"Answers to Questions," from Mid-Century American Poets, edited by John Ciardi, 1950 [p. 170]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)
“The one…thing which mattered about any poem (so ran my second poetic period's credo) was what the poem said; it's socalled meaning … Thus it will be seen that, by the year 1900, one growing American boy had reached exactly that stage of "intellectual development" beyond which every ungrowing Marxist adult of today is strictly forbidden … ever to pass.”
"i & you & is: Nonlecture Four"
i : six nonlectures (1953)
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E.E. Cummings 208
American poet 1894–1962Related quotes
“The poetic image is not a static thing. It lives in time, as does the poem.”
Source: The Life of Poetry (1949), p. 32
Context: The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title.

[4] Symbol
Semiotics and the Philosophy of Language (1984)
Context: What is a symbol? Etymologically speaking, the word σύμβολον comes from σνμβάλλω, to throw-with, to make something coincide with something else: a symbol was originally an identification mark made up of two halves of a coin or of a medal. Two halves of the same thing, either one standing for the other, both becoming, however, fully effective only when they matched to make up, again, the original whole. … in the original concept of symbol, there is the suggestion of a final recomposition. Etymologies, however, do not necessarily tell the truth — or, at least, they tell the truth, in terms of historical, not of structural, semantics. What is frequently appreciated in many so-called symbols is exactly their vagueness, their openness, their fruitful ineffectiveness to express a 'final' meaning, so that with symbols and by symbols one indicates what is always beyond one's reach.

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Immature verses expand a personal pronoun ad nauseam, the greatest works bring glory to a common verb.
"Prometheus", pp. 208-9.
Unlikely Stories, Mostly (1983)
Less than Angels (1955), chapter 9

The Poetic Principle (1850)