Ted Hughes cytaty
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Edward James Hughes – angielski poeta uznawany przez krytyków za jednego z najwybitniejszych poetów swojego pokolenia.

W latach 1956-1963 mąż amerykańskiej poetki Sylvii Plath, która popełniła samobójstwo w roku 1963 w wieku 31 lat. Jego udział w śmierci żony był często komentowany jako kontrowersyjny, w szczególności przez niektóre feministki i wielbicielki Sylvii Plath, które oskarżały go o sprowokowanie żony do odebrania sobie życia.

Sam Hughes oficjalnie nigdy nie wziął udziału w tej debacie, jednak w swojej ostatniej książce Birthday Letters opisał swój skomplikowany związek z Plath, co dla wielu osób ukazało go w kontekście małżeństwa w zdecydowanie lepszym świetle.

W roku 2003 jego rolę w biograficznym filmie o Sylvii Plath pod tytułem Sylvia zagrał brytyjski aktor Daniel Craig. Wikipedia

✵ 17. Sierpień 1930 – 28. Październik 1998  •  Natępne imiona টেড হিউজ, تێد ھیووز, ტედ ჰიუზი, ਟੈੱਡ ਹਿਊਜ਼

Ted Hughes Fotografia

Ted Hughes: 55 cytatów0 Polubień

Ted Hughes: Cytaty po angielsku

“I shall also take you forth and carve our names together in a yew tree, haloed with stars…”

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Źródło: Letters of Ted Hughes

“I think it was Milosz, the Polish poet, who when he lay in a doorway and watched the bullets lifting the cobbles out of the street beside him realised that most poetry is not equipped for life in a world where people actually die. But some is.”

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Źródło: Winter Pollen: Occasional Prose

“In the pit of red
You hid from the bone-clinic whiteness

But the jewel you lost was blue.”

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Ted Hughes Birthday Letters

Źródło: Birthday Letters

“Show him every dawn & read to him endlessly.”

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Źródło: Letters of Ted Hughes

“The deeps are cold:
In that darkness camaraderie does not hold:
Nothing touches but, clutching, devours.”

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"Relic"
Lupercal (1960)

“This house has been far out at sea all night,
The woods crashing through darkness, the booming hills,
Winds stampeding the fields under the window
Floundering black astride and blinding wet Till day rose; then under an orange sky
The hills had new places, and wind wielded
Blade-light, luminous black and emerald,
Flexing like the lens of a mad eye.”

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Ted Hughes książka The Hawk in the Rain

"Wind"
The Hawk in the Rain (1957)

“Who owns the whole rainy, stony earth? Death.
Who owns all of space? Death.”

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Ted Hughes książka Crow

"Examination at the Womb-door"
Crow (1970)

“The world rolls under the long thrust of his heel.
Over the cage floor the horizons come.”

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Ted Hughes książka The Hawk in the Rain

"The Jaguar"
The Hawk in the Rain (1957)

“The brassy wood-pigeons
Bubble their colourful voices, and the sun
Rises upon a world well-tried and old.”

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"Stealing Trout on a May Morning"
Wodwo (1967)

“It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot.
Or fly up, and revolve it all slowly –
I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads –
The allotment of death.”

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"Hawk Roosting", line 10
Lupercal (1960)

“There are certain things that are just impressive, aren’t there? One stone can be impressive and the stones around it aren’t. It’s the same with animals. Some, for some reason, are strangely impressive. They just get into you in a strange way. Certain birds obviously have this extra quality that fascinates your attention. Obviously hawks have always done that for me, as a great many others have — not only impressive in themselves but also in that they’ve accumulated an enormous literature making them even more impressive. And crows too. Crows are the central bird in many mythologies. The crow is at every extreme, lives on every piece of land on earth, the most intelligent bird.”

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The Paris Review interview

“Nobody knew the Iron Man had fallen.
Night passed.”

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Ted Hughes książka The Iron Man

Źródło: The Iron Man (1968), Ch. 1 : The Coming of the Iron Man

“With a sudden sharp hot stink of fox,
It enters the dark hole of the head.
The window is starless still; the clock ticks,
The page is printed.”

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Ted Hughes książka The Hawk in the Rain

"The Thought-Fox", line 21
The Hawk in the Rain (1957)

“No, the serpent did not
Seduce Eve to the apple.
All that's simply
Corruption of the facts.Adam ate the apple.
Eve ate Adam.
The serpent ate Eve.
This is the dark intestine.The serpent, meanwhile,
Sleeps his meal off in Paradise—
Smiling to hear
God's querulous calling.”

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"Theology"
Wodwo (1967)

“He swayed in the strong wind that pressed against his back. He swayed forward, on the brink of the high cliff. And his right foot, his enormous iron right foot, lifted-up, out, into space, and the Iron Man stepped forward, off the cliff, into nothingness.”

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Ted Hughes książka The Iron Man

Źródło: The Iron Man (1968), Ch. 1 : The Coming of the Iron Man

“But who is stronger than death?
Me, evidently.”

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Ted Hughes książka Crow

"Examination at the Womb-door"
Crow (1970)

“Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.”

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"Hawk Roosting", line 22
Lupercal (1960)

“Pike, three inches long, perfect
Pike in all parts, green tigering the gold.
Killers from the egg: the malevolent aged grin.”

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"Pike", line 1
Lupercal (1960)

“I sit in the top of the wood, my eyes closed.
Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.”

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"Hawk Roosting", line 1
Lupercal (1960)

“Cold, delicately as the dark snow,
A fox's nose touches twig, leaf;
Two eyes serve a movement, that now
And again now, and now, and now
Sets neat prints into the snow.”

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Ted Hughes książka The Hawk in the Rain

"The Thought-Fox", line 10
The Hawk in the Rain (1957)

“The gash in its throat was shocking, but not pathetic.”

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"View of a Pig"
Lupercal (1960)

“Stilled legendary depth:
It was as deep as England. It held
Pike too immense to stir, so immense and old
That past nightfall I dared not cast.”

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"Pike", line 33
Lupercal (1960)

“The jaws' hooked clamp and fangs
Not to be changed at this date;
A life subdued to its instrument.”

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"Pike", line 13
Lupercal (1960)

“Sylvia went furthest in the sense that her secret was most dangerous to her. She desperately needed to reveal it. You can’t overestimate her compulsion to write like that. She had to write those things — even against her most vital interests. She died before she knew what The Bell Jar and the Ariel poems were going to do to her life, but she had to get them out. She had to tell everybody... like those Native American groups who periodically told everything that was wrong and painful in their lives in the presence of the whole tribe. It was no good doing it in secret; it had to be done in front of everybody else. Maybe that’s why poets go to such lengths to get their poems published. It’s no good whispering them to a priest or a confessional. And it’s not for fame, because they go on doing it after they’ve learned what fame amounts to. No, until the revelation’s actually published, the poet feels no release. In all that, Sylvia was an extreme case, I think.”

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The Paris Review interview

“The danger, I suppose, of using pseudonyms is that it interferes with that desirable process—the unification of the personality. Goethe said that even the writing of plays, dividing the imagination up among different fictional personalities, damaged what he valued — the mind’s wholeness. I wonder what he meant exactly, since he also described his mode of thinking as imagined conversations with various people. Maybe the pseudonyms, like other personalities conjured up in a dramatic work, can be a preliminary stage of identifying and exploring new parts of yourself. Then the next stage would be to incorporate them in the unifying process. Accept responsibility for them. Maybe that’s what Yeats meant by seeking his opposite. The great Sufi master Ibn el-Arabi described the essential method of spiritual advancement as an inner conversation with the personalities that seem to exist beyond what you regard as your own limits... getting those personalities to tell you what you did not know, or what you could not easily conceive of within your habitual limits. This is commonplace in some therapies, of course.”

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The Paris Review interview