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T. S. Eliot

T. S. Eliot Quotes

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“You gave me hyacinths first a year ago; They called me the hyacinth girl.' —Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, Looking into the heart of light, the silence. Od' und leer das Meer.”

“The endless cycle of idea and action, Endless invention, endless experiment, Brings knowledge of motion, but not of stillness; Knowledge of speech, but not of silence; Knowledge of words, and ignorance of the Word. All our knowledge brings us nearer to our ignorance, All our ignorance brings us nearer to death, But nearness to death no nearer to God. Where is the Life we have lost in living? Where is the wisdom we have lost in knowledge? Where is the knowledge we have lost in information? The cycles of Heaven in twenty centuries Bring us farther from God and nearer to the Dust.”

“I said to my soul, be still and wait without hope, for hope would be hope for the wrong thing; wait without love, for love would be love of the wrong thing; there is yet faith, but the faith and the love are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing.”

“We die to each other daily. What we know of other people is only our memory of the moments during which we knew them. And they have changed since then. To pretend that they and we are the same is a useful and convenient social convention which must sometimes be broken. We must also remember that at every meeting we are meeting a stranger.”

“Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.”

“Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, I am no prophet--and here's no great matter; I have seen the moment of my greatness flicker, I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid.”

“The Pekes and the Pollicles, everyone knows, Are proud and implacable, passionate foes; It is always the same, wherever one goes. And the Pugs and the Poms, although most people say that they do not like fighting, will often display Every symptom of wanting to join in the fray. And they Bark bark bark bark bark bark Until you can hear them all over the park.”

“What profession is more trying than that of author? After you finish a piece of work it only seems good to you for a few weeks; or if it seems good at all you are convinced that it is the last you will be able to write; and if it seems bad you wonder whether everything you have done isn’t poor stuff really; and it is one kind of agony while you are writing, and another kind when you aren’t.”

“The dove descending breaks the air With flame of incandescent terror Of which the tongues declare The one discharge from sin and error. The only hope, or else despair Lies in the choice of pyre or pyre- To be redeemed from fire by fire. Who then devised the torment? Love. Love is the unfamiliar Name Behind the hands that wove The intolerable shirt of flame Which human power cannot remove. We only live, only suspire Consumed by either fire or fire.”

“I would meet you upon this honestly. I that was near your heart was removed therefrom To lose beauty in terror, terror in inquisition. I have lost my passion: why should I need to keep it Since what is kept must be adulterated? I have lost my sight, smell, hearing, taste and touch: How should I use them for your closer contact?”

“One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.”