I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate wilfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.

Ah, when to the heart of man
Was it ever less than a treason
To go with the drift of things,
To yield with a grace to reason,
And bow and accept the end
Of a love or a season?

There are two kinds of teachers: the kind that fill you with so much quail shot that you can't move, and the kind that just gives you a little prod behind and you jump to the skies.

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A bank is a place where they lend you an umbrella in fair weather and ask for it back when it begins to rain.

Something we were withholding made us weak, until we found it was ourselves.

It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life-not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood. It is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. It finds its own name as it goes and discovers the best waiting for it in some final phrase at once wise and sad-the happy-sad blend of the drinking song.

Some spirit to stand simply forth,
Heroic in its nakedness,
Against the uttermost of earth....

The rain to the wind said,
You push and I'll pelt.'
They so smote the garden bed
That the flowers actually knelt,
And lay lodged — though not dead.
I know how the flowers felt.