I know what the caged bird feels, alas!
When the sun is bright on the upland slopes;
When the wind blows soft through the springing grass,
And the river floats like a stream of glass;
When the first bird sings and the first bud opes,
And the faint perfume from its chalice steals-
I know what the caged bird feels!
I know why the caged bird beats his wing
Till its blood is red on the cruel bars;
For he must fly back to his perch and cling
When he fain would be on the bough a-swing;
And a pain still throbs in the old, old scars
And they pulse again with a keener sting-
I know why he beats his wing!
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,-
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart's deep core,
But a plea that upward to Heaven he flings-
I know why the caged bird sings!
Paul Laurence Dunbar
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One day I saw the combative Giants shortstop Billy Jurges confront umpire George Magerkurth, on a call Jurges violently objected to, the two men standing jaw to jaw, raging invective at each other. A faint spray of saliva emitted from Magerkurth's mouth; Jurges stepped back and uncorked his own oyster of spittle, right in the umpire's face. Magerkurth slugged Jurges, who slugged him back, and the two men rolled on the infield grass, clawing at each other until they were pried apart. Jurges, of course, was tossed out of the game and suspended for a spell, his place at shortstop taken over by the mild-mannered prematurely gray utility infielder, Lou Chiozza. The very next day, Chiozza ran out to short left field, chasing a pop fly, while in rushed Joe Moore, from his left field post. The result was a noisy collision, which sent Chiozza to the hospital, marking the first and only time one player's spittle had broken another player's leg.
Arnold Hano
Death, he remembered somebody saying once, was a kind of victory. To have lived a long good life, a life of prodigious pleasure and minimal misery, and then to die; that was to have won. To attempt to hang on forever risked ending up in some as-yet-unglimpsed horror future. What if you lived forever and all that had gone before, however terrible things had sometimes appeared to be in the past, however badly people had behaved to each other throughout history, was nothing compared to what was yet to come? Suppose in the great book of days that told the story of everything, all the gone, done past was merely a bright, happy introduction compared to the main body of the work, an unending tale of unbearable pain scraped in blood on a parchment of living skin?
Better to die than risk that.
Live well and then die, so that the you that is you now can never be again, and only tricks can re-create something that might think it is you, but is not.
Iain Banks
The Age that admires talk so much can have little discernment for inarticulate work, or for anything that is deep and genuine. Nobody, or hardly anybody, having in himself an earnest sense for truth, how can anybody recognize an inarticulate Veracity, or Nature-fact of any kind; a Human Doer especially, who is the most complex, profound, and inarticulate of all Nature's Facts? Nobody can recognize him: till once he is patented, get some public stamp of authenticity, and has been articulately proclaimed, and asserted to be a Doer. To the worshipper of talk, such a one is a sealed book. An excellent human soul, direct from Heaven,-how shall any excellence of man become recognizable to this unfortunate? Not except by announcing and placarding itself as excellent,-which, I reckon, it above other things will probably be in no great haste to do.
Thomas Carlyle