Amy Lowell Quotes

Even Pain pricks to livelier living.

I should like to bring a case to trial: Prosperity versus Beauty, Cash registers teetering in a balance against the comfort of the soul.

You lie upon my heart as on a nest,
Folded in peace, for you can never know
How crushed I am with having you at rest
Heavy upon my life. I love you so
You bind my freedom from its rightful quest.
In mercy lift your drooping wings and go.

A man must be sacrificed now and again to provide for the next generation of men.

Witch-heart, are you gold or black?

Freighted with hope, Crimsoned with joy, We scatter the leaves of our opening rose.

The Taxi
When I go away from you
The world beats dead
Like a slackened drum.
I call out for you against the jutted stars
And shout into the ridges of the wind.
Streets coming fast,
One after the other,
Wedge you away from me,
And the lamps of the city prick my eyes
So that I can no longer see your face.
Why should I leave you,
To wound myself upon the sharp edges of the night?

Fifteen millions of soldiers with popguns and horses All bent upon killing, because their "of courses" Are not quite the same.

Guarded within the old red wall's embrace, Marshalled like soldiers in gay company, The tulips stand arrayed. Here infantry Wheels out into the sunlight.

Nuit Blanche"

A music coaxed from humming strings would please;
Not plucked, but drawn in creeping cadences
Across a sunset wall where some Marquise
Picks a pale rose amid strange silences.


Ghostly and vaporous her gown sweeps by
The twilight dusking wall, I hear her feet
Delaying on the gravel, and a sigh,
Briefly permitted, touches the air like sleet


And it is dark, I hear her feet no more.
A red moon leers beyond the lily-tank.
A drunken moon ogling a sycamore,
Running long fingers down its shining flank.


A lurching moon, as nimble as a clown,
Cuddling the flowers and trees which burn like glass.
Red, kissing lips, I feel you on my gown -
Kiss me, red lips, and then pass - pass.


Music, you are pitiless to-night.
And I so old, so cold, so languorously white.

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To-night when the full-bellied moon swallows the stars. Grant that I know.

I ask but one thing of you, only one, That always you will be my dream of you; That never shall I wake to find untrue All this I have believed and rested on, Forever vanished, like a vision gone Out into the night. Alas, how few There are who strike in us a chord we knew Existed, but so seldom heard its tone We tremble at the half-forgotten sound. The world is full of rude awakenings And heaven-born castles shattered to the ground, Yet still our human longing vainly clings To a belief in beauty through all wrongs. O stay your hand, and leave my heart its songs!

Fragment"

What is poetry? Is it a mosaic
Of coloured stones which curiously are wrought
Into a pattern? Rather glass that's taught
By patient labor any hue to take
And glowing with a sumptuous splendor, make
Beauty a thing of awe; where sunbeams caught,
Transmuted fall in sheafs of rainbows fraught
With storied meaning for religion's sake.

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Poets are always the advance guard of literature; the advance guard of life. It is for this reason that their recognition comes so slowly.

When you came, you were like red wine and honey, and the taste of you burnt my mouth with its sweetness.

Happiness: We rarely feel it. I would buy it, beg it, steal it, Pay in coins of dripping blood For this one transcendent good.

Not a softness anywhere about me,
Only whalebone and brocade.

This is America, This vast, confused beauty, This staring, restless speed of loveliness, Mighty, overwhelming, crude, of all forms, Making grandeur out of profusion, Afraid of no incongruities, Sublime in its audacity, Bizarre breaker of moulds.

Taking us by and large, we're a queer lot
We women who write poetry. And when you think
How few of us there've been, it's queerer still.
I wonder what it is that makes us do it,
Singles us out to scribble down, man-wise,
The fragments of ourselves. Why are we
Already mother-creatures, double-bearing,
With matrices in body and in brain?
I rather think that there is just the reason
We are so sparse a kind of human being;
The strength of forty thousand Atlases
Is needed for our every-day concerns.
There's Sapho, now I wonder what was Sapho.
I know a single slender thing about her:
That, loving, she was like a burning birch-tree
All tall and glittering fire, and that she wrote
Like the same fire caught up to Heaven and held there,
A frozen blaze before it broke and fell.
Ah, me! I wish I could have talked to Sapho,
Surprised her reticences by flinging mine
Into the wind. This tossing off of garments
Which cloud the soul is none too easy doing
With us to-day. But still I think with Sapho
One might accomplish it, were she in the mood
to bare her loveliness of words and tell
The reasons, as she possibly conceived them
of why they are so lovely. Just to know
How she came at them, just watch
The crisp sea sunshine playing on her hair,
And listen, thinking all the while 'twas she
Who spoke and that we two were sisters
Of a strange, i

MADONNA OF THE EVENING FLOWERS

All day long I have been working
Now I am tired.
I call: "Where are you?"
But there is only the oak tree rustling in the wind.
The house is very quiet,
The sun shines in on your books,
On your scissors and thimble just put down,
But you are not there.
Suddenly I am lonely:
Where are you?
I go about searching.

Then I see you,
Standing under a spire of pale blue larkspur,
With a basket of roses on your arm.
You are cool, like silver,
And you smile.
I think the Canterbury bells are playing little tunes,
You tell me that the peonies need spraying,
That the columbines have overrun all bounds,
That the pyrus japonica should be cut back and rounded.
You tell me these things.
But I look at you, heart of silver,
White heart-flame of polished silver,
Burning beneath the blue steeples of the larkspur,
And I long to kneel instantly at your feet,
While all about us peal the loud, sweet Te Deums of the Canterbury bells

Lilacs, False Blue, White, Purple,
Colour of lilac,
Your great puffs of flowers
Are everywhere in this my New England ...
Lilacs in dooryards
Holding quiet conversation with an early moon;
Lilacs watching a deserted house; ...
Lilacs, wind-beaten, staggering under a lopsided shock of bloom,
You are everywhere.

When trying to explain anything, I usually find that the Bible, that great collection of magnificent and varied poetry, has said it before in the best possible way.

Don't ask a writer what he's working on. It's like asking someone with cancer on the progress of his disease.

My words are little jars For you to take and put upon a shelf. Their shapes are quaint and beautiful, And they have many pleasant colours and lustres To recommend them. Also the scent from them fills the room With sweetness of flowers and crushed grasses.

The Garden by Moonlight"

A black cat among roses,
Phlox, lilac-misted under a first-quarter moon,
The sweet smells of heliotrope and night-scented stock.
The garden is very still,
It is dazed with moonlight,
Contented with perfume,
Dreaming the opium dreams of its folded poppies.
Firefly lights open and vanish
High as the tip buds of the golden glow
Low as the sweet alyssum flowers at my feet.
Moon-shimmer on leaves and trellises,
Moon-spikes shafting through the snow ball bush.
Only the little faces of the ladies' delight are alert and staring,
Only the cat, padding between the roses,
Shakes a branch and breaks the chequered pattern
As water is broken by the falling of a leaf.
Then you come,
And you are quiet like the garden,
And white like the alyssum flowers,
And beautiful as the silent sparks of the fireflies.
Ah, Beloved, do you see those orange lilies?
They knew my mother,
But who belonging to me will they know
When I am gone.

Sexual love is the most stupendous fact of the universe, and the most magical mystery our poor blind senses know.

How loud clocks can tick when a room is empty, and one is alone!

Happiness, to some, is elation; to others it is mere stagnation.

I know that a creed is the shell of a lie.

Happiness, to some, elation; Is, to others, mere stagnation.

The Letter"

Little cramped words scrawling all over
the paper
Like draggled fly's legs,
What can you tell of the flaring moon
Through the oak leaves?
Or of my uncertain window and the
bare floor

Spattered with moonlight?
Your silly quirks and twists have nothing
in them
Of blossoming hawthorns,
And this paper is dull, crisp, smooth,
virgin of loveliness
Beneath my hand.

I am tired, Beloved, of chafing my heart
against
The want of you;
Of squeezing it into little inkdrops,
And posting it.
And I scald alone, here, under the fire
Of the great moon.

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My eyes ache with the weight of unshed tears. You are my home, do you not understand?

If what we worship fail us, still the fire burns on, and it is much to have believed.

Poetry, far more than fiction, reveals the soul of humanity.

Art is the desire of a man to express himself, to record the reactions of his personality to the world he lives in.

On the neck of the young man sparkles no gem so gracious as enterprise. Youth condemns; maturity condones.

Rapture's self is three parts sorrow.

All recurring joy is pain refined.

Only those of our poets who kept solidly to the Shakespearean tradition achieved any measure of success. But Keats was the last great exponent of that tradition, and we all know how thin, how lacking in charm, the copies of Keats have become.

Christ! What are patterns for?

Poetry is the most concentrated form of literature; it is the most emotionalized and powerful way in which thought can be presented ...

How hard, how desperately hard, is the way of the experimenter in art!

Carrefour"

O You,
Who came upon me once
Stretched under apple-trees just after bathing,
Why did you not strangle me before speaking
Rather than fill me with the wild white honey of your words
And then leave me to the mercy
Of the forest bees.

Originally published in Coterie: A Quarterly: Art, Prose, and Poetry No. 4. Edited by Lall Chaman (1920)

O You,
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I do not suppose that anyone not a poet can realize the agony of creating a poem. Every nerve, even every muscle, seems strained to the breaking point. The poem will not be denied; to refuse to write it would be a greater torture. It tears its way out of the brain, splintering and breaking its passage, and leaves that organ in the state of a jelly-fish when the task is done.

The inkstand is full of ink, and the paper lies white and unspotted, in the round of light thrown by a candle. Puffs of darkness sweep into the corners, and keep rolling through the room behind his chair. The air is silver and pearl, for the night is liquid with moonlight.
See how the roof glitters, like ice!
Over there, a slice of yellow cuts into the silver-blue, and beside it stand two geraniums, purple because the light is silver-blue, to-night.

Now you are come! You tremble like a star Poised where, behind earth's rim, the sun has set. Your voice has sung across my heart, but numb And mute, I have no tones to answer.

You are ice and fire
The touch of you burns my hands like snow

I am tired, Beloved, of chafing my heart against
The want of you;
Of squeezing it into little inkdrops,
And posting it.

Let us be of cheer, remembering that the misfortunes hardest to bear are those which never come.

Life is a stream
On which we strew
Petal by petal the flower of our heart;
The end lost in dream,
They float past our view,
We only watch their glad, early start.
Freighted with hope,
Crimsoned with joy,
We scatter the leaves of our opening rose;
Their widening scope,
Their distant employ,
We never shall know. And the stream as it flows
Sweeps them away,
Each one is gone
Ever beyond into infinite ways.
We alone stay
While years hurry on,
The flower fared forth, though its fragrance still stays.

In science, read by preference the newest works. In literature, read the oldest. The classics are always modern.

Vernal Equinox
The scent of hyacinths, like a pale mist, lies
between me and my book;
And the South Wind, washing through the room,
Makes the candles quiver.
My nerves sting at a spatter of rain on the shutter,
And I am uneasy with the thrusting of green shoots
Outside, in the night.
Why are you not here to overpower me with your
tense and urgent love?

My heart is tuned to sorrow, and the strings Vibrate most readily to minor chords, Searching and sad; my mind is stuffed with words Which voice the passion and the ache of things: Illusions beating with their baffled wings Against the walls of circumstance.

We do not ask the trees
to teach us moral lessons, and only the Salvation Army feels it necessary
to pin texts upon them. We know that these texts are ridiculous,
but many of us do not yet see that to write an obvious moral
all over a work of art, picture, statue, or poem, is not only ridiculous,
but timid and vulgar. We distrust a beauty we only half understand,
and rush in with our impertinent suggestions.

Art is like politics. Any theory carried too far ends in sterility, and freshness is only gained by following some other line.

Underneath my stiffened gown
Is the softness of a woman bathing in a marble basin,
A basin in the midst of hedges grown
So thick, she cannot see her lover hiding,
But she guesses he is near,
And the sliding of the water
Seems the stroking of a dear
Hand upon her.