Quotes about poem
page 3

“I held her
wrists and then I got it through the eyes: hatred,
centuries deep and true. I was wrong and graceless and
sick. all the things I had learned had been wasted.
there was no creature living as foul as I
and all my poems were
false.”

Charles Bukowski (1920–1994) American writer

Learning, Falseness

“How are his poems?"
"He's not as good as he thinks he is, but then most of us feel that way.”

Charles Bukowski book Hollywood

Source: Hollywood

Way, Feeling, Thinking

“Who wants to understand the poem
Must go to the land of poetry;
Who wishes to understand the poet
Must go to the poet's land.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

West-östlicher Diwan, motto (1819)

Understanding

“Poem: Lines on the Death of my Husband”

Mary Wilson (1916–2018) British poet, wife of Harold Wilson

Death

“But Goethe tells us in his greatest poem that Faust lost the liberty of his soul when he said to the passing moment: "Stay, thou art so fair." And our liberty, too, is endangered if we pause for the passing moment, if we rest on our achievements, if we resist the pace of progress. For time and the world do not stand still. Change is the law of life. And those who look only to the past or the present are certain to miss the future.”

John F. Kennedy (1917–1963) 35th president of the United States of America

1963, Address in the Assembly Hall at the Paulskirche in Frankfurt
Variant: Change is the law of life. And those who look only to the past or the present are certain to miss the future.
Documents on International Affairs, 1963, Royal Institute of International Affairs, ed. Sir John Wheeler Wheeler-Bennett, p. 36.

Life, World, Law, Art

“A few musical notes can morph into countless new songs, and a small set of vocabulary can create a congeries of poems. Infinite diversity in infinite combinations.”

Newton Lee American computer scientist

Google It: Total Information Awareness, 2016

Music

“If the study of history is the study of language in one form or another, and if we really fabricate our past, not merely—weakly—live it; then we can begin to see how the world was Greek once, or was Roman, since every page of consciousness was written in these tongues then. All the central documents—laws, plays, poems, reports, abiding wisdoms, letters, scientific learning, news—were couched in Greek or Latin phrases, and the chief historians consulted them, composed their chronicles from the same speech, in the same words. Don't you see that when a man writes the history of your country in another mother-language, he is bent on conquest?”

William H. Gass book The Tunnel

Source: The Tunnel (1995), p. 271

Wisdom, World, Law, History

“The word " economy" has latterly been used in various senses; the Germans give it a very indefinite signification.
Judging from its etymology and original signification, the Greeks seem to have understood by it the establishment and direction of the menage, or domestic arrangements.
Xenophon, in his work on economy, treats of domestic management, the reciprocal duties of the members of a family and of those who compose the household; and only incidentally mentions agriculture as having relation to domestic affairs. This word is never applied to agriculture by Xenophon, nor, indeed, by any Greek author; they distinguish it by the terms, georgic geoponic.
The Romans give a very extensive and indefinite signification to the word "economy." They understand by it, the best method of attaining the aim and end of some particular thing; or the disposition, plan, and division of some particular work. Thus, Cicero speaks of oeconomia causae, oeconomia orationis; and by this he means the direction of a law process, the arrangement of an harangue. Several German authors use it in this sense when they speak of the oekonomie eines schauspiels, or eines gedichtes, the economy of a play or poem. Authors of other nations have adopted all the significations which the Romans have attached to this word, and understand by it the relation of the various parts of any particular thing to each other and to the whole—that which we are accustomed to term the organization. The word "economy" only acquires a real sense when applied to some particular subject: thus, we hear of "the economy of nature," "the animal economy," and " the economy of the state" spoken of. It is also applied to some particular branch of science or industry; but, in the latter case, the nature of the economy ought to be pointed out, if it is not indicated by the nature of the subject.”

Albrecht Thaer (1752–1828) German agronomist and an avid supporter of the humus theory for plant nutrition

Source: The Principles of Agriculture, 1844, Section II. The Economy, Organization and Direction of an Agricultural Enterprise, p. 54-55.

Family, Law, Understanding, Nature

“A Little Treasury of Modern Poetry is a standard Oscar Williams production… …the book has the merit of containing a considerably larger selection of Oscar Williams’s poems than I have seen in any other anthology. There are nine of his poems — and five of Hardy’s. It takes a lot of courage to like your own poetry almost twice as well as Hardy’s.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“A Verse Chronicle”, pp. 157–158
Poetry and the Age (1953)

Books, Courage

“Poetry's only crucial attribute is rhythm. This is its heartbeat. This makes it memorable. If the rhythm falters, then the poem dies of heart failure.”

Michael Longley (1939) poet

Failure, Heart

“A poem is learned by heart and then not again repeated. We will suppose that after a half year it has been forgotten: no effort of recollection is able to call it back again into consciousness.”

Hermann Ebbinghaus (1850–1909) German psychologist

Source: Memory: A contribution to experimental psychology, 1885, p. 8

Effort, Learning, Heart

“Consider some of the qualities of typical modernistic poetry: very interesting language, a great emphasis on connotation, "texture"; extreme intensity, forced emotion — violence; a good deal of obscurity; emphasis on sensation, perceptual nuances; emphasis on details, on the part rather than on the whole; experimental or novel qualities of some sort; a tendency toward external formlessness and internal disorganization — these are justified, generally, as the disorganization required to express a disorganized age, or, alternatively, as newly discovered and more complex types of organization; an extremely personal style — refine your singularities; lack of restraint — all tendencies are forced to their limits; there is a good deal of emphasis on the unconscious, dream structure, the thoroughly subjective; the poet's attitudes are usually anti-scientific, anti-common-sense, anti-public — he is, essentially, removed; poetry is primarily lyric, intensive — the few long poems are aggregations of lyric details; poems usually have, not a logical, but the more or less associational style of dramatic monologue; and so on and so on. This complex of qualities is essentially romantic; and the poetry that exhibits it represents the culminating point of romanticism.”

Randall Jarrell book Five Young American Poets

"A Note on Poetry," preface to The Rage for the Lost Penny: Five Young American Poets (New Directions, 1940) [p. 49]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Age, Dreams, Sense, Parting

“He that works and does some Poem, not he that merely says one, is worthy of the name of Poet.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Introduction to Cromwell's Letters and Speeches (1845).
1840s

“I have two principle aims, two life works. The second is my sonata [Schwitters' 'UrSonata' - a long sound poem of 35 minutes]”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : quoted by Margareth Miller to Oliver Kaufmann [the first principle aim is his Merzbau]

Life

“Anjali: Oh, wow. I am tripping out that I actually get to work here! Being constantly surrounded by books! Bringing ideas, poems, and manifestoes to the world! How can you stand it?!
Jezanna: That reminds me, Lois. The lube shipment just came in.”

Alison Bechdel book Dykes to Watch Out For

#252, "The Trouble with Sidney" (1996), collected in Hot, Throbbing DTWOF (1997).
Dykes to Watch Out For

Books, World, Idea

“Though the poems of Homer and his successors were recorded, there will be no Greek reading public till we reach the fifth century B. C. …There was instead, a hearing public that formed responsive audiences at festivals and contests.”

Thomas Cahill (1940) American scholar and writer

Source: Sailing the Wine-Dark Sea: Why the Greeks Matter (2003), Ch. III The Poet: How to Party

Reading

“Show me your little poem
and I'll tell you why it wasn't written
any earlier or later than it was.Oh no, you've got me wrong.
Keep your funny piece of paper
with its scribbles.
All I need for my ends
is your layer of dirt
and the long gone
smell of burning.”

Wisława Szymborska (1923–2012) Polish writer

"Archeology"
Poems New and Collected (1998), The People on the Bridge (1986)

“This poet is now, most of the time, an elder statesman like Baruch or Smuts, full of complacent wisdom and cast-iron whimsy. But of course there was always a good deal of this in the official rôle that Frost created for himself; one imagines Yeats saying about Frost, as Sarah Bernhardt said about Nijinsky: “I fear, I greatly fear, that I have just seen the greatest actor in the world.”
Sometimes it is this public figure, this official rôle — the Only Genuine Robert Frost in Captivity — that writes the poems, and not the poet himself; and then one gets a self-made man’s political editorials, full of cracker-box philosophizing, almanac joke-cracking — of a snake-oil salesman’s mysticism; one gets the public figure’s relishing consciousness of himself, an astonishing constriction of imagination and sympathy; one gets sentimentality and whimsicality; an arch complacency, a complacent archness; and one gets Homely Wisdom till the cows come home.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Other Frost”, pp. 30–31
Poetry and the Age (1953)

Wisdom, World, Fear, Home

“A man cannot write a poem or a story that will transform the whole nature of man, his reality and his truth, making them greater and nobler.”

William Saroyan (1908–1981) American writer

The Bicycle Rider In Beverly Hills (1952)

Truth, Nature, Reality

“The poet should be responsible to the poem.”

Ataol Behramoğlu (1942) Turkish writer

The Poet's Poetic Responsibility (2012)

“The first work I published was a poem. That was one of my most exciting moments. Afterwards, I wrote many different types of articles, including prose, novels, and even science fiction. However, I found I wasn't very qualified, because I only had a four-year primary school education. So I turned to writing fairy tales.”

Zheng Yuanjie (1955) Chiese writer

Zheng Yuanjie (2008) in: "China's Hans Christian Andersen" on CRIENGLISH.com, June 19, 2008 ( online http://english.cri.cn/4406/2008/06/19/1141@370720.htm).

Education, School, Science

“First Shakespeare sonnets seem meaningless; first Bach fugues, a bore; first differential equations, sheer torture. But training changes the nature of our spiritual experiences. In due course, contact with an obscurely beautiful poem, an elaborate piece of counterpoint or of mathematical reasoning, causes us to feel direct intuitions of beauty and significance. It is the same in the moral world.”

Aldous Huxley book Ends and Means

Ends and Means (1937)

World, Beauty, Feeling, Mathematics

“I don’t need to praise anything so justly famous as Frost’s observation of and empathy with everything in Nature from a hornet to a hillside; and he has observed his own nature, one person’s random or consequential chains of thoughts and feelings and perceptions, quite as well. (And this person, in the poems, is not the “alienated artist” cut off from everybody who isn’t, yum-yum, another alienated artist; he is someone like normal people only more so — a normal person in the less common and more important sense of normal.)”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Other Frost”, p. 29
Poetry and the Age (1953)

People, Feeling, Nature, Sense

“A translation is no translation, he said, unless it will give you the music of a poem along with the words of it.”

John Millington Synge (1871–1909) Irish playwright, poet, prose writer, and collector of folklore

The Aran Islands (1907)

Music

“If there were only some mechanism (like Seurat's proposed system of painting, or the projected Universal Algebra that Gödel believes Leibnitz to have perfected and mislaid) for reasonably and systematically converting into poetry what we see and feel and are! When one reads the verse of people who cannot write poems — people who sometimes have more intelligence, sensibility, and moral discrimination than most of the poets — it is hard not to regard the Muse as a sort of fairy godmother who says to the poet, after her colleagues have showered on him the most disconcerting and ambiguous gifts, "Well, never mind. You're still the only one that can write poetry."”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"Verse Chronicle," The Nation (23 February 1946); reprinted as "Bad Poets" in Poetry and the Age (1953)
General sources

People, Feeling, Intelligence, Universe

“The poet writes his poem for its own sake, for the sake of that order of things in which the poem takes the place that has awaited it.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Obscurity of the Poet”, p. 24
Poetry and the Age (1953)
Context: People always ask: For whom does the poet write? He needs only to answer, For whom do you do good? Are you kind to your daughter because in the end someone will pay you for being?... The poet writes his poem for its own sake, for the sake of that order of things in which the poem takes the place that has awaited it.

“I always wish, in reading my favourite poets, to know what first suggested my favourite poems. Few things would be more interesting than to know under what circumstances they were composed, — how much of individual sentiment there was in each, or how, on some incident seemingly even opposed, they had contrived to ingraft their own associations. What a history of the heart would such annals reveal! Every poem is in itself an impulse.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

History, Reading, Heart

“I wouldn't say that I'm an orthodox Christian at all and the longer we live in the twentieth century the more fantastic discoveries are made, the more we hear what the universe is like I find it very difficult to be a kind of orthodox believer in Jesus as my saviour and that sort of thing. I'm more interested in the extraordinary nature of God. If there is God, if there is deity, then He, even as the old hymn says, He moves in a mysterious way and I'm fascinated by that mystery and I've tried to write out of that experience of God, the fantastic side of God, the quarrel between the conception of God as a person, as having a human side, and the conception of God as being so extraordinary. … So these are still things that occupy me, and every now and again, if you're lucky, you're able to make a poem out of this conception of God … so I suppose I'm trying to appeal to people to open their eyes and their minds to the extraordinary nature of God.”

R.S. Thomas (1913–2000) Welsh poet

"R. S. Thomas in conversation with Molly Price-Owen" in The David Jones Journal R. S. Thomas Special Issue (Summer/Autumn 2001)

God, People, Way, Nature

“Thou hast thy calling to some palace-floor,
Most gracious singer of high poems! where
The dancers will break footing, from the care
Of watching up thy pregnant lips for more.”

Elizabeth Barrett Browning book Sonnets from the Portuguese

No. IV
Sonnets from the Portuguese (1850)

“It is at once by way of poetry and through poetry, as with music, that the soul glimpses splendors from beyond the tomb; and when an exquisite poem brings one’s eyes to the point of tears, those tears are not evidence of an excess of joy, they are witness far more to an exacerbated melancholy, a disposition of the nerves, a nature exiled among imperfect things, which would like to possess, without delay, a paradise revealed on this very same earth.”

Charles Baudelaire (1821–1867) French poet

C'est à la fois par la poésie et à travers la poésie, par et à travers la musique, que l'âme entrevoit les splendeurs situées derrière le tombeau; et, quand un poème exquis amène les larmes au bord des yeux, ces larmes ne sont pas la preuve d'un excès de jouissance, elles sont bien plutôt le témoignage d'une mélancolie irritée, d'une postulation des nerfs, d'une nature exilée dans l'imparfait et qui voudrait s'emparer immédiatement, sur cette terre même, d'un paradis révélé.
XI: "Notes nouvelles sur Edgar Poe III," IV
L'art romantique (1869)

Music, Way, Soul, Nature

“Laymen learn to read photographs the way they do headlines, skipping over them quickly to get the gist of what is being said. Photographers, on the other hand, study them with the care and attention to detail one might give to a difficult scientific paper or a complicated poem.”

Howard S. Becker (1928) American sociologist

Becker (1978) in: Creative Camera No.163-174. p. 70.

Way, Study, Learning, Reading

“My first poem was a bolt from the blue … it broke a spell of disillusion and suicidal despondence. … it filled me with soul satisfying joy.”

William Carlos Williams book The Autobiography of William Carlos Williams

The Autobiography of William Carlos Williams (1951) [W. W. Norton & Co., 1967, ISBN 978-0811202268]
General sources

Soul, Suicide, Joy

“When Hermodotus in his poems described Antigonus as the son of Helios, "My valet-de-chambre," said he, "is not aware of this."”

Plutarch (46–127) ancient Greek historian and philosopher

Of Isis and Osiris
Bartlett's Familiar Quotations, 10th ed. (1919)

“I never have restricted myself into a frame of a particular technique. My techniques are determined simultaneously along with the subjects of my works. It is similar to the works of a poet, the form of a poem is determined at the same time as its content.”

Guity Novin (1944) artist

Etelaat (1973), no. 14119, Thursday, June 7th, p. 7

Time

“The poem is an original and unique creation, but it is reading and recitation: participation.”

Edward Hirsch (1950)

How to Read a Poem And Fall in Love with Poetry (1998)

Reading

“The poem is important, but
not more than the people
whose survival it serves…”

Wendell Berry (1934) author

In A Motel Parking Lot, Thinking Of Dr. Williams.
Poems

People

“From all the properties of man and of nature, from all the various branches of science, from all the deductions of human reason, the general corollary, admitted by Hindus, Arabs, and Tartars, by Persians, and by Chinese, is the supremacy of an all-creating and all-preserving spirit, infinitely wise, good, and powerful, but infinitely removed from the comprehension of his most exalted creatures; nor are there in any language (the ancient Hebrew always excepted) more pious and sublime addresses to the being of beings, more splendid enumerations of his attributes, or more beautiful descriptions of his visible works, than in Arabick, Persian, and Sanscrit, especially in the Koran, the introductions to the poems of Sadi', Niza'm'i and Firdaus'i, the four Védas, and many parts of the numerous Puránas: but supplication and praise would not satisfy the boundless imagination of the Vedánti and Sufi theologists, who blending uncertain metaphysicks with undoubted principles of religion, have presumed to reason confidently on the very nature and essence of the divine spirit, and asserted in a very remote age, what multitudes of Hindus and Muselmans assert… that all spirit is homogeneous, that the spirit of God is in kind the same with that of man, though differing from it infinitely in degree, and that, as material substance is mere illusion, there exists in this universe only one generick spiritual substance, the sole primary cause, efficient, substantial and formal of all secondary causes and of all appearances whatever, but endued in its highest degree, with a sublime providential wisdom, and proceeding by ways incomprehensible to the spirits which emane from it; an opinion which Gotama never taught, and which we have no authority to believe, but which, as it is grounded on the doctrine of an immaterial creator supremely wise, and a constant preserver supremely benevolent, differs as widely from the pantheism of Spinoza and Toland, as the affirmation of a proposition differs from the negation of it; though the last named professor of that insane philosophy had the baseness to conceal his meaning under the very words of Saint Paul, which are cited by Newton for a purpose totally different, and has even used a phrase, which occurs, indeed, in the Véda, but in a sense diametrically opposite to that, which he would have given it. The passage to which I allude is in a speech of Varuna to his son, where he says, "That spirit, from which these created beings proceed; through which having proceeded from it, they live; toward which they tend and in which they are ultimately absorbed, that spirit study to know; that spirit is the Great One."”

William Jones (1746–1794) Anglo-Welsh philologist and scholar of ancient India

"On the Philosophy of the Asiatics" (1794)

Wisdom, God, Age, Religion

“I am wedded to the notion that Inspiration is the sine que non, the non negotiable prelude to writing a poem.”

Dennis O'Driscoll (1954–2012) Irish poet, critic

Poetry Quotes

Wedding

“Some poets are more deeply involved than others in the raw experience which lies behind the poem and for them the act of composition is an act of self exploration with the definite goal of enlightenment rather than the ideally depersonalized construction of a beautiful and autonomous object.”

Vernon Scannell (1922–2007) British boxer and poet

Not Without Glory, 1976

Beauty

“I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It's a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages.”

Frank O'Hara (1926–1966) American poet, art critic and writer

Personism: A Manifesto, from The Collected Poems of Frank O'Hara (1972).

Personality

“A critical sense of style and of poetic form is not easy to attain, nor is it of first importance for the younger, or, indeed, for any student of Virgil. Wide open to anyone who is willing to learn is the richer knowledge of Virgil as a poet who loved his country and who loved also that humanity which existed before Rome, exists today within ourselves, and will exist long after our own civilization, like that of Virgil's Rome, has become a matter of "ancient history." It is true that the longer one has lived the better one can appreciate a poem which is concerned with life. But the gain that comes to us with the years depends, partly at least, upon the riches we have been willing to extract from literature, which is the experience of other men and women written out. In youth's search for this treasure the Aeneid will be at once a fair haven and a port of departure.”

John Conington (1825–1869) British classical scholar

Introduction to The Aeneid of Virgil (Chicago and New York: Scott Foresman and Company, 1916), p. 45; partially quoted in School and Home Education, Vol. 35 (1916), p. 172

Love, Life, Women, Men

“When I was in hospital I found I could hardly read or writ. In these circumstances I began to write poems. I found that poetry was the only kind of writing in which I could express my thoughts. One night I dreamed I was lying on the bank of a canal, under machine gun fire. The next morning I wrote it out, Carentan O Caretan, and as I wrote I realized it was not a dream, but the memory of my first time under fire”

Louis Simpson (1923–2012) Jamaican poet

The Poetry of War 1939-45 ed. Ian Hamilton, London 1965
Carentan O Carentan, 1948

Dreams, Lying, Memory, Time

“I hope that with our music we can inspire other people to be creative and to use their imagination, because it is something that is so lacking nowadays. You have virtual reality, MTV, video games and VCR's. Nobody really wants to think about things or create things. You have programs on a computer which will write a poem for you.”

Marilyn Manson (1969) American rock musician and actor

As quoted in Kerrang! (14 December 1996).
1990s

People, Hope, Music, Imagination

“Although a poem be not made by counting of syllables upon the fingers, yet "numbers" is the most poetical synonym we have for verse, and "measure" the most significant equivalent for beauty, for goodness, and perhaps even for truth. Those early and profound philosophers, the followers of Pythagoras, saw the essence of all things in number, and it was by weight, measure, and number, as we read in the Bible, that the Creator first brought Nature out of the void.”

George Santayana (1863–1952) 20th-century Spanish-American philosopher associated with Pragmatism

Interpretations of Poetry and Religion (1900), p. 251
Other works

Truth, Beauty, Nature, Reading

“He arose, pacing the floor
Strewn with books, his mind big with the poem
Soon to be born, his nerves tense to endure
The long torture of delayed birth.”

R.S. Thomas (1913–2000) Welsh poet

"A Person From Porlock"
Song at the Year's Turning (1955)

Books, Birth

“But at some point, you know that— you know what poem keeps going through my mind is, "first they came for the Jews." People, all of us, are like, "Well, this news doesn't really affect me." "Well, I'm not a bondholder." "Well, I'm not in the banking industry." "Well, I'm not a big CEO." "Well, I'm not on Wall Street." "Well, I'm not a car dealer." "I'm not an auto worker."”

Glenn Beck (1964) U.S. talk radio and television host

Gang, at some point, they're going to come for you!
The Glenn Beck Program
Premiere Radio Networks
2009-06-10
Beck compares car dealership closures to Nazis; warns "Gang, at some point, they're going to come for you"
Media Matters for America
2009-06-10
http://mediamatters.org/mmtv/200906100012
2000s, 2009

People, Cars

“I'm going to spend my life writing poems, turning them into music that will affect people and touch their hearts. I'm going to write the songs that people can't write for themselves.”

Stevie Nicks (1948) American singer and songwriter, member of Fleetwood Mac

Kia Makarechi, "Stevie Nicks On Fleetwood Mac's Reunion Tour, Rihanna, Kanye West & Her Early Years In Music", http://www.huffingtonpost.com/2012/12/03/stevie-nicks-fleetwood-mac-reunion-rihanna-kanye_n_2220029.html Huffington Post, 3 December 2012

Life, People, Music, Heart

“Sir, you must be all caution and no fear, and you'll find true what our old friend Archimedes said some while ago.
: If a man do but keep himself sober and stout,
The world as he'd have it must needs turn about.
:* Letter to John Stansfield (c. 1717), as quoted in "How to move the World" in The Poems of John Byrom (1894), p. 9”

John Byrom (1692–1763) Poet, inventor of a shorthand system

World, Fear, Quotes

“The words in a poem, (or more exactly, syllables) are vocal signs that convey an intangible essence (the pattern of feeling) that vanishes the moment we approach it with an analytical intelligence.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

What is a Poem - Endword - Selected Poems (1926)

Feeling, Intelligence

“…whether they write poems or don’t write poems, poets are best.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Recent Poetry”, p. 227
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“The poem, through candor, brings back a power again
That gives a candid kind to everything.”

Wallace Stevens (1879–1955) American poet

Notes Toward a Supreme Fiction (1942), It Must Be Abstract

“…and if you are common, you can dress up as a woman, show you behind or write poems: there’s nothing offensive about a naked behind if it’s everybody’s; each person will be mirrored in it.”

Jean Paul Sartre book Saint Genet

(463).
Saint Genet, Actor and Martyr (1952)

Personality

“Write her a poem, spill your heart to her in sweet cadences; but I didn't know how to write poetry. It was love and dove with me, bad rhymes, blundering sentiment. Oh Christ in Heaven, I'm no writer: I can't even put down a little quatrain. I'm no good in this world. I stood at the window and waved my hands at the sky; no good at all, just a cheap fake; neither writer nor lover; neither fish nor fowl.”

John Fante book Ask the Dust

Ask the Dust (1939)

Love, World, Lovers, Fish

“Scottish literature begins effectively with Archdeacon Barbour's Bruce some sixty years after Bannockburn, and to the Bruce and Blind Harry's Wallace (so staunch is the Scot, and such an antiquary in grain) must be attributed much of the colouring and subsequent tone of Scottish sentiment. The Bruce is the better poem, simple, truthful, noble, stirring, a proper start for the literature of a fighting people.”

John Barbour (1316–1395) Scottish poet

George Gordon The Discipline of Letters (Oxford: Clarendon Press, 1946) p. 88.
Criticism

People, Truth, Literature, Fight

“Twas Age imposed on poems
Their gather-roses burden
To warn against the danger
That overtaken lovers
From being overflooded
With happiness should have it
And yet not know they have it.”

Robert Frost (1874–1963) American poet

"Carpe Diem
General sources

Happiness, Age, Lovers

“The poem, a harmonious flow of nuances, demands a musical rhythm, Vers libre.”

F. S. Flint (1885–1960) English Imagist poet

Contemporary French Poetry, The Poetry Review, 1914

Music

“It is said that young men of genius come to London with great poems and dramas in their pockets and find every door closed against them. Chatterton's death perpetuated this legend. But when I, George Moore, came to London in search of literary adventure, I found a ready welcome. Possibly I should not have been accorded any welcome had I been anything but an ordinary person.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Source: Confessions of a Young Man http://www.gutenberg.org/files/12278/12278-h/12278-h.htm (1886), Ch. 12.

Death, Men, Search, Personality

“Craft is something you learn by studying models. When a student asks, what is a good book about traditional iambic verse, The Collected Poems of Ben Jonson. What is an excellent book about free verse? The Collected Poems of William Carlos Williams. What is a good book about short line in ballad metre? The Collected Poems of Emily Dickinson.”

Robert Pinsky (1940) American poet, editor, literary critic, academic.

Interview at Skidmore College Aug 1995,published 'Paris Review' no 144 Fall 1997
The Art of Poetry - interview 1995 with Downing & Kunitz

Books, Study, Learning

“As the diamond is the crystalline Revelator of the achromatic white light of Heaven, so is a perfect poem the crystalline revelation of the Divine Idea.”

Thomas Holley Chivers (1809–1858) 19th century American poet

Preface to Eonchs of Ruby.

Idea, Light, Perfection

“In art, origin and value cannot be treated as independent. Those who enjoy poetry and painting must be at least dimly aware of a poet beyond the poem and a painter beyond the picture. If by some unimaginable process works of beauty could be produced by machinery, as a symmetrical colour pattern is produced by a kaleidoscope, we might think them beautiful till we knew their origin, after which we should be rather disposed to describe them as ingenious. And this is not, I think, because we are unable to estimate works of art as they are in themselves, not because we must needs buttress up our opinions by extraneous and irrevelant considerations; but rather because a work of art requires an artist. not merely in the order of natural causation, but as a matter of a-sthetie necessity. It conveys a message which is valueless to the recipient, unless it be understood by the sender. It must be expressive.”

Arthur James Balfour (1848–1930) British Conservative politician and statesman

Theism and humanism

Beauty, Art, Nature, Thinking

“In response to Lady Mary Montague's line 'And we meet, with champagne and a chicken at last' (from Montague's poem 'The Lover: A Ballad'):
"What say you to such a supper with such a woman? … Is not her 'champagne and chicken' worth a forest or two? Is it not poetry?"”

Mary Wortley Montagu (1689–1762) writer and poet from England

Lovers

“Great poems are all fables about life.”

John Hollander (1929–2013) American poet

Life

“It was my sensual excessiveness that jarred him [ Jasper Johns. ] He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane's poems to me, which I loved but didn't have the patience to read myself – and he was often critical of things like my grammar. But you don't let a thing like that bother you if you have only two or three real friends.”

Robert Rauschenberg (1925–2008) American artist

Source: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, p. 119

Love, Reading, Patience

“Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. While guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and find a new order of things that would restore the balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men's minds.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Dadaland (1948); Quoted in: Cosana Maria Eram (2010) The autobiographical pact: otherness and redemption in four French avant-garde artists, p. 20
Quote of Jean Arp, referring to Swiss Dada in Zurich after 1914.
1940s

Men, War, Age, World

“A new type of poem has been evolved and popularized by the demands of the anthology-reading public. It is called 'the perfect modern lyric.' Like the best-seller novel, it is usually achieved in the dark; but certain critical regulations can be made for it. It must be fairly regular in form and easily memorized, it must be a new combination of absolutely warn-out material, it must have a certain unhealthy vigour or languor, and it must start off engagingly with a simple sentimental statement. Somewhere a daring pseudo-poetical image must be included…”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

Laura Riding and Robert Graves from A Pamphlet Against Anthologies (London: Doubleday, 1928)

Reading, Perfection

“How is it that the poets have said so many fine things about our first love, so few about our later love? Are their first poems their best? Or are not those the best which come from their fuller thought, their larger experience, their deeper-rooted affections?”

George Eliot book Adam Bede

Adam Bede (1859)

Love

“The poem is an act beyond paraphrase because what is being said is always inseparable from the way it is being said.”

Edward Hirsch (1950)

How to Read a Poem And Fall in Love with Poetry (1998)

Way

“It was then I began to on my bed and stare out at the nibbling squirrels, and to make up poems from intense abstraction, hour after unmarked hour, imagination scarcely faltering once, rhythm hardly skipping a beat, while my sisters called me, suns rose and fell, and the poems I made, which I never remembered, were the first and last of that time….”

Laurie Lee book Cider with Rosie

Source: Cider with Rosie (1959), p. 280. (The last sentence of the book)

Imagination, Sister, Time, Sun

“I often find poems hand written in old abandoned notebooks.”

Dermot Healy (1947–2014) Irish writer

Penguin Group (2013) A Conversation with Dermot Healy http://www.us.penguingroup.com/static/rguides/us/long_time_no_see.html, Penguin US, accessed May 5, 2013

“I think the control I had over my work was less than adequate. There was nothing wrong with the good bits in my poems, it’s just that they were packed around with lots and lots of bad bits, and I think that the only way I’ve improved in the last several decades [... ] is that I’ve learned to leave out the bad bits. I’m not sure you do improve beyond that.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

From a conversation with Peter Porter broadcast on ABC Radio, Australia in the program 'Book Talk' on Saturday 15 October 2005
Television and radio

Way, Thinking, Learning

“Not allowing what happened in the past to determine your future starts in your mind. What you think and feel is key. Are you able to say and believe that you are creating your own future or, to paraphrase the William Ernest Henley poem ‘Invictus’, that you are the master of your fate?”

Nigel Cumberland (1967) British author and leadership coach

Your Job-Hunt Ltd – Advice from an Award-Winning Asian Headhunter (2003), Successful Recruitment in a Week (2012) https://books.google.ae/books?idp24GkAsgjGEC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIGjAA#vonepage&qnigel%20cumberland&ffalse, 100 Things Successful People Do: Little Exercises for Successful Living (2016) https://books.google.ae/books?idnu0lCwAAQBAJ&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIMjAE

Fate, Feeling, Thinking, Past

“My poems are naughty, but my life is pure.”
Lasciva est nobis pagina, vita proba.

Martial book Epigrammata

I, 4.
Epigrams (c. 80 – 104 AD)

Life

“What we've lost - 'I said in more or less these terms' - is the proper interest in and taste for detail. We've been noting that for a long time yet the loss is irremediable. In the old days man was everything. A human face was worth a poem. When nature appeared behind a human being it was a kind of backdrop taking the place of the dark background of portrait painters or the gold of the Italian primitives… The day when a separation took place art was diminished. It was transformed the day that the 'subject' and the 'genre' destroyed great painting, denaturing even landscapes.”

Eugène Fromentin (1820–1876) French painter

Quote of Fromentin, as cited by Sarah Anderson in Between Sea and Sahara: An Orientalist Adventure, 'Chapter IV', Eugène Fromentin, (1859); transl. Blake Robinson; publisher I.B. Tauris 2004, p. 4

Art, Nature, Appearance, Loss

“Whatever it is.. poem.. play, story.. it must hold attention.”

Marianne Moore (1887–1972) American poet and writer

Poetry as Expression - The Writer April 1962
Prose

“[Robert] Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even—“at least not systematic”; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“To the Laodiceans”, p. 21
No Other Book: Selected Essays (1999)
Variant: [Robert] Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even—“at least not systematic”; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.

Wisdom, Education, Faith, Hope

“The poem, even when it has some predetermined pattern, must be wrought to some effect or finish that justifies the exclamation: This is a poem!”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

What is a Poem - Endword - Selected Poems (1926)

“The writing of certain poems (eg 'The Guttural Muse and others)took me to the bottom of myself, something inchoate but troubled, you might say I had muddied the waters, but I felt these poems arrived from an older, deeper, cleaner spring.”

Seamus Heaney (1939–2013) Irish poet, playwright, translator, lecturer

Other Quotes

Spring, Water

“The unit of significance in the poem is not the word but the phrase or sentence…a poet should consider the effect of the whole poem, not its local felicities.”

T. E. Hulme (1883–1917) English Imagist poet and critic

Lecture on Modern Poetry (1914)

“Thereafter, when he himself was dead, he imagined that his poems would be published in some mysterious way, and the nation would read them for comfort in adversity, as it had read the poems of other poets before him; it was his highest wish that his poems could help those as unfortunate as himself to have patience to endure.</b”

Halldór Laxness (1902–1998) Icelandic author

Heimsljós (World Light) (1940), Book One: The Revelation of the Deity

Way, Imagination, Reading, Help

“… the menu’s a delirious poem/on which the names of Moghlai and Punjabi and Parsi/”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Real Time (2002)

“A poem is a living organism.”

Ataol Behramoğlu (1942) Turkish writer

The Poet's Poetic Responsibility (2012)

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point. <br class="br">My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005 <br class="br">Articles and Interviews

Men, Children, People, World

“If you read quickly to get through a poem to what it means, you have missed the body of the poem.”

M. H. Abrams (1912–2015) American literary theorist

Cornell Chronicle interview (1999)

Reading

“It is odd how pleasant and sympathetic her poems are, in these days when many a poet had rather walk down children like Mr. Hyde than weep over them like Swinburne, and when many a poem is gruesome occupational therapy for a poet who stays legally innocuous by means of it.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Poets”, pp. 212–213
Poetry and the Age (1953)

Children

“I was overjoyed when I read Yevtushenko's "Babi Yar"; the poem astounded me. It astounded thousands of people…People knew about Babi Yar before Yevtushenko's poem, but they were silent. And when they read the poem, the silence was broken. Art destroys silence.”

Yevgeny Yevtushenko (1932–2017) Russian poet, film director, teacher

Solomon Volkov (ed.), Testimony: The Memoirs of Dmitri Shostakovich (New York: Limelight, 2006) pp. 158-9.
Criticism

People, Art, Silence, Reading

“The social value of a poem is proved not by marketing or reviews but by enduring resonance, a process that occurs as a response over time by humanity.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

The Cosmos as a Poem (2010)

Time

“These poems do not live: it's a sad diagnosis.
They grew their toes and fingers well enough,
Their little foreheads bulged with concentration.
If they missed out on walking about like people
It wasn't for any lack of mother-love.”

Sylvia Plath book Crossing the Water

"Stillborn" http://www.angelfire.com/tn/plath/still.html <br class="br">Crossing the Water (1971)

Love, People, Sadness

“When Pushkin - who was in the position of having to think what form a national culture might take - called for a dispassionate criticism, he wasn't calling for help in writing poems, which he could do all by himself. He was merely stated his wish to write them in a civilized atmosphere, whose absence was reducing him to isolation, and thereby damaging his individuality.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'A Death in Life'
Essays and reviews, Snakecharmers in Texas (1988)

Thinking, Help

“Whole poems are made out of many single poems we call words... I am trying to recover a part of the poet's work which has been lost. Our first poets were the namers, not the rhymers.”

Carl Andre (1935) American artist

undated quote about his own poetry; in ' Objects Are What We Aren't' https://www.theparisreview.org/blog/2015/02/26/objects-are-what-we-arent/, by Andy Battaglia; The Parish Review, February 26, 2015

Parting

“[I] do not like poems that resemble hay compressed into a geometrically perfect cube. I like it when the hay, unkempt, uncombed, with dry berries mixed in it, thrown together gaily and freely, bounces along atop some truck—and more, if there are some lovely and healthy lasses atop the hay—and better yet if the branches catch at the hay, and some of it tumbles to the road.”

Yevgeny Yevtushenko (1932–2017) Russian poet, film director, teacher

New York Times (2 February 1986).

Love, Perfection

“In the records referring to the rise of Vijayanagara, the Marathas, and the Sikhs, the religious motive is brought into a sharper focus. These records leave us in no doubt that the defence of Hindu Dharma was uppermost in the minds of Madhava Vidyaranya, Samartha Ramdas, and Guru Tegh Bahadur. The purpose for which the sword was unsheathed by Harihar and Bukka, Shivaji and the Sikhs, becomes quite clear in many poems written in praise of these heroes by a number of Hindu poets. The purpose, we are told, was to save the cow, the Brahmin, the šikhã, the sûtra, the honour of Hindu women, and the sanctity of Hindu places of worship.”

Sita Ram Goel book The Story of Islamic Imperialism in India

The Story of Islamic Imperialism in India (1994)

Women, Motivation

“The statement of ideas in a poem may have to do with logic. More profoundly, it may be identified with the emotional progression of the poem, in terms of the music and images, so that the poem is alive throughout.
Another, more fundamental statement in poetry, is made through the images themselves — those declarations, evocative, exact, and musical, which move through time and are the actions of a poem.”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), p. 31

Music, Idea, Time

“For it is not metres, but a metre-making argument, that makes a poem, — a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.”

Ralph Waldo Emerson Music

1840s, Essays: Second Series (1844), The Poet

Nature, Passion, Animals

“West Lake flower garden: a desert, now.
Alone, at the window, I read through old pages.
A smudge of rouge, a scent of perfume, but
I still weep.
Is there a Fate for books?
Why mourn for a half-burned poem?
There is nothing, there is no one to question,
and yet this misery feels like my own.
Ah, in another three hundred years
will anyone weep, remembering my fate?”

Nguyễn Du (1765–1820) Vietnamese poet

"Reading Hsiao-ch'ing", in The Harpercollins World Reader: The Modern World, eds. Mary Ann Caws and Christopher Prendergast (HarperCollins Publishers, 1994), ISBN 978-0065013832, p. 1411
Hsiao-Ching was "a seventeenth-century poet who was forced to become a concubine to a man whose jealous primary wife burned almost all of her poems" — David Damrosch, "Global Scripts and the Formation of Literary Traditions", in Approaches to World Literature (2013), p. 98

Fate, Books, Feeling, Flowers

“The number of ways of passing between the traditional two fixed points of man’s life, that is to say, of passing from the self to God, is fixed only by the limitations of space, which is limitless. The eternal philosopher is the eternal pilgrim on that road. It is difficult to take him seriously when he relies on the evidence of the teeth, the throat and the bowels. Yet in the one poem that is unimpeachably divine, the poem of the ascent into heaven, it is possible to say that there can be no faults, since it is precisely the faults of life this poem enables us to leave behind. If the idea of God is the ultimate poetic idea, then the idea of the ascent into heaven is only a little below it.”

Wallace Stevens (1879–1955) American poet

“A Collect of Philosophy”
Opus Posthumous (1955)

Life, God, Way, Idea