Laura Riding Quotes - Page 2

Women are strangers in the country of man.

Women, ever since there have been women, have had a way of being people.

... whatever is not happening now is unimportant; it is merely curious.

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.

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.

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.

In religion is much tiredness of people, a giving over of their doing to Someone Else.

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.

Spiritually, the society we have is the society of men with women present only in adjunctive relation to them, not the society of men and women in reciprocal relation. We do not have the society of human beings.

Conversation succeeds conversation, Until there's nothing left to talk about Except truth, the perennial monologue, And no talker to dispute it but itself.

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.

Women from earliest times have been used as conveniences of communication with unseen, inaccessible powers, but always in the sense that such exposing of self to dangerous mysteries, such destruction of the understanding as was required to become the slave of unseen powers, did not matter because the communicant was only a woman, in herself an undetermined cipher - a nothing.

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.

Ideas are the old-age of art. Artists have to keep young; they must not think too much - thought is death, while art is life. Such was Emile's viewpoint.

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.

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.

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.

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.

There can be no literary equivalent to truth.

What second love could she [Olympias] make out of her ruined first love? The second love that most women make out of their first love for husbands grows from a mutual and tacit sadness in both husband and wife that he is only in rare moments the man both would like him to be.

Politics have always covered two distinct kinds of problems: problems of administrative routine, and those that may be called 'questions of the moment.' A question of the moment is, indeed, a substitute for some notion, such as the idea of God, or hereditary monarchy, or national glory, that has hitherto acted as a symbol of human co-ordination. It provides no new positive certainty to replace the discredited certainty, but is what the name implies: the raising of a question which the old certainty no longer answers.

Appearances do not deceive if there are enough of them.

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.

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.

We live on the circumference of a hollow circle. We draw the circumference, like spiders, out of ourselves: it is all criticism of criticism.