a plethora of conveniences, life devoid of beauty and nobility, religion vulgarised or coldly formalised, politics and government turned into a trade and profession, enjoyment itself made a business, this is commercialism. To the natural unredeemed economic man beauty is a thing otiose or a nuisance, art and Poetry a frivolity or an ostentation and a means of advertisement. His idea of civilisation is comfort, his idea of morals social respectability, his idea of politics the encouragement of industry, the opening of markets, exploitation and trade following the flag, his idea of religion at best a pietistic formalism or the satisfaction of certain vitalistic emotions. He values education for its utility in fitting a man for success in a competitive or, it may be, a socialised industrial existence, science for the useful inventions and knowledge, the comforts, conveniences, machinery of production with which it arms him, its power for organisation, regulation, stimulus to production. The opulent plutocrat and the successful mammoth capitalist and organiser of industry are the supermen of the commercial age and the true, if often occult rulers of its society.
  The essential barbarism of all this is its pursuit of vital success, satisfaction, productiveness, accumulation, possession, enjoyment, comfort, convenience for their own sake. The vital part of the being is an element in the integral human existence as much as the physical part; it has its place but must not exceed its place. A full and well-appointed life is desirable for man living in society, but on condition that it is also a true and beautiful life. Neither the life nor the body exist for their own sake, but as vehicle and instrument of a good higher than their own. They must be subordinated to the superior needs of the mental being, chastened and purified by a greater law of truth, good and beauty before they can take their proper place in the integrality of human perfection. Therefore in a commercial age with its ideal, vulgar and barbarous, of success, vitalistic satisfaction, productiveness and possession the soul of man may linger a while for certain gains and experiences, but cannot permanently rest. If it persisted too long, Life would become clogged and perish of its own plethora or burst in its straining to a gross expansion. Like the too massive Titan it will collapse by its own mass, mole ruet sua.

1.08 - Sri Aurobindos Descent into Death, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
  write on modern Poetry and a search was on to provide him
  with volumes of such Poetry to read. (He appreciated Mal-
  larm, Whitman, Yeats and Eliot.) He also dictated, at the

1.08 - The Depths of the Divine, #Sex Ecology Spirituality, #Ken Wilber, #Philosophy
  And Emerson means this literally! According to Emerson, this cosmic consciousness is not Poetry (though he often expresses it with unmatched poetic beauty)-rather, it is a direct realization, a direct apprehension, and "in that deep force, the last fact behind which analysis cannot go, all things find their common origin. It is one light which beams out of a thousand stars. It is one soul which animates all."
  For the Over-Soul is also experienced as the World Soul, since self and world are here finding a "common fountain, common source."8 The Over-Soul (or World Soul) is an initial apprehension of the pure Witness or aboriginal Self, which starts to emerge, however haltingly, as an experiential reality at this psychic stage.9 (We will see how Emerson treats this Witness in a moment.)

1.08 - The Gods of the Veda - The Secret of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  Saraswati, a name familiar to the religious conceptions of the race from our earliest eras, & of incessant occurrence in poetic phraseology and image, is worshipped yearly even at the present day in all provinces of the peninsula no less than those many millenniums ago in the prehistoric dawn of our religion and literature. Consistently, subsequent to the Vedic times, she has been worshipped everywhere & is named in all passages as a goddess of speech, Poetry, learning and eloquence. Epic, Purana and the popular imagination know her solely as this deity of speech & knowledge. She ranks therefore in the order of religious ideas with the old Hellenic conceptions of Pallas, Aphrodite or the Muses; nor does any least shadow of the material Nature-power linger to lower the clear intellectuality of her powers and functions. But there is also a river Saraswati or several rivers of that name. Therefore, the doubt suggests itself: In any given passage may it not be the Aryan river, Saraswati, which the bards are chanting? even if they sing of her or cry to her as a goddess, may it not still be the River, so dear, sacred & beneficent to them, that they worship? Or even where she is clearly a goddess of speech and thought, may it not be that the Aryans, having had originally no intellectual or moral conceptions and therefore no gods of the mind and heart, converted, when they did feel the need, this sacred flowing River into a goddess of sacred flowing song? In that case we are likely to find in her epithets & activities the traces of this double capacity.
  For the rest, Sayana in this particular passage lends some support [to] this suggestion of Saraswatis etymological good luck; for he tells us that Saraswati has two aspects, the embodied goddess of Speech and the figure of a river. He distributes, indeed, these two capacities with a strange inconsistency and in his interpretation, as in so many of these harsh & twisted scholastic renderings, European & Indian, of the old melodious subtleties of thought & language, the sages of the Veda come before us only to be convicted of a baffling incoherence of sense and a pointless inaptness of language. But possibly, after all, it is the knowledge of the scholar that is at fault, not the intellect of the Vedic singers that was confused, stupid and clumsy! Nevertheless we must consider the possibility that Sayanas distribution of the sense may be ill-guided, & yet his suggestion about the double role of the goddess may in itself be well-founded. There are few passages of the ancient Sanhita, into which these ingenuities of the ritualistic & naturalistic interpretations do not pursue us. Our inquiry would protract itself into an intolerable length, if we had at every step to clear away from the path either the heavy ancient lumber or the brilliant modern rubbish. It is necessary to determine, once for all, whether the Vedic scholars, prve ntan uta, are guides worthy of trustwhe ther they are as sure in taste & insight as they are painstaking and diligent in their labour,whether, in a word, these ingenuities are the outcome of an imaginative licence of speculation or a sound & keen intuition of the true substance of Veda. Here is a crucial passage. Let us settle at least one side of the account the ledger of the great Indian scholiast.
  --
  In Saraswati we have a deity with subjective functions the first desideratum in our enquiry. Still, there is a doubt, a difficulty. Saraswati of the Epics & Puranas, Saraswati, as she is worshipped today throughout India is, no doubt, a purely subjective goddess and presides only over intellectual and immaterial functions. She is our Lady of Speech, the Muse, the goddess of Poetry, Art and Learning. Saraswati, the flowing, is also the name of more than one river in modern India, but especially of the sacred stream in upper India supposed to join secretly in their confluence the waters of theGanges and Yamuna and form with them the holy Triveni or triple braid of waters in which the ceremonial ablution of the devotee is more potent than at almost any other Indian place of pilgrimage and gives the richest spiritual fruit to the believing pilgrim. But in our modern religious ideas there is no real connexion, except of name, between the goddess and the river. In the Veda also there is a Saraswati who is the goddess of speech; in the Veda also there seems to be an ancient river Saraswati, although this stream is placed by Vedic scholars in the Panjab and not in the vicinity of Prayaga and Ayodhya. Were these two deities,for every river and indeed every natural object was to the Vedic Rishis a divine being,the same goddess Saraswati? Sayana accepts, even in this passage, their identity; she is, he tells us, [].1 If this identity were accepted, we would have to ask ourselves by what process of subjective metamorphosis a material Panjab river came to be the deity of Speech, the female power of Brahma, the Muse and tutelar goddess of scholar and poet. Or was not rather the goddess of speech eponymous of the river and subsequently imaged in it by the Vedic symbolists? But before we descend to these ulterior questions, we must first know for certain whether Sayana is right in his identification of the river and the Muse. First of all, are they the same in this passage? secondly, are they the same in any passage of the Veda? It is to the first question alone that we need address ourselves for the present; for on its solution depends the whole purport, value and helpfulness of these three Riks for the purposes of our enquiry into the sense and secret of the Vedas.
    Blank in MS; in his commentary on the passage under discussion, Sayana describes Saraswati as: dvividh . . . vigrahavaddevat nadrp ca.Ed.
  --
  We have reached a subjective sense for yuvku. But what of vriktabarhishah? Does not barhih always mean in the Veda the sacred grass strewn as a seat for the gods? In the Brahmanas is it not so understood and have [we] not continually the expression barhishi sdata? I have no objection; barhis is certainly the seat of the Gods in the sacrifice, stritam nushak, strewn without a break. But barhis cannot originally have meant Kusha grass; for in that case the singular could only be used to indicate a single grass and for the seat of the Gods the plural barhnshi would have to be used,barhihshu sdata and not barhishi sdata.We have the right to go behind the Brahmanas and enquire what was the original sense of barhis and how it came to mean kusha grass. The root barh is a modified formation from the root brih, to grow, increase or expand, which we have in brihat. From the sense of spreading we may get the original sense of seat, and because the material spread was usually the Kusha grass, the word by a secondary application came to bear also that significance. Is this the only possible sense of barhis? No, for we find it interpreted also as sacrifice, as fire, as light or splendour, as water, as ether. We find barhana & barhas in the sense of strength or power and barhah or barham used for a leaf or for a peacocks tail. The base meaning is evidently fullness, greatness, expansion, power, splendour or anything having these attri butes, an outspread seat, spreading foliage, the outspread or splendid peacocks tail, the shining flame, the wide expanse of ether, the wide flow of water. If there were no other current sense of barhis, we should be bound to the ritualistic explanation. Even as it is, in other passages the ritualistic explanation may be found to stand or be binding; but is it obligatory here? I do not think it is even admissible. For observe the awkwardness of the expression, sut vriktabarhishah, wine of which the grass is stripped of its roots. Anything, indeed, is possible in the more artificial styles of Poetry, but the rest of this hymn, though subtle & deep in thought, is sufficiently lucid and straightforward in expression. In such a style this strained & awkward expression is an alien intruder. Moreover, since every other expression in these lines is subjective, only dire necessity can compel us to admit so material a rendering of this single epithet. There is no such necessity. Barhis means fundamentally fullness, splendour, expansion or strength & power, & this sense suits well with the meaning we have found for yuvkavah. The sense of vrikta is very doubtful. Purified (cleared, separated) is a very remote sense of vrij or vrich & improbable. They can both mean divided, distributed, strewn, outspread, but although it is possible that vriktabarhishah means their fullness outspread through the system or distributed in the outpouring, this sense too is not convincing. Again vrijana in the Veda means strong, or as a noun, strength, energy, even a battle or fight. Vrikta may therefore [mean] brought to its highest strength. We will accept this sense as a provisional conjecture, to be confirmed or corrected by farther enquiry, and render the line The Soma distillings are replete with energy and brought to their highest fullness.
  But to what kind of distillings can such terms be applied? The meaning of Soma & the Vedic ideas about this symbolic wine must be examined by themselves & with a greater amplitude. All we need ask here [is], is there any indication in this hymn itself, that the Soma like everything else in the Sukta is subjective & symbolic? For, if so, our rendering, which at present is clouded with doubt & built on a wide but imperfectly solid foundation, will become firm & established. We have the clear suggestion in the next rik, the first of the three addressed to Indra. Sut ime tw yavah. Our question is answered. What has been distilled? Ime yavah. These life-forces, these vitalities. We shall find throughout the Veda this insistence on the life, vitality,yu or jva; we shall find that the Soma was regarded as a life-giving juice, a sort of elixir of life, or nectar of immortality, something at least that gave increased vitality, established health, prolonged youth. Of such an elixir it may well be said that it is yuvku, full of the force of youth in which the Aswins must specially delight, vriktabarhish, raised to its highest strength & fullness so that the gods who drink of it, become in the man in whom they enter and are seated, increased, vriddha, to the full height of their function and activity,the Aswins to their utmost richness of bounty, their intensest fiery activity. Nectarjuices, they are called, indavah, pourings of delight, yavah, life forces, amritsah, elixirs of immortality.

1.09 - A System of Vedic Psychology, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  What are those views? They represent the Veda to us as a mass of naturalistic, ritualistic & astrological conceits, allegories & metaphors, crude & savage in the substance of its thought but more artificial & ingenious in its particular ideas & fancies than the most artificial, allegorical or Alexandrian Poetry to be found in the worlds literaturea strange incoherent & gaudy jumble unparalleled by the early literature of any other nation,the result of a queer psychological mixture of an early savage with a modern astronomer & comparative mythologist.
  ***

1.09 - Civilisation and Culture, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  The Philistine is not dead,quite the contrary, he abounds,but he no longer reigns. The sons of Culture have not exactly conquered, but they have got rid of the old Goliath and replaced him by a new giant. This is the sensational man who has got awakened to the necessity at least of some intelligent use of the higher faculties and is trying to be mentally active. He has been whipped and censured and educated into that activity and he lives besides in a maelstrom of new information, new intellectual fashions, new ideas and new movements to which he can no longer be obstinately impervious. He is open to new ideas, he can catch at them and hurl them about in a rather confused fashion; he can understand or misunderstand ideals, organise to get them carried out and even, it would appear, fight and die for them. He knows he has to think about ethical problems, social problems, problems of science and religion, to welcome new political developments, to look with as understanding an eye as he can attain to at all the new movements of thought and inquiry and action that chase each other across the modern field or clash upon it. He is a reader of Poetry as well as a devourer of fiction and periodical literature,you will find in him perhaps a student of Tagore or an admirer of Whitman; he has perhaps no very clear ideas about beauty and aesthetics, but he has heard that Art is a not altogether unimportant part of life. The shadow of this new colossus is everywhere. He is the great reading public; the newspapers and weekly and monthly reviews are his; fiction and Poetry and art are his mental caterers, the theatre and the cinema and the radio exist for him: Science hastens to bring her knowledge and discoveries to his doors and equip his life with endless machinery; politics are shaped in his image. It is he who opposed and then brought about the enfranchisement of women, who has been evolving syndicalism, anarchism, the war of classes, the uprising of labour, waging what we are told are wars of ideas or of cultures,a ferocious type of conflict made in the very image of this new barbarism,or bringing about in a few days Russian revolutions which the century-long efforts and sufferings of the intelligentsia failed to achieve. It is his coming which has been the precipitative agent for the reshaping of the modern world. If a Lenin, a Mussolini, a Hitler have achieved their rapid and almost stupefying success, it was because this driving force, this responsive quick-acting mass was there to carry them to victorya force lacking to their less fortunate predecessors.
  The first results of this momentous change have been inspiriting to our desire of movement, but a little disconcerting to the thinker and to the lover of a high and fine culture; for if it has to some extent democratised culture or the semblance of culture, it does not seem at first sight to have elevated or streng thened it by this large accession of the half-redeemed from below. Nor does the world seem to be guided any more directly by the reason and intelligent will of her best minds than before. Commercialism is still the heart of modern civilisation; a sensational activism is still its driving force. Modern education has not in the mass redeemed the sensational man; it has only made necessary to him things to which he was not formerly accustomed, mental activity and occupations, intellectual and even aesthetic sensations, emotions of idealism. He still lives in the vital substratum, but he wants it stimulated from above. He requires an army of writers to keep him mentally occupied and provide some sort of intellectual pabulum for him; he has a thirst for general information of all kinds which he does not care or has not time to coordinate or assimilate, for popularised scientific knowledge, for such new ideas as he can catch, provided they are put before him with force or brilliance, for mental sensations and excitation of many kinds, for ideals which he likes to think of as actuating his conduct and which do give it sometimes a certain colour. It is still the activism and sensationalism of the crude mental being, but much more open and free. And the cultured, the intelligentsia find that they can get a hearing from him such as they never had from the pure Philistine, provided they can first stimulate or amuse him; their ideas have now a chance of getting executed such as they never had before. The result has been to cheapen thought and art and literature, to make talent and even genius run in the grooves of popular success, to put the writer and thinker and scientist very much in a position like that of the cultured Greek slave in a Roman household where he has to work for, please, amuse and instruct his master while keeping a careful eye on his tastes and preferences and repeating trickily the manner and the points that have caught his fancy. The higher mental life, in a word, has been democratised, sensationalised, activised with both good and bad results. Through it all the eye of faith can see perhaps that a yet crude but an enormous change has begun. Thought and Knowledge, if not yet Beauty, can get a hearing and even produce rapidly some large, vague, yet in the end effective will for their results; the mass of culture and of men who think and strive seriously to appreciate and to know has enormously increased behind all this surface veil of sensationalism, and even the sensational man has begun to undergo a process of transformation. Especially, new methods of education, new principles of society are beginning to come into the range of practical possibility which will create perhaps one day that as yet unknown phenomenon, a race of mennot only a classwho have to some extent found and developed their mental selves, a cultured humanity.

1.09 - (Plot continued.) Dramatic Unity., #Poetics, #Aristotle, #Philosophy
  It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but what may happen,--what is possible according to the law of probability or necessity. The poet and the historian differ not by writing in verse or in prose. The work of Herodotus might be put into verse, and it would still be a species of history, with metre no less than without it. The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for Poetry tends to express the universal, history the particular. By the universal, I mean how a person of a certain type will on occasion speak or act, according to the law of probability or necessity; and it is this universality at which Poetry aims in the names she attaches to the personages. The particular is--for example--what
  Alcibiades did or suffered. In Comedy this is already apparent: for here the poet first constructs the plot on the lines of probability, and then inserts characteristic names;--unlike the lampooners who write about particular individuals. But tragedians still keep to real names, the reason being that what is possible is credible: what has not happened we do not at once feel sure to be possible: but what has happened is manifestly possible: otherwise it would not have happened. Still there are even some tragedies in which there are only one or two well known names, the rest being fictitious. In others, none are well known, as in

1.09 - Saraswati and Her Consorts, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  Saraswati is not only connected with other rivers but with other goddesses who are plainly psychological symbols and especially with Bharati and Ila. In the later Puranic forms of worship Saraswati is the goddess of speech, of learning and of Poetry and Bharati is one of her names, but in the Veda Bharati and Saraswati are different deities. Bharati is also called Mahi, the Large, Great or Vast. The three, Ila, Mahi or Bharati and
  Saraswati are associated together in a constant formula in those hymns of invocation in which the gods are called by Agni to the

1.09 - SKIRMISHES IN A WAY WITH THE AGE, #Twilight of the Idols, #Friedrich Nietzsche, #Philosophy
  Moral-Trumpeter of Sackingen.--Dante, or the hyna that writes Poetry
  in tombs.--Kant, or _cant_ as an intelligible character.--Victor

1.09 - Sri Aurobindo and the Big Bang, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
  no doubt that Sri Aurobindo, who had written The Poetry
  of the Future, conceived Savitri as his Poetry of the future, a
   Poetry of Truth in the age-old tradition of the truth-seers,

1.1.01 - Seeking the Divine, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  Newton had spent part of their energies in politics they would not have been able to reach such heights in Poetry and in science or even if they had they would have done much less. The main energies have to be concentrated on one thing; the others can only be minor pursuits at leisure or for distraction or interests rather than pursuits useful for keeping up a general culture.
  All depends on the aim of the life. To one whose aim is to discover and possess the highest spiritual truth and the divine life, I do not think a University post can count for much, nor do

1.10 - Aesthetic and Ethical Culture, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  Its limitations at once appear, when we look back at its prominent examples. Early Rome and Sparta were barren of thought, art, Poetry, literature, the larger mental life, all the amenity and pleasure of human existence; their art of life excluded or discouraged the delight of living. They were distrustful, as the exclusively ethical man is always distrustful, of free and flexible thought and the aesthetic impulse. The earlier spirit of republican Rome held at arms length as long as possible the Greek influences that invaded her, closed the schools of the Greek teachers, banished the philosophers, and her most typical minds looked upon the Greek language as a peril and Greek culture as an abomination: she felt instinctively the arrival at her gates of an enemy, divined a hostile and destructive force fatal to her principle of living. Sparta, though a Hellenic city, admitted as almost the sole aesthetic element of her deliberate ethical training and education a martial music and Poetry, and even then, when she wanted a poet of war, she had to import an Athenian. We have a curious example of the repercussion of this instinctive distrust even on a large and aesthetic Athenian mind in the utopian speculations of Plato who felt himself obliged in his Republic first to censure and then to banish the poets from his ideal polity. The end of these purely ethical cultures bears witness to their insufficiency. Either they pass away leaving nothing or little behind them by which the future can be attracted and satisfied, as Sparta passed, or they collapse in a revolt of the complex nature of man against an unnatural restriction and repression, as the early Roman type collapsed into the egoistic and often orgiastic licence of later republican and imperial Rome. The human mind needs to think, feel, enjoy, expand; expansion is its very nature and restriction is only useful to it in so far as it helps to steady, guide and streng then its expansion. It readily refuses the name of culture to those civilisations or periods, however noble their aim or even however beautiful in itself their order, which have not allowed an intelligent freedom of development.
  On the other hand, we are tempted to give the name of a full culture to all those periods and civilisations, whatever their defects, which have encouraged a freely human development and like ancient Athens have concentrated on thought and beauty and the delight of living. But there were in the Athenian development two distinct periods, one of art and beauty, the Athens of Phidias and Sophocles, and one of thought, the Athens of the philosophers. In the first period the sense of beauty and the need of freedom of life and the enjoyment of life are the determining forces. This Athens thought, but it thought in the terms of art and Poetry, in figures of music and drama and architecture and sculpture; it delighted in intellectual discussion, but not so much with any will to arrive at truth as for the pleasure of thinking and the beauty of ideas. It had its moral order, for without that no society can exist, but it had no true ethical impulse or ethical type, only a conventional and customary morality; and when it thought about ethics, it tended to express it in the terms of beauty, to kalon, to epieikes, the beautiful, the becoming. Its very religion was a religion of beauty and an occasion for pleasant ritual and festivals and for artistic creation, an aesthetic enjoyment touched with a superficial religious sense. But without character, without some kind of high or strong discipline there is no enduring power of life. Athens exhausted its vitality within one wonderful century which left it enervated, will-less, unable to succeed in the struggle of life, uncreative. It turned indeed for a time precisely to that which had been lacking to it, the serious pursuit of truth and the evolution of systems of ethical self-discipline; but it could only think, it could not successfully practise. The later Hellenic mind and Athenian centre of culture gave to Rome the great Stoic system of ethical discipline which saved her in the midst of the orgies of her first imperial century, but could not itself be stoical in its practice; for to Athens and to the characteristic temperament of Hellas, this thought was a straining to something it had not and could not have; it was the opposite of its nature and not its fulfilment.
  This insufficiency of the aesthetic view of life becomes yet more evident when we come down to its other great example, Italy of the Renascence. The Renascence was regarded at one time as pre-eminently a revival of learning, but in its Mediterranean birth-place it was rather the efflorescence of art and Poetry and the beauty of life. Much more than was possible even in the laxest times of Hellas, aesthetic culture was divorced from the ethical impulse and at times was even anti-ethical and reminiscent of the licence of imperial Rome. It had learning and curiosity, but gave very little of itself to high thought and truth and the more finished achievements of the reason, although it helped to make free the way for philosophy and science. It so corrupted religion as to provoke in the ethically minded Teutonic nations the violent revolt of the Reformation, which, though it vindicated the freedom of the religious mind, was an insurgence not so much of the reason,that was left to Science,but of the moral instinct and its ethical need. The subsequent prostration and loose weakness of Italy was the inevitable result of the great defect of its period of fine culture, and it needed for its revival the new impulse of thought and will and character given to it by Mazzini. If the ethical impulse is not sufficient by itself for the development of the human being, yet are will, character, self-discipline, self-mastery indispensable to that development. They are the backbone of the mental body.
  Neither the ethical being nor the aesthetic being is the whole man, nor can either be his sovereign principle; they are merely two powerful elements. Ethical conduct is not the whole of life; even to say that it is three-fourths of life is to indulge in a very doubtful mathematics. We cannot assign to it its position in any such definite language, but can at best say that its kernel of will, character and self-discipline are almost the first condition for human self-perfection. The aesthetic sense is equally indispensable, for without that the self-perfection of the mental being cannot arrive at its object, which is on the mental plane the right and harmonious possession and enjoyment of the truth, power, beauty and delight of human existence. But neither can be the highest principle of the human order. We can combine them; we can enlarge the sense of ethics by the sense of beauty and delight and introduce into it to correct its tendency of hardness and austerity the element of gentleness, love, amenity, the hedonistic side of morals; we can steady, guide and streng then the delight of life by the introduction of the necessary will and austerity and self-discipline which will give it endurance and purity. These two powers of our psychological being, which represent in us the essential principle of energy and the essential principle of delight,the Indian terms are more profound and expressive, Tapas and Ananda,2can be thus helped by each other, the one to a richer, the other to a greater self-expression. But that even this much reconciliation may come about they must be taken up and enlightened by a higher principle which must be capable of understanding and comprehending both equally and of disengaging and combining disinterestedly their purposes and potentialities. That higher principle seems to be provided for us by the human faculty of reason and intelligent will. Our crowning capacity, it would seem to be by right the crowned sovereign of our nature.

1.10 - Laughter Of The Gods, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  I wrote again: X had irregularity in her periods caused by physical and mental strain due to Poetry.
  Sri Aurobindo: Good Lord! If Poetry is to be the parent of irregular menses!
  I protested: It is not Poetry, but physical and mental strain, Sir! Coming here, going there with the poem to send it to you, etc., etc. Not enough to cause strain?
  Sri Aurobindo: You relieve me! I was thinking if Poetry could be the parent of i.m., what it would do to you and Dilip and Nishikanto.
  Moral purists, I am afraid, will burn with a righteous indignation at such uninhibited levity.

1.10 - The Image of the Oceans and the Rivers, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  "These move" says Vamadeva "from the heart-ocean; penned by the enemy in a hundred enclosures they cannot be seen; I look towards the streams of the clarity, for in their midst is the Golden Reed. Entirely they stream like flowing rivers becoming purified by the heart within and the mind; these move, waves of the clarity, like animals under the mastery of their driver. As if on a path in front of the Ocean (sindhu, the upper ocean) the mighty ones move compact of forceful speed but limited by the vital force (vata, vayu), the streams of clarity; they are like a straining horse which breaks its limits, as it is nourished by the waves." On the very face of it this is the Poetry of a mystic concealing his sense from the profane under a veil of images which occasionally he suffers to grow
  106

1.10 - The Revolutionary Yogi, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  Such are the mental, vital, physical and psychic discoveries that Sri Aurobindo pursued alone, step by step, between the ages of twenty and thirty, simply by following the thread of consciousness. The remarkable thing is that he practiced yoga in circumstances and places where one would usually not do yoga: while giving his lectures in French or English at the State College of Baroda, during his work at the court of the Maharaja, and more and more in the midst of his secret revolutionary activities. The hours of the night that were not devoted to studying his mother tongue or Sanskrit or to political work were spent writing Poetry. "Aurobindo had the habit of writing Poetry till late into the night," his Bengali teacher recalls, "and consequently he did not get up very early in the morning. . . . He would concentrate for a minute before starting, then the Poetry would flow from his pen like a stream." From writing Poetry, Sri Aurobindo would pass to his experimental sleep. In 1901, at the age of twenty-nine, he married Mrinalini Devi and tried to share his spiritual life with her. I am experiencing all the signs and symptoms, he wrote to her in a letter found in the archives of the British police. I should like to take you with me along this path. But Mrinalini did not understand him, and Sri Aurobindo would remain alone. We could search Sri Aurobindo's life in vain for those moving or miraculous anecdotes that adorn the lives of great sages and mystics, in vain for sensational yogic methods;
  everything seemed so ordinary, apparently, that nothing attracted one's attention, just as in life itself. Perhaps he had found more miracles in the ordinary than in the extraordinary: With me all is different, all is uncommon, he wrote in a letter to Mrinalini. All is deep and strange to the eyes that see.103 And perhaps that is what he wants us to discover through his example, his work, his yoga all those unknown riches beneath the ordinary crust. Our lives [are] a deeper mystery than we 103

1.10 - The Scolex School, #Magick Without Tears, #Aleister Crowley, #Philosophy
  (I am giving you credit for very unusual ability; this test is not easy to make; and, obviously, you may have spoilt the whole composition, especially where its value depends on its form rather than on its substance. But we are not considering Poetry, or poetic prose; all we want is intelligible meaning.)
  It does not follow that a passage is nonsensical because you fail to understand it; it may simply be too hard for you. When Bertr and Russell writes "We say that a function R is 'ultimately Q-convergent ' if there is a member y of the converse domain of R and the field of Q such that the value of the function for the argument y and for any argument to which y has the relation Q is a member of ." Do we?

1.10 - The Secret of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  The substance of modern philological discovery about the Vedas consists, first, in the picture of an Aryan civilisation introduced by northern invaders and, secondly, in the interpretation of the Vedic religion as a worship of Nature-powers & Vedic myths as allegorical legends of sun & moon & star & the visible phenomena of Nature. The latter generalisation rests partly on new philological renderings of Vedic words, partly on the Science of Comparative Mythology. The method of this Science can be judged from one or two examples. The Greek story of the demigod Heracles is supposed to be an evident sun myth. The two scientific proofs offered for this discovery are first that Hercules performed twelve labours and the solar year is divided into twelve months and, secondly, that Hercules burnt himself on a pyre on Mount Oeta and the sun also sets in a glory of flame behind the mountains. Such proofs seem hardly substantial enough for so strong a conclusion. By the same reasoning one could prove the emperor Napoleon a sun myth, because he was beaten & shorn of his glory by the forces of winter and because his brilliant career set in the western ocean and he passed there a long night of captivity. With the same light confidence the siege of Troy is turned by the scholars into a sun myth because the name of the Greek Helena, sister of the two Greek Aswins, Castor & Pollux, is philologically identical with the Vedic Sarama and that of her abductor Paris is not so very different from the Vedic Pani. It may be noted that in the Vedic story Sarama is not the sister of the Aswins and is not abducted by the Panis and that there is no other resemblance between the Vedic legend & the Greek tradition. So by more recent speculation even Yudhishthira and his brothers and the famous dog of theMahabharat are raised into the skies & vanish in a starry apotheosis,one knows not well upon what grounds except that sometimes the Dog Star rages in heaven. It is evident that these combinations are merely an ingenious play of fancy & prove absolutely nothing. Hercules may be the Sun but it is not proved. Helen & Paris may be Sarama & one of the Panis, but itis not proved. Yudhishthira & his brothers may be an astronomical myth, but it is not proved. For the rest, the unsubstantiality & rash presumption of the Sun myth theory has not failed to give rise in Europe to a hostile school of Comparative Mythologists who adopt other methods & seek the origins of early religious legend & tradition in a more careful and flexible study of the mentality, customs, traditions & symbolisms of primitive races. The theory of Vedic Nature-worship is better founded than these astronomical fancies. Agni is plainly the God of Fire, Surya of the Sun, Usha of the Dawn, Vayu of the Wind; Indra for Sayana is obviously the god of rain; Varuna seems to be the sky, the Greek Ouranos,et cetera. But when we have accepted these identities, the question of Vedic interpretation & the sense of Vedic worship is not settled. In the Greek religion Apollo was the god of the sun, but he was also the god of Poetry & prophecy; Athene is identified with Ahana, a Vedic name of the Dawn, but for the Greeks she is the goddess of purity & wisdom; Artemis is the divinity of the moon, but also the goddess of free life & of chastity. It is therefore evident that in early Greek religion, previous to the historic or even the literary period, at an epoch therefore that might conceivably correspond with the Vedic period, many of the deities of the Greek heavens had a double character, the aspect of physical Nature-powers and the aspect of moral Nature-powers. The indications, therefore,for they are not proofs,even of Comparative Mythology would justify us in inquiring whether a similar double character did not attach to the Vedic gods in the Vedic hymns.
  The real basis of both the Aryan theory of Vedic civilisation and the astronomical theory of Aryan myth is the new interpretation given to a host of Vedic vocables by the comparative philologists. The Aryan theory rests on the ingenious assumption that anarya, dasyu or dasa in the Veda refer to the unfortunate indigenous races who by a familiar modern device were dubbed robbers & dacoits because they were guilty of defending their country against the invaders & Arya is a national term for the invaders who called themselves, according to Max Muller, the Ploughmen, and according to others, the Noble Race. The elaborate picture of an early culture & history that accompanies and supports this theory rests equally on new interpretations of Vedic words and riks in which with the progress of scholarship the authority of Sayana and Yaska has been more & more set at nought and discredited. My contention is that anarya, dasa and dasyu do not for a moment refer to the Dravidian races,I am, indeed, disposed to doubt whether there was ever any such entity in India as a separate Aryan or a separate Dravidian race,but always to Vritra, Vala & the Panis and other, primarily non-human, opponents of the gods and their worshippers. The new interpretations given to Vedic words & riks seem to me sometimes right & well grounded, often arbitrary & unfounded, but always conjectural. The whole European theory & European interpretation of the Vedas may be [not] unjustly described as a huge conjectural & uncertain generalisation built on an inadequate & shifting mass of conjectural particulars.

1.10 - THINGS I OWE TO THE ANCIENTS, #Twilight of the Idols, #Friedrich Nietzsche, #Philosophy
  _par excellence._ By the side of this all the rest of Poetry becomes
  something popular,--nothing more than senseless sentimental twaddle.

1.1.1.01 - Three Elements of Poetic Creation, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
   Poetry, or at any rate a truly poetic Poetry, comes always from some subtle plane through the creative vital and uses the outer mind and other external instruments for transmission only. There are three elements in the production of Poetry; there is the original source of inspiration, there is the vital force of creative beauty which contri butes its own substance and impetus and often determines the form, except when that also comes ready made from the original sources; there is, finally, the transmitting outer consciousness of the poet. The most genuine and perfect Poetry is written when the original source is able to throw its inspiration pure and undiminished into the vital and there takes its true native form and power of speech exactly reproducing the inspiration, while the outer consciousness is entirely passive and transmits without alteration what it receives from the godheads of the inner or the superior spaces. When the vital mind and emotion are too active and give too much of their own initiation or a translation into more or less turbid vital stuff, the Poetry remains powerful but is inferior in quality and less au thentic. Finally, if the outer consciousness is too lethargic and blocks the transmission or too active and makes its own version, then you have the Poetry that fails or is at best a creditable mental manufacture. It is the interference of these two parts either by obstruction or by too great an activity of their own or by both together that causes the difficulty and labour of writing. There would be no difficulty if the inspiration came through without obstruction or interference in a pure transcript that is what happens in a poets highest or freest moments when he writes not at all out of his own external human mind, but by inspiration, as the mouthpiece of the Gods.
  The originating source may be anywhere; the Poetry may arise or descend from the subtle physical plane, from the higher or lower vital itself, from the dynamic or creative intelligence, from the plane of dynamic vision, from the psychic, from the illumined mind or Intuition,even, though this is the rarest, from the Overmind widenesses. To get the Overmind inspiration is so rare that there are only a few lines or short passages in all poetic literature that give at least some appearance or reflection of it. When the source of inspiration is in the heart or the psychic there is more easily a good will in the vital channel, the flow is spontaneous; the inspiration takes at once its true form and speech and is transmitted without any interference or only a minimum of interference by the brain-mind, that great spoiler of the higher or deeper splendours. It is the character of the lyrical inspiration, to flow in a jet out of the beingwhe ther it comes from the vital or the psychic, it is usually spontaneous, for these are the two most powerfully impelling and compelling parts of the nature. When on the contrary the source of inspiration is in the creative poetic intelligence or even the higher mind or the illumined mind, the Poetry which comes from this quarter is always apt to be arrested by the outer intellect, our habitual thought-production engine. This intellect is an absurdly overactive part of the nature; it always thinks that nothing can be well done unless it puts its finger into the pie and therefore it instinctively interferes with the inspiration, blocks half or more than half of it and labours to substitute its own inferior and toilsome productions for the true speech and rhythm that ought to have come. The poet labours in anguish to get the one true word, the au thentic rhythm, the real divine substance of what he has to say, while all the time it is waiting complete and ready behind; but it is denied free transmission by some part of the transmitting agency which prefers to translate and is not willing merely to receive and transcribe. When one gets something through from the illumined mind, then there is likely to come to birth work that is really fine and great. When there comes with labour or without it something reasonably like what the poetic intelligence wanted to say, then there is something fine or adequate, though it may not be great unless there is an intervention from the higher levels. But when the outer brain is at work trying to fashion out of itself or to give its own version of what the higher sources are trying to pour down, then there results a manufacture or something quite inadequate or faulty or, at the best, good on the whole, but not the thing that ought to have come.
  2 June 1931

1.1.1.02 - Creation by the Word, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.1.1.03 - Creative Power and the Human Instrument, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.1.1.04 - Joy of Poetic Creation, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
   Poetry takes its start from any plane of the consciousness, but, like all art, one might even say all creation, it must be passed through the vital, the life-soul, gather from it a certain force for manifestation if it is to be itself alive. And as there is always a joy in creation, that joy along with a certain enthousiasmosnot enthusiasm, if you please, but an invasion and exultation of creative force and creative ecstasy, nandamaya veamust always be there, whatever the source. But where the inspiration comes from the linking of the vital creative instrument to a deeper psychic experience, that imparts another kind of intensive originality and peculiar individual power, a subtle and delicate perfection, a linking on to something that is at once fine to etheriality and potent, intense as fire yet full of sweetness. But this is exceedingly rare in its absolute quality, Poetry as an expression of mind and life is common, Poetry of the mind and life touched by the soul and given a spiritual fineness is to be found but more rare; the pure psychic note in Poetry breaks through only once in a way, in a brief lyric, a sudden line, a luminous passage. It was indeed because this linking-on took place that the true poetic faculty suddenly awoke in you,for it was not there before, at least on the surface. The joy you feel, therefore, was no doubt partly the simple joy of creation, but there comes also into it the joy of expression of the psychic being which was seeking for an outlet since your boyhood. It is this inner expression that makes the writing of Poetry a part of sadhana.
  29 May 1931

1.1.1.05 - Essence of Inspiration, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.1.1.06 - Inspiration and Effort, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  Few poets can keep for a very long time a sustained level of the highest inspiration. The best Poetry does not usually come by streams except in poets of a supreme greatness though there may be in others than the greatest long-continued wingings at a considerable height. The very best comes by intermittent drops, though sometimes three or four gleaming drops at a time. Even in the greatest poets, even in those with the most opulent flow of riches like Shakespeare, the very best is comparatively rare.
  13 February 1936

1.1.1.07 - Aspiration, Opening, Recognition, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.1.1.08 - Self-criticism, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  The check and diminution forced on your prose was compensated by the much higher and maturer quality to which it attained afterwards. It would be so, I suppose, with the Poetry; a new level of consciousness once attained, there might well be a new fluency. So there is not much justification for the fear.
  6 October 1936

1.1.1.09 - Correction by Second Inspiration, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.11 - Correspondence and Interviews, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  Dilip's was a special case. Sri Aurobindo's accident had cut off all connection with him and Dilip suffered a lot. After some time, Sri Aurobindo made an exception and maintained correspondence with him almost until his withdrawal from his body. He even granted him an interview. Amal who was living in Bombay at the time was also an exception. Particularly important were the long answers (sometimes 24 typed sheets) Sri Aurobindo dictated to his questions on topics like "Greatness and Beauty in Poetry" as well as the correspondence centering on Savitri. All these constituted the last writings dictated by him. They are a work apart and form a permanent contribution to our appreciation of mystic Poetry in general and Savitri in particular. It seemed to me that he did this lengthy work with much zest and was glad to have an opportunity to shed some light on his unique poem for its proper understanding in the future. Again, I would gape in wonder at his surprisingly vast knowledge.
  And this lengthy communication required very little change. The exchanges between the Master and the disciple went off and on for two years through me and one cannot be too thankful to the disciple for drawing out the Master on his own creation. Another important work that was carried on for some time with Purani was on the Vedas about which I have written in the chapter Attendants.

1.11 - Higher Laws, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  Yet, for my part, I was never unusually squeamish; I could sometimes eat a fried rat with a good relish, if it were necessary. I am glad to have drunk water so long, for the same reason that I prefer the natural sky to an opium-eaters heaven. I would fain keep sober always; and there are infinite degrees of drunkenness. I believe that water is the only drink for a wise man; wine is not so noble a liquor; and think of dashing the hopes of a morning with a cup of warm coffee, or of an evening with a dish of tea! Ah, how low I fall when I am tempted by them! Even music may be intoxicating. Such apparently slight causes destroyed Greece and Rome, and will destroy England and America. Of all ebriosity, who does not prefer to be intoxicated by the air he breathes? I have found it to be the most serious objection to coarse labors long continued, that they compelled me to eat and drink coarsely also. But to tell the truth, I find myself at present somewhat less particular in these respects. I carry less religion to the table, ask no blessing; not because I am wiser than I was, but, I am obliged to confess, because, however much it is to be regretted, with years I have grown more coarse and indifferent. Perhaps these questions are entertained only in youth, as most believe of Poetry. My practice is
  nowhere, my opinion is here. Nevertheless I am far from regarding myself as one of those privileged ones to whom the Ved refers when it says, that he who has true faith in the Omnipresent Supreme Being may eat all that exists, that is, is not bound to inquire what is his food, or who prepares it; and even in their case it is to be observed, as a Hindoo commentator has remarked, that the Vedant limits this privilege to the time of distress.

1.1.2.01 - Sources of Inspiration and Variety, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.1.2.02 - Poetry of the Material or Physical Consciousness, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  object:1.1.2.02 - Poetry of the Material or Physical Consciousness
  author class:Sri Aurobindo
  --
  Homer and Chaucer are poets of the physical consciousness I have pointed that out in The Future Poetry.
  31 May 1937

1.12 - Delight of Existence - The Solution, #The Life Divine, #Sri Aurobindo, #Integral Yoga
  14:This elimination is possible because pain and pleasure themselves are currents, one imperfect, the other perverse, but still currents of the delight of existence. The reason for this imperfection and this perversion is the self-division of the being in his consciousness by measuring and limiting Maya and in consequence an egoistic and piecemeal instead of a universal reception of contacts by the individual. For the universal soul all things and all contacts of things carry in them an essence of delight best described by the Sanskrit aesthetic term, rasa, which means at once sap or essence of a thing and its taste. It is because we do not seek the essence of the thing in its contact with us, but look only to the manner in which it affects our desires and fears, our cravings and shrinkings that grief and pain, imperfect and transient pleasure or indifference, that is to say, blank inability to seize the essence, are the forms taken by the Rasa. If we could be entirely disinterested in mind and heart and impose that detachment on the nervous being, the progressive elimination of these imperfect and perverse forms of Rasa would be possible and the true essential taste of the inalienable delight of existence in all its variations would be within our reach. We attain to something of this capacity for variable but universal delight in the aesthetic reception of things as represented by Art and Poetry, so that we enjoy there the Rasa or taste of the sorrowful, the terrible, even the horrible or repellent;2 and the reason is because we are detached, disinterested, not thinking of ourselves or of self-defence (jugupsa), but only of the thing and its essence. Certainly, this aesthetic reception of contacts is not a precise image or reflection of the pure delight which is supramental and supra-aesthetic; for the latter would eliminate sorrow, terror, horror and disgust with their cause while the former admits them: but it represents partially and imperfectly one stage of the progressive delight of the universal Soul in things in its manifestation and it admits us in one part of our nature to that detachment from egoistic sensation and that universal attitude through which the one Soul sees harmony and beauty where we divided beings experience rather chaos and discord. The full liberation can come to us only by a similar liberation in all our parts, the universal aesthesis, the universal standpoint of knowledge, the universal detachment from all things and yet sympathy with all in our nervous and emotional being.
  15:Since the nature of suffering is a failure of the consciousforce in us to meet the shocks of existence and a consequent shrinking and contraction and its root is an inequality of that receptive and possessing force due to our self-limitation by egoism consequent on the ignorance of our true Self, of Sachchidananda, the elimination of suffering must first proceed by the substitution of titiks.a, the facing, enduring and conquest of all shocks of existence for jugupsa, the shrinking and contraction: by this endurance and conquest we proceed to an equality which may be either an equal indifference to all contacts or an equal gladness in all contacts; and this equality again must find a firm foundation in the substitution of the Sachchidananda consciousness which is All-Bliss for the ego-consciousness which enjoys and suffers. The Sachchidananda consciousness may be transcendent of the universe and aloof from it, and to this state of distant Bliss the path is equal indifference; it is the path of the ascetic. Or the Sachchidananda consciousness may be at once transcendent and universal; and to this state of present and all-embracing Bliss the path is surrender and loss of the ego in the universal and possession of an all-pervading equal delight; it is the path of the ancient Vedic sages. But neutrality to the imperfect touches of pleasure and the perverse touches of pain is the first direct and natural result of the soul's self-discipline and the conversion to equal delight can, usually, come only afterwards. The direct transformation of the triple vibration into Ananda is possible, but less easy to the human being.

1.12 - God Departs, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  The work on Savitri proceeded as usual, but slowed down in pace, especially when we came to a mighty confrontation with the two big Cantos of The Book of Fate. Revision after revision, addition of lines, even punctuations changed so many times! It seemed like a veritable "God's labour" against a rock of resistance. At his time the Press sent up a demand for a new book from him. The Future Poetry was given preference and some passages which were meant to be dovetailed into the text of the chapters were written. But since he wanted to write something on modern Poetry and for his works of modern poets were needed, orders were sent to Madras for them while whatever few books were available from our small library were requisitioned. As I read them out, he said, "Mark that passage," or "These lines have a striking image" (once the lines referred to were, I think, from C. Day Lewis' Magnetic Mountain).He himself read out a poem of Eliot's to me I don't remember exactly which, and remarked, "This is fine Poetry." In this way we proceeded. Since we had to wait for the arrival of the books, he said, "Let us go back to Savitri." His whole attention seemed to be focussed on Savitri, but again, the work had to be suspended owing to the pressure of various extraneous demands. They swelled up to such an extent that he was obliged to remark, "I find no more time for my real work." When the path was fairly clear and I was wondering what his next choice would be, he said in a distant voice, "Take up Savitri. I want to finish it soon." This must have been about two months before his departure. The last part of the utterance startled me, though it was said in a subdued tone. I wondered for a moment if I had heard rightly. I looked at him; my bewildered glance met an impassive face. In these twelve years this was the first time I had heard him reckoning with the time factor. An Avatar of poise, patience and equanimity, this was the picture that shone before our eyes whenever we had thought or spoken about him. Hence my wonder. We took up the same two Cantos that had proved so intractable. The work progressed slowly; words, ideas, images seemed to be repeated; the verses themselves appeared to flow with reluctance. Once a punctuation had to be changed four or five times. When the last revision was made and the Cantos were wound up, I said, "It is finished now." An impersonal smile of satisfaction greeted me, and he said, "Ah, it is finished?" How well I remember that flicker of a smile which all of us craved for so long! "What is left now?" was his next query. "The Book of Death and The Epilogue." "Oh, that? We shall see about that later on." That "later on" never came and was not meant to come. Having taken the decision to leave the body, he must have been waiting for the right moment to go, and for reasons known to himself he left the two last-mentioned Books almost as they were. Thus on Savitri was put the seal of incomplete completion about two weeks before the Darshan of November 24th. Other literary works too came to an end.
  And significantly The Book of Fate was the last Book to be revised. What I deemed to be minor flaws or unnecessary repetitions, and thought that a further revision would remove them, appeared, after his passing, to be deliberate and prophetic:
  --
  "I who had depended so much on Sri Aurobindo in all my writing work when he had woken to inspiration the labouring poet, stirred to literary insight the fumbling critic, shaped out of absolute nothing the political commentator I who had almost every day despatched to him some piece of writing for consideration felt a void at the thought that he would not be in that room of his, listening so patiently to my Poetry or prose and sending me by letter or telegram his precious guidance. A fellow-sadhak, Udar, spoke to the Mother about my plight. On December 12, the inmates of the Ashram met her again and each received from her hands a photograph of Sri Aurobindo taken after his passing. It was dusk, as far as I recollect. She must have seen a certain helplessness on my face. Smiling as she alone can do, she looked me in the eyes and said, 'Nothing has changed. Call for inspiration and help as you have always done. You will get everything from Sri Aurobindo as before.'"
  Champaklal remained sitting at the foot of the bed day and night. The Mother gave him a good quantity of milk to drink at night that was all for physical sustenance.

1.12 - The Sacred Marriage, #The Golden Bough, #James George Frazer, #Occultism
  the glamour shed round these rites by the Poetry and philosophy of
  later ages there still looms, like a distant landscape through a

1.12 - The Superconscient, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  Those who have exceeded, or think they have exceeded, the stage of religious forms will jump to the conclusion that all personal forms are deceptive, or of a lower order, and that only impersonal forces are true, but this is an error of our human logic, which always tries to reduce everything to a uniform concept. The vision of Durga is no more false and imaginary than Shelley's poem or Einstein's equations, which were confirmed ten years later. Error and superstition begin with the assertion that only the Virgin is true, or only Durga, or only Poetry. The reconciling truth would be in seeing that all these forms come from the same divine Light, in different degrees.
  But it would be another mistake to think of the so-called impersonal forces as some improved mechanical forces. They have an intensity, a warmth, a luminous joy that very much suggest a person without a face. Anyone who has experienced a flood of golden light, a sapphire-blue blossoming, or a sparkling of white light knows beyond a doubt that with that gold comes a spontaneous and joyful Knowledge; with that blue, a self-sustaining power; with that whiteness, an ineffable Presence. Some forces can sweep upon us like a smile. Then one truly understands that the opposition between personal and impersonal, consciousness and force, is a practical distinction created by human logic, without much relation to reality, and that one need not see any person to be in the presence of the Person.
  --
  This luminous flood will translate differently in different people (one is always too quick to give it a form instead of letting it quietly permeate the being and do its work of clarification). For some, there will be a sudden poetic blossoming, others will see new architectural forms, others will pursue new scientific discoveries, while still others will worship their God. Generally, the access to this new consciousness is accompanied by a spontaneous flowering of creative energies, particularly in the poetic field. It is interesting to note the number of poets of all languages Chinese, Indian, English, etc. among Sri Aurobindo's disciples, as if Poetry and art were the first practical result of his yoga: I have seen both in myself and others a sudden flowering of capacities in every kind of activity come by the opening of consciousness, so that one who laboured long without the least success to express himself in rhythm becomes a master of poetic language and cadences in a day. It is a question of the right silence in the mind and the right openness to the Word that is trying to express itself for the Word is there ready formed in those inner planes where all artistic forms take birth, but it is the transmitting mind that must change and become a perfect channel and not an obstacle.192
   Poetry is the most convenient means of conveying what these higher planes of consciousness are. In a poem's rhythm one can easily perceive vibrations. We will therefore use Poetry to convey a sense of what these higher planes are, even though the Superconscient is not the sole privilege of poets. In his vast correspondence on Poetry and in his Future Poetry, Sri Aurobindo has given numerous instances of Poetry issuing from the illumined mind. It is naturally Shakespeare who would give us the most abundant examples, provided we let go of the external meaning and listen to what vibrates behind the words; for Poetry and all the arts are ultimately a means of capturing a tiny ineffable note, a mere nothing, a "nothing" that still constitutes life's very essence: . . . that his virtues
  Will plead like angels, trumpet-tongued. . .
  --
  Along with its beauty, we are also discovering the limits of the illumined mind: illumined Poetry produces streams of images and revelatory words (because vision, and even hearing, often open at this stage), almost an avalanche of luxuriant, sometimes incoherent images, as if the consciousness were hard put to contain the flood of light and unaccustomed intensity; it is overwhelmed. Enthusiasm easily changes into exhilaration, and if the rest of the being has not been sufficiently prepared and purified, any of the lower parts can seize hold of the descending light and force and use them for their own ends; this is a frequent snare. Whenever the lower parts of the being, especially the vital, seize upon the luminous flood, they harden it, dramatize it, distort it. There is still power, but compelling and hard while the essence of the illumined mind is joy. Here we could cite the names of many poets and creative geniuses. 193 Furthermore, the substance of the illumined mind is not truly transparent, but only translucent; its light is diffused, somewhat as if it could feel the truth everywhere without concretely touching it; hence the frequent instances of incoherence and vagueness. It is only the beginning of a new birth. Before going higher, more purification is necessary, and above all more peace, more natural equilibrium, and more silence. The higher we ascend in consciousness, the sturdier the equilibrium required.
  191 - Letters, 3rd Series, 124
  --
  Unfortunately, artists and creators too often have a considerable ego standing in the way, which is their main difficulty. The religious man, who has worked to dissolve his ego, finds it easier, but he rarely attains universality through his own individual efforts, leaping instead beyond the individual without bothering to develop all the intermediate rungs of the personal consciousness, and when he reaches the "top" he no longer has a ladder to come down, or he does not want to come down, or there is no individual self left to express what he sees, or else his old individual self tries its best to express his new consciousness, provided he feels the need to express anything at all. The Vedic rishis, who have given us perhaps the only instance of a systematic and continuous spiritual progression from plane to plane, may be among the greatest poets the earth has ever known, as Sri Aurobindo has shown in his Secret of the Veda. The Sanskrit word kavi had the double meaning of "seer of the Truth" and "poet." One was a poet because one was a seer. This is an obvious and quite forgotten reality. It may be worthwhile, then, to say a few words about art as a means of ascent of the consciousness, and, in particular, about Poetry at the overmental level.
  198 - On Yoga II, Tome 2, 263
  --
  

Mantric Poetry


  The planes of consciousness are characterized not only by different intensities of luminous vibrations, but by different sound-vibrations or rhythms one can hear when one has that "ear of ears" the Veda speaks of. Sounds or images, lights or forces or beings are various aspects of the same Existence manifesting differently and in varying intensities according to the plane. The farther one descends the ladder of consciousness, the more fragmented become the sound-vibrations, as well as the light, the beings, and the forces. On the vital plane, for example, one can hear the discordant and jarring vibrations of life, like certain types of music issuing from this plane or certain types of vital painting or Poetry, which all express that broken and highly colored rhythm. The higher one rises, the more harmonious, unified and streamlined the vibrations become, such as certain great notes of Beethoven's string quartets, which seem to draw us upward, breathlessly, to radiant heights of pure light. The force of the music is no longer a matter of volume or multi-hued outbursts, but of a higher inner tension. The higher frequency of vibration turns the multi-hued rainbow to pure white, to a note so high that it seems motionless, as if captured in eternity, one single sound-light-force which is perhaps akin to the sacred Indian syllable OM [the] Word concealed in the upper fire.35 "In the beginning was the Word," the Christian Scriptures also say.
  There exists in India a secret knowledge based upon sounds and the differences of vibratory modes found on different planes of consciousness. If we pronounce the sound OM, for example, we clearly feel its vibrations enveloping the head centers, while the sound RAM affects the navel center. And since each of our centers of consciousness is in direct contact with a plane, we can, by the repetition of certain sounds (japa), come into contact with the corresponding plane of consciousness.200 This is the basis of an entire spiritual discipline, called "tantric" because it originates from sacred texts known as Tantra. The basic or essential sounds that have the power to establish the contact are called mantras. The mantras, usually secret and given to the disciple by his Guru,201 are of all kinds (there are many levels within each plane of consciousness), and may serve the most contradictory purposes. By combining certain sounds, one can at the lower levels of consciousness generally at the vital level come in contact with the corresponding forces and acquire many strange powers: some mantras can cause death (in five minutes, with violent vomiting), some mantras can strike with precision a particular part or organ of the body, some mantras can cure, some mantras can start a fire, protect, or cast spells. This type of magic, or chemistry of vibrations, derives simply from a conscious handling of the lower vibrations. But there is a higher magic, which also derives from handling vibrations, on higher planes of consciousness. This is Poetry, music, the spiritual mantras of the Upanishads and the Veda, the mantras given by a Guru to his disciple to help him come consciously into direct contact with a special plane of consciousness, a force or a divine being. In this case, the sound holds in itself the power of experience and realization it is a sound that makes one see.
  Similarly, Poetry and music, which are but unconscious processes of handling these secret vibrations, can be a powerful means of opening up the consciousness. If we could compose conscious Poetry or music through the conscious manipulation of higher vibrations, we would create masterpieces endowed with initiatory powers. Instead of a Poetry that is a fantasy of the intellect and a nautch-girl of the mind,202 as Sri Aurobindo put it, we would create a mantric music or Poetry to bring the gods into our life. 203 For true Poetry is action; it opens little inlets in the consciousness we are so walled in, so barricaded! through which the Real can enter. It is a mantra of the Real,204 an initiation. This is what the Vedic rishis and the seers of the Upanishads did with their mantras, which have the power of communicating illumination to one who is ready. 205 This is what Sri Aurobindo has explained in his Future Poetry and what he has accomplished himself in Savitri.
  Mantras, great Poetry, great music, or the sacred Word, all come from the overmind plane. It is the source of all creative or spiritual activity (the two cannot be separated: the categorical divisions of the intellect vanish in this clear space where everything is sacred, even the profane). We might now attempt to describe the particular vibration or rhythm of the overmind. First, as anyone knows who has the capacity to enter more or less consciously in contact with the higher planes a poet, a writer, or an artist it is no longer ideas one perceives and tries to translate when one goes beyond a certain level of consciousness: one hears. Vibrations, or waves, or rhythms, literally impose themselves and take possession of the seeker, and subsequently garb themselves with words and ideas, or music, or colors, during the descent. But the word or idea, the music or color is merely a result, a byproduct: it only gives a body to that first, highly compelling vibration. If the poet, the true one, next corrects and recorrects his draft, it is not to improve the form, as it were, or to find a more adequate expression, but to capture the vibrating life behind more accurately; if the true vibration is absent, all the magic disintegrates, as a Vedic priest mispronouncing the mantra of the sacrifice. When the consciousness is transparent, the sound can be heard distinctly, and it is a seeing sound, as it were, a sound-image or a sound-idea, which inseparably links hearing to vision and thought within the same luminous essence. All is there, self-contained, within a single vibration. On all the intermediate planes higher mind, illumined or intuitive mind the vibrations are generally broken up as flashes, pulsations, or eruptions, while in the overmind they are great notes.
  They have neither beginning nor end, and they seem to be born out of the Infinite and disappear into the Infinite 206 ; they do not "begin" anywhere, but rather flow into the consciousness with a kind of halo of eternity, which was vibrating beforeh and and continues to vibrate long afterward, like the echo of another voyage behind this one:
  --
  203 - The Future Poetry, 9:233
  204 - The Future Poetry, 9:9
  205 - Unfortunately, these texts have reached us in translation, such that all the magic of the original sound has vanished. The remarkable thing, however, is that if one hears the original Sanskrit text chanted by someone who has knowledge, one can receive an illumination without understanding a word of what has been chanted.

1.1.3 - Mental Difficulties and the Need of Quietude, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  I am glad to know that your vital has been frightened into acquiescence in self-givingeven if only by the imaginary horror of being obliged to become the policeman of yourself. But to explain why these contradictions existed in you one has to have recourse to this very business of harmonies and disharmonies and the inner knowledge. You were in fact a piano played on by several pianists at a time each with his own different musical piece to play! In plain words and without images, every man is full of these contradictions because he is one person, no doubt, but made up of different personalities the perception of multiple personality is becoming well-known to psychologists nowwho very commonly disagree with each other. So long as one does not aim at unity in a single dominant intention, like that of seeking and self-dedication to the Divine, they get on somehow together, alternating or quarrelling or muddling through or else one taking the lead and compelling the others to take a minor part but once you try to unite them in one aim, then the trouble becomes evident. One element wanted the Divine from the first, another wanted music, literature, Poetry, a third wanted life at its best, a fourth wanted lifewell, not at its best. Finally there was another element which wanted life not at all, but was rather disgusted with it and wanted either a better (diviner) life or something better than life. It was this element evidently that created the vairgya and in the struggle between that and the life-partisans, a black element stole in (not one of the personalities, but a formation, a dark intrusion from outside), which wanted to turn the whole thing into a drama or tragedy of despairdespair of life but despair of the Divine also. That has to be rejected, the rest changed and harmonised. That is the only true explanation of the whole difficulty in your nature.
  ***

1.13 - SALVATION, DELIVERANCE, ENLIGHTENMENT, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  Much of the literature of Sufism is poetical. Sometimes this Poetry is rather strained and extravagant, sometimes beautiful with a luminous simplicity, sometimes darkly and almost disquietingly enigmatic. To this last class belong the utterances of that Moslem saint of the tenth century, Niffari the Egyptian. This is what he wrote on the subject of salvation.
  God made me behold the sea, and I saw the ships sinking and the planks floating; then the planks too were submerged. And God said to me, Those who voyage are not saved. And He said to me, Those who, instead of voyaging, cast themselves into the sea, take a risk. And He said to me, Those who voyage and take no risk shall perish. And He said to me, The surface of the sea is a gleam that cannot be reached. And the bottom is a darkness impenetrable. And between the two are great fishes, which are to be feared.

1.13 - Under the Auspices of the Gods, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  Until now, it is as if the individual's progress in evolution has been to discover higher planes of consciousness, and once there, to build his own private nest apart from the rest of creation, an island of light in the midst of economic philistinism: this one with music, that one with Poetry, another with mathematics or religion, and yet another on a sailboat or in a monk's cell, as if the sole purpose of life in a body were to escape from both life and the body. Indeed, we need only look at our own life; we are never in it! We are before or after, engrossed in memories or in hopes; but the here-and-now is so miserable and dull . . . we do not even know if it exists, except in those moments that no longer belong to life as such. We cannot blame the churches,
  because we all live in the beyond, all the time; they merely preach a larger beyond. Even Rimbaud said it: "True life is elsewhere."

1.14 - (Plot continued.) The tragic emotions of pity and fear should spring out of the Plot itself., #Poetics, #Aristotle, #Philosophy
  The action may be done consciously and with knowledge of the persons, in the manner of the older poets. It is thus too that Euripides makes Medea slay her children. Or, again, the deed of horror may be done, but done in ignorance, and the tie of kinship or friendship be discovered afterwards. The Oedipus of Sophocles is an example. Here, indeed, the incident is outside the drama proper; but cases occur where it falls within the action of the play: one may cite the Alcmaeon of Astydamas, or Telegonus in the Wounded Odysseus. Again, there is a third case,-- when some one is about to do an irreparable deed through ignorance, and makes the discovery before it is done. These are the only possible ways. For the deed must either be done or not done,--and that wittingly or unwittingly. But of all these ways, to be about to act knowing the persons, and then not to act, is the worst. It is shocking without being tragic, for no disaster follows. It is, therefore, never, or very rarely, found in Poetry. One instance, however, is in the
  Antigone, where Haemon threatens to kill Creon. The next and better way is that the deed should be perpetrated. Still better, that it should be perpetrated in ignorance, and the discovery made afterwards. There is then nothing to shock us, while the discovery produces a startling effect. The last case is the best, as when in the Cresphontes Merope is about to slay her son, but, recognising who he is, spares his life. So in the Iphigenia, the sister recognises the brother just in time. Again in the Helle, the son recognises the mother when on the point of giving her up. This, then, is why a few families only, as has been already observed, furnish the subjects of tragedy. It was not art, but happy chance, that led the poets in search of subjects to impress the tragic quality upon their plots. They are compelled, therefore, to have recourse to those houses whose history contains moving incidents like these.

1.14 - The Suprarational Beauty, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  This is especially evident in the two realms which in the ordinary scale of our powers stand nearest to the reason and on either side of it, the aesthetic and the ethical being, the search for Beauty and the search for Good. Mans seeking after beauty reaches its most intense and satisfying expression in the great creative arts, Poetry, painting, sculpture, architecture, but in its full extension there is no activity of his nature or his life from which it need or ought to be excluded,provided we understand beauty both in its widest and its truest sense. A complete and universal appreciation of beauty and the making entirely beautiful our whole life and being must surely be a necessary character of the perfect individual and the perfect society. But in its origin this seeking for beauty is not rational; it springs from the roots of our life, it is an instinct and an impulse, an instinct of aesthetic satisfaction and an impulse of aesthetic creation and enjoyment. Starting from the infrarational parts of our being, this instinct and impulse begin with much imperfection and impurity and with great crudities both in creation and in appreciation. It is here that the reason comes in to distinguish, to enlighten, to correct, to point out the deficiencies and the crudities, to lay down laws of aesthetics and to purify our appreciation and our creation by improved taste and right knowledge. While we are thus striving to learn and correct ourselves, it may seem to be the true law-giver both for the artist and the admirer and, though not the creator of our aesthetic instinct and impulse, yet the creator in us of an aesthetic conscience and its vigilant judge and guide. That which was an obscure and erratic activity, it makes self-conscious and rationally discriminative in its work and enjoyment.
  But again this is true only in restricted bounds or, if anywhere entirely true, then only on a middle plane of our aesthetic seeking and activity. Where the greatest and most powerful creation of beauty is accomplished and its appreciation and enjoyment rise to the highest pitch, the rational is always surpassed and left behind. The creation of beauty in Poetry and art does not fall within the sovereignty or even within the sphere of the reason. The intellect is not the poet, the artist, the creator within us; creation comes by a suprarational influx of light and power which must work always, if it is to do its best, by vision and inspiration. It may use the intellect for certain of its operations, but in proportion as it subjects itself to the intellect, it loses in power and force of vision and diminishes the splendour and truth of the beauty it creates. The intellect may take hold of the influx, moderate and repress the divine enthusiasm of creation and force it to obey the prudence of its dictates, but in doing so it brings down the work to its own inferior level, and the lowering is in proportion to the intellectual interference. For by itself the intelligence can only achieve talent, though it may be a high and even, if sufficiently helped from above, a surpassing talent. Genius, the true creator, is always suprarational in its nature and its instrumentation even when it seems to be doing the work of the reason; it is most itself, most exalted in its work, most sustained in the power, depth, height and beauty of its achievement when it is least touched by, least mixed with any control of the mere intellectuality and least often drops from its heights of vision and inspiration into reliance upon the always mechanical process of intellectual construction. Art-creation which accepts the canons of the reason and works within the limits laid down by it, may be great, beautiful and powerful; for genius can preserve its power even when it labours in shackles and refuses to put forth all its resources: but when it proceeds by means of the intellect, it constructs, but does not create. It may construct well and with a good and faultless workmanship, but its success is formal and not of the spirit, a success of technique and not the embodiment of the imperishable truth of beauty seized in its inner reality, its divine delight, its appeal to a supreme source of ecstasy, Ananda.
  There have been periods of artistic creation, ages of reason, in which the rational and intellectual tendency has prevailed in Poetry and art; there have even been nations which in their great formative periods of art and literature have set up reason and a meticulous taste as the sovereign powers of their aesthetic activity. At their best these periods have achieved work of a certain greatness, but predominantly of an intellectual greatness and perfection of technique rather than achievements of a supreme inspired and revealing beauty; indeed their very aim has been not the discovery of the deeper truth of beauty, but truth of ideas and truth of reason, a critical rather than a true creative aim. Their leading object has been an intellectual criticism of life and nature elevated by a consummate poetical rhythm and diction rather than a revelation of God and man and life and nature in inspired forms of artistic beauty. But great art is not satisfied with representing the intellectual truth of things, which is always their superficial or exterior truth; it seeks for a deeper and original truth which escapes the eye of the mere sense or the mere reason, the soul in them, the unseen reality which is not that of their form and process but of their spirit. This it seizes and expresses by form and idea, but a significant form, which is not merely a faithful and just or a harmonious reproduction of outward Nature, and a revelatory idea, not the idea which is merely correct, elegantly right or fully satisfying to the reason and taste. Always the truth it seeks is first and foremost the truth of beauty,not, again, the formal beauty alone or the beauty of proportion and right process which is what the sense and the reason seek, but the soul of beauty which is hidden from the ordinary eye and the ordinary mind and revealed in its fullness only to the unsealed vision of the poet and artist in man who can seize the secret significances of the universal poet and artist, the divine creator who dwells as their soul and spirit in the forms he has created.
  The art-creation which lays a supreme stress on reason and taste and on perfection and purity of a technique constructed in obedience to the canons of reason and taste, claimed for itself the name of classical art; but the claim, like the too trenchant distinction on which it rests, is of doubtful validity. The spirit of the real, the great classical art and Poetry is to bring out what is universal and subordinate individual expression to universal truth and beauty, just as the spirit of romantic art and Poetry is to bring out what is striking and individual and this it often does so powerfully or with so vivid an emphasis as to throw into the background of its creation the universal, on which yet all true art romantic or classical builds and fills in its forms. In truth, all great art has carried in it both a classical and a romantic as well as a realistic element,understanding realism in the sense of the prominent bringing out of the external truth of things, not the perverse inverted romanticism of the real which brings into exaggerated prominence the ugly, common or morbid and puts that forward as the whole truth of life. The type of art to which a great creative work belongs is determined by the prominence it gives to one element and the subdual of the others into subordination to its reigning spirit. But classical art also works by a large vision and inspiration, not by the process of the intellect. The lower kind of classical art and literature,if classical it be and not rather, as it often is, pseudo-classical, intellectually imitative of the external form and process of the classical,may achieve work of considerable, though a much lesser power, but of an essentially inferior scope and nature; for to that inferiority it is self-condemned by its principle of intellectual construction. Almost always it speedily degenerates into the formal or academic, empty of real beauty, void of life and power, imprisoned in its slavery to form and imagining that when a certain form has been followed, certain canons of construction satisfied, certain rhetorical rules or technical principles obeyed, all has been achieved. It ceases to be art and becomes a cold and mechanical workmanship.
  This predominance given to reason and taste first and foremost, sometimes even almost alone, in the creation and appreciation of beauty arises from a temper of mind which is critical rather than creative; and in regard to creation its theory falls into a capital error. All artistic work in order to be perfect must indeed have in the very act of creation the guidance of an inner power of discrimination constantly selecting and rejecting in accordance with a principle of truth and beauty which remains always faithful to a harmony, a proportion, an intimate relation of the form to the idea; there is at the same time an exact fidelity of the idea to the spirit, nature and inner body of the thing of beauty which has been revealed to the soul and the mind, its svarpa and svabhva. Therefore this discriminating inner sense rejects all that is foreign, superfluous, otiose, all that is a mere diversion distractive and deformative, excessive or defective, while it selects and finds sovereignly all that can bring out the full truth, the utter beauty, the inmost power. But this discrimination is not that of the critical intellect, nor is the harmony, proportion, relation it observes that which can be fixed by any set law of the critical reason; it exists in the very nature and truth of the thing itself, the creation itself, in its secret inner law of beauty and harmony which can be seized by vision, not by intellectual analysis. The discrimination which works in the creator is therefore not an intellectual self-criticism or an obedience to rules imposed on him from outside by any intellectual canons, but itself creative, intuitive, a part of the vision, involved in and inseparable from the act of creation. It comes as part of that influx of power and light from above which by its divine enthusiasm lifts the faculties into their intense suprarational working. When it fails, when it is betrayed by the lower executive instruments rational or infrarational, and this happens when these cease to be passive and insist on obtruding their own demands or vagaries,the work is flawed and a subsequent act of self-criticism becomes necessary. But in correcting his work the artist who attempts to do it by rule and intellectual process, uses a false or at any rate an inferior method and cannot do his best. He ought rather to call to his aid the intuitive critical vision and embody it in a fresh act of inspired creation or recreation after bringing himself back by its means into harmony with the light and law of his original creative initiation. The critical intellect has no direct or independent part in the means of the inspired creator of beauty.

1.15 - Index, #Aion, #Carl Jung, #Psychology
  The Type Problem in Poetry
  The Type Problem in Psychopathology
  --
  On the Relation of Analytical Psychology to Poetry (1922)
  Psychology and Literature (1930/1950)

1.15 - The element of Character in Tragedy., #Poetics, #Aristotle, #Philosophy
  These then are rules the poet should observe. Nor should he neglect those appeals to the senses, which, though not among the essentials, are the concomitants of Poetry; for here too there is much room for error.
  But of this enough has been said in our published treatises.

1.15 - The Suprarational Good, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  This truth comes most easily home to us in Religion and in Art, in the cult of the spiritual and in the cult of the beautiful, because there we get away most thoroughly from the unrestful pressure of the outward appearances of life, the urgent siege of its necessities, the deafening clamour of its utilities. There we are not compelled at every turn to make terms with some gross material claim, some vulgar but inevitable necessity of the hour and the moment. We have leisure and breathing-time to seek the Real behind the apparent: we are allowed to turn our eyes either away from the temporary and transient or through the temporal itself to the eternal; we can draw back from the limitations of the immediately practical and re-create our souls by the touch of the ideal and the universal. We begin to shake off our chains, we get rid of life in its aspect of a prison-house with Necessity for our jailer and utility for our constant taskmaster; we are admitted to the liberties of the soul; we enter Gods infinite kingdom of beauty and delight or we lay hands on the keys of our absolute self-finding and open ourselves to the possession or the adoration of the Eternal. There lies the immense value of Religion, the immense value of Art and Poetry to the human spirit; it lies in their immediate power for inner truth, for self-enlargement, for liberation.
  But in other spheres of life, in the spheres of what by an irony of our ignorance we call especially practical life,although, if the Divine be our true object of search and realisation, our normal conduct in them and our current idea of them is the very opposite of practical,we are less ready to recognise the universal truth. We take a long time to admit it even partially in theory, we are seldom ready at all to follow it in practice. And we find this difficulty because there especially, in all our practical life, we are content to be the slaves of an outward Necessity and think ourselves always excused when we admit as the law of our thought, will and action the yoke of immediate and temporary utilities. Yet even there we must arrive eventually at the highest truth. We shall find out in the end that our daily life and our social existence are not things apart, are not another field of existence with another law than the inner and ideal. On the contrary, we shall never find out their true meaning or resolve their harsh and often agonising problems until we learn to see in them a means towards the discovery and the individual and collective expression of our highest and, because our highest, therefore our truest and fullest self, our largest most imperative principle and power of existence. All life is only a lavish and manifold opportunity given us to discover, realise, express the Divine.

1.1.5 - Thought and Knowledge, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  That is the silliness of the mind. Why should it be impossible to fill up a vacancy?1 It is easier for things to come into an empty space than into a full one. The error comes from thinking that your thoughts are your own and that you are their maker and if you dont create thoughts (i.e. think), there will be none. A little observation ought to show that you are not manufacturing your own thoughts, but rather thoughts occur in you. Thoughts are born, not madelike poets, according to the proverb. Of course, there is a sort of labour and effort when you try to produce or else to think on a certain subject, but that is a concentration for making thoughts come up, come in, come down, as the case may be, and fit themselves together. The idea that you are shaping the thoughts or fitting them together is an egoistic delusion. They are doing it themselves, or Nature is doing it for you, only under a certain compulsion; you have to beat her often in order to make her do it, and the beating is not always successful. But the mind or nature or mental energywhatever you like to call itdoes this in a certain way and carries on with a certain order of thoughts, haphazard intelligentialities (excuse the barbarism) or asininities, rigidly ordered or imperfectly ordered intellectualities, logical sequences and logical inconsequences, etc. etc. How the devil is an intuition to get in in the midst of that waltzing and colliding crowd? It does sometimes,in some minds often intuitions do come in,but immediately the ordinary thoughts surround it and eat it up alive, and then with some fragment of the murdered intuition shining through their non-intuitive stomachs they look up smiling at you and say, I am an intuition, sir. But they are only intellect, intelligence or ordinary thought with part of a dismembered and therefore misleading intuition inside them. Now in a vacant mind, vacant but not inert (that is important), intuitions have a chance of getting in alive and whole. But dont run away with the idea that all that comes into an empty mind, even a clear or luminous empty mind, will be intuitive. Anything, any blessed kind of idea, can come in. One has to be vigilant and examine the credentials of the visitor. In other words, the mental being must be there, silent but vigilant, impartial but discriminating. That is, however, when you are in search of truth. For Poetry so much is not necessary. There it is only the poetic quality of the visitor that has to be scrutinised and that can be done after he has left his packetby results.
  ***
  --
  It is in the silence of the mind that the strongest and freest action can come, e.g. the writing of a book, Poetry, inspired speech etc. When the mind is active it interferes with the inspiration, puts in its own small ideas which get mixed up with the inspiration or starts something from a lower level or simply stops the inspiration altogether by bubbling up with all sorts of mere mental suggestions. So also intuitions or action etc. can come more easily when the ordinary inferior movement of the mind is not there. It is also in the silence of the mind that it is easiest for knowledge to come from within or above, from the psychic or from the higher consciousness.
  ***

1.16 - Man, A Transitional Being, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  Day after day, quietly, Sri Aurobindo filled his pages. Anyone else would have been exhausted, but he did not "think" about what he was writing. I have made no endeavour in writing, he explains to a disciple, I have simply left the higher Power to work and when it did not work, I made no effort at all. It was in the old intellectual days that I had sometimes tried to force things and not after I started development of Poetry and prose by Yoga. Let me remind you also that when I was writing the Arya and also whenever I write these letters or replies, I never think. . . . It is out of a silent mind that I
  write whatever comes ready-shaped from above.303 Often, those among his disciples who were writers or poets would ask him to explain the yogic process of literary creation. He would explain it at great length, knowing that creative activities are a powerful means of pushing back the superconscious boundary and precipitating into Matter the luminous possibilities of the future. His letters are quite instructive: The best relief for the brain, he writes in one of them, is when the thinking takes place outside the body and above the head (or in space or at other levels but still outside the body). At any rate it was so in my case; for as soon as that happened there was an immense relief; I have felt body strain since then but never any kind of brain fatigue.304 Let us stress that "thinking outside the body" is not at all a supramental phenomenon, but a very simple experience accessible with the onset of mental silence. The true method,

1.16 - On Concentration, #Magick Without Tears, #Aleister Crowley, #Philosophy
  (I know I'm a poor contemptible Lowbrow; but I refuse to be ashamed for finding Kipling's If and Henley's Don't remember-the title; they may not be Poetry but they are honest food and damned good beer for the plebeian wayfarer. It was such manhood, not the left-wing high-brow Bloomsbury sissies, that kept London through the blitz. Pray forgive the digression!)
  There is only one method to adopt in such circumstances as those of the Aspirant to Magick and Yoga: the method of Science. Trial and error. You must observe. That implies, first of all, that you must learn to observe. And you must record your observations. No circumstance of life is, or can be irrelevant. "He that is not with me is against me." In all these letters you will find only two things: either I tell you what is bad for you, or what is good for you. But I am not you; I don't know every detail of your life, every trick of your thought. You must do ninety percent of the work for yourself. Whether it is love, or your daily avocation, or diet, or friends, or amusement, or anything else, you must find out what helps you to your True Will and what hinders; cherish the one and eschew the other.

1.16 - The Suprarational Ultimate of Life, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  The ancients held a different, indeed a diametrically opposite view. Although they recognised the immense importance of the primary activities, in Asia the social most, in Europe the political,as every society must which at all means to live and flourish,yet these were not to them primary in the higher sense of the word; they were mans first business, but not his chief business. The ancients regarded this life as an occasion for the development of the rational, the ethical, the aesthetic, the spiritual being. Greece and Rome laid stress on the three first alone, Asia went farther, made these also subordinate and looked upon them as stepping-stones to a spiritual consummation. Greece and Rome were proudest of their art, Poetry and philosophy and cherished these things as much as or even more than their political liberty or greatness. Asia too exalted these three powers and valued inordinately her social organisation, but valued much more highly, exalted with a much greater intensity of worship her saints, her religious founders and thinkers, her spiritual heroes. The modern world has been proudest of its economic organisation, its political liberty, order and progress, the mechanism, comfort and ease of its social and domestic life, its science, but science most in its application to practical life, most for its instruments and conveniences, its railways, telegraphs, steamships and its other thousand and one discoveries, countless inventions and engines which help man to master the physical world. That marks the whole difference in the attitude.
  On this a great deal hangs; for if the practical and vitalistic view of life and society is the right one, if society merely or principally exists for the maintenance, comfort, vital happiness and political and economic efficiency of the species, then our idea that life is a seeking for God and for the highest self and that society too must one day make that its principle cannot stand. Modern society, at any rate in its self-conscious aim, is far enough from any such endeavour; whatever may be the splendour of its achievement, it acknowledges only two gods, life and practical reason organised under the name of science. Therefore on this great primary thing, this life-power and its manifestations, we must look with especial care to see what it is in its reality as well as what it is in its appearance. Its appearance is familiar enough; for of that is made the very stuff and present form of our everyday life. Its main ideals are the physical good and vitalistic well-being of the individual and the community, the entire satisfaction of the desire for bodily health, long life, comfort, luxury, wealth, amusement, recreation, a constant and tireless expenditure of the mind and the dynamic life-force in remunerative work and production and, as the higher flame-spires of this restless and devouring energy, creations and conquests of various kinds, wars, invasions, colonisation, discovery, commercial victory, travel, adventure, the full possession and utilisation of the earth. All this life still takes as its cadre the old existing forms, the family, the society, the nation and it has two impulses, individualistic and collective.

1.17 - DOES MANKIND MOVE BIOLOGICALLY UPON ITSELF?, #The Future of Man, #Pierre Teilhard de Chardin, #Christianity
  growth of industrialism has undeniably sullied the Poetry of
  primeval pastures. At a higher level we see the somber threat, still

1.17 - Practical rules for the Tragic Poet., #Poetics, #Aristotle, #Philosophy
  Again, the poet should work out his play, to the best of his power, with appropriate gestures; for those who feel emotion are most convincing through natural sympathy with the characters they represent; and one who is agitated storms, one who is angry rages, with the most life-like reality. Hence Poetry implies either a happy gift of nature or a strain of madness. In the one case a man can take the mould of any character; in the other, he is lifted out of his proper self.
  As for the story, whether the poet takes it ready made or constructs it for himself, he should first sketch its general outline, and then fill in the episodes and amplify in detail. The general plan may be illustrated by the Iphigenia. A young girl is sacrificed; she disappears mysteriously from the eyes of those who sacrificed her; She is transported to another country, where the custom is to offer up all strangers to the goddess. To this ministry she is appointed. Some time later her own brother chances to arrive. The fact that the oracle for some reason ordered him to go there, is outside the general plan of the play. The purpose, again, of his coming is outside the action proper.
  --
  After this, the names being once given, it remains to fill in the episodes. We must see that they are relevant to the action. In the case of Orestes, for example, there is the madness which led to his capture, and his deliverance by means of the purificatory rite. In the drama, the episodes are short, but it is these that give extension to Epic Poetry.
  Thus the story of the Odyssey can be stated briefly. A certain man is absent from home for many years; he is jealously watched by Poseidon, and left desolate. Meanwhile his home is in a wretched plight--suitors are wasting his substance and plotting against his son. At length, tempest-tost, he himself arrives; he makes certain persons acquainted with him; he attacks the suitors with his own hand, and is himself preserved while he destroys them. This is the essence of the plot; the rest is episode.

1.17 - The Divine Birth and Divine Works, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  Christianity, the latter especially being effected by men who aggressively rejected the Christian religion and spiritual discipline and by an age which in its intellectual effort of emancipation tried to get rid of Christianity as a creed. On the other hand the life of Rama and Krishna belongs to the prehistoric past which has come down only in Poetry and legend and may even be regarded as myths; but it is quite immaterial whether we regard them as myths or historical facts, because their permanent truth and value lie in their persistence as a spiritual form, presence, influence in the inner consciousness of the race and the life of the human soul. Avatarhood is a fact of divine life and consciousness which may realise itself in an outward action, but must persist, when that action is over and has done its work, in a spiritual influence; or may realise itself in a spiritual influence and teaching, but must then have its permanent effect, even when the new religion or discipline is exhausted, in the thought, temperament and outward life of mankind.
  We must then, in order to understand the Gita's description of the work of the Avatar, take the idea of the Dharma in its fullest, deepest and largest conception, as the inner and the outer law by which the divine Will and Wisdom work out the spiritual evolution of mankind and its circumstances and results in the life of the race. Dharma in the Indian conception is not merely the good, the right, morality and justice, ethics; it is the whole government of all the relations of man with other beings, with

1.17 - The Transformation, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  too, or wash dishes, or try one's hand at carpentry, if one believed in the virtues of simple work. But there was no hierarchy among these activities; none was remunerated, nor was any considered superior to any other. All the practical necessities of life were provided for by the Mother to each person according to his or her needs. The only essential task was to discover the truth of one's being, for which the external work was merely a pretext or a means. It was remarkable, in fact, to observe people changing activities as their consciousness awakened; soon, all the values attached to the former profession would fall away, and because money no longer had any meaning, one who considered himself a doctor, say, found that he was really more comfortable as an artisan, while a man with no particular education might discover that he had a talent for Poetry or painting, or might
  become engrossed in the study of Sanskrit or Ayurvedic medicine.
  --
  The Future Poetry, 'Arya' Dec. 1917-July 1920 1st ed. 1953
  Collected Poems and Plays, 2 volumes 1st ed. 1942

1.18 - The Perils of the Soul, #The Golden Bough, #James George Frazer, #Occultism
  lingers as a metaphor in Poetry. The Malays carry out the conception
  of the bird-soul in a number of odd ways. If the soul is a bird on

1.19 - Thought, or the Intellectual element, and Diction in Tragedy., #Poetics, #Aristotle, #Philosophy
  Next, as regards Diction. One branch of the inquiry treats of the Modes of Utterance. But this province of knowledge belongs to the art of Delivery and to the masters of that science. It includes, for instance,--what is a command, a prayer, a statement, a threat, a question, an answer, and so forth. To know or not to know these things involves no serious censure upon the poet's art. For who can admit the fault imputed to Homer by Protagoras,--that in the words, 'Sing, goddess, of the wrath,' he gives a comm and under the idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command. We may, therefore, pass this over as an inquiry that belongs to another art, not to Poetry.
  author class:Aristotle

1.201 - Socrates, #Symposium, #Plato, #Philosophy
  Yes, there is this one. You realise that the word Poetry [originally meant creation and that creation]171 is a term of wide application.
  When something comes into existence which has not existed before, the
  --
  But you also know, she went on, that they are not all called creators. They have other names, and only that one part of creation which is separated off from the rest and is the part that is concerned with song and verse is called by the original name of the whole class, which is Poetry, and only those to whom this part of creation belongs are called poets.
  That is so.
  --
  English has no word equivalent to Greek poiesis, which means both Poetry and creation. poietai; see poiesis. 173 eudaimonein.
  Apparently a poetic quotation, from a source unknown to us.
  --
  A line of Poetry from an unknown source. 185 Or courage; see arete. arete. 187 doxa. 188 The verb supplied is missing in the Greek.
   offspring which it is fitting for the soul to conceive and bear. What offspring are these? Wisdom189 and the rest of virtue,190 of which the poets are all procreators, as well as those craftsmen who are regarded as innovators. But by far the most important and beautiful expression of this wisdom is the good ordering191 of cities and households; and the names for this kind of wisdom are moderation and justice.

12.06 - The Hero and the Nymph, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   This cry almost verges on King Lear's heart-rending frantic yell: "Blow, winds and crack your cheeks! rage! blow!"2 relieved, one may say in Kalidasa, by his sheer Poetry but in Shakespeare also not less so, although in a different hue and tune. This tumult of the soul, the raging raving wild thing that man becomesthis seems to be, in Kalidasa, the price that mortality has to pay for a touch of divinityit is the churning of the ocean that yields at last immortality. It may be suggested here that the queen is a foil, a hark back to wisdom and poise, to steadiness and normalcy. She symbolises also the consent of the mere human to the divine Dispensation.
   A Shakespearean tragedy Kalidasa avoids by finding a way out of the impassea happy marriage between heaven and earth is possible if with heaven agreeing to come down upon earth, earth too on its side agrees to go up to heaven. The heavenly Bride can stay here on earth as companion to Pururavas only if Pururavas agrees to go up to heaven, consents to take up the gods' work.

1.20 - The Hound of Heaven, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  Such is this remarkable hymn, the bulk of which I have translated because it both brings into striking relief the mystic and entirely psychological character of the Vedic Poetry and by so doing sets out vividly the nature of the imagery in the midst of which Sarama figures. The other references to Sarama in the Rig
  Veda do not add anything essential to the conception. We have a brief allusion in IV.16.8, "When thou didst tear the waters out of the hill, Sarama became manifest before thee; so do thou as our leader tear out much wealth for us, breaking the pens, hymned by the Angirases." It is the Intuition manifesting before the Divine Mind as its forerunner when there is the emergence of the waters, the streaming movements of the Truth that break out of the hill in which they were confined by Vritra (verse 7); and it is by means of the Intuition that this godhead becomes our leader to the rescue of the Light and the conquest of the much wealth hidden within in the rock behind the fortress gates of the Panis.

1.2.1.03 - Psychic and Esoteric Poetry, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  object:1.2.1.03 - Psychic and Esoteric Poetry
  author class:Sri Aurobindo
  --
  It is not easy to say whether the poems are esoteric; for these words esoteric and exoteric are rather ill-defined in their significance. One understands the distinction between exoteric and esoteric religion that is to say, on one side, creed, dogma, mental faith, religious worship and ceremony, religious and moral practice and discipline, on the other an inner seeking piercing beyond the creed and dogma and ceremony or finding their hidden meaning, living deeply within in spiritual and mystic experience. But how shall we define an esoteric Poetry? Perhaps what deals in an occult way with the occult may be called esoteric e.g., the Bird of Fire, Trance, etc. The Two Moons2 is, it is obvious, desperately esoteric. But I dont know whether an intimate spiritual experience simply and limpidly told without veil or recondite image can be called esoteric for the word usually brings the sense of something kept back from the ordinary eye, hidden, occult. Is Nirvana for instance an esoteric poem? There is no veil or symbol there it tries to state the experience as precisely and overtly as possible. The experience of the psychic fire and psychic discrimination is an intimate spiritual experience, but it is direct and simple like all psychic things. The poem which expresses it may easily be something deeply inward, esoteric in that sense, but simple, unveiled and clear, not esoteric in the more usual sense. I rather think, however, the term esoteric poem is a misnomer and some other phraseology would be more accurate.
  30 April 1935
  --
  I dont think your Poetry is more esoteric than in the earlier poems for esoteric means something that only the initiated in the mysteries can understand; to be concerned with spiritual aspiration does not make a poem esoteric, such poems can be perfectly well understood by those who are not mystics or Yogis. Yours are certainly not more esoteric or Yogic than Nishikantas with his frequent incursions into the occult and if Tagore could be knocked over by the Rajahansa poem, that shows that Yogic Poetry can be appreciated by him and by others. I take it that it is a transition to a new style of writing that meets with so much opposition and these are only excuses for the refusal of the mind to appreciate what is new. On the other hand those who have not the prejudice have not the difficulty. With time the obstacle will disappear.
  24 July 1936

1.2.1.04 - Mystic Poetry, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  object:1.2.1.04 - Mystic Poetry
  author class:Sri Aurobindo
  --
  Mystic Poetry does not mean anything exactly or apparently; it means things suggestively and reconditely, things that are not known and classified by the intellect.
  What you are asking is to reduce what is behind to intellectual terms, which is to make it something quite different from itself.
  --
  Mystic Poetry has a perfectly concrete meaning, much more than intellectual Poetry which is much more abstract. The nature of the intellect is abstraction; spirituality and mysticism deal with the concrete by their very nature.
  8 December 1936
  --
  The difficulty most people feel is that they expect an intellectual meaning quite clear on the surface and through that they get at the bhva of the deeper significance (if there is any) but in mystic Poetry, often though not always, one has to catch the bhva of the deeper significance directly through the figures and by that arrive at the form of the intellectual meaning or else share in the inner vision, whichever may be the thing to be conveyed by the poem.
  ***
  Mystic Poetry can be written from any plane, provided the writer gets an inspiration from the inner consciousness whether mind, vital or subtle physical.
  20 October 1936

1.2.1.06 - Symbolism and Allegory, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  There is a considerable difference between symbolism and allegory; they are not at all the same thing. Allegory comes in when a quality or other abstract thing is personalised and the allegory proper should be something carefully stylised and deliberately sterilised of the full aspect of embodied life, so that the essential meaning or idea may come out with sufficient precision and force of clarity. One can find this method in the old mystery plays and it is a kind of art that has its value. Allegory is an intellectual form; one is not expected to believe in the personalisation of the abstract quality, it is only an artistic device. When in an allegory as in Spensers Faerie Queene the personalisation, the embodiment takes first place and absorbs the major part of the minds interest, the true style and principle of this art have been abandoned. The allegorical purpose here becomes a submerged strain and is really of secondary importance, our search for it a by-play of the mind; we read for the beauty and interest of the figures and movements presented to us, not for this submerged significance. An allegory must be intellectually precise and clear in its representative figures as well as in their basis, however much adorned with imagery and personal expression; otherwise it misses its purpose. A symbol expresses on the contrary not the play of abstract things or ideas put into imaged form, but a living truth or inward vision or experience of things, so inward, so subtle, so little belonging to the domain of intellectual abstraction and precision that it cannot be brought out except through symbolic images the more these images have a living truth of their own which corresponds intimately to the living truth they symbolise, suggests the very vibration of the experience itself, the greater becomes the art of the symbolic expression. When the symbol is a representative sign or figure and nothing more, then the symbolic approaches nearer to an intellectual method, though even then it is not the same thing as allegory. In mystic Poetry the symbol ought to be as much as possible the natural body of the inner truth or vision, itself an intimate part of the experience.
  16-18 November 1933

1.2.1.11 - Mystic Poetry and Spiritual Poetry, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  object:1.2.1.11 - Mystic Poetry and Spiritual Poetry
  author class:Sri Aurobindo
  --
  I do not remember the context of the passage you quote from The Future Poetry,1 but I suppose I meant to contrast the veiled utterance of what is usually called mystic Poetry with the luminous and assured clarity of the fully expressed spiritual experience. I did not mean to contrast it with the mental clarity which is aimed at usually by Poetry in which the intelligence or thinking mind is consulted at each step. The concreteness of intellectual imaged description is one thing and spiritual concreteness is another. Two birds, companions, seated on one tree, but one eats the fruit, the other eats not but watches his fellow that has an illumining spiritual clarity and concreteness to one who has had the experience, but mentally and intellectually it might mean anything or nothing. Poetry uttered with the spiritual clarity may be compared to sunlight Poetry uttered with the mystic veil to moonlight. But it was not my intention to deny beauty, power or value to the moonlight. Note that I have distinguished between two kinds of mysticism, one in which the realisation or experience is vague, though inspiringly vague, the other in which the experience is revelatory and intimate, but the utterance it finds is veiled by the image, not thoroughly revealed by it. I do not know to which Tagores recent Poetry belongs, I have not read it. The latter kind of Poetry (where there is the intimate experience) can be of great power and value witness Blake. Revelation is greater than inspiration it brings the direct knowledge and seeing, inspiration gives the expression, but the two are not always equal. There is even an inspiration without revelation, when one gets the word but the thing remains behind the veil; the transcribing consciousness expresses something with power, like a medium, of which it has not itself the direct sight or the living possession. It is better to get the sight of the thing itself than merely express it by an inspiration which comes from behind the veil, but this kind of Poetry too has often a great light and power in it. The highest inspiration brings the intrinsic word, the spiritual mantra; but even where the inspiration is less than that, has a certain vagueness or fluidity of outline, you cannot say of such mystic Poetry that it has no inspiration, not the inspired word at all. Where there is no inspiration, there can be no Poetry.
  10 June 1936
    "...mysticism in its unfavourable or lesser sense comes when either we glimpse but do not intimately realise the now secret things of the spirit or, realising, yet cannot find their direct language, their intrinsic way of utterance, and have to use obscurely luminous hints or a thick drapery of symbol, when we have the revelation, but not the inspiration, the sight but not the word."Sri Aurobindo, The Future Poetry, volume 26 of THE COMPLETE WORKS OF SRI AUROBINDO, pp. 213-14.
  ***

1.2.1.12 - Spiritual Poetry, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga
  object:1.2.1.12 - Spiritual Poetry
  author class:Sri Aurobindo
  --
  The spiritual vision must never be intellectual, philosophical or abstract, it must always give the sense of something vivid, living and concrete, a thing of vibrant beauty or a thing of power. An abstract spiritual Poetry is possible but that is not Amals manner. The Poetry of spiritual vision as distinct from that of spiritual thought abounds in images, unavoidably because that is the straight way to avoid abstractness; but these images must be felt as very real and concrete things, otherwise they become like the images used by the philosophic poets, decorative to the thought rather than realities of the inner vision and experience.
  28 May 1937

1.2.11 - Patience and Perseverance, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  Schopenhauer. I conclude - drive out dark despair and go bravely on with your Poetry, your novels - and your Yoga. As the darkness disappears, the inner doors too will open.
  Perseverance

1.2.1 - Mental Development and Sadhana, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  It depends upon the nature of the things read, whether they are helpful to the growth of the being or not. No general rule can be made. It cannot be said that Poetry or dramas ought or ought not to be readit depends on the poem or the playso with the rest.
  ***

1.2.2.01 - The Poet, the Yogi and the Rishi, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.2.2.06 - Genius, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.22 - (Poetic Diction continued.) How Poetry combines elevation of language with perspicuity., #Poetics, #Aristotle, #Philosophy
  object:1.22 - (Poetic Diction continued.) How Poetry combines elevation of language with perspicuity.
  The perfection of style is to be clear without being mean. The clearest style is that which uses only current or proper words; at the same time it is mean:--witness the Poetry of Cleophon and of Sthenelus. That diction, on the other hand, is lofty and raised above the commonplace which employs unusual words. By unusual, I mean strange (or rare) words, metaphorical, leng thened,--anything, in short, that differs from the normal idiom. Yet a style wholly composed of such words is either a riddle or a jargon; a riddle, if it consists of metaphors; a jargon, if it consists of strange (or rare) words. For the essence of a riddle is to express true facts under impossible combinations. Now this cannot be done by any arrangement of ordinary words, but by the use of metaphor it can. Such is the riddle:--'A man I saw who on another man had glued the bronze by aid of fire,' and others of the same kind. A diction that is made up of strange (or rare) terms is a jargon. A certain infusion, therefore, of these elements is necessary to style; for the strange (or rare) word, the metaphorical, the ornamental, and the other kinds above mentioned, will raise it above the commonplace and mean, while the use of proper words will make it perspicuous. But nothing contri butes more to produce a clearness of diction that is remote from commonness than the leng thening, contraction, and alteration of words. For by deviating in exceptional cases from the normal idiom, the language will gain distinction; while, at the same time, the partial conformity with usage will give perspicuity. The critics, therefore, are in error who censure these licenses of speech, and hold the author up to ridicule. Thus
  Eucleides, the elder, declared that it would be an easy matter to be a poet if you might leng then syllables at will. He caricatured the practice in the very form of his diction, as in the verse: '{Epsilon pi iota chi alpha rho eta nu / epsilon iota delta omicron nu / Mu alpha rho alpha theta omega nu alpha delta epsilon / Beta alpha delta iota zeta omicron nu tau alpha}, or, {omicron upsilon kappa / alpha nu / gamma / epsilon rho alpha mu epsilon nu omicron sigma / tau omicron nu / epsilon kappa epsilon iota nu omicron upsilon /epsilon lambda lambda epsilon beta omicron rho omicron nu}. To employ such license at all obtrusively is, no doubt, grotesque; but in any mode of poetic diction there must be moderation. Even metaphors, strange (or rare) words, or any similar forms of speech, would produce the like effect if used without propriety and with the express purpose of being ludicrous. How great a difference is made by the appropriate use of leng thening, may be seen in Epic Poetry by the insertion of ordinary forms in the verse. So, again, if we take a strange (or rare) word, a metaphor, or any similar mode of expression, and replace it by the current or proper term, the truth of our observation will be manifest. For example Aeschylus and Euripides each composed the same iambic line. But the alteration of a single word by Euripides, who employed the rarer term instead of the ordinary one, makes one verse appear beautiful and the other trivial. Aeschylus in his
  Philoctetes says: {Phi alpha gamma epsilon delta alpha iota nu alpha / delta / eta / mu omicron upsilon / sigma alpha rho kappa alpha sigma / epsilon rho theta iota epsilon iota / pi omicron delta omicron sigma}.
  --
  Dithyrambs, rare words to heroic Poetry, metaphors to iambic. In heroic Poetry, indeed, all these varieties are serviceable. But in iambic verse, which reproduces, as far as may be, familiar speech, the most appropriate words are those which are found even in prose. These are,--the current or proper, the metaphorical, the ornamental.
  Concerning Tragedy and imitation by means of action this may suffice.

1.23 - Conditions for the Coming of a Spiritual Age, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  These ideas are likely first to declare their trend in philosophy, in psychological thinking, in the arts, Poetry, painting, sculpture, music, in the main idea of ethics, in the application of subjective principles by thinkers to social questions, even perhaps, though this is a perilous effort, to politics and economics, that hard refractory earthy matter which most resists all but a gross utilitarian treatment. There will be new unexpected departures of science or at least of research,since to such a turn in its most fruitful seekings the orthodox still deny the name of science. Discoveries will be made that thin the walls between soul and matter; attempts there will be to extend exact knowledge into the psychological and psychic realms with a realisation of the truth that these have laws of their own which are other than the physical, but not the less laws because they escape the external senses and are infinitely plastic and subtle. There will be a labour of religion to reject its past heavy weight of dead matter and revivify its strength in the fountains of the spirit. These are sure signs, if not of the thing to be, at least of a great possibility of it, of an effort that will surely be made, another endeavour perhaps with a larger sweep and a better equipped intelligence capable not only of feeling but of understanding the Truth that is demanding to be heard. Some such signs we can see at the present time although they are only incipient and sporadic and have not yet gone far enough to warrant a confident certitude. It is only when these groping beginnings have found that for which they are seeking, that it can be successfully applied to the remoulding of the life of man. Till then nothing better is likely to be achieved than an inner preparation and, for the rest, radical or revolutionary experiments of a doubtful kind with the details of the vast and cumbrous machinery under which life now groans and labours.
  A subjective age may stop very far short of spirituality; for the subjective turn is only a first condition, not the thing itself, not the end of the matter. The search for the Reality, the true self of man, may very easily follow out the natural order described by the Upanishad in the profound apologue of the seekings of Bhrigu, son of Varuna. For first the seeker found the ultimate reality to be Matter and the physical, the material being, the external man our only self and spirit. Next he fixed on life as the Reality and the vital being as the self and spirit; in the third essay he penetrated to Mind and the mental being; only afterwards could he get beyond the superficial subjective through the supramental Truth-Consciousness to the eternal, the blissful, the ever creative Reality of which these are the sheaths. But humanity may not be as persistent or as plastic as the son of Varuna, the search may stop short anywhere. Only if it is intended that he shall now at last arrive and discover, will the Spirit break each insufficient formula as soon as it has shaped itself and compel the thought of man to press forward to a larger discovery and in the end to the largest and most luminous of all. Something of the kind has been happening, but only in a very external way and on the surface. After the material formula which governed the greater part of the nineteenth century had burdened man with the heaviest servitude to the machinery of the outer material life that he has ever yet been called upon to bear, the first attempt to break through, to get to the living reality in things and away from the mechanical idea of life and living and society, landed us in that surface vitalism which had already begun to govern thought before the two formulas inextricably locked together lit up and flung themselves on the lurid pyre of the world-war. The vital lan has brought us no deliverance, but only used the machinery already created with a more feverish insistence, a vehement attempt to live more rapidly, more intensely, an inordinate will to act and to succeed, to enlarge the mere force of living or to pile up a gigantic efficiency of the collective life. It could not have been otherwise even if this vitalism had been less superficial and external, more truly subjective. To live, to act, to grow, to increase the vital force, to understand, utilise and fulfil the intuitive impulse of life are not things evil in themselves: rather they are excellent things, if rightly followed and rightly used, that is to say, if they are directed to something beyond the mere vitalistic impulse and are governed by that within which is higher than Life. The Life-power is an instrument, not an aim; it is in the upward scale the first great subjective supraphysical instrument of the Spirit and the base of all action and endeavour. But a Life-power that sees nothing beyond itself, nothing to be served except its own organised demands and impulses, will be very soon like the force of steam driving an engine without the driver or an engine in which the locomotive force has made the driver its servant and not its controller. It can only add the uncontrollable impetus of a high-crested or broad-based Titanism, or it may be even a nether flaming demonism, to the Nature forces of the material world with the intellect as its servant, an impetus of measureless unresting creation, appropriation, expansion which will end in something violent, huge and colossal, foredoomed in its very nature to excess and ruin, because light is not in it nor the souls truth nor the sanction of the gods and their calm eternal will and knowledge.

1.23 - Epic Poetry., #Poetics, #Aristotle, #Philosophy
  object:1.23 - Epic Poetry.
  As to that poetic imitation which is narrative in form and employs a single metre, the plot manifestly ought, as in a tragedy, to be constructed on dramatic principles. It should have for its subject a single action, whole and complete, with a beginning, a middle, and an end. It will thus resemble a living organism in all its unity, and produce the pleasure proper to it. It will differ in structure from historical compositions, which of necessity present not a single action, but a single period, and all that happened within that period to one person or to many, little connected together as the events may be. For as the sea-fight at Salamis and the battle with the Carthaginians in

1.2.3 - The Power of Expression and Yoga, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  It is obvious that Poetry cannot be a substitute for sadhana; it can be an accompaniment only. If there is a feeling (of devotion, surrender etc.), it can express and confirm it; if there is an experience, it can express and streng then the force of experience. As reading of books like the Upanishads or Gita or singing of devotional songs can help, especially at one stage or another, so this can help also. Also it opens a passage between the exterior consciousness and the inner mind or vital. But if one stops at that, then nothing much is gained. Sadhana must be the main thing and sadhana means the purification of the nature, the consecration of the being, the opening of the psychic and the inner mind and vital, the contact and presence of the Divine, the realisation of the Divine in all things, surrender, devotion, the widening of the consciousness into the cosmic Consciousness, the Self one in all, the psychic and the spiritual transformation of the nature. If these things are neglected and only Poetry and mental development and social contacts occupy all the time, then that is not sadhana. Also the Poetry must be written in the true spirit, not for fame or self-satisfaction, but as a means of contact with the Divine through aspiration or of the expression of ones own inner being, as it was written formerly by those who left behind them so much devotional and spiritual Poetry in India; it does not help if it is written only in the spirit of the Western artist or littrateur. Even works or meditation cannot succeed unless they are done in the right spirit of consecration and spiritual aspiration gathering up the whole being and dominating all else. It is the lack of this gathering up of the whole life and nature and turning it towards the one aim, which is the defect in so many here, that lowers the atmosphere and stands in the way of what is being done by myself and the Mother.
  ***

1.240 - 1.300 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
  D.: Through Poetry, music, japa, bhajan, beautiful landscapes, reading the lives of spiritual heroes, etc., one sometimes experiences a true sense of all-unity. Is that feeling of deep blissful quiet (wherein the personal self has no place) the "entering into the heart" whereof
  Bhagavan speaks? Will practice of that lead to a deeper samadhi, and so ultimately to a full vision of the Real?

1.240 - Talks 2, #Talks, #Sri Ramana Maharshi, #Hinduism
  D.: Through Poetry, music, japa, bhajan, beautiful landscapes, reading the lives of spiritual heroes, etc., one sometimes experiences a true sense of all-unity. Is that feeling of deep blissful quiet (wherein the personal self has no place) the entering into the heart whereof
  Bhagavan speaks? Will practice of that lead to a deeper samadhi, and so ultimately to a full vision of the Real?

1.24 - (Epic Poetry continued.) Further points of agreement with Tragedy., #Poetics, #Aristotle, #Philosophy
  object:1.24 - (Epic Poetry continued.) Further points of agreement with Tragedy.
  Again, Epic Poetry must have as many kinds as Tragedy: it must be simple, or complex, or 'ethical,' or 'pathetic.' The parts also, with the exception of song and spectacle, are the same; for it requires Reversals of the Situation, Recognitions, and Scenes of Suffering.
  Moreover, the thoughts and the diction must be artistic. In all these respects Homer is our earliest and sufficient model. Indeed each of his poems has a twofold character. The Iliad is at once simple and 'pathetic,' and the Odyssey complex (for Recognition scenes run through it), and at the same time 'ethical.' Moreover, in diction and thought they are supreme.
  Epic Poetry differs from Tragedy in the scale on which it is constructed, and in its metre. As regards scale or length, we have already laid down an adequate limit:--the beginning and the end must be capable of being brought within a single view. This condition will be satisfied by poems on a smaller scale than the old epics, and answering in length to the group of tragedies presented at a single sitting.
  Epic Poetry has, however, a great--a special--capacity for enlarging its dimensions, and we can see the reason. In Tragedy we cannot imitate several lines of actions carried on at one and the same time; we must confine ourselves to the action on the stage and the part taken by the players. But in Epic Poetry, owing to the narrative form, many events simultaneously transacted can be presented; and these, if relevant to the subject, add mass and dignity to the poem. The Epic has here an advantage, and one that conduces to grandeur of effect, to diverting the mind of the hearer, and relieving the story with varying episodes. For sameness of incident soon produces satiety, and makes tragedies fail on the stage.
  As for the metre, the heroic measure has proved its fitness by the test of experience. If a narrative poem in any other metre or in many metres were now composed, it would be found incongruous. For of all measures the heroic is the stateliest and the most massive; and hence it most readily admits rare words and metaphors, which is another point in which the narrative form of imitation stands alone. On the other hand, the iambic and the trochaic tetrameter are stirring measures, the latter being akin to dancing, the former expressive of action. Still more absurd would it be to mix together different metres, as was done by Chaeremon. Hence no one has ever composed a poem on a great scale in any other than heroic verse. Nature herself, as we have said, teaches the choice of the proper measure.
  --
  The element of the wonderful is required in Tragedy. The irrational, on which the wonderful depends for its chief effects, has wider scope in Epic Poetry, because there the person acting is not seen. Thus, the pursuit of Hector would be ludicrous if placed upon the stage--the Greeks standing still and not joining in the pursuit, and Achilles waving them back. But in the Epic poem the absurdity passes unnoticed.
  Now the wonderful is pleasing: as may be inferred from the fact that every one tells a story with some addition of his own, knowing that his hearers like it. It is Homer who has chiefly taught other poets the art of telling lies skilfully. The secret of it lies in a fallacy, For, assuming that if one thing is or becomes, a second is or becomes, men imagine that, if the second is, the first likewise is or becomes. But this is a false inference. Hence, where the first thing is untrue, it is quite unnecessary, provided the second be true, to add that the first is or has become. For the mind, knowing the second to be true, falsely infers the truth of the first. There is an example of this in the Bath Scene of the Odyssey.

1.24 - PUNDIT SHASHADHAR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  Proceeding to explain the verse he said: "The study of philosophy is indeed edifying, but Poetry is more fascinating than philosophy. People listening to good poems think of the study of philosophy-Vednta, Nyaya, Samkhya, and so forth as dry and insipid. Again, music is more attractive than Poetry. Music melts even a heart of stone. But a beautiful woman has an even greater attraction for a man's heart than music. Such a woman, passing by, diverts a man's attention from both Poetry and music. But when a man feels the pangs of hunger, everything else Poetry, music and woman appears as of no consequence. Thus, hunger is the most arresting thing."
  The Master remarked with a smile, "The pundit is witty."

1.25 - Critical Objections brought against Poetry, and the principles on which they are to be answered., #Poetics, #Aristotle, #Philosophy
  object:1.25 - Critical Objections brought against Poetry, and the principles on which they are to be answered.
  With respect to critical difficulties and their solutions, the number and nature of the sources from which they may be drawn may be thus exhibited.
  --
  The vehicle of expression is language,--either current terms or, it may be, rare words or metaphors. There are also many modifications of language, which we concede to the poets. Add to this, that the standard of correctness is not the same in Poetry and politics, any more than in Poetry and any other art. Within the art of Poetry itself there are two kinds of faults, those which touch its essence, and those which are accidental. If a poet has chosen to imitate something, through want of capacity, the error is inherent in the Poetry. But if the failure is due to a wrong choice if he has represented a horse as throwing out both his off legs at once, or introduced technical inaccuracies in medicine, for example, or in any other art the error is not essential to the Poetry. These are the points of view from which we should consider and answer the objections raised by the critics.
  First as to matters which concern the poet's own art. If he describes the impossible, he is guilty of an error; but the error may be justified, if the end of the art be thereby attained (the end being that already mentioned), if, that is, the effect of this or any other part of the poem is thus rendered more striking. A case in point is the pursuit of Hector. If, however, the end might have been as well, or better, attained without violating the special rules of the poetic art, the error is not justified: for every kind of error should, if possible, be avoided.

1.27 - CONTEMPLATION, ACTION AND SOCIAL UTILITY, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  At this point it is worth remarking parenthetically that God is by no means the only possible object of contemplation. There have been and still are many philosophic, aesthetic and scientific contemplatives. One-pointed concentration on that which is not the highest may become a dangerous form of idolatry. In a letter to Hooker, Darwin wrote that it is a cursed evil to any man to become so absorbed in any subject as I am in mine. It is an evil because such one-pointedness may result in the more or less total atrophy of all but one side of the mind Darwin himself records that in later life he was unable to take the smallest interest in Poetry, art or religion. Professionally, in relation to his chosen specialty, a man may be completely mature. Spiritually and sometimes even ethically, in relation to God and his neighbours, he may be hardly more than a foetus.
  In cases where the one-pointed contemplation is of God there is also a risk that the minds unemployed capacities may atrophy. The hermits of Tibet and the Thebad were certainly one-pointed, but with a one-pointedness of exclusion and mutilation. It may be, however, that if they had been more truly docile to the Holy Ghost, they would have come to understand that the one-pointedness of exclusion is at best a preparation for the one-pointedness of inclusion the realization of God in the fulness of cosmic being as well as in the interior height of the individual soul. Like the Taoist sage, they would at last have turned back into the world riding on their tamed and regenerate individuality; they would have come eating and drinking, would have associated with publicans and sinners or their Buddhist equivalents, wine-bibbers and butchers. For the fully enlightened, totally liberated person, samsara and nirvana, time and eternity, the phenomenal and the Real, are essentially one. His whole life is an unsleeping and one-pointed contemplation of the Godhead in and through the things, lives, minds and events of the world of becoming. There is here no mutilation of the soul, no atrophy of any of its powers and capacities. Rather, there is a general enhancement and intensification of consciousness, and at the same time an extension and transfiguration. No saint has ever complained that absorption in God was a cursed evil.

1.3.03 - Quiet and Calm, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  You have to become conscious [in writing Poetry] as in Yoga.
  The mind has to be silent and you have to become aware of the inspiration as it comes and its source and of the mixture that comes on the way. The more the mind becomes quiet, the more all this is possible.

1.4.01 - The Divine Grace and Guidance, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  I could illustrate my meaning more concretely from my own first experience of the Self, long before I knew even what Yoga was or that there was such a thing, at a time when I had no religious feeling, no wish for spiritual knowledge, no aspiration beyond the mind, only a contented agnosticism and the impulse towards Poetry and politics. But it would be too long a story, so
  I do not tell it here.

1.4.2.02 - The English Bible, #Letters On Poetry And Art, #Sri Aurobindo, #Integral Yoga

1.44 - Serious Style of A.C., or the Apparent Frivolity of Some of my Remarks, #Magick Without Tears, #Aleister Crowley, #Philosophy
  To this rule there is, as usual with rules, an exception. Some states of mind are of the same structure as Poetry, where the "one step from the sublime to the ridiculous" is an easy and fatal step. But even so, pedantry is as bad as ribaldry. Personally, I have tried to avoid the dilemma by the use of poetic language and form; for instance, in AHA!
  It is all difficult, dammed difficult; but if it must be that one's most sacred shrine be profaned, let it be the clean assault of laughter rather than the slimy smear of sactimoniousness!

15.06 - Words, Words, Words..., #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
   While coming to you, I saw your beautiful display of excerpts and quotations from the writings of Mother and Sri Aurobindo on the walls all around. Yes, it was a beautiful picture and the sayings and mottoes and lines of Poetry were, needless to say, precious treasures dear to us. Butleft at that, to see, admire and pass on, wellthey are dead thingswords, words, wordslifeless skeletons. They have a meaning and they serve their purpose only when you come in contact with the life and consciousness in them, when you live them with your own life and be the consciousness that is there.
   You know the well-known phrase: the letter kills, the spirit saves. Without the spirit, the word is only a dead shell, even a mantra is a dead thinga mere jumble of sounds if it is not enkindled, enlivened with the spirit. Now I say you are to brea the your own spirit into the apparently dead or lifeless forms. For children are nothing but spirit: spirit means new consciousness, living light, it is not a tall claim I make on your behalf. I will explain.

1.68 - The Golden Bough, #The Golden Bough, #James George Frazer, #Occultism
  mistletoe seen through the haze of Poetry or of popular
  superstition.

1.69 - Original Sin, #Magick Without Tears, #Aleister Crowley, #Philosophy
  It was at Dover. I had passed the Customs Inspector. Turning back, I said: "But perhaps I ought to have declared my Browning?" Much agitated, he muttered: "How ever did I come to miss that?" and began all over again. I helped him out: "You see, you were thinking of pistols, I of Poetry." (There is a lesson in that!)
  And now you of all people! fire him off at me. "Gold Hair" you write; "what about R.B's defence of Christianity?" You mean, of course,

1.72 - Education, #Magick Without Tears, #Aleister Crowley, #Philosophy
  Firstly, accustom his ear from the start to noble sounds; the music of nature and the rhythm of great Poetry. Do not aim at his understand- ing, but at his subconscious mind. Protect him from cacophonous noise; avoid scoring any cheap success with him by inflicting jingles; do not insult him by "baby-talk."
  Secondly, let him understand, as soon as you start actual teaching, the difference between the real and the conventional in what you make him memorize. Nothing irritates children more than the arbitrary "because I say so."
  --
  Books are not the only medium even of learning; more, what they teach is partial, prejudiced, meagre, sterile, uncertain, and alien to reality. It follows that all the best books are those which make no pretence to accuracy: Poetry, theatre, fiction. All others date. Another point is that Truth abides above and aloof from intellectual expression, and consequently those books which bear the Magic Keys of the Portal of the Intelligible by dint of inspiration and suggestion come more nearly to grips with Reality than those whose appeal is only to the Intellect. "Didactic" Poetry, "realistic" plays and novels, are contradictions in terms.
  P.P.S. One more effort: the above reminds me that I have said no word about the other side of the medal. There are many children who cannot be educated at all in any sense of the word. It is an abonin- able waste of both of them and of the teacher to push against brick walls.

1953-05-27, #Questions And Answers 1953, #The Mother, #Integral Yoga
   For music it is very special; it is difficult, it needs an intermediary. And it is like that for all other things, for literature also, for Poetry, for painting, for everything one does. The true value of ones creation depends on the origin of ones inspiration, on the level, the height where one finds it. But the value of the execution depends on the vital strength which expresses it. To complete the genius both must be there. This is very rare. Generally it is the one or the other, more often the vital. And then there are those other kinds of music we have the music of the caf-concert, of the cinemait has an extraordinary skill, and at the same time an exceptional platitude, an extraordinary vulgarity. But as it has an extraordinary skill, it seizes you in the solar plexus and it is this music that you remember; it grasps you at once and holds you and it is very difficult to free yourself from it, for it is well-made music, music very well made. It is made vitally with vital vibrations, but what is behind is frightful.
   But imagine this same vital power of expression, with the inspiration coming from far above the highest inspiration possible, when all the heavens open before us then that becomes wonderful. There are certain passages of Csar Franck, certain passages of Beethoven, certain passages of Bach, there are pieces by others also which have this inspiration and power. But it is only a moment, it comes as a moment, it does not last. You cannot take the entire work of an artist as being on that level. Inspiration comes like a flash; sometimes it lasts sufficiently long, when the work is sustained; and when that is there, the same effect is produced, that is, if you are attentive and concentrated, suddenly that lifts you up, lifts up all your energies, it is as though someone opened out your head and you were flung into the air to tremendous heights and magnificent lights. It produces in a few seconds results that are obtained with so much difficulty through so many years of yoga. Only, in general, one may fall down afterwards, because the consciousness is not there as the basis; one has the experience and afterwards does not even know what has happened. But if you are prepared, if you have indeed prepared your consciousness by yoga and then the thing happens, it is almost definitive.

1954-10-20 - Stand back - Asking questions to Mother - Seeing images in meditation - Berlioz -Music - Mothers organ music - Destiny, #Questions And Answers 1954, #The Mother, #Integral Yoga
  Mother, when one gets a shock, some kind of pain, should one try to express it either through music or Poetry, unless it comes spontaneously?
  Express it? If one has the gift; otherwise it is not worthwhile. But if one has the gift it is good.
  There are different depths in these shocks. They are not all on the same plane. Usually people receive emotional or sentimental shocks altogether superficially, and that is why they weep, they cry, they sometimes gesticulate. Anyway, these are shocks in the outer crust. But there is a greater depth where usually you receive silently, but which awake in you a creative vibrations and a need to formulate. Then, if one is a poet he writes Poetry, if one is a musician he composes music, if one is a writer he writes a story, and if one is a philosopher he expresses his state, describes his state.
  Now, there is a greater depth of pain which leaves you in an absolute silence and opens the inner doors to greater depths which can put you in immediate touch with the Divine. But this indeed is not expressed in words. It changes your consciousness; but usually a long time elapses before one can say anything about it.

1956-05-30 - Forms as symbols of the Force behind - Art as expression of contact with the Divine - Supramental psychological perfection - Division of works - The Ashram, idle stupidities, #Questions And Answers 1956, #The Mother, #Integral Yoga
  When one paints a picture or poses music or writes Poetry, each one has his own way of expression. Every painter, every musician, every poet, every sculptor has or ought to have a unique, personal contact with the Divine, and through the work which is his speciality, the art he has mastered, he must express this contact in his own way, with his own words, his own colours. For himself, instead of copying the outer form of Nature, he takes these forms as the covering of something else, precisely of his relationship with the realities which are behind, deeper, and he tries to make them express that. Instead of merely imitating what he sees, he tries to make them speak of what is behind them, and it is this which makes all the difference between a living art and just a flat copy of Nature.
  Mother contemplates a flower she is holding in her hand. It is the golden champak flower (Michelia champaka).

1956-08-29 - To live spontaneously - Mental formations Absolute sincerity - Balance is indispensable, the middle path - When in difficulty, widen the consciousness - Easiest way of forgetting oneself, #Questions And Answers 1956, #The Mother, #Integral Yoga
    It was in the review Arya, within a period of six years (1914-1920), that Sri Aurobindo published most of his major works: The Life Divine, The Synthesis of Yoga, The Human Cycle (originally The Psychology of Social Development), The Ideal of Human Unity, Essays on the Gita, The Secret of the Veda, The Future Poetry, The Foundations of Indian Culture (originally a number of series under other titles).
  ***

1956-09-05 - Material life, seeing in the right way - Effect of the Supermind on the earth - Emergence of the Supermind - Falling back into the same mistaken ways, #Questions And Answers 1956, #The Mother, #Integral Yoga
    A principle of dark and dull inertia is at its [lifes] base; all are tied down by the body and its needs and desires to a trivial mind, petty desires and emotions, an insignificant repetition of small worthless functionings, needs, cares, occupations, pains, pleasures that lead to nothing beyond themselves and bear the stamp of an ignorance that knows not its own why and whither. This physical mind of inertia believes in no divinity other than its small earth-gods; it aspires perhaps to a greater fort, order, pleasure, but asks for no uplifting and no spiritual deliverance. At the centre we meet a stronger Will of life with a greater gusto, but it is a blinded Daemon, a perverted spirit and exults in the very elements that make of life a striving turmoil and an unhappy imbroglio. It is a soul of human or Titanic desire clinging to the garish colour, disordered Poetry, violent tragedy or stirring melodrama of the mixed flux of good and evil, joy and sorrow, light and darkness, heady rapture and bitter torture. It loves these things and would have more and more of them or, even when it suffers and cries out against them, can accept or joy in nothing else; it hates and revolts against higher things and in its fury would trample, tear or crucify any diviner Power that has the presumption to offer to make life pure, luminous and happy and snatch from its lips the fiery brew of that exciting mixture. Another Will-in-Life there is that is ready to follow the ameliorating ideal Mind and is allured by its offer to extract some harmony, beauty, light, nobler order out of life, but this is a smaller part of the vital nature and can be easily overpowered by its more violent or darker duller yoke-comrades; nor does it readily lend itself to a call higher than that of the Mind unless that call defeats itself, as Religion usually does, by lowering its demand to conditions more intelligible to our obscure vital nature. All these forces the spiritual seeker grows aware of in himself and finds all around him and has to struggle and combat incessantly to be rid of their grip and dislodge the long-entrenched mastery they have exercised over his own being as over the environing human existence. The difficulty is great; for their hold is so strong, so apparently invincible that it justifies the disdainful dictum which pares human nature to a dogs tail,for, straighten it never so much by force of ethics, religion, reason or any other redemptive effort, it returns in the end always to the crooked curl of Nature. And so great is the vim, the clutch of that more agitated Life-Will, so immense the peril of its passions and errors, so subtly insistent or persistently invasive, so obstinate up to the very gates of Heaven the fury of its attack or the tedious obstruction of its obstacles that even the saint and the Yogin cannot be sure of their liberated purity or their trained self-mastery against its intrigue or its violence.
    Sri Aurobindo, The Synthesis of Yoga, SABCL, Vol. 20, pp. 160-61

1956-11-14 - Conquering the desire to appear good - Self-control and control of the life around - Power of mastery - Be a great yogi to be a good teacher - Organisation of the Ashram school - Elementary discipline of regularity, #Questions And Answers 1956, #The Mother, #Integral Yoga
  Excuse me, you must not confuse things. I have said and I repeat that if a student feels quite alien to a subject, for example, if a student feels he has an ability for literature and Poetry and has a distaste or at least an indifference for mathematics, if he tells me, I prefer not to follow the mathematics course, I cant tell him, No, it is absolutely necessary to go to it. But if a student has decided to follow a class, it is an absolutely elementary discipline that he follows it, goes to it regularly and behaves himself properly there; otherwise he is altogether unworthy of going to school. I have never encouraged anyone to roam about during class-hours and to come one day and be absent the next, never, for, to begin with, if he cant submit to this quite elementary discipline, he will never acquire the least control over himself, he will always be the slave of all his impulses and all his fancies.
  If you dont want to study a certain branch of knowledge, that is all right, no one can compel you to do it; but if you decide to do somethinganything in life, if you decide to do a thingyou must do it honestly, with discipline, regularity and method. And without whims. I have never approved of anyone being the plaything of his own impulses and fancies, never, and you will never be able to have that from me, for then one is no longer a human being, one is an animal. So, here is one of the questions quite settled, without any discussion.

1957-04-24 - Perfection, lower and higher, #Questions And Answers 1957-1958, #The Mother, #Integral Yoga
  I have met many peoplemany, well, quite a numberwho wanted to demonstrate that spiritual powers gave a great capacity for outer realisation and who tried, in certain exceptional spiritual states or conditions, to paint or to compose music or write Poetry; well, everything that they produced was thoroughly second-rate and could not be compared with the works of the great geniuses who had mastered material nature and this of course gave the materialists a good opening: You see, your so-called power is nothing at all. But this was because in their external life they were ordinary men; for the greatest spiritual power, if it enters material thats not educated, will produce a result far superior to what that individual would have been able to achieve in his ordinary state, but far inferior to what a genius who has mastered matter can produce. It is not enough that the Spirit bloweth, the instrument must also be capable of manifesting it.
  I believe that is one of the things Sri Aurobindo is going to explain: why it is necessary to give to the physical, external being, its full development, the capacity of controlling matter directly; then you put at the disposal of the Spirit an instrument capable of manifesting it, otherwise Yes, I knew several people who in their ordinary state could not write three lines without making a mistake, not only spelling mistakes but mistakes of language, that is, who could not express one thought clearlywell, in their moments of spiritual inspiration, they used to write very beautiful things, but all the same these very beautiful things were not so beautiful as the works of the greatest writers. These things seemed remarkable in comparison with what they could do in their ordinary state; it was true, their present possibilities were used to the maximum, it was something that gave a value to what otherwise would have had none at all. But supposing you take a real geniusa musician or artist or writer of geniuswho has fully mastered his instrument, who can use it to produce works that express the utmost human possibility, if you add to this a spiritual consciousness, the supramental force, then you will have something truly divine.

1965 12 26?, #On Thoughts And Aphorisms, #The Mother, #Integral Yoga
   There is a level here (pointing to the chest) where something plays with words, with images, with phrases, like this (shimmering, undulating gesture), that makes pretty pictures; it has a power of bringing you into contact with the Thing, which may be greaterat least as great, but perhaps greaterthan here (pointing to the forehead), than the metaphysical expressionmetaphysical is a manner of speaking. Images, that is to say, Poetry. Here there is an almost more direct way of access to that inexpressible vibration. I see Sri Aurobindos expression in its poetic form, it has a charm and a simplicitya simplicity and a sweetness and a penetrating charmwhich brings you into direct contact much more intimately than all the things of the head.
   When one is in this eternal Consciousness, to have a body or not to have a body, does not make much difference; but when one is what is called dead, does the perception of the material world remain clear and precise or does it become as vague and imprecise as the consciousness of the other worlds can be when one is on this side, in this world? Sri Aurobindo speaks of a game of hide-and-seek. But the game of hide-and-seek is interesting if one state of being does not preclude the consciousness of the other states of being.

1.anon - Eightfold Fence., #Anonymous - Poems, #unset, #Zen
  Attributed to the god Susanoo. This is the first poem to be found in the kojiki the oldest anthology of Japanese Poetry.

1.asak - Love came and emptied me of self, #unset, #Arthur C Clarke, #Fiction
   English version by Vraje Abramian Original Language Persian/Farsi Love came and emptied me of self, every vein and every pore, made into a container to be filled by the Beloved. Of me, only a name is left, the rest is You my Friend, my Beloved. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.asak - Love came, #unset, #Arthur C Clarke, #Fiction
   English version by Peter Lamborn Wilson and Nasrollah Pourjavady Original Language Persian/Farsi Love came flowed like blood beneath skin, through veins emptied me of my self filled me with the Beloved till every limb every organ was seized and occupied till only my name remains. the rest is It. [1501.jpg] -- from The Drunken Universe: An Anthology of Persian Sufi Poetry, Translated by Peter Lamborn Wilson / Translated by Nasrollah Pourjavady <
1.asak - On Unitys Way, #unset, #Arthur C Clarke, #Fiction
   English version by Peter Lamborn Wilson and Nasrollah Pourjavady Original Language Persian/Farsi On Unity's Way: no infidelity no faith. Take one step away from yourself and -- behold! -- the Path! You, soul of the world, must choose the road of Divine Submission then sit with anyone you like -- even a black snake -- but not your self! [1501.jpg] -- from The Drunken Universe: An Anthology of Persian Sufi Poetry, Translated by Peter Lamborn Wilson / Translated by Nasrollah Pourjavady <
1.at - Flower in the crannied wall, #unset, #Arthur C Clarke, #Fiction
   Original Language English Flower in the crannied wall, I pluck you out of the crannies; -- Hold you here, root and all, in my hand, Little flower -- but if I could understand What you are, root and all, and all in all, I should know what God and man is. [2485.jpg] -- from Tennyson's Poetry (Norton Critical Editions), by Alfred Tennyson / Edited by Robert W. Hill Jr. <
1.at - The Higher Pantheism, #unset, #Arthur C Clarke, #Fiction
   Original Language English The sun, the moon, the stars, the seas, the hills and the plains -- Are not these, O Soul, the Vision of Him who reigns? Is not the Vision He? tho' He be not that which He seems? Dreams are true while they last, and do we not live in dreams? Earth, these solid stars, this weight of body and limb, Are they not sign and symbol of thy division from Him? Dark is the world to thee: thyself art the reason why; For is He not all but thou, that hast power to feel 'I am I'? Glory about thee, without thee; and thou fulfillest thy doom, Making Him broken gleams, and a stifled splendour and gloom. Speak to Him thou for He hears, and Spirit with Spirit can meet -- Closer is He than breathing, and nearer than hands and feet. God is law, say the wise; O Soul, and let us rejoice, For if He thunder by law the thunder is yet His voice. Law is God, say some: no God at all, says the fool; For all we have power to see is a straight staff bent in a pool; And the ear of man cannot hear, and the eye of man cannot see; But if we could see and hear, this Vision -- were it not He? [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.bs - Chanting, chanting the Beloveds name, #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Original Language Punjabi Chanting, chanting the Beloved's name, I am myself become the Beloved. Whom then does that Name now name? [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.bs - He Who is Stricken by Love, #unset, #Arthur C Clarke, #Fiction
   English version by Mahmood Jamal Original Language Punjabi He who is stricken by Love Sings and dances out of tune. He who wears the garb of Love Gets blessings from above. Soon as he drinks from this cup No questions and no answers remain. He who is stricken by Love Sings and dances out of tune. He who has the Beloved in his heart, He is fulfilled with his Love. No need he has for formality, He just enjoys his ecstasy. He who is stricken by Love Sings and dances out of tune. [2469.jpg] -- from Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi, Translated by Mahmood Jamal <
1.bs - Look into Yourself, #unset, #Arthur C Clarke, #Fiction
   English version by Mahmood Jamal Original Language Punjabi You have learnt so much And read a thousand books. Have you ever read your Self? You have gone to mosque and temple. Have you ever visited your soul? You are busy fighting Satan. Have you ever fought your Ill intentions? You have reached into the skies, But you have failed to reach What's in your heart! [2469.jpg] -- from Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi, Translated by Mahmood Jamal <
1.bs - Love Springs Eternal, #unset, #Arthur C Clarke, #Fiction
   English version by Mahmood Jamal Original Language Punjabi Love springs eternal! When I learnt the lesson of Love I dreaded going to the mosque. Hesitantly, I found a temple Where they beat a thousand drums. Love springs eternal! Come! I am tired of reading holy books, Fed up with prostrations good. God is not in Mathura or Mecca. He who finds Him is enlightened! Love springs eternal! Come! Burn the prayer mat, break the beaker! Quit the rosary, chuck the staff! Lovers shout at the top of their voices: Break all rules that tie you down! Love springs eternal! Come! Heer and Ranjha are united: While she searches for him in orchards, He is in her warm embrace! She has her love, she is fulfilled! Love springs eternal! Come! [2469.jpg] -- from Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi, Translated by Mahmood Jamal <
1.bs - One Point Contains All, #unset, #Arthur C Clarke, #Fiction
   English version by Mahmood Jamal Original Language Punjabi One point contains all; Learn about the One, forget the rest. Forget hell and the terrible grave; Leave the ways of sin and purify Your heart. That's how the argument is spun: It's all contained in One! Why rub your head against the earth? What point in your vain prostration? Your Kalimah read, makes others laugh. You do not grasp the Lord's word! Somewhere the truth is written down: It's all contained in One! Some go to the jungle in vain And starve and cause themselves some pain; They waste their time with all this And come home tired, nothing gained! Find your master and become God's slave. In this way you'll be free of care; Free of desire, free of worry, And your heart truthful, pure. Bulleh has discovered this truth alone: It's all contained in One! [2469.jpg] -- from Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi, Translated by Mahmood Jamal <
1.bs - One Thread Only, #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Original Language Punjabi One thread, one thread only! Warp and woof, quill and shuttle, countless cloths and colors, a thousand hanks and skeins -- with ten thousand names ten thousand places. But there is one thread only. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.cj - Inscribed on the Wall of the Hut by the Lake, #unset, #Arthur C Clarke, #Fiction
   English version by J. P. Seaton Original Language Chinese If you want to be a mountain dweller... no need to trek to India to find a mountain... I've got a thousand peaks to pick from, right here in this lake. Fragrant grasses, white clouds, to hold me here. What holds you there, world-dweller? [2275.jpg] -- from The Shambhala Anthology of Chinese Poetry, Edited by J. P. Seaton

1.cj - To Be Shown to the Monks at a Certain Temple, #unset, #Arthur C Clarke, #Fiction
   English version by J. P. Seaton Original Language Chinese Not yet to the shore of nondoing, it's silly to be sad you're not moored yet... Eastmount's white clouds say to keep on moving, even if it's evening, even if it's fall. [2275.jpg] -- from The Shambhala Anthology of Chinese Poetry, Edited by J. P. Seaton <
1.cs - We were enclosed (from Prayer 20), #unset, #Arthur C Clarke, #Fiction
   English version by Suzanne Noffke, O.P. We were enclosed, O eternal Father, within the garden of your breast. You drew us out of your holy mind like a flower petaled with our soul's three powers, and into each power you put the whole plant, so that they might bear fruit in your garden, might come back to you with the fruit you gave them. And you would come back to the soul, to fill her with your blessedness. There the soul dwells -- like the fish in the sea and the sea in the fish. [1469.jpg] -- from Women in Praise of the Sacred: 43 Centuries of Spiritual Poetry by Women, Edited by Jane Hirshfield <
1.da - Lead us up beyond light, #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Lead us up beyond light, beyond knowing and unknowing, to the topmost summit of truth, where the mysteries lie hidden, unchanging and absolute, in the dazzling darkness of the secret silence. All light is outshined by the intensity of their shade. The senses are flooded, the mind made blind by such unseen beauty beyond all beauty. [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger

1.da - The love of God, unutterable and perfect, #unset, #Arthur C Clarke, #Fiction
   English version by Stephen Mitchell Original Language Italian The love of God, unutterable and perfect, flows into a pure soul the way that light rushes into a transparent object. The more love that it finds, the more it gives itself; so that, as we grow clear and open, the more complete the joy of heaven is. And the more souls who resonate together, the greater the intensity of their love, and, mirror-like, each soul reflects the other. [1527.jpg] -- from The Enlightened Heart: An Anthology of Sacred Poetry, by Stephen Mitchell

1.dz - Joyful in this mountain retreat, #Dogen - Poems, #Dogen, #Zen
  From: The Zen Poetry of Dogen: Verses from the Mountain of Eternal Peace By: Steven Heine

1.dz - On Non-Dependence of Mind, #Dogen - Poems, #Dogen, #Zen
  From: The Enlightened Heart, An Anthology of Sacred Poetry

1f.lovecraft - A Reminiscence of Dr. Samuel Johnson, #Lovecraft - Poems, #unset, #Zen
   out the Feet, but you have put neither Wit nor Poetry into the Lines.
   It woud afford me Gratification to tell more of my Experiences with

1f.lovecraft - At the Mountains of Madness, #Lovecraft - Poems, #unset, #Zen
   thing mixed up with exotic Poetry and paintings, and with archaic myths
   lurking in shunned and forbidden volumes. Even the winds burden held a

1f.lovecraft - Deaf, Dumb, and Blind, #Lovecraft - Poems, #unset, #Zen
   to be afraid. Critics have both praised and condemned my Poetry because
   of what they term a vivid imagination. At such a time as this I can

1f.lovecraft - He, #Lovecraft - Poems, #unset, #Zen
   are a denial of all that pure beauty which is Poetry and art, I stayed
   on for love of these venerable things. I fancied them as they were in

1f.lovecraft - Medusas Coil, #Lovecraft - Poems, #unset, #Zen
   to painting what Baudelaire was to Poetryand Marceline was the key
   that had unlocked his inmost stronghold of genius.

1f.lovecraft - Old Bugs, #Lovecraft - Poems, #unset, #Zen
   of life, and dont want to miss any experience. Theres Poetry in this
   sort of thing, you knowor perhaps you dont know, but its all the

1f.lovecraft - Poetry and the Gods, #Lovecraft - Poems, #unset, #Zen
  object:1f.lovecraft - Poetry and the Gods
  author class:H P Lovecraft
  --
   from the table and searched for some healing bit of Poetry. Poetry had
   always relieved her troubled mind better than anything else, though
   many things in the Poetry she had seen detracted from the influence.
   Over parts of even the sublimest verses hung a chill vapour of sterile
  --
   passed not away, but only slept; for it is in Poetry that Gods speak to
   men. Then spake the Thunderer:
  --
   the Poetry which is to come; the Poetry which shall bring peace and
   pleasure to thy soul, though search for it through bleak years thou
  --
   Return to Poetry and the Gods

1f.lovecraft - The Call of Cthulhu, #Lovecraft - Poems, #unset, #Zen
   which Poetry and legend alone have caught a flying memory and called
   them gods, monsters, mythical beings of all sorts and kinds. . . .
  --
   Only Poetry or madness could do justice to the noises heard by
   Legrasses men as they ploughed on through the black morass toward the

1.fs - The Artists, #Schiller - Poems, #Friedrich Schiller, #Poetry
   By Poetry, who strews his path with flowers,
   Through ever-purer forms, and purer powers,

1.fs - The Poetry Of Life, #Schiller - Poems, #Friedrich Schiller, #Poetry
  object:1.fs - The Poetry Of Life
  author class:Friedrich Schiller

1.fua - All who, reflecting as reflected see, #unset, #Arthur C Clarke, #Fiction
   English version by Edward Fitzgerald Original Language Persian/Farsi All who, reflecting as reflected see Themselves in Me, and Me in them; not Me, But all of Me that of contracted Eye Is comprehensive of Infinity; Nor yet Themselves: no Selves, but of The All Fractions, from which they split and wither fall. As Water lifted from the Deep, again Falls back in individual Drops of Rain, Then melts into the Universal Main. All you have been, and seen, and done, and thought, Not You but I, have seen and been and wrought: I was the Sin that from Myself rebell'd; I the Remorse that tow'rd Myself compell'd; I was the Tajidar who led the Track; I was the little Briar that pull'd you back: Sin and Contrition -- Retribution owed, And cancell'd -- Pilgrim, Pilgrimage, and Road, Was but Myself toward Myself; and Your Arrival but Myself at my own Door; Who in your Fraction of Myself behold Myself within the Mirror Myself hold To see Myself in, and each part of Me That sees himself, though drown'd, shall ever see. Come you lost Atoms to your Centre draw, And be the Eternal Mirror that you saw: Rays that have wander'd into Darkness wide Return, and back into your Sun subside.' [1831.jpg] -- from Poetry for the Spirit: Poems of Universal Wisdom and Beauty, Edited by Alan Jacobs <
1.fua - God Speaks to David, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi David was an open vessel, the light Poured into him. God's words took flight In him and through him God said: 'To all humankind, who are wed To hubris and sin, I say: "If heaven and hell Did not exist to catch you and break you, Would you, though a speck of dust, tell Truth from falsehood, would your eye find true Centre in my words? If there was nothing but dark Would you think of me, still less mark Your place with the leaf of prayer? Yet You are bound to my will, your soul is set In the direction of my breath, with hope And fear which cracks the dawn of your heart, So you will worship me with all your mind Words and inclination. Make a start: Burn to ashes all that is not I, bind The ashes to the fidelity of the wind, Extract the ore of your being, Then you shall start seeing."' [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.fua - God Speaks to Moses, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi One day God spoke to Moses and said: 'Visit Satan, question him, use your head.' So Moses descended to Hell's burning halls; Satan saw him coming, a smile did he install On his fiery face. Moses proudly asked him For advice, waiting for Satan's crafty whim; Satan spoke through his coal-black teeth: 'Remember this rule which sense bequeaths Never say "I" so that you become like me.' So long as you live for yourself you'll be A drum booming pride a cymbal of infidelity. Vanity, resentment, envy and anger shall be cemented Into your inner state; you shall be like a demented Dog with lolling tongue, infected with indolence of sin. You shall become your own tracked prisoner within. [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.fua - Invocation, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi We are busy with the luxury of things. Their number and multiple faces bring To us confusion we call knowledge. Say: God created the world, pinned night to day, Made mountains to weigh it down, seas To wash its face, living creatures with pleas (The ancestors of prayers) seeking a place In this mystery that floats in endless space. God set the earth on the back of a bull, The bull on a fish dancing on a spool Of silver light so fine it is like air; That in turn rests on nothing there But nothing that nothing can share. All things are but masks at God's beck and call, They are symbols that instruct us that God is all. [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.fua - Looking for your own face, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi Your face is neither infinite nor ephemeral. You can never see your own face, only a reflection, not the face itself. So you sigh in front of mirrors and cloud the surface. It's better to keep your breath cold. Hold it, like a diver does in the ocean. One slight movement, the mirror-image goes. Don't be dead or asleep or awake. Don't be anything. What you most want, what you travel around wishing to find, lose yourself as lovers lose themselves, and you'll be that. [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.fua - Mysticism, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi The sun can only be seen by the light of the sun. The more a man or woman knows, the greater the bewilderment, the closer to the sun the more dazzled, until a point is reached where one no longer is. A mystic knows without knowledge, without intuition or information, without contemplation or description or revelation. Mystics are not themselves. They do not exist in selves. They move as they are moved, talk as words come, see with sight that enters their eyes. I met a woman once and asked her where love had led her. "Fool, there's no destination to arrive at. Loved one and lover and love are infinite." [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.fua - The Birds Find Their King, #unset, #Arthur C Clarke, #Fiction
   English version by Edward Fitzgerald Original Language Persian/Farsi Once more they ventured from the Dust to raise Their Eyes -- up to the Throne -- into the Blaze, And in the Centre of the Glory there Beheld the Figure of -- Themselves -- as 'twere Transfigured -- looking to Themselves, beheld The Figure on the Throne en-miracled, Until their Eyes themselves and That between Did hesitate which Seer was, which Seen; They That, That They: Another, yet the Same; Dividual, yet One: from whom there came A Voice of awful Answer, scarce discern'd, From which to Aspiration whose return'd They scarcely knew; as when some Man apart Answers aloud the Question in his Heart: 'The Sun of my Perfection is a Glass Wherein from Seeing into Being pass.' [1831.jpg] -- from Poetry for the Spirit: Poems of Universal Wisdom and Beauty, Edited by Alan Jacobs <
1.fua - The Dullard Sage, #unset, #Arthur C Clarke, #Fiction
   English version by Peter Lamborn Wilson and Nasrollah Pourjavady Original Language Persian/Farsi Lost in myself I reappeared I know not where a drop that rose from the sea and fell and dissolved again; a shadow that stretched itself out at dawn, when the sun reached noon I disappeared. I have no news of my coming or passing away-- the whole thing happened quicker than a breath; ask no questions of the moth. In the candle flame of his face I have forgotten all the answers. In the way of love there must be knowledge and ignorance so I have become both a dullard and a sage; one must be an eye and yet not see so I am blind and yet I still perceive, Dust be on my head if I can say where I in bewilderment have wandered: Attar watched his heart transcend both worlds and under its shadow now is gone mad with love. [1501.jpg] -- from The Drunken Universe: An Anthology of Persian Sufi Poetry, Translated by Peter Lamborn Wilson / Translated by Nasrollah Pourjavady <
1.fua - The Hawk, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi He was a soldier with a soldier's pride, This hawk, whose home was by a king's side. He was haughty as his master, all other birds Thought him a disaster, his beak was feared As much as his talons. With hooded eyes (His place on the royal roster was his prize) He stands sentinel on the king's arm, polite And trained meticulously to do what is right And proper with courtly grace. He has no need To see the Simurgh even in a dream, his deeds Are sufficient for him, and no journey could replace The royal command, royal morsel food no disgrace To his way of thinking, he easily satisfies the king. He flies with cutting grace on sinister wing Through valleys and upward into the sky, He has no other wish but so to live and then to die. The hoopoe says: 'You have no sense with your soldier's pride. Do you think that supping with kings, doing their will Is enough to keep you in favour, always at their side? An earthly king may be just but you must beware still For a king's justice is whim pretending to be good. Once there was a king who prized his slave for his beauty. His body's silver sheen fascinated the prince who would Dress him in fine clothes so his looks alone were his duty. The king amused himself by placing on his favourite's head An apple for a bullseye, the poor silver slave would grow Yellow with fear because he knew too well blood is red. His silver hue would be tarnished if the king's bow Was not true; an injured slave would his silver lose To be discarded because the king would not be amused.' [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.fua - The Nightingale, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi The nightingale raises his head, drugged with passion, Pouring the oil of earthly love in such a fashion That the other birds shaded with his song, grow mute. The leaping mysteries of his melodies are acute. 'I know the secrets of Love, I am their piper,' He sings, 'I seek a David with broken heart to decipher Their plaintive barbs, I inspire the yearning flute, The daemon of the plucked conversation of the lute. The roses are dissolved into fragrance by my song, Hearts are torn with its sobbing tone, broken along The fault lines of longing filled with desire's wrong. My music is like the sky's black ocean, I steal The listener's reason, the world becomes the seal Of dreams for chosen lovers, where only the rose Is certain. I cannot go further, I am lame, and expose My anchored soul to the divine Way. My love for the rose is sufficient, I shall stay In the vicinity of its petalled image, I need No more, it blooms for me the rose, my seed. The hoopoe replies: 'You love the rose without thought. Nightingale, your foolish song is caught By the rose's thorns, it is a passing thing. Velvet petal, perfume's repose bring You pleasure, yes, but sorrow too For the rose's beauty is shallow: few Escape winter's frost. To seek the Way Release yourself from this love that lasts a day. The bud nurtures its own demise as day nurtures night. Groom yourself, pluck the deadly rose from your sight. [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.fua - The Pupil asks- the Master answers, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi 'Why was Adam driven from the garden?' The pupil asked his master. 'His heart was hardened With images, a hundred bonds that clutter the earth Chained Adam to the cycle of death following birth. He was blind to this equation, living for something other Than God and so out of paradise he was driven With his mortal body's cover his soul was shriven. Noblest of God's creatures, Adam fell with blame, Like a moth shriveled by the candle's flame, Into history which taught mankind shame. Since Adam had not given up his heart To God's attachment, there was no part For Adam in paradise where the only friend Is God; His will is not for Adam to imagine and bend.' [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.fua - The Simurgh, #unset, #Arthur C Clarke, #Fiction
   English version by Raficq Abdulla Original Language Persian/Farsi Ah, the Simurgh, who is this wondrous being Who, one fated night, when time stood still, Flew over China, not a single soul seeing? A feather fell from this King, his beauty and his will, And all hearts touched by it were in tumult thrown. Everyone who could, traced from it a liminal form; All who saw the still glowing lines were blown By longing like trees on a shore bent by storm. The feather is lodged in China's sacred places, Hence the Prophet's exhortation for knowledge to seek Even unto China where the feather's shadow graces All who shelter under it -- to know of this is not to speak. But unless the feather's image is felt and seen None knows the heart's obscure, shifting states That replace the fat of inaction with decision's lean. His grace enters the world and molds our fates Though without the limit of form or definite shape, For all definitions are frozen contradictions not fit For knowing; therefore, if you wish to travel on the Way, Set out on it now to find the Simurgh, don't prattle and sit On your haunches till into stiffening death you stray. All the birds who were by this agitation shook, Aspired to a meeting place to prepare for the Shah, To release in themselves the revelations of the Book; They yearned so deeply for Him who is both near and far, They were drawn to this sun and burned to an ember; But the road was long and perilous that was open to offer. Hooked by terror, though each was asked to remember The truth, each an excuse to stay behind was keen to proffer. [1490.jpg] -- from The Conference of the Birds: The Selected Sufi Poetry of Farid ud-Din Attar, Translated by Raficq Abdulla <
1.hcyc - 39 - Right here it is eternally full and serene (from The Shodoka), #unset, #Arthur C Clarke, #Fiction
   English version by Robert Aitken Original Language Chinese Right here it is eternally full and serene, If you search elsewhere, you cannot see it. You cannot grasp it, you cannot reject it; In the midst of not gaining, In that condition you gain it. [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger <
1.hcyc - 55 - When all is finally seen as it is, (from The Shodoka), #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Original Language Chinese When all is finally seen as it is, nothing hidden behind the fantasies of the mind-- That is Tathagata. That alone is the state of compassionate knowledge. Once this is realized, karma and its obstacles disappear into emptiness. But until that moment, one's debts must be paid. [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger <
1.he - Past, present, future- unattainable, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Past, present, future: unattainable, Yet clear as the moteless sky. Late at night the stool's cold as iron, But the moonlit window smells of plum. [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.he - You no sooner attain the great void, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese You no sooner attain the great void Than body and mind are lost together. Heaven and Hell -- a straw. The Buddha-realm, Pandemonium -- shambles. Listen: a nightingale strains her voice, serenading the snow. Look: a tortoise wearing a sword climbs the lampstand. Should you desire the great tranquility, Prepare to sweat white beads. [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.hs - Beauty Radiated in Eternity, #unset, #Arthur C Clarke, #Fiction
   English version by Mahmood Jamal Original Language Persian/Farsi Beauty radiated in eternity With its light; Love was born And set the worlds alight. It revealed itself to angels Who knew not how to love; It turned shyly towards man And set fire to his heart. Reason ventured to light Its own flame and wear the crown, But Your radiance Turned the world Of reason upside down. Others got pleasure As was their fate. My heart was Towards sadness inclined; For me, sorrow was destined. Beauty yearned to see itself; It turned to man to sing its praise. Hafiz wrote this song Drunk with Love, From a heart Carrying a happy secret. [2469.jpg] -- from Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi, Translated by Mahmood Jamal <
1.hs - Meditation, #unset, #Arthur C Clarke, #Fiction
   English version by Peter Lamborn Wilson and Nasrollah Pourjavady Original Language Persian/Farsi Collect your mind's fragments that you may fill yourself bit by bit with Meaning: the slave who meditates on the mysteries of Creation for sixty minutes gains more merit than from sixty years of fasting and prayer. Meditation: high-soaring hawk of Intellect's wrist resting at last on the flowering branch of the Heart: this world and the next are hidden beneath its folded wing. Now perched before the mud hut which is Earth now clasping with its talons a branch of the Tree of Paradise soaring here striking there -- each moment fresh prey gobbling a mouthful of moonlight wheeling away beyond the sun darting between the Great Wheel's star-set spokes, it rips to shreds the Footstool and the Throne a Pigeon's feather in its beak -- or a comet -- till finally free of everything it alights, silent on a topmost bough. Hunting is king's sport, not just anyone's pastime but you? you've hooded the falcon -- what can I say? -- clipped its pinions broken its wings... alas. [1501.jpg] -- from The Drunken Universe: An Anthology of Persian Sufi Poetry, Translated by Peter Lamborn Wilson / Translated by Nasrollah Pourjavady <
1.hs - Mystic Chat, #unset, #Arthur C Clarke, #Fiction
   English version by Peter Lamborn Wilson and Nasrollah Pourjavady Original Language Persian/Farsi My dear! You haven't the feet for this path -- why struggle? You've no idea where the idol's to be found -- what's all this mystic chat? What can be done with quarrelsome fellow travelers, boastful marketplace morons? If you were really a lover you'd see that faith and infidelity are one... Oh, what's the use? nit-picking about such things is a hobby for numb brains. You are pure spirit but imagine yourself a corpse! pure water which thinks it's the pot! Everything you want must be searched for -- except the Friend. If you don't find Him you'll never be able to start to even look. Yes, you can be sure: You are not Him -- unless you can remove yourself from between yourself and Him -- in which case you are Him. [1501.jpg] -- from The Drunken Universe: An Anthology of Persian Sufi Poetry, Translated by Peter Lamborn Wilson / Translated by Nasrollah Pourjavady <
1.hs - Naked in the Bee-House, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi Being humble is right for you now. Don't thrash around showing your strength. You're naked in the bee-house! It doesn't matter how powerful your arms and legs are. To God, that is more of a lie than your weakness is. In his doorway your prestige and your physical energy are just dust on your face. Be helpless and completely poor. And don't try to meet his eye! That's like signing a paper that honors yourself. If you can take care of things, do so! But when you're living at home with God, you neither sew the world together with desires nor tear it apart with disappointments. In that place existence itself is illusion. All that is, is one. Lost in that, your personal form becomes a vast, empty mosque. When you hold on to yourself, you're a fire-worshipping temple. Dissolve, and let everything get done. When you don't, you're an untrained colt, full of erratic loving and biting. Loyal sometimes, then treacherous. Be more like the servant who owns nothing and is neither hungry nor satisfied, who has no hopes for anything, and no fear of anyone. An owl living near the king's palace is considered a bird of misfortune, ragged and ominous. But off in the woods, sitting alone, its feathers grow splendid and sleek like the Phoenix restored. Musk should not be kept near water or heat. The dampness and the dryness spoil its fragrance. But when the musk is at home in the musk bladder, fire and wetness mean nothing. In God's doorway your guilt and your virtue don't count. Whether you're Muslim, or Christian, or fire-worshipper, the categories disappear. You're seeking, and God is what is sought, the essence beyond any cause. External theological learning moves like a moon and fades when the sun of experience rises. We are here for a week, or less. We arrive and leave almost simultaneously. To be is not to be. The Qur'an says, "They go hastening, with the Light running on before them." Clear the way! Muhammed says, "How fine!" A sigh goes out, and there is union. Forget how you came to this gate, your history. Let that be as if it had not been. Do you think the day plans its course by what the rooster says? God does not depend on any of his creatures. Your existence or non-existence is insignificant. Many like you have come here before. When the fountain of light is pouring, there's no need to urge it on! That's like a handful of straw trying to help the sun. "This way! Please, let this light through!" The sun doesn't need an announcer. The lamp you carry is your self-reliance. The sun is something else! Half a sneeze might extinguish your lantern, whereas all a winter's windiness cannot put That out. The road you must take has no particular name. It's the one composed of your own sighing and giving up. What you've been doing is not devotion. Your hoping and worrying are like donkeys wandering loose, sometimes docile, or suddenly mean. Your face looks wise at times, and ashamed at others. There is another way, a pure blankness where those are one expression. Omar once saw a group of boys on the road challenging each other to wrestle. They were all claiming to be champions, but when Omar, the fierce and accomplished warrior, came near, they scattered. All but one, Abdullah Zubair. Omar asked, "Why didn't you run?" "Why should I? You are not a tyrant, and I am not guilty." When someone knows his own inner value, he doesn't care about being accepted or rejected by anyone else. The prince here is strong and just. Stand wondering in his presence. There is nothing but That. [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.hs - Streaming, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi When the path ignites a soul, there's no remaining in place. The foot touches ground, but not for long. The way where love tells its secret stays always in motion, and there is no you there, and no reason. The rider urges his horse to gallop, and so doing, throws himself under the flying hooves. In love-unity there's no old or new. Everything is nothing. God alone is. For lovers the phenomena-veil is very transparent, and the delicate tracings on it cannot be explained with language. Clouds burn off as the sun rises, and the love-world floods with light. But cloud-water can be obscuring, as well as useful. There is an affection that covers the glory, rather than dissolving into it. It's a subtle difference, like the change in Persian from the word "friendship" to the word "work." That happens with just a dot above or below the third letter. There is a seeing of the beauty of union that doesn't actively work for the inner conversation. Your hand and feet must move, as a stream streams, working as its Self, to get to the ocean. Then there's no more mention of the search. Being famous, or being a disgrace, who's ahead or behind, these considerations are rocks and clogged places that slow you. Be as naked as a wheat grain out of its husk and sleek as Adam. Don't ask for anything other than the presence. Don't speak of a "you" apart from That. A full container cannot be more full. Be whole, and nothing. [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.hs - The Good Darkness, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi There is great joy in darkness. Deepen it. Blushing embarrassments in the half-light confuse, but a scorched, blackened, face can laugh like an Ethiopian, or a candled moth, coming closer to God. Brighter than any moon, Bilal, Muhammed's Black Friend, shadowed him on the night journey. Keep your deepest secret hidden in the dark beneath daylight's uncovering and night's spreading veil. Whatever's given you by those two is for your desires. They poison, eventually. Deeper down, where your face gets erased, where life-water runs silently, there's a prison with no food and drink, and no moral instruction, that opens on a garden where there's only God. No self, only the creation-word, BE. You, listening to me, roll up the carpet of time and space. Step beyond, into the one word. In blindness, receive what I say. Take "There is no good..." for your wealth and your strength. Let "There is nothing..." be a love-wisdom in your wine. [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.hs - Then through that dim murkiness, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi Then through that dim murkiness, I saw an old man with a radiant face. "You are the moon!" I called out. "Where did you come from?" "I am beyond substance and space. I am creation's cause, here to lead you back to your home. Hold close. and let my fire consume you. Don't be afraid of losing your strength here. This fire is one which has a spring of eternal water inside it. As your animal-soul dies, your new soul will be born. Live humbly with me, and I will raise you into majesty." He talked more to me in silence, without using syllables. He gave me love and light and eyes to see, and together we set out. [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.hs - There is no place for place!, #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Original Language Persian/Farsi There is no place for place! How can a place house the maker of all space, or the vast sky enclose the maker of heaven? He told me: "I am a homeless treasure. The world was made to give you a place to stand and see me." Tell me, if the one you seek is placeless, why put your shoes on? The real road is found by polishing, polishing the mirror of your heart. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.hs - The Wild Rose of Praise, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi Those unable to grieve, or to speak of their love, or to be grateful, those who can't remember God as the source of everything, might be described as a vacant wind, or a cold anvil, or a group of frightened old people. Say the Name. Moisten your tongue with praise, and be the spring ground, waking. Let your mouth be given its gold-yellow stamen like the wild rose's. As you fill with wisdom, and your heart with love, there's no more thirst. There's only unselfed patience waiting on the doorsill, a silence which doesn't listen to advice from people passing in the street. [1841.jpg] -- from The Hand of Poetry: Five Mystic Poets of Persia, with Lectures by Inayat Khan, Translated by Coleman Barks <
1.ia - Modification Of The R Poem, #Arabi - Poems, #Ibn Arabi, #Sufism
  I cut my heart to pieces composing Poetry in their love
  and I have begged The Lord by them, desiring

1.is - Form in Void, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese The tree is stripped, All color, fragrance gone, Yet already on the bough, Uncaring spring! [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.is - Like vanishing dew, #unset, #Arthur C Clarke, #Fiction
   English version by Sam Hamill Original Language Japanese Like vanishing dew, a passing apparition or the sudden flash of lightning -- already gone -- thus should one regard one's self. [2159.jpg] -- from The Poetry of Zen: (Shambhala Library), Edited by Sam Hamill / Edited by J. P. Seaton <
1.is - Love, #unset, #Arthur C Clarke, #Fiction
   English version by Anonymous Incited by something external Is like a small lamp Whose flame is fed with oil, Or like a stream fed by rains, Where flows stop when the rains cease. But love whose object is God is like A fountain gushing forth From the earth. Its flow never ceases, For He Himself is the source of this love And also its food, Which never grows scarce. [1831.jpg] -- from Poetry for the Spirit: Poems of Universal Wisdom and Beauty, Edited by Alan Jacobs

1.jc - On this summer night, #unset, #Arthur C Clarke, #Fiction
   English version by Edwin A. Cranston Original Language Japanese On this summer night All the household lies asleep, And in the doorway, For once open after dark, Stands the moon, brilliant, cloudless. [1469.jpg] -- from Women in Praise of the Sacred: 43 Centuries of Spiritual Poetry by Women, Edited by Jane Hirshfield

1.jh - O My Lord, Your dwelling places are lovely, #unset, #Arthur C Clarke, #Fiction
   English version by Solomon Solis-Cohen Original Language Hebrew O My Lord, Your dwelling places are lovely Your Presence is manifest, not in mystery. My dream brought me to the Temple of God And I praised its delightful servants, And the burnt offering, its meal and libation Which rose up in great pillars of smoke. I delighted in the song of the Levites, In their secrets of the sacrificial service. Then I woke, and still I was with you, O Lord, And I gave thanks -- for to You it is pleasant to give thanks! [bk1sm.gif] -- from A Treasury of Jewish Poetry: From Biblical Times to the Present, Edited by Nathan Ausubel / Edited by Marynn Ausubel <
1.jk - A Song About Myself, #Keats - Poems, #John Keats, #Poetry
   But scribble Poetry-
    He took

1.jk - Endymion - Book IV, #Keats - Poems, #John Keats, #Poetry
  (line 298): Remember'd from its velvet summer song : The gentleness of summer wind seems to have been a cherished idea with Keats. Compare with Sleep And Poetry, line 1 --
  'What is more gentle than a wind in summer?'

1.jk - Fragment Of An Ode To Maia. Written On May Day 1818, #Keats - Poems, #John Keats, #Poetry
  "it is impossible to know how far knowledge will console us for the death of a friend, and the 'ills that flesh is heir to.' With respect to the affections and Poetry, you must know by sympathy my thoughts that way, and I dare say these few lines will be but a ratification. I wrote them on May-day, and intend to finish the ode all in good time."
  Lord Houghton observes,-- "It is much to be regretted he did not finish this Ode; this commencement is in his best manner: the sentiment and expression perfect, as every traveller in modern Greece will recognize." An Ode so propitiously begun would, if completed, have been a worthy ending for the Devonshire series, though including what I believe I am not alone in regarding as Keats's masterpiece, -- Isabella.'

1.jkhu - A Visit to Hattoji Temple, #unset, #Arthur C Clarke, #Fiction
   English version by Arthur Braverman Original Language Japanese Lone mountain dominating three provinces White clouds cover a green peak Summit soaring to great heights Old temple nearly a thousand years A monk meditates alone in a moonlit hall A monkey cries in the mist in an old tree Saying to worldly folk: "Come here; free yourselves of karmic dust." [2472.jpg] -- from A Quiet Room: The Poetry of Zen Master Jakushitsu, Translated by Arthur Braverman

1.jkhu - Gathering Tea, #unset, #Arthur C Clarke, #Fiction
   English version by Arthur Braverman Original Language Japanese To the branch's edge and the leaf's under surface be most attentive Its pervasive aroma envelopes people far away The realms of form and function can't contain it Spring leaks profusely through the basket [2472.jpg] -- from A Quiet Room: The Poetry of Zen Master Jakushitsu, Translated by Arthur Braverman <
1.jkhu - Living in the Mountains, #unset, #Arthur C Clarke, #Fiction
   English version by Arthur Braverman Original Language Japanese Neither seeking fame nor grieving my poverty I hide deep in the mountain far from worldly dust. Year ending cold sky who will befriend me? Plum blossom on a new branch wrapped in moonlight [2472.jpg] -- from A Quiet Room: The Poetry of Zen Master Jakushitsu, Translated by Arthur Braverman <
1.jkhu - Rain in Autumn, #unset, #Arthur C Clarke, #Fiction
   English version by Arthur Braverman Original Language Japanese Look at the moon before you point or speak Illuminating the sky an unstained round light If your face doesn't possess the monk's discerning eye You become blinded by evening rains of autumn [2472.jpg] -- from A Quiet Room: The Poetry of Zen Master Jakushitsu, Translated by Arthur Braverman <
1.jkhu - Sitting in the Mountains, #unset, #Arthur C Clarke, #Fiction
   English version by Arthur Braverman Original Language Japanese Rock slab seat legs folded sitting alone Not loathing noise not savoring silence The carefree clouds concur [2472.jpg] -- from A Quiet Room: The Poetry of Zen Master Jakushitsu, Translated by Arthur Braverman <
1.jk - Hyperion. Book I, #Keats - Poems, #John Keats, #Poetry
  (line 14): It seems to me that the power of realization shown in the first decade, and indeed throughout the fragment, answers all objections to the subject, and is the most absolute security for the nobility of the result which Keats would have achieved had he finished the poem. It is impossible to over-estimate the value of such a landscape, so touched in with a few strokes of titanic meaning and completeness; and the whole sentiment of gigantic despair reflected around the fallen god of the Titan dynasty, and permeating the landscape, is resumed in the most perfect manner in the incident of the motionless fallen leaf, a line almost as intense and full of the essence of Poetry as any line in our language. It were ungracious to take exception to the poor Naiad; but she has not the convincing appropriateness of the rest of this sublime opening.'
  (line 51): Leigh Hunt's remarks upon Keats's failure to finish the poem are specially appropriate to this passage, "If any living poet could finish this fragment, we believe it is the author himself. But perhaps he feels that he ought not. A story which involves passion, almost of necessity involves speech; and though we may well enough describe beings greater than ourselves by comparison, unfortunately we cannot make them speak by comparison."

1.jk - Isabella; Or, The Pot Of Basil - A Story From Boccaccio, #Keats - Poems, #John Keats, #Poetry
  (stanza XXIV): Leigh Hunt cites the "exquisite metaphor" of lines 3 and 4 as an instance in which Keats "over-informs the occasion or the speaker." But I doubt whether it is fair to class this kind of "over-informing" as an error. If poeple of this kind are to be denied one element of Poetry, they must be denied another; and it is scarcely more strange to find the vile brethren of Isabella talking in metaphor than to find them talking in rhyme and metre. For the rest, a common-place Italian, even a villainous Italian, feels so intensely the sunlight of his land, that we need not object to the metaphor even on dramatic grounds.
  (stanza XXXIII): For Hinnom's Vale see Second Book of Chronicles of the Kings of Israel, Chapter XXVIII, verse 3: "Moreover he burnt incense in the valley of the son of Hinnom, and burnt his children in the fire, after the abominations of the heathen whom the Lord had cast out before the children of Israel."
  --
  (stanza XLVIII): Hunt observes here - "It is curious to see how the simple pathos of Boccaccio, or (which is the same thing) the simple intensity of the heroine's feelings, suffices our author more and more, as he gets to the end of his story. And he has related it as happily, as if he had never written any Poetry but that of the heart."
  (stanza LIV): Whether the "savage and tartarly" assailants of Keats's day availed themselves of the word "leafits" in the 8th line for an accusation of word-coining, I do not know; but as far as I have been able to ascertain this diminutive of "leaf" is peculiar to the present passage.
  (stanza LXII): Hunt says - "The passage about the tone of her voice, -- the poor lost-witted coaxing, -- the 'chuckle,' in which she asks after her Pilgrim and her Basil,-- is as true and touching an instance of the effect of a happy familiar word, as any in all Poetry." It is difficult to imagine that these sentences of Hunt's were not somehow misprinted; but, as the review occurs only in the original issue of The Indicator, one has no means of testing this passage by comparison with later editions. It can hardly be supposed that Hunt really thought the Pilgrim meant Lorenzo; and it ought not to be necessary to explain that the poor lost girl called after any pilgrim whom chance sent her way, enquiring of him where her Basil was.
  ~ Poetical Works of John Keats, ed. H. Buxton Forman, Crowell publ. 1895. by owner. provided at no charge for educational purposes

1.jk - Lamia. Part II, #Keats - Poems, #John Keats, #Poetry
  (line 239): In the Autobiography of Haydon, as edited by the late Mr. Tom Taylor, we read at page 354 of Volume 1 (edition of 1853) that Keats and Lamb, at one of the meetings at Haydon's house, agreed that Newton "had destroyed all the Poetry of the rainbow, by reducing it to the prismatic colours." This meeting was what Haydon calls "the immortal dinner" of the 28th of December 1817; so that the idea appears to have persisted in Keats's mind.
  Last line: The following extract is appended in Keats's edition as a note to the last line of Lamia:--

1.jk - Ode On Indolence, #Keats - Poems, #John Keats, #Poetry
  "This morning I am in a sort of temper, indolent and supremely careless; I long after a stanza or two of Thomson's 'Castle of Indolence;' my passions are all asleep, from my having slumbered till nearly eleven, and weakened the animal fibre all over me, to a delightful sensation, about three degrees on this side of faintness. If I had teeth or pearl, and the breath of lilies, I should call it languor; but, as I am, I must call it laziness. In this state of effeminacy, the fibres of the brain are relaxed, in common with the rest of the body, and to such a happy degree, that pleasure has no show of enticement, and pain no unbearable frown; neither Poetry, nor Ambition, nor Love, have any alterness of countenance; as they pass by me, they seem rather like three figures on a Greek vase, two men and a woman, whom no one but myself could distinguish in their disguisement. This is the only happiness, and is a rare instance of advantage in the body overpowering the mind."
  The date under which this passage occurs in the journal letter is the 19th of March. It seems almost certain therefore that the Ode must have been composed after the fragment of The Eve Of St. Mark, -- not before it as usually given.

1.jk - Ode To A Nightingale, #Keats - Poems, #John Keats, #Poetry
  (stanza 2): Of Keats's partiality for claret enough and too much has been made; but with his delightful list of desiderata given to his sister in a letter, now before me, it is impossible to resist citing as a prose parallel to these two splendid lines of Poetry the words, "and, please heaven, a little claret wine cool out of a cellar a mile deep -- with a few or a good many ratafia cakes."
  (stanza 3): The sixth line very clearly bears out Haydon's words connecting the sadness of the poem with the death of Tom Keats, and should be compared with the passage about his sister in the letter to Brown written from Rome on the 30th November, 1820,-- "my sister - who walks about my imagination like a ghost - she is so like Tom." In the same letter he says "it runs in my head we shall all die young."

1.jk - Sleep And Poetry, #Keats - Poems, #John Keats, #Poetry
  object:1.jk - Sleep And Poetry
  author class:John Keats
  --
  (line 354): Leigh Hunt's house: he says ... the poem "originated in sleeping in a room adorned with busts and pictures," -- "many a bust from Shout," as Shelley wrote to Mrs. Gisborne. In Hunt's Correspondence (Volume i, page 289) we read "Keats's Sleep and Poetry is a description of a parlour that was mine, no bigger than an old mansion's closet." Charles Cowden Clarke says (Gentleman's Magazine, February 1874) "It was in the library at Hunt's cottage, where an extemporary bed had been made up for him on the sofa."
  ~ Poetical Works of John Keats, ed. H. Buxton Forman, Crowell publ. 1895. by owner. provided at no charge for educational purposes

1.jk - Sonnet To Homer, #Keats - Poems, #John Keats, #Poetry
  I understand the "giant ignorance" of line I to have reference to Keats's inability to enjoy Homer in the original Greek, and not to an entire ignorance of the Iliad and Odyssey such as might have characterized the period before the sonnet on Chapman's version was written in 1816. Indeed the second quatrain seems to me to be too well felt for so vague an attitude as Keats's must have been towards Homer before he knew any version at all; but the late Dante Gabriel Rossetti, whose intuitions in such matters were of the keenest, and entitled to the most careful consideration, held that the present sonnet must have preceded that of 1816, and received with considerable reserve the evidence as to the date which I communicated to him in the course of our correspondence. It will be of interest to many lovers both of Keats and of Rossetti to learn that the latter poet whom we have but lately lost considered this sonnet to contain Keats's finest single line of Poetry --
  'There is a budding morrow in midnight,'
  a line which Rossetti told me he thought one of the finest "in all Poetry." No one will dispute that it is a most astonishing line, more particularly for a young man of Keats's years in 1818.'
  ~ Poetical Works of John Keats, ed. H. Buxton Forman, Crowell publ. 1895. by owner. provided at no charge for educational purposes

1.jk - Sonnet XV. On The Grasshopper And Cricket, #Keats - Poems, #John Keats, #Poetry
  The Poetry of earth is never dead:
  When all the birds are faint with the hot sun,
  --
  The Poetry of earth is ceasing never:
  On a lone winter evening, when the frost

1.jk - The Cap And Bells; Or, The Jealousies - A Faery Tale .. Unfinished, #Keats - Poems, #John Keats, #Poetry
  "There are beautiful passages and lines of ineffable sweetness in these minor pieces, and strange outbursts of individual fancy and felicitous expressions in the 'Cap and Bells,' though the general extravagance of the Poetry is more suited to an Italian than to an English taste."
  The late Dante Gabriel Rossetti wrote to me of this poem as "the only unworthy stuff Keats ever wrote except an early trifle or two," and again as "the to me hateful Cap and Bells." I confess that it seems to me entirely unworthy of Keats, though certainly a proof, if proof were needed, of his versatility. It has the character of a mere intellectual and mechanical exercise, performed at a time when those higher forces constituting the mainspring of Poetry were exhausted; but even so I find it difficult to figure Keats as doing anything so aimless as this appears when regarded solely as an effort of the fancy. He probably had a satirical under-current of meaning; and it needs no great stretch of the imagination to see the illicit passion of Emperor Elfinan, and his detestation for his authorized bride-elect, an oblique glance at the martial relations of George IV.
  It is not difficult to suggest prototypes for many of the faery-land statesmen against whom Elfinan vows vengeance; and there are many particulars in which earthly incidents are too thickly strewn to leave one in the settled belief that the poet's programme was wholly unearthly.--- H. B. F.'

1.jk - Two Sonnets. To Haydon, With A Sonnet Written On Seeing The Elgin Marbles, #Keats - Poems, #John Keats, #Poetry
  'In regard to this subject it will be remembered that Haydon had been most energetic in preaching the gospel of the Elgin Marbles, and that his friends claimed for him the distinction of being the first to apply to modern art the "principles" of those immortal works. These two sonnets appeared in The Examiner for the 9th of March 1817, signed "J. K.;" but this did not prevent Mr. James Elmes from letting them do duty for "Original Poetry" in his Annals of the Fine Arts, where they re-appeared in No. 8 (that, seemingly, for April 1818), with the full signature "John Keats." ' ~ Poetical Works of John Keats, ed. H. Buxton Forman, Crowell publ. 1895.
   by owner. provided at no charge for educational purposes

1.jlb - The Art Of Poetry, #Borges - Poems, #Jorge Luis Borges, #Poetry
  object:1.jlb - The Art Of Poetry
  author class:Jorge Luis Borges
  --
  a golden sadnesssuch is Poetry,
  humble and immortal, Poetry,
  returning, like dawn and the sunset.

1.jr - A World with No Boundaries (Ghazal 363), #unset, #Arthur C Clarke, #Fiction
   English version by Kabir Helminski Original Language Persian/Farsi & Turkish With every breath the sound of love surrounds us, and we are bound for the depths of space, without distraction. We've been in orbit before and know the angels there. Let's go there again, Master, for that is our land. Yet we are beyond all of that and more than angels. Out beyond duality, we have a home, and it is Majesty. That pure substance is different from this dusty world. What kind of place is this? We once came down; soon we'll return. A new happiness befriends us as we work at offering our lives. Muhammad, the jewel of the world, is our caravan's chosen guide. The sweetness we breathe on the wind is from the scent of his hair, and the radiance of our thought is from the light of his day. His face once caused the moon to split in two. She couldn't endure the sight of him. Yet how lucky she was, she who humbly received him. Look into your heart and see the splitting moon within each breath. Having seen that vision, how can you still dream? When the wave of "Am I not?" struck, it wrecked the body's ship; when the ship wrecks again, it will be the time of union. The Human Being, like a bird of the sea, emerged from the ocean of the soul. Earth is not the final place of rest for a bird born from the sea. No, we are pearls of that ocean; all of us live in it; and if it weren't so, why would wave upon wave arrive? This is the time of union, the time of eternal beauty. It is the time of luck and kindness; it is the ocean of purity. The wave of bestowal has come. The roar of the sea is here. The morning of happiness has dawned. No, it is the light of God. Whose face is pictured here? Who is this shah or prince? Who is this ancient intelligence? They are all masks . . . and the only remedy is this boiling ecstasy of the soul. A fountain of refreshment is in the head and the eyes -- not this bodily head but another pure spiritual one. Many a pure head has been spilled in the dust. Know the one from the other! Our original head is hidden, while this other is visible. Beyond this world is a world that has no boundaries. Put your water skin away, brother, and draw some wine from our cask! The clay jug of perception has such a narrow spout. The sun appeared from the direction of Tabriz, and I said, "This light is at once joined with all things, and yet apart from everything." [2295.jpg] -- from Love is a Stranger: Selected Lyric Poetry by Jelaluddin Rumi and Kabir, Translated by Kabir Helmiski <
1.jr - Fasting, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi & Turkish There's hidden sweetness in the stomach's emptiness. We are lutes, no more, no less. If the soundbox is stuffed full of anything, no music. If the brain and belly are burning clean with fasting, every moment a new song comes out of the fire. The fog clears, and new energy makes you run up the steps in front of you. Be emptier and cry like reed instruments cry. Emptier, write secrets with the reed pen. When you're full of food and drink, Satan sits where your spirit should, an ugly metal statue in place of the Kaaba. When you fast, good habits gather like friends who want to help. Fasting is Solomon's ring. Don't give it to some illusion and lose your power, but even if you have, if you've lost all will and control, they come back when you fast, like soldiers appearing out of the ground, pennants flying above them. A table descends to your tents, Jesus' table. Expect to see it, when you fast, this table spread with other food, better than the broth of cabbages. [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger <
1.jr - I lost my world, my fame, my mind, #unset, #Arthur C Clarke, #Fiction
   English version by Andrew Harvey Original Language Persian/Farsi & Turkish I lost my world, my fame, my mind -- The Sun appeared, and all the shadows ran. I ran after them, but vanished as I ran -- Light ran after me and hunted me down. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.jr - I Will Beguile Him With The Tongue, #Rumi - Poems, #Jalaluddin Rumi, #Poetry
  should beguile him with verses and lyrics and flowing Poetry.
  The glory of the unseen form is too great for me to beguile it

1.jr - Secretly we spoke, #unset, #Arthur C Clarke, #Fiction
   English version by Jonathan Star and Shahram Shiva Original Language Persian/Farsi & Turkish Secretly we spoke, that wise one and me. I said, Tell me the secrets of the world. He said, Sh... Let silence Tell you the secrets of the world. [2399.jpg] -- from Art & Wonder: An Illustrated Anthology of Visionary Poetry, Edited by Kate Farrell <
1.jr - The Absolute works with nothing, #unset, #Arthur C Clarke, #Fiction
   English version by Coleman Barks Original Language Persian/Farsi & Turkish The Absolute works with nothing. The workshop, the materials are what does not exist. Try and be a sheet of paper with nothing on it. Be a spot of ground where nothing is growing, where something might be planted, a seed, possibly, from the Absolute. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.jr - The Thirsty, #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Original Language Persian/Farsi & Turkish Not only do the thirsty seek water, The water too thirsts for the thirsty. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.jr - Who Says Words With My Mouth?, #Rumi - Poems, #Jalaluddin Rumi, #Poetry
  This Poetry, I never know what I'm going to say.
  I don't plan it.

1.jt - As air carries light poured out by the rising sun, #unset, #Arthur C Clarke, #Fiction
   English version by Ivan M. Granger Original Language Italian As air carries light poured out by the rising sun, As the candle spills away beneath the flame's touch, So too does the soul melt when ignited by light, its will now gone. Lost within this light, the soul, dying to itself, in majesty lives on. Why fish among the waves for wine Spilled into the sea? It has become the ocean. Can wine once mingled be drawn again from the water? So it is with the soul drowned in light: Love has drunk it in, changed it, mixed it with truth, until it is entirely new. The soul is willing and yet unwilling, For there is nothing the soul now seeks, save for this beauty! No longer does it hunger or grasp, so emptied by such sweetness. This supreme summit of the soul rises from a nothingness shaped and set within the Lord. [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger <
1.jwvg - Book Of Proverbs, #Goethe - Poems, #Johann Wolfgang von Goethe, #Poetry
  Who from the earth drives Poetry far?
  Who but the poet!

1.kaa - A Path of Devotion, #unset, #Arthur C Clarke, #Fiction
   English version by Anonymous Original Language Persian/Farsi In this path the eye must cease to see, And the ear to hear, Save unto Him, and about Him. Be as dust on His path. Even the kings of this earth Make the dust of His feet The balm of their eyes. [1831.jpg] -- from Poetry for the Spirit: Poems of Universal Wisdom and Beauty, Edited by Alan Jacobs

1.kaa - Devotion for Thee, #unset, #Arthur C Clarke, #Fiction
   English version by Anonymous Original Language Persian/Farsi Life in my body pulsates only for Thee, My heart beats in resignation to Thy will. If on my dust a tuft of grass were to grow Every blade would tremble with my devotion for Thee! [1831.jpg] -- from Poetry for the Spirit: Poems of Universal Wisdom and Beauty, Edited by Alan Jacobs <
1.kbr - Between the conscious and the unconscious, the mind has put up a swing, #unset, #Arthur C Clarke, #Fiction
   English version by Robert Bly Original Language Hindi Between the conscious and the unconscious, the mind has put up a swing: all earth creatures, even the supernovas, sway between these two trees, and it never winds down. Angels, animals, humans, insects by the million, also the wheeling sun and moon; ages go by, and it goes on. Everything is swinging: heaven, earth, water, fire, and the secret one slowly growing a body. Kabir saw that for fifteen seconds, and it made him a servant for life. [1527.jpg] -- from The Enlightened Heart: An Anthology of Sacred Poetry, by Stephen Mitchell

1.kbr - Dohas (Couplets) I (with translation), #Songs of Kabir, #Kabir, #Sufism
   These Dohas or couplets are each complete in themselves and are the most famous of Kabir's Poetry, there are many more and many of them are often quoted in India even now. There is profound wisdom hidden in each couplet and they reflect Kabir's way of expressing the most profound thoughts in the simplest words.

1.kbr - My body is flooded, #Songs of Kabir, #Kabir, #Sufism
   English version by Andrew Harvey Original Language Hindi My body is flooded With the flame of Love. My soul lives in A furnace of bliss. Love's fragrance Fills my mouth, And fans through all things With each outbreath. [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.kbr - The Word, #unset, #Arthur C Clarke, #Fiction
   English version by Mahmood Jamal Original Language Hindi Find the word, understand the word, Depend on the word; The word is heaven and space, the word the earth, The word the universe. The word is in our ears, the word is on our tongues, The word the idol. The word is the holy book, the word is harmony, The word is music. The word is magic, the word the Guru. The word is the body, the word is the spirit, the word is being, The word Not-being. The word is man, the word is woman, The Worshipped Great. The word is the seen and unseen, the word is the existent And the non-existent. Know the word, says Kabir, The word is All-powerful. [2469.jpg] -- from Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi, Translated by Mahmood Jamal <
1.kbr - Within this earthen vessel, #unset, #Arthur C Clarke, #Fiction
   English version by Rabindranath Tagore Original Language Hindi Within this earthen vessel are bowers and groves, and within it is the Creator: Within this vessel are the seven oceans and the unnumbered stars. The touchstone and the jewel-appraiser are within; And within this vessel the Eternal soundeth, and the spring wells up. Kabir says: "Listen to me, my Friend! My beloved Lord is within." [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.ki - Autumn wind, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Autumn wind -- mountain's shadow wavers. [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto

1.ki - Buddha Law, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Buddha Law, Shining In a leaf dew. [2115.jpg] -- from A Box of Zen: Haiku the Poetry of Zen, Koans the Lessons of Zen, Sayings the Wisdom of Zen, Edited by Manuela Dunn Mascetti / Edited by Timothy Hugh Barrett <
1.ki - Buddhas body, #unset, #Arthur C Clarke, #Fiction
   English version by David G. Lanoue Original Language Japanese Buddha's body accepts it... winter rain [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.ki - Dont weep, insects, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Don't weep, insects -- Lovers, stars themselves, Must part. [2115.jpg] -- from A Box of Zen: Haiku the Poetry of Zen, Koans the Lessons of Zen, Sayings the Wisdom of Zen, Edited by Manuela Dunn Mascetti / Edited by Timothy Hugh Barrett <
1.ki - even poorly planted, #unset, #Arthur C Clarke, #Fiction
   English version by David G. Lanoue Original Language Japanese even poorly planted rice plants slowly, slowly... green! [2652.jpg] -- from The Longing in Between: Sacred Poetry from Around the World (A Poetry Chaikhana Anthology), Edited by Ivan M. Granger <
1.ki - First firefly, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese First firefly, why turn away -- it's Issa. [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.ki - From burweed, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese From burweed, such a butterfly was born? [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.ki - In my hut, #unset, #Arthur C Clarke, #Fiction
   English version by Gabriel Rosenstock Original Language Japanese In my hut mice and fireflies getting along [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger <
1.ki - Just by being, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Just by being, I'm here -- In snow-fall. [2115.jpg] -- from A Box of Zen: Haiku the Poetry of Zen, Koans the Lessons of Zen, Sayings the Wisdom of Zen, Edited by Manuela Dunn Mascetti / Edited by Timothy Hugh Barrett <
1.ki - Never forget, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Never forget: we walk on hell, gazing at flowers. [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.ki - Reflected, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Reflected in the dragonfly's eye -- mountains. [1506.jpg] -- from Zen Poetry: Let the Spring Breeze Enter, Translated by Lucien Stryk / Translated by Takashi Ikemoto <
1.ki - stillness, #unset, #Arthur C Clarke, #Fiction
   English version by David G. Lanoue Original Language Japanese stillness-- in the depths of the lake billowing clouds [2720.jpg] -- from This Dance of Bliss: Ecstatic Poetry from Around the World, Edited by Ivan M. Granger <
1.ki - Where there are humans, #unset, #Arthur C Clarke, #Fiction
   English version by Lucien Stryk and Takashi Ikemoto Original Language Japanese Where there are humans You'll find flies, And Buddhas. [2115.jpg] -- from A Box of Zen: Haiku the Poetry of Zen, Koans the Lessons of Zen, Sayings the Wisdom of Zen, Edited by Manuela Dunn Mascetti / Edited by Timothy Hugh Barrett <
1.lb - A Song Of Changgan, #Li Bai - Poems, #Li Bai, #Poetry
  Cf. Bynner's translation of this poem with Ezra Pound's differently-titled "The River Merchant's Wife: A Letter"--also found at All Poetry. by owner. provided at no charge for educational purposes

1.lb - Exile's Letter, #Li Bai - Poems, #Li Bai, #Poetry
    The book's widely-applauded publication prompted T.S. Eliot to remark that Pound had "reinvented Chinese Poetry for our time."
     CATHAY is comprised of 18 translations of various early Chinese poems, eleven poems by T'ang Dynasty poet Li Po ("Rihaku"), and the Anglo-Saxon poem, "The Seafarer," which Pound included for timeline comparison of 8th-Century English Poetry with 8th-Century Chinese Poetry.
     CATHAY ranks among the most pivotal publications in the entire history of translation and of modern Poetry in English.

1.lb - Facing Wine, #Li Bai - Poems, #Li Bai, #Poetry
  Li Po (AD 701-762) is famous for his poems that unabashedly celebrate drunkenness: an induced state of heightened feelings which he believed inspired his Poetry. Yet, in this self-reprimanding poem he reveals the shadow side of drunkenness: the oblivious lost long hours spent hunched over wine, unaware of everything but the cup of wine in front of him. The poet doesn't notice the sunset: doesn't notice the dark till blossoms falling from an overhead tree have filled the folds of his robe. Too, he is oblivious to the chirping and flying about of birds. And, though he is a sociable, conversational man, he talks to no one. by owner. provided at no charge for educational purposes

1.lb - Farewell to Meng Hao-jan at Yellow Crane Tower by Li Po, #Li Bai - Poems, #Li Bai, #Poetry
  This is one of several great Li Po poems on the T'ang subject of parting friends, whose vivid imagery and grand scale of space (resembling Chinese landscape painting) and whose depth of feeling have made it among the most famous and popular of T'ang Dynasty poems. Meng Hao-jan was the elder poet of the two men, the first great master of T'ang Poetry. The poem recounts one leg in a long journey by Hao-jan for which Li Po traveled over a hundred miles to reach Yellow Crane Tower so that he could bid his friend farewell. Such were the bonds of friendship in Medieval China. by owner. provided at no charge for educational purposes

1.lb - Lament of the Frontier Guard, #Li Bai - Poems, #Li Bai, #Poetry
    The book's widely-applauded publication prompted T.S. Eliot to remark that Pound had "reinvented Chinese Poetry for our time."
     CATHAY is comprised of 18 translations of various early Chinese poems, eleven poems by T'ang Dynasty poet Li Po ("Rihaku"), and the Anglo-Saxon poem, "The Seafarer," which Pound included for timeline comparison of 8th-Century English Poetry with 8th-Century Chinese Poetry.
     CATHAY ranks among the most pivotal publications in the entire history of translation and of modern Poetry in English. by owner. provided at no charge for educational purposes

1.lb - Leave-Taking Near Shoku, #Li Bai - Poems, #Li Bai, #Poetry
    The book's widely-applauded publication prompted T.S. Eliot to remark that Pound had "reinvented Chinese Poetry for our time."
     CATHAY is comprised of 18 translations of various early Chinese poems, eleven poems by T'ang Dynasty poet Li Po ("Rihaku"), and the Anglo-Saxon poem, "The Seafarer," which Pound included for timeline comparison of 8th-Century English Poetry with 8th-Century Chinese Poetry.
     CATHAY ranks among the most pivotal publications in the entire history of translation and of modern Poetry in English.
   by owner. provided at no charge for educational purposes

1.lb - Poem by The Bridge at Ten-Shin, #Li Bai - Poems, #Li Bai, #Poetry
    The book's widely-applauded publication prompted T.S. Eliot to remark that Pound had "reinvented Chinese Poetry for our time."
     CATHAY is comprised of 18 translations of various early Chinese poems, eleven poems by T'ang Dynasty poet Li Po ("Rihaku"), and the Anglo-Saxon poem, "The Seafarer," which Pound included for timeline comparison of 8th-Century English Poetry with 8th-Century Chinese Poetry.
     CATHAY ranks among the most pivotal publications in the entire history of translation and of modern Poetry in English.
   by owner. provided at no charge for educational purposes

1.lb - Question And Answer On The Mountain, #Li Bai - Poems, #Li Bai, #Poetry
  he must be agonizing over Poetry again.
          Li Po

WORDNET



--- Overview of noun poetry

The noun poetry has 2 senses (first 2 from tagged texts)
                    
1. (11) poetry, poesy, verse ::: (literature in metrical form)
2. (1) poetry ::: (any communication resembling poetry in beauty or the evocation of feeling)


--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun poetry

2 senses of poetry                          

Sense 1
poetry, poesy, verse
   => writing style, literary genre, genre
     => expressive style, style
       => communication
         => abstraction, abstract entity
           => entity

Sense 2
poetry
   => expressive style, style
     => communication
       => abstraction, abstract entity
         => entity


--- Hyponyms of noun poetry

1 of 2 senses of poetry                        

Sense 1
poetry, poesy, verse
   => epos
   => heroic poetry, epic poetry


--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun poetry

2 senses of poetry                          

Sense 1
poetry, poesy, verse
   => writing style, literary genre, genre

Sense 2
poetry
   => expressive style, style




--- Coordinate Terms (sisters) of noun poetry

2 senses of poetry                          

Sense 1
poetry, poesy, verse
  -> writing style, literary genre, genre
   => drama
   => prose
   => form
   => poetry, poesy, verse

Sense 2
poetry
  -> expressive style, style
   => allegory
   => analysis
   => bathos
   => black humor, black humour
   => device
   => eloquence, fluency, smoothness
   => euphuism
   => flatness
   => formulation, expression
   => grandiosity, magniloquence, ornateness, grandiloquence, rhetoric
   => headlinese
   => jargon
   => journalese
   => legalese
   => manner of speaking, speech, delivery
   => music genre, musical genre, genre, musical style
   => officialese
   => pathos
   => prose
   => rhetoric
   => saltiness, coarseness
   => self-expression
   => sesquipedality
   => terseness
   => turn of phrase, turn of expression
   => vein
   => verboseness, verbosity
   => writing style, literary genre, genre
   => poetry




--- Grep of noun poetry
epic poetry
heroic poetry
line of poetry
poetry



IN WEBGEN [10000/7381]

Wikipedia - 1321 in poetry
Wikipedia - 16th century in poetry
Wikipedia - 1732 in poetry
Wikipedia - 1909 in poetry
Wikipedia - 1929 in poetry
Wikipedia - 1931 in poetry
Wikipedia - 1942 in poetry
Wikipedia - 1977 in poetry
Wikipedia - 1 M-CM-^W 1 -- book of poetry by E. E. Cummings
Wikipedia - 1st century BC in poetry
Wikipedia - 2nd century BC in poetry
Wikipedia - 3rd century BC in poetry
Wikipedia - 4th century BC in poetry
Wikipedia - 4th century in poetry
Wikipedia - 5th century BC in poetry
Wikipedia - 5th century in poetry
Wikipedia - 6th century BC in poetry
Wikipedia - 774 in poetry
Wikipedia - 7th century BC in poetry
Wikipedia - 7th century in poetry -- Poetry-related events
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Wikipedia - Allison Parrish -- Creative coder cited as "Best maker of poetry bots".
Wikipedia - All Watched Over by Machines of Loving Grace (poetry collection) -- Book by Richard Brautigan
Wikipedia - A Lume Spento -- 1908 self-published poetry collection by Ezra Pound
Wikipedia - American poetry -- Poetry from the United States of America
Wikipedia - American proletarian poetry movement -- political poetry movement in the US-1920s and 1930s
Wikipedia - American Smooth (poetry collection) -- Book by Rita Dove
Wikipedia - Ancient Greek poetry
Wikipedia - Angan Ke Par Dwar -- 1961 Hindi poetry collection by Agyeya
Wikipedia - Anglo-Saxon poetry
Wikipedia - An Open Book (poetry collection) -- Book by Orson Scott Card
Wikipedia - Anuradha Bhattacharyya -- Indian writer of poetry and fiction
Wikipedia - A Quinzaine for this Yule -- Collection of poetry by Ezra Pound
Wikipedia - Arabic poetry -- Form of poetry
Wikipedia - Arabic prosody -- Prosody of Arabic poetry
Wikipedia - A ribbon of poems -- Poetry collection by Louis Couperus
Wikipedia - Ariel (poetry collection) -- Poetry book by Sylvia Plath
Wikipedia - Ars poetica (Israel) -- Israeli poetry group
Wikipedia - A Sand Book -- 2019 poetry collection
Wikipedia - A Shropshire Lad -- Poetry collection by A.E. Housman
Wikipedia - Assamese poetry
Wikipedia - A Treatise on Poetry -- poem by Czeslaw Milosz
Wikipedia - Auguries of Innocence (poetry collection) -- Book by Patti Smith
Wikipedia - Augustan poetry
Wikipedia - Australian poetry
Wikipedia - Averno (poetry collection) -- 2006 poetry book by Louise Gluck
Wikipedia - Babel (book) -- Poetry book by Patti Smith
Wikipedia - Balaka (Bengali poetry) -- Bengali poetry book written by Rabindranath Tagore
Wikipedia - Battle-Pieces and Aspects of the War -- Poetry book by Herman Melville
Wikipedia - Bengali poetry
Wikipedia - Berkeley Poetry Review
Wikipedia - Bertsolaritza -- Basque art of improvised poetry
Wikipedia - Biblical poetry
Wikipedia - Big Poppa E -- American performer of slam poetry
Wikipedia - Bloody Poetry
Wikipedia - BM-CM-^OFM-BM-'ZF+18 -- Italian poetry book
Wikipedia - Bobbitt National Prize for Poetry
Wikipedia - Bollingen Prize in Poetry
Wikipedia - Bragi -- Skaldic god of poetry in Norse mythology
Wikipedia - British Poetry Revival
Wikipedia - British poetry
Wikipedia - Broadview Anthology of Poetry -- 1993 poetry anthology
Wikipedia - Browne Medal -- Gold medals awarded annually since 1774 for Latin and Greek poetry at Cambridge University
Wikipedia - Bruce Dethlefsen -- American poet and teacher of poetry
Wikipedia - Buddhist poetry
Wikipedia - Bulgarian poetry
Wikipedia - Byzantine poetry
Wikipedia - Calligrammes -- Poetry collection by Guillaume Apollinaire
Wikipedia - Calling a Wolf a Wolf -- poetry collection by [[Kaveh Akbar]]
Wikipedia - Calliope -- Muse of epic poetry
Wikipedia - Canadian poetry
Wikipedia - Cantonese poetry
Wikipedia - Caribbean poetry -- Poem, rhyme, or lyric that derives from the Caribbean region
Wikipedia - Category:Buddhist poetry
Wikipedia - Category:Characters in Serbian epic poetry
Wikipedia - Category:Epic poetry
Wikipedia - Category:Genres of poetry
Wikipedia - Category:Indian poetry
Wikipedia - Category:Islamic poetry
Wikipedia - Category:Japanese poetry
Wikipedia - Category:Latin poetry
Wikipedia - Category:Metaphysical poetry
Wikipedia - Category:NA-Class Poetry articles
Wikipedia - Category:NA-importance Poetry articles
Wikipedia - Category:Poetry by genre
Wikipedia - Category:Poetry by Henry Wadsworth Longfellow
Wikipedia - Category:Poetry instructors
Wikipedia - Category:Poetry movements
Wikipedia - Category:Poetry
Wikipedia - Category:Russian poetry
Wikipedia - Category:Struga Poetry Evenings Golden Wreath laureates
Wikipedia - Category:Sufi poetry
Wikipedia - Category talk:Sufi poetry
Wikipedia - Category:Tibetan poetry
Wikipedia - Category:Waka (poetry)
Wikipedia - Category:WikiProject Poetry articles
Wikipedia - Cathay (poetry collection) -- Poetry collection by Ezra Pound
Wikipedia - Cento (poetry)
Wikipedia - Cento (poetry) | Wikiwand
Wikipedia - Chandas (poetry) -- Meter
Wikipedia - Children's poetry
Wikipedia - Chinese poetry
Wikipedia - Chinese Whispers (poetry collection) -- 2002 volume of poetry
Wikipedia - Christian poetry
Wikipedia - Ci (poetry)
Wikipedia - Citizen: An American Lyric -- 2014 poetry book by Claudia Rankine
Wikipedia - Classical Chinese poetry forms
Wikipedia - Classical Chinese poetry
Wikipedia - Classic of Poetry
Wikipedia - Collected Poems of Robert Frost -- Poetry collection
Wikipedia - Concrete poetry -- Genre of poetry with lines arranged as a shape
Wikipedia - Conductors of Chaos: A Poetry Anthology -- 1996 poetry anthology
Wikipedia - Confessional poetry -- American movement in 20th-century poetry
Wikipedia - Cornish poetry
Wikipedia - Crossing the Water -- Poetry collection
Wikipedia - Crow Terrace Poetry Trial -- Treason trial against Su Shi and others, in 1079
Wikipedia - Cycle of the West -- Poetry collection
Wikipedia - Dactyl (poetry) -- Metrical foot
Wikipedia - Dart (poetry collection) -- 2002 poetry collection by Alice Oswald
Wikipedia - Death poem -- Genre of poetry
Wikipedia - Decima -- Ten-line stanza of poetry
Wikipedia - Decker Press -- Poetry publishing house in Illinois, United States
Wikipedia - Deux poemes de Lord Byron (Tailleferre) -- Songs based on Lord Byron's poetry
Wikipedia - Didactic poetry
Wikipedia - Digital poetry
Wikipedia - Divine Songs Attempted in Easy Language for the Use of Children -- Collection of poetry for children by Isaac Watts
Wikipedia - Diwan (poetry) -- Collection of poems of one author, usually excluding his or her long poems (mathnawM-DM-+)
Wikipedia - Doha (poetry)
Wikipedia - Dramatic monologue -- genre of poetry
Wikipedia - Dub poetry -- Form of performance poetry
Wikipedia - Dyr bul shchyl -- 1912 Russian Futurist poetry book written in zaum
Wikipedia - Ecopoetry
Wikipedia - Eight Poems -- Poetry collection
Wikipedia - Eileen Lynn Kato -- Irish academic, expert in Japanese poetry and theatre
Wikipedia - Electronic Poetry Center -- Online resource for digital poetry
Wikipedia - Empire of Dreams (poetry collection) -- Epic poetry book by Giannina Braschi
Wikipedia - Endless Poetry -- 2016 film
Wikipedia - English poetry
Wikipedia - Enjambment -- Incomplete syntax at the end of a line in poetry
Wikipedia - Enuig -- Genre of Occitan poetry
Wikipedia - Epic poetry -- Lengthy narrative poem, ordinarily detailing heroic deeds
Wikipedia - Epinikion -- Genre of poetry
Wikipedia - Eric Gregory Award -- British poetry award
Wikipedia - Este sau nu este Ion -- 2005 poetry collection by Herta Muller
Wikipedia - Estonian poetry
Wikipedia - Faithful and Virtuous Night -- 2014 poetry collection by Louise Gluck
Wikipedia - Fiction of Paul Goodman -- Stories, novels, drama, and poetry of Paul Goodman
Wikipedia - Fields and Gardens poetry -- Classical Chinese poetry genre
Wikipedia - Finnish poetry
Wikipedia - Flarf poetry -- Avant-garde poetry movement of the early 21st century
Wikipedia - Folk poetry
Wikipedia - Found poetry
Wikipedia - Fourteener (poetry) -- Line consisting of 14 syllables
Wikipedia - French poetry
Wikipedia - Fu (poetry)
Wikipedia - Gabriel's Wing -- 1935 philosophical poetry book by Muhammad Iqbal
Wikipedia - Geraldine R. Dodge Poetry Festival
Wikipedia - Get Lit -- American poetry organization
Wikipedia - Ghazal -- Form of poetry of many languages, originating in Arabic
Wikipedia - Gift from Hijaz -- Poetry book of Allama Iqbal
Wikipedia - Glossary of poetry terms -- List of definitions of terms and concepts related to poetry
Wikipedia - Gnomic poetry
Wikipedia - GogyM-EM-^Mka -- Japanese poetry form
Wikipedia - Golden Age of Russian Poetry
Wikipedia - Golden Wreath of Struga Poetry Evenings
Wikipedia - Greek poetry
Wikipedia - Griffin Poetry Prize
Wikipedia - Gujarati poetry
Wikipedia - Gushi (poetry)
Wikipedia - Hadiqat al Haqiqa -- The old Persian poetry book
Wikipedia - Haiku in English -- English-language poetry in a style of Japanese origin
Wikipedia - Haiku -- Japanese poetry form
Wikipedia - Han poetry
Wikipedia - HardPressed Poetry -- Independent Irish-based poetry publisher
Wikipedia - Harmonium (poetry collection) -- Book by Wallace Stevens
Wikipedia - Healing Words: Poetry and Medicine -- 2008 documentary
Wikipedia - Hebrew and Jewish epic poetry
Wikipedia - Hesperides (poetry collection) -- 1648 collection by Robert Herrick
Wikipedia - Hindi poetry
Wikipedia - History of poetry
Wikipedia - Hokku -- Poetry form
Wikipedia - Huaigu (poetry)
Wikipedia - Human Chain (poetry collection) -- 2010 book by Seamus Heaney
Wikipedia - Human Hours -- 2018 poetry collection
Wikipedia - Hungarian poetry
Wikipedia - Iamb (poetry) -- Metrical foot
Wikipedia - Il Canzoniere -- Poetry anthology by Petrarch
Wikipedia - Imaginism -- Russian poetry movement
Wikipedia - Imagism -- 20th-century poetry movement
Wikipedia - In Boundlessness -- 1895 book of poetry by Konstantin Balmont
Wikipedia - Indian epic poetry
Wikipedia - Indian poetry
Wikipedia - Indian River (poem) -- Poem from Wallace Stevens's first book of poetry, Harmonium
Wikipedia - Informationist poetry
Wikipedia - Inscape and instress -- Aspects of the poetry of Gerard Manley Hopkins
Wikipedia - Instapoetry -- Style of poetry
Wikipedia - International Nazim Hikmet Poetry Award
Wikipedia - International Poetry Festival of Medellin -- Annual festival held in Medellin, Colombia
Wikipedia - In the Clearing -- Poetry collection
Wikipedia - Irish poetry
Wikipedia - Is 5 -- 1926 collection of poetry
Wikipedia - I Shall Not Be Moved (poetry collection) -- Book by Maya Angelou
Wikipedia - Islamic poetry -- Poetry written by Muslims
Wikipedia - Italian poetry
Wikipedia - Jack Prelutsky -- American writer of children's poetry
Wikipedia - Janus Pannonius International Poetry Prize
Wikipedia - Japanese poetry -- Literary tradition of Japan
Wikipedia - Javanese poetry
Wikipedia - Javid Nama -- Poetry book by Mohammed Iqbal
Wikipedia - Jelly Roll (poetry collection) -- Poetry collection
Wikipedia - Jewish poetry from Al-Andalus
Wikipedia - Jian'an poetry
Wikipedia - Journey to Love (poetry collection) -- Book by William Carlos Williams
Wikipedia - Kalevala -- 19th-century work of epic poetry
Wikipedia - Kannada poetry
Wikipedia - Kanshi (poetry) -- Chinese poetry
Wikipedia - Kashmiri poetry
Wikipedia - Kathleen Grattan Award -- New Zealand poetry award
Wikipedia - Keats-Shelley Prize for Poetry
Wikipedia - Kigo -- Word used in Japanese poetry
Wikipedia - Kodak (poetry collection) -- Book by Patti Smith
Wikipedia - Komrij's patentwekker -- Poetry book by Gerrit Komrij
Wikipedia - Korean poetry
Wikipedia - Krittibas (magazine) -- Bengali poetry magazine
Wikipedia - KyM-EM-^Mka -- Japanese poetry form
Wikipedia - Land of Unlikeness -- Book of poetry by Robert Lowell, was published in 1944
Wikipedia - Language poetry
Wikipedia - Latin American poetry
Wikipedia - Latino poetry -- Written by poets born or living in the US who are of Latin American origin / descent
Wikipedia - Latin poetry
Wikipedia - Laurentius Suslyga -- Polish Jesuit historian, chronologist, and an author of Baroque visual poetry.
Wikipedia - Leaves of Grass -- Expansive Walt Whitman poetry collection
Wikipedia - Leda (poetry collection)
Wikipedia - Les Contemplations -- collection of poetry by Victor Hugo
Wikipedia - Les Fleurs du mal -- Volume of French poetry by Charles Baudelaire
Wikipedia - Lieblingminne und Freundesliebe in der Weltliteratur -- German anthology of poetry about homosexuality
Wikipedia - Life on Mars (poetry collection) -- Poetry collection by Tracy K. Smith
Wikipedia - Limerick (poetry) -- Form of poetry
Wikipedia - List of classical meters -- poetry meters
Wikipedia - List of Emily Dickinson poems -- List of poetry
Wikipedia - List of fictional dogs in prose and poetry -- Wikipedia list article
Wikipedia - List of Japanese poetry anthologies
Wikipedia - List of poetry anthologies -- Wikipedia list article
Wikipedia - List of poetry awards -- Wikipedia list article
Wikipedia - List of poetry collections
Wikipedia - List of poetry groups and movements
Wikipedia - List of winners of the Lenore Marshall Poetry Prize -- Wikimedia list article
Wikipedia - List of years in poetry -- Wikimedia list article
Wikipedia - Live or Die (poetry collection) -- Book
Wikipedia - Loop of Jade -- 2015 book of poetry by Sarah Howe
Wikipedia - Louisiana State Poetry Society -- Poetry organization in Louisiana
Wikipedia - Lshi (poetry)
Wikipedia - Lyric poetry
Wikipedia - Makoto Ueda (poetry critic) -- Japanese literary critic
Wikipedia - Malayalam poetry
Wikipedia - Manasi (poetry book) -- Book of poetry by Rabindranath Tagore
Wikipedia - Manfred (Schumann) -- Music by Robert Schumann based on Lord Byron's poetry
Wikipedia - Man in a Landscape (poetry collection) -- 1960 poetry collection by Colin Thiele
Wikipedia - Manx poetry
Wikipedia - Marathi poetry
Wikipedia - Martian poetry -- Movement in British poetry
Wikipedia - Maud, and Other Poems -- 1855 poetry collection by Alfred, Lord Tennyson
Wikipedia - Mazharul Islam Poetry Award -- Poetry award given by the Bangla Academy of Bangladesh
Wikipedia - Meadowlands (poetry collection) -- 1996 poetry book by Louise Gluck
Wikipedia - Medieval poetry
Wikipedia - Meditative poetry
Wikipedia - Swiatlo dzienne -- 1954 poetry collection by Czeslaw Milosz
Wikipedia - Men and Women (poetry collection)
Wikipedia - Men in the Off Hours -- American book of poetry
Wikipedia - Metarealism -- A direction in Russian poetry and art
Wikipedia - Metasemantic poetry -- Literary technique theorized and used by Fosco Maraini
Wikipedia - Meter (poetry)
Wikipedia - Metre (poetry) -- Basic rhythmic structure of a verse or lines in verse
Wikipedia - Michael Delp -- American writer of both prose and poetry
Wikipedia - Michael Robartes and the Dancer -- Poetry book by W. B. Yeats
Wikipedia - Milk and Honey (poetry collection) -- Poetry book by Rupi Kaur
Wikipedia - Ming poetry
Wikipedia - Mirabell: Books of Number -- 1978 collection of poetry
Wikipedia - Modern Chinese poetry
Wikipedia - Modern Hebrew poetry
Wikipedia - Modernist poetry in English
Wikipedia - Modernist poetry
Wikipedia - More Truth Than Poetry -- 1917 silent film directed by Burton King
Wikipedia - Morning in the Burned House -- Book of poetry by Margaret Atwood
Wikipedia - Morse Poetry Prize -- American literary award
Wikipedia - Mutu (music) -- Improvised sung poetry from Sardinia, Italy
Wikipedia - Narrative poetry -- Form of poetry which tells a story
Wikipedia - Natalee Caple -- Canadian author of novels and poetry
Wikipedia - National Poetry Slam
Wikipedia - National poetry -- Wikipedia list article
Wikipedia - Nature writing -- Nonfiction or fiction prose or poetry about the natural environment, literary genre
Wikipedia - Nepali poetry
Wikipedia - New Apocalyptics -- British poetry grouping in the 1940s
Wikipedia - Newspaper poetry -- Genre of poetry
Wikipedia - New Writers Press -- Irish publisher specialising in poetry
Wikipedia - New Zealand poetry
Wikipedia - Night Sky with Exit Wounds -- Poetry book by Ocean Vuong
Wikipedia - No Thanks (poetry collection) -- 1935 collection of poetry
Wikipedia - Of Modern Poetry -- Poem
Wikipedia - Old English poetry
Wikipedia - Old Norse poetry
Wikipedia - Olio (poetry collection) -- A book of poetry written by Tyehimba Jess
Wikipedia - Oral poetry -- Form of poetry
Wikipedia - Orchids, a collection of prose and poetry -- Poetry collection by Louis Couperus
Wikipedia - Original Poetry by Victor and Cazire
Wikipedia - Oslo International Poetry Festival
Wikipedia - O to Be a Dragon -- Poetry collection
Wikipedia - Ottoman poetry
Wikipedia - Outline of poetry
Wikipedia - Oxford Poetry
Wikipedia - Pagan Poetry -- 2001 single by Bjork
Wikipedia - Pakistani poetry
Wikipedia - Parallax: And Selected Poems -- Fifth poetry collection by SinM-CM-)ad Morrisey
Wikipedia - Parnassus (magazine) -- Defunct American poetry magazine)
Wikipedia - Pashto poetry
Wikipedia - Pastoral poetry
Wikipedia - Payada -- South American tradition of improvised music and poetry
Wikipedia - Penguin poetry anthologies -- Wikimedia list article
Wikipedia - Performance poetry
Wikipedia - Peri Bathous, Or the Art of Sinking in Poetry
Wikipedia - Persian metres -- Metres of Persian poetry
Wikipedia - Persian poetry
Wikipedia - Persona poetry -- Written from the perspective of a 'persona' that a poet creates
Wikipedia - Peter Porter Poetry Prize -- International literary award
Wikipedia - Picasso's poetry -- Poetry by Pablo Picasso
Wikipedia - Planisphere (poetry collection) -- Book by John Ashbery
Wikipedia - Poems of Black Africa -- 1975 poetry antholog
Wikipedia - Poems of Today -- List of poetry anthologies
Wikipedia - Poetical Sketches -- collection of poetry by William Blake
Wikipedia - Poet Laureate Consultant in Poetry to the Library of Congress
Wikipedia - Poetry Archive -- Organization
Wikipedia - Poetry Bookshop -- English bookshop which ran from 1913 to 1926; owned by author Harold Munro, best known for publishing works by several famous writers
Wikipedia - Poetry Book Society -- society devoted to poetry; founded in 1953 by T. S. Eliot and others
Wikipedia - Poetry film
Wikipedia - Poetry (film) -- 2010 South Korean drama film
Wikipedia - Poetry for Young People: Langston Hughes -- Children's poetry collection
Wikipedia - Poetry Foundation
Wikipedia - Poetry International Web -- International webzine and a poetry archive
Wikipedia - Poetry Now Award -- Annual Irish literary prize
Wikipedia - Poetry of Afghanistan
Wikipedia - Poetry of Catullus -- Poetry of Gaius Valerius Catullus was written towards the end of the Roman Republic
Wikipedia - Poetry of Mao Zedong
Wikipedia - Poetry of Maya Angelou -- Maya Angelou's poetic works
Wikipedia - Poetry of Paul Goodman -- Poetry of Paul Goodman
Wikipedia - Poetry of Sappho
Wikipedia - Poetry of Turkey -- Turkish poetry
Wikipedia - Poetry slam
Wikipedia - Poetry Society of America
Wikipedia - Poetry therapy
Wikipedia - Poetry
Wikipedia - Poet -- Person who writes and publishes poetry
Wikipedia - Polish poetry
Wikipedia - Portal:Poetry
Wikipedia - Portuguese poetry
Wikipedia - Prantik (poetry book) -- Poetry book by Rabindranath Tagore
Wikipedia - Prelude to Bruise -- 2014 poetry collection by Saeed Jones
Wikipedia - Prose poetry -- Literary genre
Wikipedia - Prosody (poetry)
Wikipedia - Pulitzer Prize for Poetry
Wikipedia - Punjabi poetry
Wikipedia - Qing poetry
Wikipedia - Qu (poetry)
Wikipedia - Rainbow Bridge (pets) -- Theme of several works of poetry
Wikipedia - Rajasthani poetry
Wikipedia - Rajaz (prosody) -- Metre in classical Arabic poetry
Wikipedia - Raulrsalinas -- Pinto poetry, Chicanismo, and Chicano literature
Wikipedia - Rebel Angels: 25 Poets of the New Formalism -- Poetry compilation
Wikipedia - Refrain -- Repeated lines in music or poetry
Wikipedia - Rhyming dictionary -- Specialist dictionary designed for use in writing poetry and lyrics
Wikipedia - Romantic poetry
Wikipedia - Rondeau (poetry)
Wikipedia - Rukhsana Ahmad -- Pakistani writer of novels, short stories, poetry and plays
Wikipedia - Russian poetry
Wikipedia - Sait Faik Abasiyanik -- Turkish writer of short stories and poetry (1906-1954)
Wikipedia - Salih Uglla Peshteri -- Albanian performer of epic poetry
Wikipedia - Sanskrit classical poetry
Wikipedia - Scottish poetry
Wikipedia - Seir al-Ebad elal-Ma'ad -- The old Persian poetry book
Wikipedia - Self-Portrait in a Convex Mirror (poetry collection) -- 1975 book by John Ashbery
Wikipedia - SenryM-EM-+ -- Form of short, comedic, Japanese poetry
Wikipedia - Sequence (poetry)
Wikipedia - Serbian epic poetry
Wikipedia - Serbian poetry
Wikipedia - Seventh Heaven (poetry collection) -- Book by Patti Smith
Wikipedia - Shadows of Dreams (poetry collection) -- Book by Robert E. Howard
Wikipedia - Shanshui poetry
Wikipedia - Shi (poetry)
Wikipedia - Shringara-Prakasha -- A book on Sanskrit poetry authored by Raja Bhoja
Wikipedia - Silesius Poetry Award -- Polish literary prize
Wikipedia - Silvae -- Poetry collection by Statius
Wikipedia - Silver Age of Russian Poetry
Wikipedia - Simians (Chinese poetry)
Wikipedia - Sindhi poetry
Wikipedia - Sintaksis (Moscow) -- Samizdat poetry journal
Wikipedia - Sirventes -- Genre of Occitan poetry
Wikipedia - Six Dynasties poetry
Wikipedia - Six dynasties poetry
Wikipedia - Six Gallery reading -- Poetry event
Wikipedia - Slam poetry
Wikipedia - Sleep and Poetry
Wikipedia - Slovak poetry
Wikipedia - Soft Science (poetry collection) -- 2019 poetry collection
Wikipedia - Song poetry
Wikipedia - Songs of a Sourdough -- Poetry book by Robert W. Service
Wikipedia - Songs of Unreason -- 2011 poetry collection
Wikipedia - Sons of Ben (literary group) -- Followers of Ben Jonson in English poetry and drama
Wikipedia - Sour Grapes (poetry collection) -- Book by William Carlos Williams
Wikipedia - Spanish poetry
Wikipedia - Speculative poetry -- Genre of poetry focussing on fantastic, science fictional and mythological themes
Wikipedia - Street Poetry -- 2007 studio album by Hanoi Rocks
Wikipedia - Struga Poetry Evenings
Wikipedia - Stuart Dybek -- American writer of fiction and poetry
Wikipedia - Substitution (poetry)
Wikipedia - Sufi poetry -- Poetry within Islamic mysticism
Wikipedia - Sunflower Splendor: Three Thousand Years of Chinese Poetry
Wikipedia - Sung poetry
Wikipedia - SurVision -- International surrealist poetry magazine and small press
Wikipedia - Talking with the Taxman About Poetry -- 1986 studio album by Billy Bragg
Wikipedia - Tamil poetry
Wikipedia - Tango with Cows -- 1914 poetry book by Kamensky and ill. by the Burliuk brothers
Wikipedia - Tang poetry
Wikipedia - Tanka -- Genre of classical Japanese poetry
Wikipedia - Tariq ut-tahqiq -- The old Persian poetry book
Wikipedia - Tattoo (poem) -- Poem from Wallace Stevens's first book of poetry, Harmonium
Wikipedia - Telugu poetry
Wikipedia - Template talk:Chinese poetry
Wikipedia - Template talk:Japanese poetry
Wikipedia - Template talk:Poetry of different cultures and languages
Wikipedia - Template talk:Schools of poetry
Wikipedia - Template talk:Struga Poetry Evenings Golden Wreath Laureates
Wikipedia - Template talk:WikiProject Poetry
Wikipedia - Tender Buttons (book) -- Book of prose poetry by Gertrude Stein
Wikipedia - Terry Locke -- New Zealand poet, anthologist, poetry reviewer and academic
Wikipedia - Thai poetry
Wikipedia - The Beautiful Poetry of Donald Trump -- Poetry collection
Wikipedia - The Burning Wheel (poetry collection)
Wikipedia - The Death Notebooks -- Poetry collection by Anne Sexton
Wikipedia - The Faber Book of Twentieth Century Verse -- 1953 poetry anthology
Wikipedia - The Fall of America: Poems of These States -- Collection of poetry
Wikipedia - The Farmer's Bride -- 1916 poetry collection, and title poem, by Charlotte Mew
Wikipedia - The Federal Poets -- US poetry group
Wikipedia - The Fire This Time (book) -- 2016 poetry and essay collection edited by Jesmyn Ward
Wikipedia - The Four Ages of Poetry
Wikipedia - The Kingsley and Kate Tufts Poetry Awards -- Poetry awards based at Claremont Graduate University
Wikipedia - The Longships in Harbour -- poetry collection by William McIlvanney
Wikipedia - The Long Take -- 2018 narrative poetry novel by Robin Robertson.
Wikipedia - The Model of Poesy -- Renaissance English treatise about the art of poetry
Wikipedia - The Moon Endureth -- 1912 short story and poetry collection by John Buchan
Wikipedia - The New Oxford Book of English Verse 1250-1950 -- 1972 poetry anthology edited by Helen Gardner
Wikipedia - The Octopus Frontier -- Poetry collection by Richard Brautigan
Wikipedia - The Performance of Becoming Human -- 2016 poetry collection by Daniel Borzutzky
Wikipedia - The Princess Saves Herself in This One -- Collection of poetry by American poet Amanda Lovelace
Wikipedia - The Prophet (book) -- 1923 book containing 26 prose poetry fables by Khalil Gibran
Wikipedia - The Seashell Game -- Poetry anthology
Wikipedia - The Tennis Court Oath (poetry collection) -- 1962 volume of poetry
Wikipedia - The Tradition (poetry collection) -- Poetry collection by Jericho Brown
Wikipedia - The Triumph of Achilles -- 1985 poetry book by Louise Gluck
Wikipedia - The Water Table (poetry collection) -- 2009 poetry collection by Philip Gross
Wikipedia - The Wedge (poetry collection) -- Book by William Carlos Williams
Wikipedia - The Wild Iris -- 1992 poetry book by Louise Gluck
Wikipedia - Thirty-Six Immortals of Poetry -- Group of Japanese poets
Wikipedia - Thirty-six Poetry Immortals
Wikipedia - Three Songs to Poems by Thomas Hardy -- Music based on Thomas Hardy's poetry
Wikipedia - Torneyamen -- Genre of Occitan poetry shaped as a competition
Wikipedia - Trobar leu -- Style of poetry used by troubadours
Wikipedia - Troubadour -- Composer and performer of lyric poetry during the High Middle Ages
Wikipedia - T. S. Eliot Prize -- British poetry prize
Wikipedia - Tulips and Chimneys -- 1923 collection of poetry
Wikipedia - Turkish poetry
Wikipedia - Turtle Island (book) -- Book of poetry
Wikipedia - UbuWeb -- Digital poetry library
Wikipedia - Under the Northern Sky (poetry collection) -- 1894 book of poetry by Konstantin Balmont
Wikipedia - Universal War -- 1916 poetry book by A. Kruchenykh
Wikipedia - Uranian poetry
Wikipedia - Urdu poetry
Wikipedia - Vardan Sedrakyan -- Armenian epic poetry expert
Wikipedia - Venus of Poetry -- 1913 painting by Julio Romero de Torres
Wikipedia - Verse (poetry)
Wikipedia - Vicente Ranudo -- Filipino Visayan writer and father of Cebuano poetry
Wikipedia - Vietnamese poetry
Wikipedia - Visual poetry -- Literary and artistic movement
Wikipedia - VSB Poetry Prize -- Dutch language poetry prize
Wikipedia - Waka poetry
Wikipedia - Waka (poetry) -- Type of poetry in classical Japanese literature
Wikipedia - Weapons Training -- War poetry written by Bruce Dawe in 1970
Wikipedia - Welsh Poetry Competition -- Annual English language competition in Wales
Wikipedia - Welsh poetry in English
Wikipedia - Welsh poetry -- Type of poetry
Wikipedia - Wendell Berry -- American writer of essays, fiction and poetry
Wikipedia - Wikipedia talk:WikiProject Poetry
Wikipedia - Winter Trees -- Poetry collection
Wikipedia - Winter Words (song cycle) -- Song cycle based on Thomas Hardy's poetry
Wikipedia - Witt (poetry collection) -- Book by Patti Smith
Wikipedia - Woodberry Poetry Room -- A special collections room of Harvard University's library system
Wikipedia - Woodland Pattern Book Center -- American poetry organization
Wikipedia - Yemenite Jewish poetry -- Yemenite Jewish prose and poetry
Wikipedia - Yone Noguchi -- Japanese writer of poetry, fiction, essays, and literary criticism
Wikipedia - Yuan poetry
Wikipedia - Zajal -- Form of oral strophic poetry
Wikipedia - Zappai -- Form of Japanese poetry rooted in haikai
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https://www.goodreads.com/book/show/69545.The_Best_American_Poetry_2001
https://www.goodreads.com/book/show/69548.The_Best_American_Poetry_1995
https://www.goodreads.com/book/show/69550.The_Best_American_Poetry_2002
https://www.goodreads.com/book/show/69553.The_Oxford_Book_of_American_Poetry
https://www.goodreads.com/book/show/6986036-the-best-american-poetry-2009
https://www.goodreads.com/book/show/7076196-the-sound-of-poetry-the-poetry-of-sound
https://www.goodreads.com/book/show/71652.A_Poetry_Handbook
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https://www.goodreads.com/book/show/7240402.The_Complete_Poetry_A_Bilingual_Edition
https://www.goodreads.com/book/show/7287081.And_They_All_Rejoiced__Soul_Stirring_Poetry
https://www.goodreads.com/book/show/72926.The_Hand_of_Poetry
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https://www.goodreads.com/book/show/7517330.The_Art_of_Recklessness_Poetry_as_Assertive_Force_and_Contradiction__Art_of____
https://www.goodreads.com/book/show/75506.Collected_Poetry_Prose
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https://www.goodreads.com/book/show/80992.Poetry_and_the_Age
https://www.goodreads.com/book/show/8134463-the-rose-metal-press-field-guide-to-prose-poetry
https://www.goodreads.com/book/show/81704.Adrienne_Rich_s_Poetry_and_Prose
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https://www.goodreads.com/book/show/851079.Greek_Lyric_Poetry
https://www.goodreads.com/book/show/852660.An_Anthology_of_Twentieth_Century_Brazilian_Poetry__Wesleyan_Poetry_Classics_
https://www.goodreads.com/book/show/8538370-no-sugar-added-poetry
https://www.goodreads.com/book/show/8598873-poetry-international
https://www.goodreads.com/book/show/883276.The_State_of_Poetry
https://www.goodreads.com/book/show/8862556-the-poetry-lesson
https://www.goodreads.com/book/show/898110.The_Poetry_of_Healing
https://www.goodreads.com/book/show/90824.Poetry_for_Young_People
https://www.goodreads.com/book/show/9084035-columbia-poetry-review-number-7
https://www.goodreads.com/book/show/928204.Approaches_to_Poetry_Writing
https://www.goodreads.com/book/show/929287.Naked_Poetry
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https://www.goodreads.com/book/show/9339327-alehouse-4-poetry-on-tap
https://www.goodreads.com/book/show/942949.Interpretations_of_Poetry_and_Religion
https://www.goodreads.com/book/show/9539077-poetry-is-not-dead
https://www.goodreads.com/book/show/95819.The_Poetry_of_Robert_Frost
https://www.goodreads.com/book/show/95863.The_Best_American_Poetry_2003
https://www.goodreads.com/book/show/9613066-cluck-a-din-the-chicken-and-other-fowl-poetry
https://www.goodreads.com/book/show/971864.English_Renaissance_Poetry
https://www.goodreads.com/book/show/97383.Collected_Narrative_And_Lyrical_Poetry
https://www.goodreads.com/author/show/15219768.C_sar_Poetry
https://www.goodreads.com/author/show/15589448.Atticus_Poetry
https://www.goodreads.com/author/show/16078959.Jon_Lupin_The_Poetry_Bandit
https://www.goodreads.com/author/show/17002223.Hosanna_Poetry
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https://www.goodreads.com/author/show/18811281.Poetry_Ireland
https://www.goodreads.com/author/show/18945492.Faraway_Poetry
https://www.goodreads.com/author/show/2955545.The_American_Poetry_and_Literacy_Project
Goodreads author - Atticus_Poetry
https://bible.wikia.org/wiki/Category:Poetry
https://religion.wikia.org/wiki/Category:Christian_poetry
https://religion.wikia.org/wiki/Category:Islamic_poetry
https://religion.wikia.org/wiki/Category_talk:Christian_poetry
https://religion.wikia.org/wiki/Charnel_ground#Poetry.2C_song_and_literature
https://religion.wikia.org/wiki/Cybele#In_Roman_poetry
https://religion.wikia.org/wiki/Eir#Skaldic_poetry_and_runic_inscription
https://religion.wikia.org/wiki/Freyr#Skaldic_poetry
https://religion.wikia.org/wiki/Indian_epic_poetry
https://religion.wikia.org/wiki/Mead_of_poetry
https://religion.wikia.org/wiki/Sequence_(poetry)
https://religion.wikia.org/wiki/Simurgh#In_Sufi_poetry
The Empty Flute: Translating the Ecstatic Poetry of Jalal al-Din Rumi
Poetry as a Transformational Practice
The Sound of the Singing Waterfall: Celebrating the Mystical Poetry of Ken Wilber
selforum - perspectives on sri aurobindos poetry
selforum - poetry and music come from inner being
selforum - waltz of poetry story and drama
selforum - language and poetry
selforum - poetry transcends to become mantra
selforum - myth in sri aurobindos poetry
selforum - 20th century world poetry
selforum - having studied poetry so thoroughly it
selforum - sri aurobindo philosophy poetry
dedroidify.blogspot - def-poetry-jam-alicia-keys-pow
wiki.auroville - Letters_on_Poetry_and_Art
wiki.auroville - Poetry
wiki.auroville - Poetry_and_prose_from_Auroville
wiki.auroville - The_Future_Poetry_with_On_Quantitative_Metre
Psychology Wiki - Poetry
https://tvtropes.org/pmwiki/pmwiki.php/Determinator/Poetry
https://tvtropes.org/pmwiki/pmwiki.php/Film/DrunkOnWomenAndPoetry
https://tvtropes.org/pmwiki/pmwiki.php/GermansLoveDavidHasselhoff/Poetry
https://tvtropes.org/pmwiki/pmwiki.php/IllGirl/Poetry
https://tvtropes.org/pmwiki/pmwiki.php/Literature/SerbianEpicPoetry
https://tvtropes.org/pmwiki/pmwiki.php/Main/Poetry
https://tvtropes.org/pmwiki/pmwiki.php/Main/PoetryTropes
https://tvtropes.org/pmwiki/pmwiki.php/Music/InsanePoetry
https://en.wikiquote.org/wiki/Category:Epic_poetry
https://en.wikiquote.org/wiki/Category:Poetry
https://en.wikiquote.org/wiki/Classic_of_Poetry
https://en.wikiquote.org/wiki/File:A_Defense_of_Poetry.jpg
https://en.wikiquote.org/wiki/File:Apollo,_God_of_Light,_Eloquence,_Poetry_and_the_Fine_Arts_with_Urania,_Muse_of_Astronomy_-_Charles_Meynier.jpg
https://en.wikiquote.org/wiki/Indian_epic_poetry
https://en.wikiquote.org/wiki/Love_poetry
https://en.wikiquote.org/wiki/Poetry
https://en.wikiquote.org/wiki/Poetry_about_love
https://en.wikiquote.org/wiki/Reliques_of_Ancient_English_Poetry
object:allpoetry - auth list
subject class:Poetry
class:allpoetry
https://allpoetry.com/"
https://allpoetry.com/A.A.-Milne
https://allpoetry.com/Aaron-Belford-Thompson
https://allpoetry.com/Aaron-Fogel
https://allpoetry.com/Aaron-Hill
https://allpoetry.com/Aaron-Kramer
https://allpoetry.com/Aaron-Southwick
https://allpoetry.com/Abba-Kovner
https://allpoetry.com/A-B-Banjo-Paterson
https://allpoetry.com/Abbie-Farwell-Brown
https://allpoetry.com/Abdelkarim_Al-Karmi
https://allpoetry.com/Abdelrahim-Mahmud
https://allpoetry.com/Abdul-Ghani-Khan
https://allpoetry.com/Abdul-Qader-Baydel
https://allpoetry.com/Abdur-Rahim-Khankhana
https://allpoetry.com/Abdur-Rahman-Baba
https://allpoetry.com/Abel-Bywater
https://allpoetry.com/Abel-Evans
https://allpoetry.com/Abe-no-Kiyoyuki
https://allpoetry.com/Abijah-Metcalf-Ide
https://allpoetry.com/Abner-Cosens
https://allpoetry.com/Abraham-Cowley
https://allpoetry.com/Abraham-Fleming
https://allpoetry.com/Abraham-Fraunce
https://allpoetry.com/Abraham-Goldfaden
https://allpoetry.com/Abraham-Lincoln
https://allpoetry.com/Abraham-Viktor-Rydberg
https://allpoetry.com/Abram-Joseph-Ryan
https://allpoetry.com/Abu_Hamid_Al-Ghazali
https://allpoetry.com/Abu_l-Hasan_al-Husri
https://allpoetry.com/Achsa-Sprague
https://allpoetry.com/A-C-L-
https://allpoetry.com/A-C-Watson
https://allpoetry.com/Ada-Cambridge
https://allpoetry.com/Ada-Foster-Murray
https://allpoetry.com/Adah-Isaacs-Menken
https://allpoetry.com/Adam-Asnyk
https://allpoetry.com/Ada-May-Harrison
https://allpoetry.com/Adam-De-La-Halle
https://allpoetry.com/Adam-Gottlob-Oehlenschlaeger
https://allpoetry.com/Adam-Lindsay-Gordon
https://allpoetry.com/Adam-Mickiewicz
https://allpoetry.com/Ada-Negri
https://allpoetry.com/Ada-Smith
https://allpoetry.com/Ada-Tyrrell
https://allpoetry.com/Adelaide-Anne-Procter
https://allpoetry.com/Adelaide-Crapsey
https://allpoetry.com/Adelaide-O-Keeffe
https://allpoetry.com/A-D-Hope
https://allpoetry.com/Adriaan-Roland-Holst
https://allpoetry.com/Adriano-del-Valle
https://allpoetry.com/Adrienne-Rich
https://allpoetry.com/A-E-Housman
https://allpoetry.com/Aelfrida-Catharine-Wetenhall-Tillyard
https://allpoetry.com/Aemilia-Lanyer
https://allpoetry.com/Aeschylus
https://allpoetry.com/Afanasy-Afanasevich-Fet
https://allpoetry.com/Agathias-Scholasticus
https://allpoetry.com/Agnes-Grozier-Herbertson
https://allpoetry.com/Agnes-Leonard
https://allpoetry.com/Agnes-Louise-Storrie
https://allpoetry.com/Agnes-Mary-Frances-Robinson
https://allpoetry.com/Agnes-Maule-Machar
https://allpoetry.com/Agnes-Miegel
https://allpoetry.com/Agnes-Nemes-Nagy
https://allpoetry.com/Agnes-Strickland
https://allpoetry.com/A-G-Stephens
https://allpoetry.com/Ahmad-Faraz
https://allpoetry.com/Ahmad-Nadeem-Qasmi
https://allpoetry.com/Ahmad-Shamlu
https://allpoetry.com/Ahmed-Arif-
https://allpoetry.com/Ahmet-Muhip-Diranas
https://allpoetry.com/Aime-Cesaire
https://allpoetry.com/Aimee-Byng-Scott
https://allpoetry.com/Ai-Ogawa
https://allpoetry.com/Akaki-Tsereteli
https://allpoetry.com/A.K.-Ramanujan
https://allpoetry.com/Alain-Bosquet
https://allpoetry.com/Alain-Chartier
https://allpoetry.com/Alain-Grandbois
https://allpoetry.com/Alan-Dugan
https://allpoetry.com/Alan_Pryce-Jones
https://allpoetry.com/Alan-Seeger
https://allpoetry.com/Alaric-Alexander-Watts
https://allpoetry.com/Alberta-Vickridge
https://allpoetry.com/Albert-Barnitz
https://allpoetry.com/Albert-Benjamin-Simpson
https://allpoetry.com/Albert-Bigelow-Paine
https://allpoetry.com/Albert-Chevalier
https://allpoetry.com/Albert-Durrant-Watson
https://allpoetry.com/Albert-Ferland
https://allpoetry.com/Albert-Laighton
https://allpoetry.com/Albert-Midlane
https://allpoetry.com/Albert-Pike
https://allpoetry.com/Albert-Samain
https://allpoetry.com/Albert-Verwey
https://allpoetry.com/Albert-Von-Chamisso
https://allpoetry.com/Albert-Wolff
https://allpoetry.com/Albery-Allson-Whitman
https://allpoetry.com/Albinas-Zukauskas
https://allpoetry.com/Albino-Pierro
https://allpoetry.com/Albrecht-Marshall-of-Raprechtsweil
https://allpoetry.com/Albrecht-von-Haller
https://allpoetry.com/Alcaeus
https://allpoetry.com/Alcman
https://allpoetry.com/Alcuin
https://allpoetry.com/Alden-Nowlan
https://allpoetry.com/Aldous-Huxley
https://allpoetry.com/Aleardo-Aleardi
https://allpoetry.com/Alec-de-Candole
https://allpoetry.com/Alec-Waugh
https://allpoetry.com/Aleister-Crowley
https://allpoetry.com/Alejandra-Pizarnik
https://allpoetry.com/Aleksander-Stavre-Drenova
https://allpoetry.com/Aleksandr-Aleksandrovich-Bestuzhev
https://allpoetry.com/Aleksandr-Aleksandrovich-Blok
https://allpoetry.com/Aleksandr-Ivanovich-Vvedensky
https://allpoetry.com/Aleksandr-Tvardovskii
https://allpoetry.com/Aleksey-Konstantinovich-Tolstoy
https://allpoetry.com/Aleksis-Kivi
https://allpoetry.com/Aleksis-Rannit
https://allpoetry.com/Alessandro-Manzoni
https://allpoetry.com/Alexander-Anderson
https://allpoetry.com/Alexander-Anton-von-Auersperg
https://allpoetry.com/Alexander-Arbuthnot
https://allpoetry.com/Alexander-Balfour
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object:poetry-chaikhana
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My Girl(1991) - Vada Sultenfuss is obsessed with death. Her mother is dead, and her father runs a funeral parlor. She is also in love with her English teacher, and joins a poetry class over the summer just to impress him. Thomas J., her best friend, is "allergic to everything", and sticks with Vada despite her hang...
Hagar the Horrible(1989) - Hagar returns home from a two-year war and encounters a tragedy: his two children, Honey and Hamlet, are each facing their own problems. Honey is dating Lute, a lutist from the wrong side of the fjord, and Hamlet flunks out of the Viking Academy to study poetry. Hagar works to rectify these issues a...
Poetic Justice(1993) - R&B star Janet Jackson made an impressive film debut in Poetic Justice as Justice, a hairdresser at a small salon in South Central Los Angeles. Justice uses her poetry to deal with her grief after her boyfriend is killed in a shooting incident at a drive-in. Hired to work at a hair stylists' event i...
Blue Car (2002) ::: 6.5/10 -- R | 1h 36min | Drama | 2 May 2003 (USA) -- A troubled young woman is encouraged by a teacher to enter a poetry contest. Director: Karen Moncrieff Writer: Karen Moncrieff
Dead Poets Society (1989) ::: 8.1/10 -- PG | 2h 8min | Comedy, Drama | 9 June 1989 (USA) -- TV Program 3:06 | TV Program -- Maverick teacher John Keating uses poetry to embolden his boarding school students to new heights of self-expression. Director: Peter Weir Writer: Tom Schulman
Endless Poetry (2016) ::: 7.6/10 -- Poesa Sin Fin (original title) -- Endless Poetry Poster -- Surrealist filmmaker Alejandro Jodorowsky tells the story of himself as a young man becoming a poet in Chile, befriending other artists, and freeing himself from the limits of his youth. Director: Alejandro Jodorowsky Writer:
Endless Poetry (2016) ::: 7.6/10 -- Poesa Sin Fin (original title) -- Endless Poetry Poster -- Surrealist filmmaker Alejandro Jodorowsky tells the story of himself as a young man becoming a poet in Chile, befriending other artists, and freeing himself from the limits of his youth. Director: Alejandro Jodorowsky Writer:
Henry Fool (1997) ::: 7.2/10 -- R | 2h 17min | Comedy, Drama | 19 June 1998 (USA) -- An introverted garbageman writes his thoughts in a notebook after Henry Fool, writer and ex-con, rents the basement and gives him a notebook and the idea. He writes poetry and Henry helps him along. Director: Hal Hartley Stars: Thomas Jay Ryan, James Urbaniak, Parker Posey Available on Amazon
Paterson (2016) ::: 7.4/10 -- R | 1h 58min | Comedy, Drama, Romance | 28 December 2016 (USA) -- A quiet observation of the triumphs and defeats of daily life, along with the poetry evident in its smallest details. Director: Jim Jarmusch Writers: Jim Jarmusch, William Carlos Williams (poem) | 1 more credit
Paterson (2016) ::: 7.4/10 -- R | 1h 58min | Comedy, Drama, Romance | 28 December 2016 (USA) -- A quiet observation of the triumphs and defeats of daily life, along with the poetry evident in its smallest details. Director: Jim Jarmusch Writers: Jim Jarmusch, William Carlos Williams (poem) | 1 more credit
Poetry (2010) ::: 7.8/10 -- Shi (original title) -- Poetry Poster -- A sixty-something woman, faced with the discovery of a heinous family crime and in the early stages of Alzheimer's disease, finds strength and purpose when she enrolls in a poetry class. Director: Chang-dong Lee Writer:
Trial & Error ::: TV-PG | 22min | Comedy, Crime, Mystery | TV Series (20172018) -- A spoof of crime documentaries about the arrest and trial of a beloved poetry professor from a small town in South Carolina, who is accused of brutally murdering his wife, and the young Northeastern lawyer hired to defend him. Creators:
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Koushoku Ichidai Otoko -- -- Animation Staff Room, Grouper Productions -- 1 ep -- - -- Drama Hentai Historical Psychological -- Koushoku Ichidai Otoko Koushoku Ichidai Otoko -- The OVA is based on incidents in the novel Koshoku Ichidai Otoko (The Life of an Amorous Man) by Saikaku Ihara (1642-1693). -- -- The libertine Yonosuke has spent his life in quest of sexual pleasure. Disowned by his father when he is 18, 16 years full of changes and errantry begin for him. At the age of 34 he inherits great wealth after his father dies and forgives his son. -- -- When Yunosuke is 57, one of his tailors named Juzo comes to see him before setting out for Edo. Juzo has unwisely made a bet with a rich merchant that he will sleep with Komurasaki, the most renowned courtesan in Edo, at the first meeting. If he succeeds he will win a villa, but if he loses he will lose his manhood. Yunosuke is astounded as he knows how hard the high rank courtesans are to get. The best courtesans, tayu, as well as being beautiful, were highly cultured, being educated in poetry, calligraphy, painting, tea ceremony and other arts. They would sleep with a client only on the third night, the other two nights being taken up with greetings and other social niceties. Humble men, to whom they were 'untouchable' looked up to them with adoration and respect. -- -- Indignant, Yunosuke takes Juzo to Edo and enables him to meet Komurasaki. Juzo is a laughing-stock at the tea-house because of his nervousness, and soon becomes drunk. He clumsily spills wine over the courtesan's kimono. Unperturbed, she goes out and returns wearing a fresh, identical garment. -- -- (Source: AniDB) -- OVA - Jan 18, 1991 -- 3,063 6.08
Mimi wo Sumaseba -- -- Studio Ghibli -- 1 ep -- Manga -- Slice of Life Drama Romance Shoujo -- Mimi wo Sumaseba Mimi wo Sumaseba -- Shizuku Tsukishima is an energetic 14-year-old girl who enjoys reading and writing poetry in her free time. Glancing at the checkout cards of her books one evening, she notices that her library books are frequently checked out by a boy named Seiji Amasawa. Curiosity strikes Shizuku, and she decides to search for the boy who shares her love for literature. -- -- Meeting a peculiar cat on the train, Shizuku follows the animal and is eventually led to a quaint antique shop, where she learns about a cat statuette known as "The Baron." Taking an interest in the shop, she surprisingly finds Seiji, and the two quickly befriend one another. Shizuku learns while acquainting herself with Seiji that he has a dream that he would like to fulfill, causing her dismay as she remains uncertain of her future and has yet to recognize her talents. -- -- However, as her relationship with Seiji grows, Shizuku becomes determined to work toward a goal. Guided by the whispers of her heart and inspiration from The Baron, she resolves to carve out her own potential and dreams. -- -- -- Licensor: -- GKIDS, Walt Disney Studios -- Movie - Jul 15, 1995 -- 238,719 8.23
Mimi wo Sumaseba -- -- Studio Ghibli -- 1 ep -- Manga -- Slice of Life Drama Romance Shoujo -- Mimi wo Sumaseba Mimi wo Sumaseba -- Shizuku Tsukishima is an energetic 14-year-old girl who enjoys reading and writing poetry in her free time. Glancing at the checkout cards of her books one evening, she notices that her library books are frequently checked out by a boy named Seiji Amasawa. Curiosity strikes Shizuku, and she decides to search for the boy who shares her love for literature. -- -- Meeting a peculiar cat on the train, Shizuku follows the animal and is eventually led to a quaint antique shop, where she learns about a cat statuette known as "The Baron." Taking an interest in the shop, she surprisingly finds Seiji, and the two quickly befriend one another. Shizuku learns while acquainting herself with Seiji that he has a dream that he would like to fulfill, causing her dismay as she remains uncertain of her future and has yet to recognize her talents. -- -- However, as her relationship with Seiji grows, Shizuku becomes determined to work toward a goal. Guided by the whispers of her heart and inspiration from The Baron, she resolves to carve out her own potential and dreams. -- -- Movie - Jul 15, 1995 -- 238,719 8.23
Miyako -- -- - -- 1 ep -- Other -- Psychological -- Miyako Miyako -- MONOLITH (a.k.a. Kaoru/Brilliance) provides a poetry reading for Miyako, taken from the perspective of a mentally ill woman stalking another woman. -- ONA - Sep 30, 2012 -- 324 6.05
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1000s in poetry
1010s in poetry
1020s in poetry
1030s in poetry
1040s in poetry
1050s in poetry
1060s in poetry
1070s in poetry
1080s in poetry
1090s in poetry
1100s in poetry
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1130s in poetry
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1160s in poetry
1170s in poetry
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1310s in poetry
1320s in poetry
1330s in poetry
1340s in poetry
1350s in poetry
1360s in poetry
1370s in poetry
1380s in poetry
1390s in poetry
1400s in poetry
1410s in poetry
1420s in poetry
1430s in poetry
1440s in poetry
1450s in poetry
1460s in poetry
1470s in poetry
1480s in poetry
1490s in poetry
1626 in poetry
16th century in poetry
1900 in poetry
1943 in poetry
1989 in poetry
20th-century lyric poetry
3rd century in poetry
4th century in poetry
5th century in poetry
6th century in poetry
7th century in poetry
800s in poetry
810s in poetry
820s in poetry
830s in poetry
840s in poetry
850s in poetry
860s in poetry
870s in poetry
880s in poetry
890s in poetry
8th century in poetry
900s in poetry
910s in poetry
920s in poetry
930s in poetry
940s in poetry
950s in poetry
960s in poetry
970s in poetry
980s in poetry
990s in poetry
Accent (poetry)
Acmeist poetry
A Defence of Poetry
Aiken Taylor Award for Modern American Poetry
Albanian epic poetry
All Watched Over by Machines of Loving Grace (poetry collection)
Alphabet (poetry collection)
American poetry
American proletarian poetry movement
American Smooth (poetry collection)
Anagrammatic poetry
An American Mosaic: Prose and Poetry by Everyday Folk
An Analytic History of Persian Modern Poetry
An Apology for Poetry
Andrs Montoya Poetry Prize
An Open Book (poetry collection)
Anthologise Poetry Competition
Anti-poetry
Arabic poetry
Ariel (poetry collection)
Asclepiad (poetry)
Assamese poetry
A Swag of Aussie Poetry
Athletics in epic poetry
A Treatise on Poetry
Auguries of Innocence (poetry collection)
Augustan poetry
Averno (poetry collection)
Babishai Niwe Poetry Foundation
Babi Yar in poetry
Battlefields (poetry collection)
Bengali poetry
Berkeley Poetry Review
Bernard F. Conners Prize for Poetry
Bernesque poetry
Biblical poetry
Biker poetry
Blake Poetry Prize
Blood Run (poetry collection)
Bluets (poetry collection)
Bobbitt National Prize for Poetry
Bowery Poetry Club
Bram Stoker Award for Best Poetry Collection
British Poetry Revival
British Poetry since 1945
Brittingham Prize in Poetry
Brunel University African Poetry Prize
Buddhist poetry
Canadian poetry
Cantabile (poetry collection)
Canti (poetry collection)
Caribbean poetry
Chamber Music (poetry collection)
Chandas (poetry)
Children's poetry
Children of Paradise (poetry collection)
Chinese poetry
Chinese Whispers (poetry collection)
Choral poetry
Cinepoetry
Ci (poetry)
Classical Chinese poetry
Classical Chinese poetry forms
Classical Chinese poetry genres
Classic of Poetry
Collaborative poetry
College Unions Poetry Slam Invitational
Colorado Poetry Fellowship
Comics poetry
Commonwealth Poetry Prize
Complaints (poetry collection)
Concord Poetry Center
Concrete poetry
Conductors of Chaos: A Poetry Anthology
Confessional poetry
Cowboy poetry
Crab Orchard Series in Poetry Open Competition Awards
Cricket poetry
Crow Terrace Poetry Trial
Dactyl (poetry)
Def Poetry Jam
Descriptive poetry
Digital poetry
Diwan (poetry)
Dogtown Poetry Theater
Donald Justice Poetry Prize
Dorothy Livesay Poetry Prize
Dub poetry
Earshot (poetry collection)
East Asian poetry
Ecopoetry
Eldorado (poetry collection)
Electric Light (poetry collection)
Electronic Poetry Center
Elliptical poetry
Empire of Dreams (poetry collection)
Endless Poetry
English poetry
Epic poetry
Estonian poetry
Excelsior (poetry collection)
Expeditions (poetry collection)
Ezra Pound's Three Kinds of Poetry
Faber Book of Twentieth-Century Women's Poetry
Falling Up (poetry collection)
Fib (poetry)
Field Work (poetry collection)
Firefall (poetry collection)
Flarf poetry
Folk poetry
Forward Prizes for Poetry
Found poetry
Four greats of Chilean poetry
Fourteener (poetry)
French poetry
Fu (poetry)
Gaspard de la Nuit (poetry collection)
Geese in Chinese poetry
Georgian Poetry
Geraldine R. Dodge Poetry Festival
Ghostdini: Wizard of Poetry in Emerald City
Giorno Poetry Systems
Glossary of poetry terms
Gnomic poetry
Go Gawa poetry club
Golden Age of Russian Poetry
Golden Treasury of Scottish Poetry
Governor General's Award for English-language poetry
Governor General's Award for English-language poetry or drama
Governor General's Award for French-language poetry
Governor General's Award for French-language poetry or drama
Griffin Poetry Prize
Grolier Poetry Bookshop
Gushi (poetry)
Halcyon (poetry collection)
Han poetry
Haptic poetry
Hard Core Poetry
Harlot (poetry collection)
Harmonium (poetry collection)
Hebrew poetry
Herman Wildenvey Poetry Award
Hesperides (poetry collection)
Hippocrates Prize for Poetry and Medicine
Historical poetry
History of fu poetry
History of poetry
Hombres (poetry collection)
Homoerotic poetry
Horse Latitudes (poetry collection)
Horst Bienek Prize for Poetry
Human Chain (poetry collection)
Iamb (poetry)
Illuminations (poetry collection)
Indian epic poetry
Indian poetry
Indian poetry in English
Insane Poetry
Instapoetry
International Poetry Festival of Medelln
International Poetry Festival of Rosario
International Poetry Incarnation
Ireland Professor of Poetry
Irish bardic poetry
Irish poetry
Iris N. Spencer Poetry Awards
I Shall Not Be Moved (poetry collection)
Islamic poetry
It (poetry collection)
Japanese poetry
Javanese poetry
Jazz poetry
J. M. Abraham Poetry Award
Jonah (poetry collection)
Journey to Love (poetry collection)
Juvenilia (poetry collection)
Kanshi (poetry)
Kash (poetry)
Kavita (poetry magazine)
Kharabat (poetry)
Khorasani style (poetry)
Kid (poetry collection)
Kobzar (poetry collection)
Kodak (poetry collection)
Korean poetry
La Bonne Chanson (poetry collection)
Landay (poetry)
Latin American poetry
Latin poetry
Latter Day Saint poetry
Light poetry
Limerick (poetry)
Line (poetry)
List of Chinese poetry anthologies
List of Indian English poetry anthologies
List of Japanese poetry anthologies
List of meters in medieval Hebrew poetry
List of poetry awards
List of poetry collections
List of poetry groups and movements
List of winners of the Lenore Marshall Poetry Prize
List of years in poetry
Live or Die (poetry collection)
Love and Poetry
Love, Peace & Poetry
Love, Peace & Poetry Vol.10 Chilean
Love, Peace & Poetry Vol.1 American
Love, Peace & Poetry Vol.2 Latin
Love, Peace & Poetry Vol.3 Asian
Love, Peace & Poetry Vol.4 Japanese
Love, Peace & Poetry Vol.5 British
Love, Peace & Poetry Vol.6 Brazilian
Love, Peace & Poetry Vol.7 Mexican
Love, Peace & Poetry Vol.8 African
Love, Peace & Poetry Vol.9 Turkish
Lshi (poetry)
Lyric poetry
Magnetic Poetry
Manasi (poetry book)
Mangroves (poetry collection)
Man in a Landscape (poetry collection)
Mori poetry
Mappings (poetry collection)
Martian poetry
Mead of poetry
Meadowlands (poetry collection)
Medieval debate poetry
Meditative poetry
Metre (poetry)
Michael Marks Awards for Poetry Pamphlets
Micropoetry
Migrant Worker Poetry Competition
Modernist poetry
Modern poetry
Modern Scottish Poetry
Montana New Zealand Book Award for Poetry
Morse Poetry Prize
Moving Day (poetry collection)
Music, Poetry and Madness
NAACP Image Award for Outstanding Literary Work Poetry
Names of God in Old English poetry
Narrative poetry
Nasb (poetry)
National Book Award for Poetry
National Cowboy Poetry Gathering
National poetry
National Poetry Library
National Poetry Slam
National Poetry Writing Month
Newcastle Poetry Prize
New Hampshire (poetry collection)
New Issues Poetry & Prose
Nimrod International Journal of Prose and Poetry
Noh Poetry Records
No Mountains Poetry Project
Non Serviam (poetry collection)
North (poetry collection)
No Thanks (poetry collection)
O. B. Hardison Jr. Poetry Prize
Obituary poetry
Objectivism (poetry)
Occasional poetry
Octave (poetry)
Odakkuzhal (poetry collection)
Old Norse poetry
Olio (poetry collection)
On Nave and Sentimental Poetry
Oral-formulaic theory in Anglo-Saxon poetry
Oral poetry
Original Poetry by Victor and Cazire
Oslo International Poetry Festival
Ottoman poetry
Outline of poetry
Ovi (poetry)
Oxford period poetry anthologies
Oxford Poetry
Oxford Professor of Poetry
Oxford religious poetry anthologies
Pablo Neruda Ibero-American Poetry Award
Padatik (poetry collection)
Pagan Poetry
Pashto literature and poetry
Patrick Kavanagh Poetry Award
Pauri (poetry)
Penguin poetry anthologies
PEN/Joyce Osterweil Award for Poetry
Performance poetry
Peri Bathous, Or the Art of Sinking in Poetry
Peter Porter Poetry Prize
Philippine epic poetry
Planisphere (poetry collection)
Plume (poetry collection)
Poetic Republic Poetry Prize
Poetry
Poetry analysis
Poetry and the Gods
Poetry Association of Scotland
Poetry Bookshop
Poetry Book Society
Poetry Chain
Poetry.com
Poetry film
Poetry (film)
Poetry for the Beat Generation
Poetry for the Poisoned
Poetry Foundation
Poetry, Georgia
Poetry in Motion
Poetry International
Poetry International Web
Poetry in The Lord of the Rings
Poetry Life and Times
Poetry London
Poetry London (19391951)
Poetry (magazine)
Poetry Northwest
Poetry Now Award
Poetry of Abraham Lincoln
Poetry of Afghanistan
Poetry of Catullus
Poetry of Mao Zedong
Poetry of Paul Goodman
Poetry of Scotland
Poetry of the Deed
Poetry of Turkey
Poetry Project
Poetry reading
Poetry Records
Poetry Review
Poetry Salzburg Review
Poetry slam
Poetry Slam, Inc.
Poetry Society
Poetry Society of America
Poetry Society of New York
Poetry Speaks Expanded
Poetry, Texas
Poetry Toronto
Polish poetry
Political poetry
Portal:Poetry
Portal:Poetry/poem archive/Week 26 2006
Portal:Poetry/poem archive/Week 27 2006
Portuguese poetry
Power Politics (poetry collection)
Profit in Your Poetry
Prose & Poetry
Prose poetry
Pulitzer Prize for Poetry
Punk & Poetry
Quarter Life Poetry
Queen's Gate (poetry collection)
Queen's Gold Medal for Poetry
Quintain (poetry)
Qu (poetry)
Rapture (poetry collection)
Reliques of Ancient English Poetry
Romantic poetry
Rooftops of Tehran (poetry collection)
Roundel (poetry)
Ruth Lilly Poetry Prize
Sapphic stanza in Polish poetry
Saturnian (poetry)
Saturnus (poetry collection)
Science Fiction Poetry Association
Scottish Poetry Library
Seeing Things (poetry collection)
Seguidilla (poetry)
Self-Portrait in a Convex Mirror (poetry collection)
Serbian epic poetry
Serbian poetry
Serenade (poetry collection)
Seventh Heaven (poetry collection)
Shadows of Dreams (poetry collection)
Shanshui poetry
Shi (poetry)
Silver Age of Russian Poetry
Simians (Chinese poetry)
Six Dynasties poetry
Soleares (poetry collection)
Song poetry
Songs of Paradise: A Harvest of Poetry and Verse
S (poetry collection)
Sound poetry
Sour Grapes (poetry collection)
South African poetry
Sowol Poetry Prize
Spam poetry
Spanish poetry
Spectra (poetry collection)
Speculative poetry
Star Dust (poetry collection)
Street Poetry
Struga Poetry Evenings
Substitution (poetry)
Sufi poetry
Sunflower Splendor: Three Thousand Years of Chinese Poetry
Sung poetry
Talk:An American Mosaic: Prose and Poetry by Everyday Folk
Talking with the Taxman About Poetry
Tang poetry
Tarantula (poetry collection)
Tchicaya U Tam'si Prize for African Poetry
Thai poetry
The American Poetry Review
The Best American Poetry
The Best American Poetry 1988
The Best American Poetry 1989
The Best American Poetry 1990
The Best American Poetry 1991
The Best American Poetry 1992
The Best American Poetry 1993
The Best American Poetry 1994
The Best American Poetry 1995
The Best American Poetry 1996
The Best American Poetry 1997
The Best American Poetry 1998
The Best American Poetry 1999
The Best American Poetry 2000
The Best American Poetry 2001
The Best American Poetry 2002
The Best American Poetry 2003
The Best American Poetry 2004
The Best American Poetry 2005
The Best American Poetry 2006
The Best of the Best American Poetry 19881997
The Circle Game (poetry collection)
The Creator (poetry collection)
The Door (poetry collection)
The Far Field (poetry collection)
The Found Poetry Review
The Kingsley and Kate Tufts Poetry Awards
The Magazine of Poetry and Literary Review
The New American Poetry 19451960
The New Poetry
The Ocean (poetry collection)
The Penguin Book of Contemporary British Poetry
The Penguin Book of Modern African Poetry
The Penguin Book of Modern Australian Poetry
The Poetry Forum
The Poetry of Decay
The Poets and Poetry of America
The Rialto (poetry magazine)
The Rose That Grew from Concrete (poetry collection)
The Savage Poetry
The Seven Seas (poetry collection)
The Shape (poetry collection)
The Spirit Level (poetry collection)
The Tennis Court Oath (poetry collection)
The Tower (poetry collection)
The Visit (poetry collection)
The Water Table (poetry collection)
The Wedge (poetry collection)
The Worst Poetry of 19861993
Thirty-Six Immortals of Poetry
Thomas Shapcott Poetry Prize
Tickets for a Prayer Wheel (poetry collection)
Topographical poetry
Tower Poetry
Transcendental poetry
Tribrach (poetry)
Trova (Poetry)
True Stories (poetry collection)
Under the Northern Sky (poetry collection)
University of Chicago Poetry Club
University of Patras Poetry Symposium
Uranian poetry
Urdu poetry
Verbless poetry
Verse (poetry)
Victorian Premier's Prize for Poetry
Video poetry
Vietnamese poetry
Vincent Buckley Poetry Prize
Visual poetry
Volume 5: Poetry for the Masses (SeaShedShitheadByTheSheSore)
VSB Poetry Prize
Waifs and Strays (poetry collection)
Waka (poetry)
Weak position (poetry)
Welsh poetry
Welsh Poetry Competition
West Chester University Poetry Conference
Witt (poetry collection)
Woodberry Poetry Room
Xiaoxiang poetry
Yadu (poetry)
Yakshagana poetry



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