Best 52 quotes of Laura Riding on MyQuotes

A child should be allowed to take as long as she needs for knowing everything about herself, which is the same as learning to be herself. Even twenty-five years if necessary, or even forever. And it wouldn't matter if doing things got delayed, because nothing is really important but being oneself.

All literature is written by the old to teach the young how to express themselves so that they in turn may write literature to teach the old how to express themselves. All literature is written by mentally precocious adolescents and by mentally precocious senescents.

Anger is precious because it is an immediate, undeniable clue to what our minds (so much more cautious in rejection and resistance than our bodies) will not tolerate.

Appearances do not deceive if there are enough of them.

A religion addresses the longing in us to have that said from which we can go on to speak of next and next things rightly, in their immediate time - the telling of what came first and before done forever.

Because most people are not sufficiently employed in themselves, they run about loose, hungering for employment, and satisfy themselves in various supererogatory occupations. The easiest of these occupations, which have all to do with making things already made, is the making of people: it is called the art of friendship.

Conversation succeeds conversation, Until there's nothing left to talk about Except truth, the perennial monologue, And no talker to dispute it but itself.

Daisy was a consciously happy young woman without any of the usual endowments that make for conscious happiness, money apart. She was not pretty, she was not clever, she had no friends, no talents, nor even an imagination to make her think she was happy when she was really miserable. As she was never miserable, she had no need of an imagination.

Emile Saint-Blague had been a lively, versatile painter in his youth, but he had abused his energy by painting too many pictures; so that in what might have been the ripe period of his art he had nothing left but ideas. A man who has nothing left but ideas may be of great service to his friends, but he is of no use at all to himself. Emile was certainly an inspiration to his friends.

Euripides seems to have felt that the dignified perfection of Sophocles could be challenged only by novelty and irresponsibility. The religious conditions of the Dionysian festival kept him within certain bounds. But within the imposed limits Euripides was as profane as he dared to be, making melodrama of the divine realities which his predecessors accepted religiously, using the stage merely as a convenience for popularizing his own eccentric values.

Every thought sounds like a footfall, Till a thought like a boot kicks down the wall.

Every woman must live by some sense of victory over disappointments, and Olympias was not the sort of woman to find compensation in her own powers of self-control and endurance.

Evil I had never found satisfactorily placeable as an integral element of the universal, or total, content of existence. Indeed, evil is evil just because there is no logical place for it, no room in reality for it. It is unreal, and yet real as something unreal.

God' is the name given to the most 'important' human idea. In English, as in other languages, the original sense of the word is obscure. But the character of the name is the same in all languages: it is a question. 'God' is the question 'Is there something more important than, something besides, man?

How our story has been divided up among the truth-telling professions! Religion, philosophy, history, poetry, compete with each other for our ears; and science competes with all together. And for each we have a different set of ears. But, though we hear much, what we are told is as nothing: none of it gives us ourselves, rather each story-kind steals us to make its reality of us.

I believe that misconceptions about oneself that one does not correct where possible act as a bad magic.

Ideas are the old-age of art. Artists have to keep young; they must not think too much - thought is death, while art is life. Such was Emile's viewpoint.

If what you write is true, it will not be so because of what you are as a writer but because of what you are as a being. There can be no literary equivalent to truth.

In religion is much tiredness of people, a giving over of their doing to Someone Else.

I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it.

Learning can be a bridge between doing and thinking. But then there is a danger that the person who uses learning as a bridge between doing and thinking may get stuck in learning and never get on to thinking.

Metaphor is, as a common feature of linguistic practice, an incidental expediency, a homely administering of first-aid by mother-wit to jams or halts in expression suddenly confronting speakers, with no respectable linguistic solution immediately in sight.

Much of the magical effect that poetry gives of rendering everything it touches pellucid comes from the necessity of compression that it imposes. The impossibility of pausing in poetry as long as may be needed to make sense clear causes many a set of words actually deficient in linguistic workmanship to pass for an eloquent brevity.

My function as a writer is not story-telling but truth-telling: to make things plain.

Myth is a tale once believed as truth; believed, it is not myth, but religion. A tale once religiously believed that has come to be called a myth is something of religion corrupted with disbelief. What are beliefs for some societies but myths for others cannot fill spiritual vacancies in the life of those others.

Politics have always covered two distinct kinds of problems: problems of administrative routine, and those that may be called 'questions of the moment.' A question of the moment is, indeed, a substitute for some notion, such as the idea of God, or hereditary monarchy, or national glory, that has hitherto acted as a symbol of human co-ordination. It provides no new positive certainty to replace the discredited certainty, but is what the name implies: the raising of a question which the old certainty no longer answers.

Polygamy and polyandry distribute the frightening physical solidarity of monogamy. Monogamous couples are always hungry for company: to dilute sex.

Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.

rummaging in the storehouses of religious or literary history for myth-matter for ideational uses is of the nature of spiritual vulgarity.

Shakespeare alternated between musical surrenders to social prestige and magnificent fits of poetic remorse.

She [Venison] had never travelled and so could invent all kinds of strange places without being limited, as travelled people are, by knowledge of certain places only.

Spiritually, the society we have is the society of men with women present only in adjunctive relation to them, not the society of men and women in reciprocal relation. We do not have the society of human beings.

The anthology meets with two different kinds of reactions in living poets. They will either write toward the anthology or away from it. Anti-anthology poets often overreach themselves, inflicting protective distortions on their work - as parents in old Central Europe often deliberately maimed their sons to save them from compulsory military service.

The end of poetry is not to create a physical condition which shall give pleasure to the mind... The end of poetry is not an after-effect, not a pleasurable memory of itself, but an immediate, constant and even unpleasant insistence upon itself.

The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.

The object of all religious activity is to mingle the human and the non-human, and the lower gods represent that which is cast back to the human from the non-human - human gods merely, practice-gods who embody the errors which man makes in first conceiving the non-human.

The problem of good and evil is not the problem of good and evil, but only the problem of evil. In opposition to good there are evil characters, but there are no good characters in opposition to evil. Evil is arguable, but good is not. Therefore the Devil always wins the argument.

The sciences that purport to treat of human things -- the new scientific storyings of the social, the political, the racial or ethnic, and the psychic, nature of human beings -- treat not of human things but mere things, things that make up the physical, or circumstantial, content of human life but are not of the stuff of humanity, have not the human essence in them.

The terms 'male' and 'female' must be understood as representing no mere primitive opposition of sex to sex; but as defining two worlds of differing quality, in either of which men and women may jointly move and live.

To a poet the mere making of a poem can seem to solve the problem of truth…but only a problem of art is solved in poetry.

To tell one comprehensive story of how it has happened that what is is, one which shall hold true, come what may, now-after - a story that whatever comes shall perfectly continue or confirm: such is the ideal motive of religions.

Truth rings no bells.

Until the missing story of ourselves is told, nothing besides told can suffice us: we shall go on quietly craving it.

We live on the circumference of a hollow circle. We draw the circumference, like spiders, out of ourselves: it is all criticism of criticism.

we shall know that we have begun to speak true by an increased hunger for true-speaking; we shall have the whole hunger only after we have given ourselves the first taste of it.

We wait, all, for a story of us that shall reach to where we are. We listen for our own speaking; and we hear much that seems our speaking, yet makes us strange to ourselves.

... whatever is not happening now is unimportant; it is merely curious.

What second love could she [Olympias] make out of her ruined first love? The second love that most women make out of their first love for husbands grows from a mutual and tacit sadness in both husband and wife that he is only in rare moments the man both would like him to be.

When ... I comprehended that poetry had no provision in it for ultimate practical attainment of the rightness of work that is truth, but led on ever only to a temporizing less- than-truth ... I stopped.

When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.