“The spirit drinking timelessness;
Touch, love, all senses”
"Not Palaces"(l. 12–16). . .
Context: Eye, gazelle, delicate wanderer,
Drinker of horizon’s fluid line;
Ear that suspends on a chord
The spirit drinking timelessness;
Touch, love, all senses...
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Stephen Spender 76
English poet and man of letters 1909–1995Related quotes

Explanation of Stanza 28 part 8
Spiritual Canticle of The Soul and The Bridegroom, Notes to the Stanzas

From The Goad, the Flames, the Arrows and the Mirror of the love of God

Tradition and the Individual Talent (1919)
Context: The historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.

Her response when asked about her sense of rhythm in songwriting, as quoted in Life and Lies of an Icon (1995) by Richard Witts.

On Ken Kesey, in Ch. I : Black Shiny FBI Shoes
The Electric Kool-Aid Acid Test (1968)
Context: He talks in a soft voice with a country accent, almost a pure country accent, only crackling and rasping and cheese-grated over the two-foot hookup, talking about —
"—there's been no creativity," he is saying, "and I think my value has been to help create the next step. I don't think there will be any movement off the drug scene until there is something else to move to —"
— all in a plain country accent about something — well, to be frank, I didn't know what in the hell it was all about. Sometimes he spoke cryptically, in aphorisms. I told him I had heard he didn't intend to do any more writing. Why? I said.
"I'd rather be a lightning rod than a seismograph," he said.
He talked about something called the Acid Test and forms of expression in which there would be no separation between himself and the audience. It would be all one experience, with all the senses opened wide, words, music, lights, sounds, touch —
lightning.