“When you begin to read a poem you are entering a foreign country whose laws and language and life are a kind of translation of your own; but to accept it because its stews taste exactly like your old mother's hash, or to reject it because the owl-headed goddess of wisdom in its temple is fatter than the Statue of Liberty, is an equal mark of that want of imagination, that inaccessibility to experience, of which each of us who dies a natural death will die.”

— Randall Jarrell

"The Obscurity of the Poet," Harvard University lecture (15 August 1950) delivered at the Harvard University Summer School Conference on the Defense of Poetry (August 14-17, 1950); reprinted in Partisan Review, XVIII (January/February 1951) and published in Poetry and the Age (1953)
General sources
Variant: When you begin to read a poem you are entering a foreign country whose laws and language and life are a kind of translation of your own; but to accept it because its stews taste exactly like your old mother's hash, or to reject it because the owl-headed goddess of wisdom in its temple is fatter than the Statue of Liberty, is an equal mark of that want of imagination, that inaccessibility to experience, of which each of us who dies a natural death will die.

Adopted from Wikiquote. Last update June 3, 2021. History

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Randall Jarrell 215

poet, critic, novelist, essayist 1914–1965

Media Kashigar (1956–2017) Iranian translator, writer and poet

Source: The best critic of a translation is its second translation, Center for the Great Islamic Encyclopedia, 2013 https://www.cgie.org.ir/fa/news/3001

“The bull does not know you, nor the fig tree,
nor the horses, nor the ants in your own house.
The child and the afternoon do not know you
because you have died forever.

The shoulder of the stone does not know you
nor the black silk on which you are crumbling.
Your silent memory does not know you
because you have died forever.

The autumn will come with conches,
misty grapes and clustered hills,
but no one will look into your eyes
because you have died forever.

Because you have died for ever,
like all the dead of the earth,
like all the dead who are forgotten
in a heap of lifeless dogs.

Nobody knows you. No. But I sing of you.
For posterity I sing of your profile and grace.
Of the signal maturity of your understanding.
Of your appetite for death and the taste of its mouth.
Of the sadness of your once valiant gaiety.”

Federico García Lorca Llanto por Ignacio Sánchez Mejías

No te conoce el toro ni la higuera,
ni caballos ni hormigas de tu casa.
No te conoce el niño ni la tarde
porque te has muerto para siempre.No te conoce el lomo de la piedra,
ni el raso negro donde te destrozas.
No te conoce tu recuerdo mudo
porque te has muerto para siempre.El otoño vendrá con caracolas,
uva de niebla y montes agrupados,
pero nadie querrá mirar tus ojos
porque te has muerto para siempre.Porque te has muerto para siempre,
como todos los muertos de la Tierra,
como todos los muertos que se olvidan
en un montón de perros apagados.No te conoce nadie. No. Pero yo te canto.
Yo canto para luego tu perfil y tu gracia.
La madurez insigne de tu conocimiento.
Tu apetencia de muerte y el gusto de su boca.
La tristeza que tuvo tu valiente alegría.
Llanto por Ignacio Sanchez Mejias (1935)

“For the translator of poetry, there is no activity that brings you into a closer, more intimate contact with language, both the second language and your own language, which translation allows you to experience freshly. Of course, translation is the impossible art which is why it attracts often the best minds, at least those driven by difficulty. The best metaphor I know for translation is from my friend Eamon Grennan, who translated the poems of Leopardi. It's like walking in a clear mountain stream, looking at colorful stones in the water. You find one so gorgeous, you put it in your pocket, take it home and put it on a shelf. In the morning you are surprised that the stone looks so dull and without luster. You have the stone, but you have removed it from the water of its home language so it has lost its luster.”

Billy Collins (1941) American poet

Interview with Kritya: In the Name of Poetry

“You must get away from the real thing because the real thing will limit your acting and cripple you. To think of your own mother's death each time you want to cry onstage is schizophrenic and sick.”

Stella Adler (1901–1992) American actress and teaching coach

Obituary in New York Times

“Nor let the critic, if he find the meaning of Camoens in some instances altered, imagine that he has found a blunder in the Translator. … It was not to gratify the dull few, whose greatest pleasure in reading a translation is to see what the author exactly says; it was to give a poem that might live in the English language which was the ambition of the Translator. … And the original is in the hands of the world.”

William Julius Mickle (1734–1788) British writer

Introduction (p. cli)
The Lusiad; Or, The Discovery of India: an Epic Poem (1776)

“What happens at the beginning of your poem has to—because it’s a poem—be transformed by the end of your poem. So if the triggering moment for the beginning of your poem is a known political moment, I am fine with that, that’s great. But as I’m reading, I expect it to change because that was just the trigger…”

Jericho Brown (1976) American writer

On how poems might be structured around a political theme in “JERICHO BROWN in conversation with MICHAEL DUMANIS” http://www.benningtonreview.org/jericho-brown-interview in Bennington Review (2018 Oct 27)

“When your young and hungry and nobody's ever really accepted you because of your color and class, the hurt of your own family having cast you out in the first place still inside you somewhere, you dance hard because there is no other way to live, and when opportunity knocks its more of an abduction than a housecall.”

Margaret Cho (1968) American stand-up comedian

From Her Books, I Have Chosen To Stay And Fight, FOLLOWING YOUR DREAMS

“Each kiss is unique. The difference of the kiss is its taste, which you immortalize in your mind, until you taste a better one.”

Prevale (1983) Italian DJ and producer

Original: Ogni bacio è unico. La differenza del bacio è il suo sapore, che immortali nella tua mente, finché non ne assaggi uno migliore.
Source: prevale.net

“Keep your language. Love its sounds, its modulation, its rhythm. But try to march together with men of different languages, remote from your own, who wish like you for a more just and human world.”

Helder Camara (1909–1999) Brazilian Catholic priest, archbishop of Olinda and Recife

Source: Spiral Of Violence

“And it is you, the young people of Europe, young people like Laura, who will help decide which way the currents of our history will flow. Do not think for a moment that your own freedom, your own prosperity, that your own moral imagination is bound by the limits of your community, your ethnicity, or even your country. You’re bigger than that. You can help us to choose a better history. That’s what Europe tells us. That’s what the American experience is all about.”

Barack Obama (1961) 44th President of the United States of America

2014, Address to European Youth (March 2014)

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