“The lady of situations.”

“she laughed I was aware of becoming involvedin her laughter and being part of it, until herteeth were only accidental stars with a talentfor squad-drill. I was drawn in by short gasps,inhaled at each momentary recovery, lost finallyin the dark caverns of her throat, bruised bythe ripple of unseen muscles. An elderly waiterwith trembling hands was hurriedly spreadinga pink and white checked cloth over the rustygreen iron table, saying: "If the lady andgentleman wish to take their tea in the garden,if the lady and gentleman wish to take theirtea in the garden ..." I decided that if theshaking of her breasts could be stopped, some ofthe fragments of the afternoon might be collected,and I concentrated my attention with carefulsubtlety to this end.”

“Now that lilacs are in bloomShe has a bowl of lilacs in her roomAnd twists one in her fingers while she talks."Ah, my friend, you do not know, you do not knowWhat life is, you who hold it in your hands"; (slowly twisting the lilac stalks)"You let it flow from you, you let it flow,And youth is cruel, and has no remorseAnd smiles at situations which it cannot see."I smile, of course,And go on drinking tea.”

“He is haunted by a demon, a demon against which he feels powerless, because in its first manifestation it has no face, no name, nothing; and the words, the poem he makes, are a kind of exorcism of this demon.”

“Poetry, if it is not to be a lifeless repetition of forms, must be constantly exploring "the frontiers of the spirit." But these frontiers are not like the surveys of geographical explorers, conquered once for all and settled. The frontiers of the spirit are more like the jungle which, unless continuously kept under control, is always ready to encroach and eventually obliterate the cultivated area.”

“أقول لنفسي إبقي بلا حراكوانتظري بلا أملفالأمل قد يكون تمنيًاللشئ الخطأوانتظري بلا حبفالحب قد يكون حبًاللشئ الخطأهناك بعد إيمانولكن الإيمان والحب والأملكلها في الانتظارانتظربلا فكرلأنك غير معدّ للفكروهكذا سيكون الظلام هو النورواللاحراك هو الرقص”

“time past and time futurewhat might have been and what has beenpoint to one end, which is always present.”