Laura Riding Quotes
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We wait, all, for a story of us that shall reach to where we are. We listen for our own speaking; and we hear much that seems our speaking, yet makes us strange to ourselves.
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rummaging in the storehouses of religious or literary history for myth-matter for ideational uses is of the nature of spiritual vulgarity.
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Until the missing story of ourselves is told, nothing besides told can suffice us: we shall go on quietly craving it.
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Euripides seems to have felt that the dignified perfection of Sophocles could be challenged only by novelty and irresponsibility. The religious conditions of the Dionysian festival kept him within certain bounds. But within the imposed limits Euripides was as profane as he dared to be, making melodrama of the divine realities which his predecessors accepted religiously, using the stage merely as a convenience for popularizing his own eccentric values.
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Evil I had never found satisfactorily placeable as an integral element of the universal, or total, content of existence. Indeed, evil is evil just because there is no logical place for it, no room in reality for it. It is unreal, and yet real as something unreal.
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Emile Saint-Blague had been a lively, versatile painter in his youth, but he had abused his energy by painting too many pictures; so that in what might have been the ripe period of his art he had nothing left but ideas. A man who has nothing left but ideas may be of great service to his friends, but he is of no use at all to himself. Emile was certainly an inspiration to his friends.
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Daisy was a consciously happy young woman without any of the usual endowments that make for conscious happiness, money apart. She was not pretty, she was not clever, she had no friends, no talents, nor even an imagination to make her think she was happy when she was really miserable. As she was never miserable, she had no need of an imagination.
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Every woman must live by some sense of victory over disappointments, and Olympias was not the sort of woman to find compensation in her own powers of self-control and endurance.
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'God' is the name given to the most 'important' human idea. In English, as in other languages, the original sense of the word is obscure. But the character of the name is the same in all languages: it is a question. 'God' is the question 'Is there something more important than, something besides, man?'
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When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.
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To tell one comprehensive story of how it has happened that what is is, one which shall hold true, come what may, now-after - a story that whatever comes shall perfectly continue or confirm: such is the ideal motive of religions.
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My function as a writer is not story-telling but truth-telling: to make things plain.
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... whatever is not happening now is unimportant; it is merely curious.
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Every thought sounds like a footfall, Till a thought like a boot kicks down the wall.
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The object of all religious activity is to mingle the human and the non-human, and the lower gods represent that which is cast back to the human from the non-human - human gods merely, practice-gods who embody the errors which man makes in first conceiving the non-human.
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The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.
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I met God. 'What,' he said, 'you already?' 'What,' I said, 'you still?
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Learning can be a bridge between doing and thinking. But then there is a danger that the person who uses learning as a bridge between doing and thinking may get stuck in learning and never get on to thinking.
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The sciences that purport to treat of human things -- the new scientific storyings of the social, the political, the racial or ethnic, and the psychic, nature of human beings -- treat not of human things but mere things, things that make up the physical, or circumstantial, content of human life but are not of the stuff of humanity, have not the human essence in them.
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Women are strangers in the country of man.
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If what you write is true, it will not be so because of what you are as a writer but because of what you are as a being. There can be no literary equivalent to truth.
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The end of poetry is not to create a physical condition which shall give pleasure to the mind... The end of poetry is not an after-effect, not a pleasurable memory of itself, but an immediate, constant and even unpleasant insistence upon itself.
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Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.
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She [Venison] had never travelled and so could invent all kinds of strange places without being limited, as travelled people are, by knowledge of certain places only.
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The terms 'male' and 'female' must be understood as representing no mere primitive opposition of sex to sex; but as defining two worlds of differing quality, in either of which men and women may jointly move and live.
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A child should be allowed to take as long as she needs for knowing everything about herself, which is the same as learning to be herself. Even twenty-five years if necessary, or even forever. And it wouldn't matter if doing things got delayed, because nothing is really important but being oneself.
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All literature is written by the old to teach the young how to express themselves so that they in turn may write literature to teach the old how to express themselves. All literature is written by mentally precocious adolescents and by mentally precocious senescents.
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Anger is precious because it is an immediate, undeniable clue to what our minds (so much more cautious in rejection and resistance than our bodies) will not tolerate.
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we shall know that we have begun to speak true by an increased hunger for true-speaking; we shall have the whole hunger only after we have given ourselves the first taste of it.
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Women, ever since there have been women, have had a way of being people.
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