“We often don’t realize the passing of years until we see them in a child.”

“The youth of today will never have the determination and the understanding of yesteryear’s youth.”

“Why be trapped in time? Why count the days?Why worry if you are getting older or looking younger?When authentic beauty is timeless and true love is eternal;And the fond memories in your heart are for ever.”

“Youth is a disease but it’s curable and passes quickly.”

“Молодость — это болезнь, которая быстро излечивается.”

“Every generation gets stuck in own youth and then scolds succeeding generations for sticking in their youth.”

“The more risk you can take upfront in life, the better off you will be later.”

“If God would help any man, He will make him know and understand what vanity is early in life.”

“Dreaming is how you set your future in motion.”

“A talent is a gift from God.”

“The Love Song of J. Alfred Prufrock,” whatever else it might be, seems to be an investigation into the possibility of durational being, which Bergson had described as “the form which the succession of our conscious states assumes when our ego lets itself live, when it refrains from separating its present state from its former states.” The succession that Bergson opposes to vitality is the realm in which the morbid Prufrock tries to imagine speaking Andrew Marvell’s line, “Now let us sport us while we may,” but then falls back on his indecision, his failure to pose his overwhelming question, and his inability to sing his love. Prufrock’s problems are shown to be symptoms of the form of time in which desire for youth runs defiantly against the remorselessness of aging, snapping the present in two. The “silent seas” that might bring relief from currents and countercurrents of time turn out to be like the troubling one that figures in Hamlet’s overwhelming question: “To be or not to be: that is the question: / Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune, / Or to take arms against a sea of troubles / And by opposing end them.” Prufrock understands but is unable to admit the ontological force of the question: the “whips and scorns of time” that threaten to reverse all his “decisions and revisions” make him wish to be merely “a pair of ragged claws / Scuttling across the floors of silent seas.” That synecdochic figure is as much an anachronous peripeteia for Prufrock as it is for Polonius when Hamlet taunts him: “you yourself, sir, should be as old as I am if, like a crab, you could go backwards.”

“Growing up takes time and effort.”


I’d Better Not–
A man leaned over to a man in a pubAnd said in a voice‘I used to be thirty seven but now I’m fifty one’.And that’s how the years go.In handfuls.Like somebody is almost at the end of a bag of crispsAnd they tip the bag upAnd it’s as though they’re drinking crisps.That’s how the years go.”

“I can see,’ Miss Emily said, ‘that it might look as though you were simply pawns in a game. It can certainly be looked at like that. But think of it. You were lucky pawns. There was a certain climate and now it’s gone. You have to accept that sometimes that’s how things happen in the world. People’s opinions, their feelings, they go one way, then the other. It just so happens you grew up at a certain point in this process.’‘It might be just some trend that came and went,’ I said. ‘But for us, it’s our life.”