It seems difficult, sometimes, to believe that there was a time when sentiments now become habitual, sentiments that imply not only the original imperative of conduct, but the original metaphysic of living, were by no means altogether habitual.

It seems difficult, sometimes, to believe that there was a time when sentiments now become habitual, sentiments that imply not only the original imperative of conduct, but the original metaphysic of living, were by no means altogether habitual.

The Border Ballads, for instance, and the Robin Hood Ballads, clearly suppose a state of society which is nothing but a very circumscribed and not very important heroic age.

No poet will ever take the written word as a substitute for the spoken word; he knows that it is on the spoken word, and the spoken word only, that his art is founded.

The world knows of a vast stock of epic material scattered up and down the nations; sometimes its artistic value is as extraordinary as its archaeological interest, but not always.

Traditional matter must be glorified, since it would be easier to listen to the re-creation of familiar stories than to quite new and unexpected things; the listeners, we must remember, needed poetry chiefly as the re-creation of tired hours.

But the development of human society does not go straight forward; and the epic process will therefore be a recurring process, the series a recurring series - though not in exact repetition.

There is only one thing which can master the perplexed stuff of epic material into unity; and that is, an ability to see in particular human experience some significant symbolism of man's general destiny.

The balance of private good and general welfare is at the bottom of civilized morals; but the morals of the Heroic Age are founded on individuality, and on nothing else.

By the general process of epic poetry, I mean the way this form of art has constantly responded to the profound needs of the society in which it was made.

An epic is not made by piecing together a set of heroic lays, adjusting their discrepancies and making them into a continuous narrative.

The epic poet has behind him a tradition of matter and a tradition of style; and that is what every other poet has behind him too; only, for the epic poet, tradition is rather narrower, rather more strictly compelling.

With several different kinds of poetry to choose from, a man would decide that he would like best to be an epic poet, and he would set out, in conscious determination, on an epic poem.

Poetry is the work of poets, not of peoples or communities; artistic creation can never be anything but the production of an individual mind.

It is more difficult to keep the attention of hearers than of readers.

The first epics were intended for recitation; the literary epic is meant to be read.

That is to say, epic poetry has been invented many times and independently; but, as the needs which prompted the invention have been broadly similar, so the invention itself has been.

Epic poetry exhibits life in some great symbolic attitude. It cannot strictly be said to symbolize life itself, but always some manner of life.

The epic poet collaborates with the spirit of his time in the composition of his work. That is, if he is successful; the time may refuse to work with him, but he may not refuse to work with his time.

For the stage displays the first vigorous expression, as the natural thing and without conspicuous restraint, of private individuality.

But the gravest difficulty, and perhaps the most important, in poetry meant solely for recitation, is the difficulty of achieving verbal beauty, or rather of making verbal beauty tell.

If epic poetry is a definite species, the sagas do not fall within it.

The reason can only be this: heroic poetry depends on an heroic age, and an age is heroic because of what it is, not because of what it does.

If epic poetry is a definite species the sagas do not fall within it.

Epic poetry exhibits life in some great symbolic attitude. It cannot strictly be said to symbolize life itself but always some manner of life.

An epic is not made by piecing together a set of heroic lays adjusting their discrepancies and making them into a continuous narrative.

The first epics were intended for recitation the literary epic is meant to be read.

For the stage displays the first vigorous expression, as the natural thing and without conspicuous restraint, of private individuality.

At the end, the realization is that she had to get to a place in her life where she could drop her guard and make peace with the fact that whether she had a small amount of time, that she had to kind of live it completely through, instead of living by the rules.

It is living and ceasing to live that are imaginary solutions. Existence is elsewhere.

You are not here merely to make a living. You are here in order to enable the world to live more amply, with greater vision, with a finer spirit of hope and achievement. You are here to enrich the world, and you impoverish yourself if you forget the errand.

I love living on that stage. Without that, I'd die.

There is always a type of man who says he loves his fellow men, and expects to make a living at it.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Death comes not to the living soul, nor age to the loving heart.

The association promotes a way of life, not causes; a harmony in living, not political faiths; a bilateral loyalty, not commercial or social projects. Yet it is an association for as noble a purpose as any involved in any prior decisions.

Every true prayer is a prayer of the Church; by means of that prayer the Church prays, since it is the Holy Spirit living in the Church, Who in every single soul 'prays in us with unspeakable groanings'.

It seems difficult, sometimes, to believe that there was a time when sentiments now become habitual, sentiments that imply not only the original imperative of conduct, but the original metaphysic of living, were by no means altogether habitual.

Nature is a temple in which living columns sometimes emit confused words. Man approaches it through forests of symbols, which observe him with familiar glances.

Being a father, well, I don't know if this is a change, but it makes me want to get out of here faster. Get off the clock. Just 'cause the baby is my reason for living, my reason for coming to work.

Living at risk is jumping off the cliff and building your wings on the way down.

A little simplification would be the first step toward rational living, I think.

I have come to terms with a lot of things, because, when all's said and done, there's really very little one can do about a lot of things. You just accept them. The point is you just have to keep on working and you just have to keep on living.

Each day, and the living of it, has to be a conscious creation in which discipline and order are relieved with some play and pure foolishness.

Countries under foreign command quickly forget their history, their past, their tradition, their national symbols, their way of living, often their own literary language.

Writing is a dog's life, but the only life worth living.

In my fifty years of experience and memory, I have seen the most amazing increase in the standard of living of a people ever achieved anywhere in the world. This is why I am so sure that our system of free competition and industrial development is sound and must be preserved.

If you have anything really valuable to contribute to the world it will come through the expression of your own personality, that single spark of divinity that sets you off and makes you different from every other living creature.

If you take the creation of music and the creation of your own life values as your overall goal, then living becomes a musical process.