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The house ghost is usually a harmless and well-meaning creature. It is put up with as long as possible. It brings good luck to those who live with it.
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Great literature has always been written in a like spirit, and is, indeed, the Forgiveness of Sin, and when we find it becoming the Accusation of Sin, as in George Eliot, who plucks her Tito in pieces with as much assurance as if he had been clockwork, literature has begun to change into something else.
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now I bring full-flavoured wine out of a barrel found Where seven Ephesian topers slept and never knew When Alexander's empire passed, they slept so sound.
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When an immortal passion breathes in mortal clay; Our hearts endure the scourge, the plaited thorns, the way Crowded with bitter faces, the wounds in palm and side, The vinegar-heavy sponge, the flowers by Kedron stream.
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And the merry love the fiddle, and the merry love to dance.
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O would, beloved, that you lay Under the dock-leaves in the ground, While lights were paling one by one.
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The winds that awakened the stars Are blowing through my blood.
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My curse on plays That have to be set up in fifty ways, On the day's war with every knave and dolt, Theater business, management of men.
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Your hooves have stamped at the black margin of the wood, Even where horrible green parrots call and swing. My works are all stamped down into the sultry mud.
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Though logic-choppers rule the town, And every man and maid and boy Has marked a distant object down, An aimless joy is a pure joy.
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Even when the poet seems most himself . . . he is never the bundle of accident and incoherence that sits down to breakfast; he has been reborn as an idea, something intended, complete.
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Because of something told under the famished horn Of the hunter's moon, that hung between the night and the day, To dream of women whose beauty was folded in dismay, Even in an old story, is a burden not to be borne.
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It is one of the great troubles of life that we cannot have any unmixed emotions. There is always something in our enemy that we like, and something in our sweetheart that we dislike.
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Sometimes my feet are tired and my hands are quiet, but there is no quiet in my heart.
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The Mask "Put off that mask of burning gold With emerald eyes." "O no, my dear, you make so bold To find if hearts be wild and wise, And yet not cold." "I would but find what's there to find, Love or deceit." "It was the mask engaged your mind, And after set your heart to beat, Not what's behind." "But lest you are my enemy, I must enquire." "O no, my dear, let all that be, What matter, so there is but fire In you, in me?"
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You think it horrible that lust and rage Should dance attention upon my old age; They were not such a plague when I was young; What else have I to spur me into song?
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The brawling of a sparrow in the eaves The brilliant moon and all the milky sky And all that famous harmony of leaves Had blotted out man's image and his cry.
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It is not permitted to a man, who takes up pen or chisel, to seek originality, for passion is his only business, and he cannot but mould or sing after a new fashion because no disaster is like another.
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The Bishop has a skin, God knows, Wrinkled like the foot of a goose, (All find safety in the tomb.) Nor can he hide in holy black The heron's hunch upon his back, But a birch-tree stood my Jack.
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Too long a sacrifice can make a stone of the heart. O when may it suffice?
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I say that Roger Casement Did what he had to do, He died upon the gallows But that is nothing new.
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Fairies in Ireland are sometimes as big as we are, sometimes bigger, and sometimes, as I have been told, about three feet high.
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I have heard that hysterical women say They are sick of the palette and fiddle-bow, Of poets that are always gay
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I have drunk ale from the Country of the Young / And weep because I know all things now.