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Hail Man, exalted title! first and best,
On God's own image by his hand imprest;
To which at last the reas'ning race is driv'n,
And seeks anew what first it gain'd from Heav'n.

 

Joel Barlow

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Hail the mild morning, where the dawn began,
The full fruition of the hopes of man.
Where sage Experience seals the sacred cause,
And that rare union, Liberty and Laws,
Speaks to the reas'ning race “to freedom rise,
Like them be equal, and like them be wise."

 

Joel Barlow

 

See, my sexy sabotage seeks defensive action to save the race, you land in hand on board to mention magma (Blaze the place).

 

Aesop Rock

 

There is no Heav'en, there is no Hell; these be the dreams of baby minds,
Tools of the wily Fetisheer, to 'fright the fools his cunning blinds.
Learn from the mighty Spi'rits of old to set thy foot on Heav'en and Hell;
In Life to find thy hell and heav'en as thou abuse or use it well.

 

Sir Richard Francis Burton

 

I have very strongly of late the wish that others may be as sensitive as myself and the fear that they will not be. Colleague Sir Frank Adcock stumped by the sunset-portent unheeding. And I can't arge that I gain, or that others would gain, anything for humanity by observing and recording what went on for a few moments in the sky on Boar Race evening. I sometimes pretend to myself that I am public-spirited. I am not. I am an hedonist who wants pleasant sensations. On the other hand I am not the usual type of hedonist, for I want sensations to be had – if not by myself, then by someone else. The show shouldn't end with my death, which becomes a minor boo-hoo.

 

E. M. Forster

 

The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title.

 

Muriel Rukeyser