Quotes about poet
page 12

“Call it not vain;—they do not err,
Who say, that when the Poet dies,
Mute Nature mourns her worshipper,
And celebrates his obsequies.”

Walter Scott The Lay of the Last Minstrel

Canto V, stanza 1.
The Lay of the Last Minstrel (1805)

Nature

“A lot of poets published their own work then; unlike novels, poetry was short, and therefore cheap to do. We had to print each poem separately, and then disassemble it, as there were not enough a's for the whole book; the cover was done with a lino-block. We printed 250 copies, and sold them through bookstores, for 50 cents each. They now go in the rare book trade for eighteen hundred dollars a pop. Wish I'd kept some.”

Margaret Atwood (1939) Canadian writer

On Writing Poetry (1995)

Books

“The 'open' mind of the poet and artist can sense realities beyond the reach of our normal senses. The real problem is that our materialistic assumptions have a number of false premises built into them: it is only when we recognize this that we see there is no sharp dividing line between the everyday world and the invisible world of the clairvoyant.”

Colin Wilson (1931–2013) author

Source: Beyond the Occult (1988), p. 294

World, Problem, Reality, Sense

“He was a poet of great power, who described the loneliness of military life in the early Forties with unique eloquence and accuracy; he wrote, too, exciting and original love poetry.”

Alun Lewis (1915–1944) Welsh poet

Martin Seymour-Smith, Guide to Modern World Literature (London: Hodder & Stoughton, 1975) vol. 1, p. 353.
Criticism

Love, Life, Loneliness

“Most poets, most good poets even, no longer have the heart to write about what is most terrible in the world of the present: the bombs waiting beside the rockets, the hundreds of millions staring into the temporary shelter of their television sets, the decline of the West that seems less a decline than the fall preceding an explosion.”

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

“Fifty Years of American Poetry”, pp. 332–333
The Third Book of Criticism (1969)

World, Waiting, Heart

“The British monarchy inculcates unthinking credulity and servility. It forms a heavy layer on the general encrustation of our unreformed political institutions. It is the gilded peg from which our unlovely system of social distinction and hierarchy depends. It is an obstacle to the objective public discussion of our own history. It tribalises politics. It entrenches the absurdity of the hereditary principle. It contributes to what sometimes looks like an enfeeblement of the national intelligence, drawing from our press and even from some of our poets the sort of degrading and abnegating propaganda that would arouse contempt if displayed in Zaire or Romania. It is, in short, neither dignified nor efficient.”

Christopher Hitchens (1949–2011) British American author and journalist

1990s, The Monarchy: A Critique of Britain's Favourite Fetish

History, Intelligence, Drawing, Dependency

“At present, I am a poet trying to be a soldier. To tell the truth, I am not interested in writing nowadays, except in so far as writing is the expression of something beautiful … The only sort of book I care to write about the war is the sort people will read after the war is over — a century after it is over.”

Joyce Kilmer (1886–1918) American poet, editor, literary critic, soldier

A letter home, included in Joyce Kilmer, Poems, Essays and Letters (1918) edited by Robert Holliday

War, People, Truth, Books

“Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

A Defence of Poetry http://www.bartleby.com/27/23.html (1821)

World, Feeling, Understanding, Singing

“The poet, says Baudelaire, is a decipherer, a Kabbalist of reality, a decoder. Ordinary life, if it is not a message in code, a system of symbols for something else, is unacceptable. It must be a cryptogram; it can't be what it seems. The poet's task is to decode the incomprehensible obvious. His life becomes a deliberately constructed paranoia, as Rimbaud, Breton, Artaud were to say generations later.
As we read him, we discover that Baudelaire believes in the charm, the incantation, the cryptogram, but he ceases to believe in the secret. The spirits have not risen. The code says nothing. This is the mystery concealed by the disorder of the world. The visionary experience ends in itself; the light of the illuminated comes only from and falls only on himself.”

Kenneth Rexroth (1905–1982) American poet, writer, anarchist, academic and conscientious objector

Baudelaire: Poems (p. 175)
Classics Revisited (1968)

Life, Secret, World, Reality

“It has been quite humorous watching the acolytes of the iPhone sink into deeper and deeper denial as Android blows through obstacles at ever-accelerating speed. It would require an epic poet, or perhaps a psychiatrist specializing in religious mania, to do full justice to this topic.”

Eric S. Raymond (1957) American computer programmer, author, and advocate for the open source movement

The Smartphone Wars: The Stages of Apple-Cultist Denial http://esr.ibiblio.org/?p=3132 in Armed and Dangerous (18 April 2011)

Justice, Speed

“The poet is a brother speaking to a brother of "a moment of their other lives" — a moment that had been buried beneath the dust of the busy world.”

Edith Sitwell (1887–1964) British poet

"The Poet's Vision" (1959)

World, Business

“We all observe that the reality of sexual intercourse is far from perfect; yet this does not convince us that sex is a greatly overrated occupation. Every time a man glimpses a pretty girl pulling up her stocking, he catches a glimpse of what might be called the "primal sexual vision." It is unfortunate that there seems to be a certain disparity between this primal vision and most ordinary sexual experience. But it dances in front of us like a will-o'-the-wisp, luring us into tormented effort. It can lead novelists to write novels, poets to write poems, and musicians to write symphonies.”

Colin Wilson book The Misfits: A Study of Sexual Outsiders

Source: The Misfits: A Study of Sexual Outsiders (1988), p. 39

Sex, Girl, Reality, Effort

“Shri Krishna says in the Gita, “I am Vyas among Munis [sages].” Veda Vyas is the heart of our culture, the founder and spokesperson of Vedic dharma. Vyasa was endowed with divine energy. He was great yogi, unfathomable scholar, poet par excellence, accomplished philosopher, great preacher, mighty metaphysical as well as a revered singer and preacher of Krishna bhakthi. Vyasa was a personification of Vishnu and god incarnate.”

Vyasa central and revered figure in most Hindu traditions

in P.44.
Sources, Glimpses of Indian Culture

God, Heart

“And as for the close connection between philosophy and poetry, we can refer to a little-known statement by Thomas Aquinas in his Commentary on Aristotle's Metaphysics [I, 3]: the Philosopher is akin to the Poet in this, that both are concerned with the mirandum, the "wondrous," the astonishing, or whatever calls for astonishment or wonder. This statement is not that easy to fathom, since Thomas, like Aristotle, was a very sober thinker, completely opposed to any Romantic confusion of properly distinct realms. But on the basis of their common orientation towards the "wonderful" (the mirandum — something not to be found in the world of work!) — on this basis, then, of this common transcending-power, the philosophical act is related to the "wonderful," is in fact more closely related to it than to the exact, special sciences; to this point we shall return.”

Josef Pieper (1904–1997) German philosopher

Source: Leisure, the Basis of Culture (1948), The Philosophical Act, pp. 68–69
The Aquinas quote cited — "The reason why the philosopher can be compared to the poet is that both are concerned with wonder" — is the epigraph of "The Philosophical Act".

World, Science

“All poets who, when reading from their own works, experience a choked feeling, are major. For that matter, all poets who read from their own works are major, whether they choke or not.”

E. B. White (1899–1985) American writer

"How to Tell a Major Poet from a Minor Poet" in The New Yorker (1938); reprinted in Quo Vadimus: Or, the Case for the Bicycle (1939)

Feeling, Reading

“How does the poet speak to men with power, but by being still more a man than they?”

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

Burns.
1820s, Critical and Miscellaneous Essays (1827–1855)

Men

“Well, I first, uh, started doing this after World War II when I was kind of tramping around France, Germany, and the lowlands, and I came upon these frightened, waif-type children, and, uh, they actually looked like rats running around and they acted like it. And, uh, I started painting this type of thing of these chi—these children, they didn't even seem to know why—these children didn't even seem to know how to talk; they couldn't even pray. And it started like, uh, an artist work—it-it does—you don't know how to talk about it, but the painting can talk for you, and I think this is the difference between an artist and a poet and a writer: in other words, an artist, uh, paints what he has to say, where other people do it in, uh, in more verbal type of…”

Walter Keane (1915–2000) American plagiarist

Interviewed https://www.youtube.com/watch?v=9WgStC6fvtM by Gary E. Park (circa 1964). 1964

War, Children, People, World

“Poets don’t draw. They unravel their handwriting and then tie it up again, but differently.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

Dessins (1924), as quoted by Pierre Chanel in "A Thousand Flashes of Genius", Jean Cocteau and the French Scene (1984)

Drawing

“…the work of a poet who has a real talent, but not for words.”

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

of The Listening Landscape by Marya Zaturenska; “Town Mouse, Country Mouse”, p. 69
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“How deep, how merciless, the love represt,
That robs the silent midnight of its rest;
That sees in gather'd crowds but one alone;
That hears in mingled footsteps only one;
That turns the poet's page, to only find
Some mournful image for itself design'd;
That seeks in music, but the plaining tone
Which secret sorrow whispers is its own!”

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

The Neglected One
The Venetian Bracelet (1829)

Love, Secret, Music

“Great poets are great copy editors.”

Dejan Stojanovic (1959) poet, writer, and businessman

Life Is Poetry http://www.poemhunter.com/poem/life-is-poetry/ From the poems written in English

“Alas that the artist… may not content himself with the inward enjoyment of the beautiful, but must chase the fitting mystery beyond the verge of his ethereal domain, and crush its frail being in seizing it with a material grasp. Owen Warland felt the impulse to give external reality to his ideas as irresistibly as any of the poets or painters who have arrayed the world in a dimmer and fainter beauty, imperfectly copied from the richness of their visions.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

"The Artist of the Beautiful" (1844)

World, Beauty, Idea, Reality

“When you say of the making of ballads and songs that it is woman's work
You forget all the fighting poets that have been in every land.”

Joyce Kilmer (1886–1918) American poet, editor, literary critic, soldier

Main Street and Other Poems (1917), The Proud Poet

Fight, Forgetting

“Rumi, a 13th-century Sufi poet, says, "Out beyond the worlds of right-doings and wrong-doings, there is a field. I will meet you there. When the soul lies down in that grass, the world is too full to talk about. Ideas, language, even the phrase 'each other' no longer makes any sense." I humbly add that out beyond the worlds of war and peace, there is a field, and there are many women and men [who] are meeting there. Let us make this field a much bigger place. Let us all meet in that field.”

Zainab Salbi (1969) Iraqi American author, women's rights activist

Speech at TEDGlobal 2010

Women, Men, War, World

“Khamenei is not the first ruler of Iran with whom poets have run into trouble. For some 12 centuries poetry has been the Iranian people’s principal medium of expression. Iran may be the only country where not a single home is found without at least one book of poems. Initially, Persian poets had a hard time to define their place in society. The newly converted Islamic rulers suspected the poets of trying to revive the Zoroastrian faith to undermine the new religion. Clerics saw poets as people who wished to keep the Persian language alive and thus sabotage the ascent of Arabic as the new lingua franca. Without the early Persian poets, Iranians might have ended up like so many other nations in the Middle East who lost their native languages and became Arabic speakers. Early on, Persian poets developed a strategy to check the ardor of the rulers and the mullahs. They started every qasida with praise to God and Prophet followed by panegyric for the ruler of the day. Once those “obligations” were out of the way they would move on to the real themes of the poems they wished to compose. Everyone knew that there was some trick involved but everyone accepted the result because it was good. Despite that modus vivendi some poets did end up in prison or in exile while many others spent their lives in hardship if not poverty. However, poets were never put to the sword. The Khomeinist regime is the first in Iran’s history to have executed so many poets. Implicitly or explicitly, some rulers made it clear what the poet couldn’t write. But none ever dreamt of telling the poet what he should write. Khamenei is the first to try to dictate to poets, accusing them of “crime” and” betrayal” if they ignored his injunctions.”

Amir Taheri (1942) Iranian journalist

When the Ayatollah Dictates Poetry http://www.aawsat.net/2015/07/article55344336/when-the-ayatollah-dictates-poetry, Ashraq Al-Awsat (Jul 11, 2015).

God, People, Books, Faith

“Since neither Robbins, nor Hart, nor any other Sophisticated Theologian™ or Hipster Poet has produced any evidence for God that would convince someone who wasn’t already a believer or an incipient believer, we needn’t take their claims seriously. The reason people like Robbins sneer at the New Atheists’ call for evidence is because believers don’t have any.”

Jerry Coyne (1949) American biologist

" Believer Michael Robbins exhibits Maru’s Syndrome on The Dish http://whyevolutionistrue.wordpress.com/2014/07/26/believer-michael-robbins-exhibits-marus-syndrome-on-the-dish/" July 26, 2014

God, People

“No age or condition is without its heroes. The least incapable general in a nation is its Cæsar, the least imbecile statesman its Solon, the least confused thinker its Socrates, the least commonplace poet its Shakespeare.”

George Bernard Shaw (1856–1950) Irish playwright

#136
1900s, Maxims for Revolutionists (1903)

Age

“In the midst of the activities that distract me [shooting partridges in the woods], when I remember a few lines of poetry, when I recall some sublime painting, my spirit is roused to indignation and spurns the vain sustenance of the common herd. And in the same way, when I think of those I love, my soul clings eagerly to the elusive trace of these cherished ideas. Yes, I am sure of it, great friendship is like great genius, and the remembrance of a great and enduring friendship is like that of great works of genius… What a life would be that of two great poets who loved each other as we do! That would be too great for human kind.”

Eugène Delacroix (1798–1863) French painter

Quote in a letter to his friend J. B. Pierret, 18 September 1818, from the Forest of Boixe; as quoted in Eugene Delacroix – selected letters 1813 – 1863”, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 41
1815 - 1830

Love, Life, Friendship, Way

“Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned.”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“a poet's love
Is immortality!”

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

The Minstrel of Portugal from The London Literary Gazette (21st September 1822)
The Improvisatrice (1824)

Love

“The work of the painter, the poet or the musician, like the myths and symbols of the savage, ought to be seen by us, if not as a superior form of knowledge, at least as the most fundamental and the only one really common to us all; scientific thought is merely the sharp point — more penetrating because it has been whetted on the stone of fact, but at the cost of some loss of substance — and its effectiveness is to be explained by its power to pierce sufficiently deeply for the main body of the tool to follow the head.”

Claude Lévi-Strauss book Tristes Tropiques

Source: Tristes Tropiques (1955), Chapter 13 : Pioneer Zone, pp.123-124

Knowledge, Loss

“The children of fighter pilots tell different stories than other kids do. None of our fathers can write a will or sell a life insurance policy or fill out a prescription or administer a flu shot or explain what a poet meant. We tell of fathers who land on aircraft carriers at pitch-black night with the wind howling out of the China Sea. Our fathers wiped out aircraft batteries in the Philippines and set Japanese soldiers on fire when they made the mistake of trying to overwhelm our troops on the ground. Your Dads ran the barber shops and worked at the post office and delivered the packages on time and sold the cars, while our Dads were blowing up fuel depots near Seoul, were providing extraordinarily courageous close air support to the beleaguered Marines at the Chosin Reservoir, and who once turned the Naktong River red with blood of a retreating North Korean battalion. We tell of men who made widows of the wives of our nations' enemies and who made orphans out of all their children. You don't like war or violence? Or napalm? Or rockets? Or cannons or death rained down from the sky? Then let's talk about your fathers, not ours. When we talk about the aviators who raised us and the Marines who loved us, we can look you in the eye and say "you would not like to have been American's enemies when our fathers passed overhead". We were raised by the men who made the United States of America the safest country on earth in the bloodiest century in all recorded history. Our fathers made sacred those strange, singing names of battlefields across the Pacific: Guadalcanal, Iwo Jima, Okinawa, the Chosin Reservoir, Khe Sanh and a thousand more. We grew up attending the funerals of Marines slain in these battles. Your fathers made communities like Beaufort decent and prosperous and functional; our fathers made the world safe for democracy.”

Pat Conroy (1945–2016) American novelist

Eulogy for a Fighter Pilot (1998)

Love, Life, Death, Men

“I'm just interested in finding out what the hell goes. I mean do you have to be a goddam bohemian type, or dead, for Chrissake, to be a real poet? What do you want — some bastard with wavy hair?”

Jerome David Salinger book Franny and Zooey

Source: Franny and Zooey (1961), Franny (1955), p. 19

Hell, Dead

“There is an extra loss for a Welsh poet writing in English, and that is, the longing for Welsh, the secret language.. of all the centuries of speech and song.”

Gillian Clarke (1937) Welsh poet

Modern Women Poets (2005)

Secret, Loss

“When the poet said that for him poetry was not a purpose, but a passion, he was also expressing the feelings of the true scientist to his own field.”

Varadaraja V. Raman (1932) American physicist

THOUGHTS ON SCIENCE AND LITERATURE’’
Truth and Tension in Science and Religion

Feeling, Passion

“Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed.”

Nathaniel Hawthorne book The Marble Faun

Source: The Marble Faun (1860), Chapter XLI: Snowdrops and Maidenly Delights

Thinking, Reading

“Yes, it is a painful lot to be a poet and to love both God and man by the farthest northern seas!”

Halldór Laxness (1902–1998) Icelandic author

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

Love, God, Pain, Sea

“I was not a poet. I felt no consolation in this knowledge, but only a red anger that evolution could allow such sensitivity and such inadequacy to coexist in the same mind. In one ego, my ego, screaming like a hare caught in a gin.”

John Fowles book Daniel Martin

Daniel Martin (1977)

Knowledge, Anger

“The weakness of art is that great poems do not ennoble politics, as they certainly should, and the trouble with politics is that they inspire poets only to mockery and scorn.”

William Saroyan (1908–1981) American writer

Something About a Soldier (1940)

Art

“We simply gow up. In Florence, at age fifty-four, I was a brash youth. Had I known the Duse was there her poet chap might have found dangerous competition, ha-ha. The only trouble is that now, nearing eighty, I keep discovering that damned war has made the world older than I. The world frowns now on youth in a vacuum, it insists youth be turned-to, utilized, exploited. No time for pranks. No more Vheissus.”

Thomas Pynchon book V.

Source: V. (1963), Chapter Nine, Part II, Godolphin

War, Youth, Age, World

“It is the business of a comic poet to paint the vices and follies of human kind.”

William Congreve The Double Dealer

Epistle dedicatory
The Double Dealer (1694)

Business, Painting

“The war may present or force a subject; it may bring out a poet, or shock him onto a sensibility of silence. It may kill him. Or germinate the best war poems for exfoliation years after the event.”

Richard Eberhart (1904–2005) American poet

The War Poets ed. Oscar Williams. New York 1945
The War Poets

War, Silence

“In 1929, Heisenberg spent some time in India as the guest of the celebrated Indian poet Rabindranath Tagore, with whom he had long conversations about science and Indian philosophy. This introduction to Indian thought brought Heisenberg great comfort, he told me. He began to see that the recognition of relativity, interconnectedness, and impermanence as fundamental aspects of physical reality, which had been so difficult for himself and his fellow physicists, was the very basis of the Indian spiritual traditions. “After these conversations with Tagore,” he said, “some of the ideas that had seemed so crazy suddenly made much more sense. That was a great help for me.””

Fritjof Capra (1939) American physicist

Fritjof Capra, Uncommon Wisdom, 1988, p.43
Uncommon Wisdom (1988)

Idea, Reality, Sense, Science

“Once man was tossed about helplessly and incessantly by the wind that blew through him—now the toughest of all plants is more sensitive, more easily moved than he. In other words, death is better than life, nothing is better than anything. Nor is this a silly adolescent pessimism peculiar to Housman, as so many critics assure you. It is better to be dead than alive, best of all never to have been born—said a poet approvingly advertised as seeing life steadily and seeing it whole; and if I began an anthology of such quotations there it would take me a long time to finish. The attitude is obviously inadequate and just as obviously important.”

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

“Texts from Housman”, p. 27
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life, Death, Time, Dead

“It is allowed to poets to lie.”
Poetis mentiri licet.

Pliny the Younger (61–113) Roman writer

Letter 21.
Letters, Book VI

Lie

“I have worked for this restlessness oriented toward inward deepening. But “without authority.” Instead of conceitedly making myself out to be a witness for the truth and causing others rashly to want to be the same, I am an unauthorized poet who influences by means of the ideas.”

Sören Kierkegaard book For Self-Examination

Soren Kierkegaard, For Self-Examination, Hong p. 21
1850s, For Self-Examination (1851), What is Required in Order to Look at Oneself with True Blessing in the Mirror of the Word?

Truth, Idea

“Hail! great incendiary poets, you Futurist friends!.. Hail! Paolo Buzzi, Federico de Maria, Enrico Cavacchioli, Corrado Govoni, Libero Altomare! Let's flee the city of Paralysis, devastate Gout, and lay the great military Railroad along the flanks of Gorisankar, summit of the world!
We left the city with firm and nimble strides, as if dancing in our desire to find everywhere obstacles to overcome. Around us, and within our hearts, the immense intoxication of the old European sun as it swayed between wine-colored clouds... That sun struck us in the face with its great torch of flaming purple, then flared out, vomiting itself into the infinite.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

1900's, Let's Murder the Moonlight!' (1909)
Source: Poggi, Christine, and Laura Wittman, eds. Futurism: An Anthology. Yale University Press, 2009. p. 54: Lead paragraph

World, Color, Wine, Sun

“When we examine the moments, acts, and statements of all kinds of people- not only the grief and ecstasy of the greatest poets, but also the huge unhappiness of the average soul, as evidenced by the innumerable strident words of abuse, hatred, contempt, mistrust, and scorn that forever grate upon our ears as the manswarm passes us in the streets -- we find, I think, that they are all suffering from the same thing. The final cause of their complaint is loneliness.”

Thomas Wolfe (1900–1938) American writer

The Anatomy of Loneliness (1941)

People, Soul, Thinking, Suffering

“Poetry is not a branch of analytical philosophy. It is a primal, holistic kind of human communication. A poet needs innocence as much as knowledge, emotion as much as intelligence, vulnerability as much as rigor. A poet can become too smart for his or her own good and forget the childlike pleasures of sound and story, sense, and sensuality that poetry should provide. The challenge for a writer is to master the medium of poetry without losing that inner innocence.”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Pleasure, Intelligence, Communication, Knowledge

“The poet who writes "free" verse is like Robinson Crusoe on his desert island: he must do all his cooking, laundry and darning for himself. In a few exceptional cases, this manly independence produces something original and impressive, but more often the result is squalor — dirty sheets on the unmade bed and empty bottles on the unswept floor.”

W. H. Auden book The Dyer's Hand

"Writing", p. 22
The Dyer's Hand, and Other Essays (1962)

Cooking

“As a poet I hold the most archaic values on earth. They go back to the upper Paleolithic: the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying initiation and rebirth, the love and ecstasy of the dance, the common work of the tribe. I try to hold both history and wilderness in mind, that my poems may approach the true measure of things and stand against the unbalance and ignorance of our times.”

Gary Snyder (1930) American poet

"Statement for the Paterson Society" (1961), as quoted in David Kherdian, Six Poets of the San Francisco Renaissance: Portraits and Checklists (1967), p. 52. Snyder repeated the first part of this quote (up to "… common work of the tribe.") in the introduction to the revised edition of Gary Snyder, Myths & Texts (1978), p. viii.

Love, History, Solitude, Time

“I'm no novelist. Or anything else, I suppose, except, just possibly a poet, once in a while.”

Vernon Scannell (1922–2007) British boxer and poet

Scannell's diary entry - 28 December 1966 James Andrew Taylor - Walking Wounded: The Life and poetry of Vernon Scannell O U P 2013 ISBN 9780199603183

“The German Rendering. The German language was divided into as many dialects as tribes and states, and none served as a bond of literary union. Saxons and Bavarians, Hanoverians and Swabians, could scarcely understand each other. Each author wrote in the dialect of his district, Zwingli in his Schwyzerdütsch. "I have so far read no book or letter," says Luther in the preface to his version of the Pentateuch (1523), in which the German language is properly handled. Nobody seems to care sufficiently for it; and every preacher thinks he has a right to change it at pleasure, and to invent new terms." Scholars preferred to write in Latin, and when they attempted to use the mother tongue, as Reuchlin and Melanchthon did occasionally, they fell far below in ease and beauty of expression.
Luther brought harmony out of this confusion, and made the modern High German the common book language. He chose as the basis the Saxon dialect, which was used at the Saxon court and in diplomatic intercourse between the emperor and the estates, but was bureaucratic, stiff, heavy, involved, dragging, and unwieldy. He popularized and adapted it to theology and religion. He enriched it with the vocabulary of the German mystics, chroniclers, and poets. He gave it wings, and made it intelligible to the common people of all parts of Germany.”

Philip Schaff (1819–1893) American Calvinist theologian

Which Greek and Hebrew texts of the Bible did Luther use?

People, Pleasure, Books, Religion

“Go ahead. Fire your feeble guns. You won't kill anything. There will always be poets in the world.”

William Saroyan (1908–1981) American writer

My Heart's in the Highlands (1939)

World

“In this consists the difference between painting and poetry : the painter reproduces others, — the poet reproduces himself.”

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

The Monthly Magazine

Painting

“Poets are being pursued by the philosophers today, out of the poverty of philosophy. God damn it, you might think a man had no business to be writing, to be a poet unless some philosophic stinker gave him permission.”

William Carlos Williams (1883–1963) American poet

Letter to James Laughlin (14 January 1944), published in The Selected Letters of William Carlos Williams (1957) edited by John C. Thirlwall, p. 219
General sources

God, Business, Thinking

“We find the Muslim historians going into raptures as they describe scenes of desecration and destruction. For Amîr Khusrû it was always an occasion to show off the power of his poetic imagination. When Jalãlu’d-Dîn Khaljî wrought havoc at Jhain, “A cry rose from the temples as if a second Mahmûd had taken birth”. The temples in the environs of Delhi were “bent in prayers” and “made to do prostration”, by Alãu’d-Dîn Khaljî. When the temple of Somnath was destroyed and its debris thrown into the sea towards the west, the poet rose to his full height. “So the temple of Somnãth,” he wrote, “was made to bow towards the Holy Mecca, and the temple lowered its head and jumped into the sea, so you may say that the building first said its prayers and then had a bath.””

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume II (1993)

Imagination, Birth, Cry, Sea

“He was then in his fifty-fourth year, when even in the case of poets reason and passion begin to discuss a peace treaty and usually conclude it not very long afterwards.”

Georg Christoph Lichtenberg (1742–1799) German scientist, satirist

B 30
Aphorisms (1765-1799), Notebook B (1768-1771)

Peace, Passion

“In my opinion Mr. Moore is a greater poet than Mr. Yeats. He has lived obscurely, and has not displayed Mr. Yeats's talent for self-dramatization; for these reasons and others he has never become a public figure or a popular writer.”

Thomas Sturge Moore (1870–1944) British playwright, poet and artist

Yvor Winters Uncollected Essays and Reviews (Chicago: Swallow Press, 1973) p. 139.
Criticism

“Art in its unblemished nature, like religion and the search for truth, is thus literally a sacrament. The artist's calling and genius are sacred, and the men of old spoke with strict accuracy when they called the poet holy, and directed that he be venerated as a prophet.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.199-200

Men, Truth, Religion, Art

“At certain times I read a lot of poetry. My favorite poets are Shelley and Keats. Rimbaud is so identifiable. Lord Byron. I don't know. Lately if I read poems, it's like I can always hear the guitar. Even with Shakespeare's sonnets I can hear a melody because it's all broken up into timed phrases so I hear it. I always keep thinking, 'What kind of song would this be?”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Interview with Denise Worrell, "'It's All Right in Front': Dylan on Life and Rock" in Time Magazine (25 November 1985)

Thinking, Time, Reading

“The word `Sanskrit' means “prepared, pure, refined or prefect”. It was not for nothing that it was called the `devavani' (language of the Gods). It has an outstanding place in our culture and indeed was recognized as a language of rare sublimity by the whole world. Sanskrit was the language of our philosophers, our scientists, our mathematicians, our poets and playwrights, our grammarians, our jurists, etc. In grammar, Panini and Patanjali (authors of Ashtadhyayi and the Mahabhashya) have no equals in the world; in astronomy and mathematics the works of Aryabhata, Brahmagupta and Bhaskara opened up new frontiers for mankind, as did the works of Charaka and Sushruta in medicine.”

Pāṇini ancient Sanskrit grammarian

Justice Markandey Katju in Speech delivered on 13.10.2009 in the Indian Institute of Science Bangalore in: Sanskrit As A Language Of Science http://www.iisc.ernet.in/misc/bang_speech.html, Indian Institute of Science.

God, World, Mathematics

“Somewhere in me was a rod of steel to which I clung. I’d had a vision, as good as any vision given to any poet, sage, or prophet in the past. I wasn’t elated, I wasn’t confident even, but somehow, I knew, and with the end of doubt had come the death of despair.”

Tanith Lee book Drinking Sapphire Wine

Part 1, Chapter 10 (p. 57)
Drinking Sapphire Wine (1977)

Death, Confidence, Past, Despair

““A book,” says Vandos of Ur-Amakir, “is a fortress, a place of weeping, the key to a desert, a river that has no bridge, a garden of spears.” Fanlewas the Wise, the great theologian of Avalei, writes that Kuidva, the God of Words, is “a taskmaster with a lead whip.” Tala of Yenith is said to have kept her books in an iron chest that could not be opened in her presence, else she would lie on the floor, shrieking. She wrote: “Within the pages there are fires, which can rise up, singe the hair, and make the eyelids sting.” Ravhathos called the life of the poet “the fair and fatal road, of which even the dust and stones are dear to my heart,” and cautioned that those who spend long hours engaged in reading or writing should not be spoken to for seven hours afterward. “For they have gone into the Pit, into which they descend on Slopes of Fire, but when they rise they climb on a Ladder of Stone.” Hothra of Ur-Brome said that his books were “dearer than father or mother,” a sentiment echoed by thousands of other Olondrians through the ages, such as Elathuid the Voyager, who explored the Nissian coast and wrote: “I sat down in the wilderness with my books, and wept for joy.” And the mystic Leiya Tevorova, that brave and unfathomable soul, years before she met her tragic death by water, wrote: “When they put me into the Cold, above the white Lake, in the Loathsome Tower, and when Winter came with its cruel, hard, fierce, dark, sharp and horrible Spirit, my only solace was in my Books, wherein I walked like a Child, or shone in the Dark like a Moth which has its back to a sparkling Fire.””

Sofia Samatar book A Stranger in Olondria

Source: A Stranger in Olondria (2013), Chapter 3, “Doorways” (p. 19; the first sentence is echoed on p. 273)

Life, Death, God, Lie

“Guru: Today I will discourse upon the violence in astronomy.
Disciple: Revered Sir! Will you be describing the violent phenomenon in the Universe?
Guru: Yes, and I will also dwell upon the controversies amongst the astronomers about what these events imply – controversies which are no less violent than the phenomena themselves

The one aspect of the star-studded night sky which impresses the casual observer most is its tranquility. The peace and quiet of the heavens with the marked contrast to the hurly burly of life on the earth have inspired poets, philosophers, and religious thinkers from time immemorial. Even the amateur astronomer viewing the night sky from his proverbial roof top telescope sees a picture which changes very slowly from night to night. The occasional visit of comet, the fall of a meteorite, or in these modern times the passing of a man made satellite are examples of events which introduce transitory variation on an apparently steady cosmic theme.”

Jayant Narlikar (1938) Indian physicist

Source: Jayant V. Narlikar Violent Phenomena in the Universe http://books.google.com/books?id=VFbCAgAAQBAJ&printsec=frontcover, Courier Dover Publications, 16 October 2012, p. 1

Life, Peace, Star, Universe

“And mighty poets in their misery dead.”

William Wordsworth (1770–1850) English Romantic poet

Stanza 17.
Resolution and Independence (1807)

Dead

“The poet…nothing affirmeth, and therefore never lieth.”

Philip Sidney (1554–1586) English diplomat

Page 103.
An Apology of Poetry, or The Defence of Poesy (1595)

“Homer excels in Genius, Virgil in Judgment. Homer as conscious of his great Riches and Fullness entertains the Reader with great Splendor and Magnificent Profusion. Virgil's Dishes are well chosen, and tho not Rich and Numerous, yet serv'd up in great Order and Decency. Homer's Imagination is Strong, Vast and Boundless, an unexhausted Treasure of all kinds of Images; which made his Admirers and Commentators in all Ages affirm, that all sorts of Learning were to be found in his Poems. Virgil's Imagination is not so Capacious, tho' his Ideas are Clear, Noble, and of great Conformity to their Objects. Homer has more of the Poetical Inspiration. His Fire burns with extraordinary Heat and Vehemence, and often breaks out in Flashes, which Surprise, Dazle and Astonish the Reader: Virgil's is a clearer and a chaster Flame, which pleases and delights, but never blazes in that extraordinary and surprising manner. Methinks there is the same Difference between these two great Poets, as there is between their Heros. Homer's Hero, Achilles, is Vehement, Raging and Impetuous. He is always on Fire, and transported with an immoderate and resistless Fury, performs every where Miraculous Atchievements, and like a rapid Torrent overturns all things in his way. Æneas, the Hero of the Latine Poet, is a calm, Sedate Warriour. He do's not want Courage, neither has he any to spare: and the Poet might have allowed him a little more Fire, without overheating him. As for Invention, 'tis evident the Greek Poet has mightily the advantage. Nothing is more Rich and Fertile than Homer's Fancy. He is Full, Abundant, and Diffusive above all others. Virgil on the other hand is rather dry, than fruitful. 'Tis plain the Latin Poet in all his famous Æneis, has very little, if any Design of his own …”

Richard Blackmore (1654–1729) English poet and physician

Preface to King Arthur http://d.lib.rochester.edu/camelot/text/blackmore-king-arthur-I (1697)

Age, Way, Imagination, Idea

“Every really able man, in whatever direction he work,—a man of large affairs, an inventor, a statesman, an orator, a poet, a painter,—if you talk sincerely with him, considers his work, however much admired, as far short of what it should be.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Immortality 1870s, Society and Solitude (1870), Books, Letters and Social Aims http://www.rwe.org/comm/index.php?option=com_content&task=category&sectionid=5&id=74&Itemid=149 (1876)

Sincerity

“Almost all the noblest things that have been achieved in the world, have been achieved by poor men; poor scholars, poor professional men, poor artisans and artists, poor philosophers, poets, and men of genius.”

Albert Pike book Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Knight of the Royal Axe, or Prince of Libanus, p. 347

Men, World

“The poet creates it; the people by recitation recreate it. Poet and reader (hearer) are moments of the same reality.”

Edward Hirsch (1950)

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

People, Reality

“Written poetry is worth reading once, and then should be destroyed. Let the dead poets make way for others. Then we might even come to see that it is our veneration for what has already been created, however beautiful and valid it may be, that petrifies us.”

Antonin Artaud (1896–1948) French-Occitanian poet, playwright, actor and theatre director

Source: The Theatre and Its Double (1938, translated 1958), Ch. 6

Beauty, Way, Reading, Dead

“The duration of religions has always been dependent on human need for them. Christianity has been a blessing for suffering humanity during eighteen centuries ; it has been providential, divine, holy. All that it has done in the interest of civilisation, curbing the strong and strengthening the weak, binding together the nations through a common sympathy and a common tongue, and all else that its apologists have urged in its praise all this is as nothing compared with that great consolation it has bestowed on man. Eternal praise is due to the symbol of that suffering God, the Saviour with the crown of thorns, the crucified Christ, whose blood was as a healing balm that flowed into the wounds of humanity. The poet especially must acknowledge with reverence the terrible sublimity of this symbol.”

Heinrich Heine (1797–1856) German poet, journalist, essayist, and literary critic

Religion and Philosophy in Germany, A fragment https://archive.org/stream/religionandphilo011616mbp#page/n5/mode/2up. p. 25 Context: I believe in progress; I believe that happiness is the goal of humanity, and I cherish a higher idea of the Divine Being than those pious folk who suppose that man was created only to suffer. Even here on earth I would strive, through the blessings of free political and industrial institutions, to bring about that reign of felicity which, in the opinion of the pious, is to be postponed till heaven is reached after the day of Judgment. The one expectation is perhaps as vain as the other; there may be no resurrection of humanity either in a political or in a religious sense. Mankind, it may be, is doomed to eternal misery; the nations are perhaps under a perpetual curse, condemned to be trodden under foot by despots, to be made the instruments of their accomplices and the laughing-stocks of their menials. Yet, though all this be the case, it will be the duty even of those who regard Christianity as an error still to uphold it; and men must journey barefoot through Europe, wearing monks' cowls, preaching the doctrine of renunciation and the vanity of all earthly possessions, holding up before the gaze of a scourged and despised humanity the consoling Cross, and promising, after death, all the glories of heaven. The duration of religions has always been dependent on human need for them. Christianity has been a blessing for suffering humanity during eighteen centuries; it has been providential, divine, holy. All that it has done in the interest of civilisation, curbing the strong and strengthening the weak, binding together the nations through a common sympathy and a common tongue, and all else that its apologists have urged in its praise all this is as nothing compared with that great consolation it has bestowed on man. Eternal praise is due to the symbol of that suffering God, the Saviour with the crown of thorns, the crucified Christ, whose blood was as a healing balm that flowed into the wounds of humanity. The poet especially must acknowledge with reverence the terrible sublimity of this symbol.

God, Religion, Strong, Suffering

“The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other according to their relative worth and dignity.”

Samuel Taylor Coleridge book Biographia Literaria

Source: Biographia Literaria (1817), Ch. XIV.
Context: The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other according to their relative worth and dignity. He diffuses a tone and spirit of unity, that blends, and (as it were) fuses, each into each, by that synthetic and magical power, to which I would exclusively appropriate the name of Imagination.

Soul, Perfection

“The most outstanding intellect of this generation, the greatest poet that the Hellenistic age produced, and historically one of the most important figures in the development of Graeco-Roman (and hence European) literature.”

Callimachus (-310–-240 BC) ancient poet and librarian

A. W. Bulloch, in The Cambridge History of Classical Literature (1989), edited by P. E. Easterling and B. M. W. Knox, vol. 1, part 4, p. 9
Criticism

Age, Literature

“There is a property in the horizon which no man has but he whose eye can integrate all the parts, that is, the poet.”

Ralph Waldo Emerson book Nature

Source: 1830s, Nature http://www.emersoncentral.com/nature.htm (1836), Ch. 1, Nature Context: The charming landscape which I saw this morning, is indubitably made up of some twenty or thirty farms. Miller owns this field, Locke that, and Manning the woodland beyond. But none of them owns the landscape. There is a property in the horizon which no man has but he whose eye can integrate all the parts, that is, the poet. This is the best part of these men's farms, yet to this their warranty-deeds give no title. To speak truly, few adult persons can see nature. Most persons do not see the sun. At least they have a very superficial seeing. The sun illuminates only the eye of the man, but shines into the eye and the heart of the child. The lover of nature is he whose inward and outward senses are still truly adjusted to each other; who has retained the spirit of infancy even into the era of manhood. His intercourse with heaven and earth, becomes part of his daily food.

Parting

“I do not know a poet in the Anglo-Saxon world who makes his living by poetry. Every single one of them makes his living in some other way.”

Vachel Lindsay (1879–1931) American poet

What It Means to Be a Poet in America (1926)
Context: Most of the good poetry, as I have said, has appeared in pamphlet form before the poet was known to the public. It is utterly impossible to make an income from verse, and one must win his worldly standing, and earn his living some other way. One of the most distinguished of the Middle Western poets supports himself by writing a movie column once a day. I do not know a poet in the Anglo-Saxon world who makes his living by poetry. Every single one of them makes his living in some other way.

World, Way

“We fancy it rhetoric, when we speak of eminent virtue. We do not yet see that virtue is Height, and that a man or a company of men, plastic and permeable to principles, by the law of nature must overpower and ride all cities, nations, kings, rich men, poets, who are not.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: First Series (1841), Self-Reliance
Context: Inasmuch as the soul is present, there will be power not confident but agent. To talk of reliance is a poor external way of speaking. Speak rather of that which relies, because it works and is. Who has more obedience than I masters me, though he should not raise his finger. Round him I must revolve by the gravitation of spirits. We fancy it rhetoric, when we speak of eminent virtue. We do not yet see that virtue is Height, and that a man or a company of men, plastic and permeable to principles, by the law of nature must overpower and ride all cities, nations, kings, rich men, poets, who are not.
This is the ultimate fact which we so quickly reach on this, as on every topic, the resolution of all into the ever-blessed ONE. Self-existence is the attribute of the Supreme Cause, and it constitutes the measure of good by the degree in which it enters into all lower forms. All things real are so by so much virtue as they contain.

Men, Law, Nature

“Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor — an infinite Leibniz laboring away darkly and modestly — has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers… directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan.”

Jorge Luis Borges book Tlön, Uqbar, Orbis Tertius

Tlön, Uqbar, Orbis Tertius (1940)
Context: Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor — an infinite Leibniz laboring away darkly and modestly — has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers... directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan. This plan is so vast that each writer's contribution is infinitesimal. At first it was believed that Tlön was a mere chaos, and irresponsible license of the imagination; now it is known that it is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally. Let it suffice for me to recall that the apparent contradictions of the Eleventh Volume are the fundamental basis for the proof that the other volumes exist, so lucid and exact is the order observed in it.

Secret, World

“I think a good deal may be said to extenuate the fault of bad Poets.”

Alexander Pope (1688–1744) eighteenth century English poet

Preface.
The Works of Mr. Alexander Pope (1717)
Context: I think a good deal may be said to extenuate the fault of bad Poets. What we call a Genius, is hard to be distinguish'd by a man himself, from a strong inclination: and if his genius be ever so great, he can not at first discover it any other way, than by giving way to that prevalent propensity which renders him the more liable to be mistaken.

Thinking

“I have designed a decorative and monumental work as a group of subjects representing the three ages of sacred and profane mythology: the Golden Age, the Silver Age and the Iron Age. I have symbolised these different ages by dividing each one into compositions representing the three phases of the day: morning, noon and evening.
The Golden Age comprises three compositions (Adam and childhood):
:1. Prayer at sunrise.
:2. A walk in Paradise or the ecstasy before nature.
:3. All nature asleep.
The Silver Age. The second phase is taken from pagan mythology (Orpheus and youth):
:1. The dream nature is revealed to the senses of the inspired poet.
:2. The song.
: 3. Orpheus in the forest, his lyre broken and he longs for unknown countries and immortality.
The Iron Age (Cain and the maturity of man):
:1. The Sower making the earth productive (production).
:2. The Ploughman (work).
:3. Death (Cain and Abel).
Fourth panel:
The Triumph of Christ.
These three periods of humanity also correspond to the three periods in the life of a man:
The purity of childhood: Adam –
The poetic and unhappy aspirations of youth: Orpheus –
The grievous sufferings and death of mature age: Cain with the redemption of Christ.
D— thought it was an extremely ingenious and intelligent device to have used a figure from pagan antiquity for the cycle of youth and poetry instead of a Biblical figure, because intelligence and poetry are far better personified in these periods which were devoted to art and the imagination than in the Bible which is all sentiment and religiosity.
The Golden Age: the beginning of the world, naïveté, candour, purity. The morning: prayer. Noon: ecstasy and evening: sleep. No passion, nothing but elementary feelings. —
The Silver Age, corresponding to the civilization of humanity, already begins to feel emotion; it is the age of poets. I can only find this cycle in Greece. The morning: inspiration. Noon: song. Evening: tears. —
The Iron Age. Decadence and fall of humanity. I shall represent Cain ploughing and Abel sowing. Noon: Cain rests while Abel tends the altar of the Lord from which smoke, a symbol of purity, rises straight to the heavens. The evening: death at the hands of Cain.
The first death corresponds to the other deaths in the two other paintings: sleep and death of the senses; tears and the death of the heart. Do you understand the progression?
Sleep, though sad, is gentler than tears which, though painful, are gentler than death. Ecstasy is more delightful than song, which is gentler than work. Prayer is superior to dreaming which is more elevated than manual work.”

Gustave Moreau (1826–1898) French painter

Notes to his mother, on The Life of Humanity (1884-6) http://www.wikiart.org/en/gustave-moreau/humanity-the-golden-age-depicting-three-scenes-from-the-lives-of-adam-and-eve-the-silver-age-1886, his composition of a ten image polyptych, p. 48 · Photo of its exhibition on the 3rd Floor of Musée National Gustave Moreau http://en.musee-moreau.fr/house-museum/studios/third-floor Gustave Moreau (1972)

Life, Death, Pain, Youth

“In other words, you must not waste a second of this deliciousness which for him was life and being a great poet. That you savor every, everything that happened. I want to get ripe.”

Maurice Sendak (1928–2012) American illustrator and writer of children's books

NOW interview (2004)
Context: The ripeness was a letter that John Keats wrote to his brother who emigrated to America describing what it was like to have a peach or piece of a peach in his mouth. And it's one of the sexiest things you will ever read of how slow you should take the peach. Don't rush it. Let it go through your palette. Let it lie on your tongue. Let it melt a little bit. Let it run from the corners. It's like describing the most incredible sex orgy. And then, you bite. But, it must be so ripe. It must be so delicious. In other words, you must not waste a second of this deliciousness which for him was life and being a great poet. That you savor every, everything that happened. I want to get ripe.

Life

“Philip Larkin, a big, fat, bald librarian at the University of Hull, was unquestionably England's unofficial laureate: our best-loved poet since the war”

Martin Amis (1949) Welsh novelist

"Political Correctness: Robert Bly and Philip Larkin" (1997)
Context: Philip Larkin, a big, fat, bald librarian at the University of Hull, was unquestionably England's unofficial laureate: our best-loved poet since the war; better loved for our poet than John Betjeman, who was loved also for his charm, his famous beagle, his patrician Bohemianism and his televisual charisma, all of which Larkin notably lacked.
Ten years later, Larkin is now something like a pariah, or an untouchable.

Love, War, Universe

“Poetry (like a grand personality) is a growth of many generations — many rare combinations.
To have great poets, there must be great audiences too.”

Walt Whitman (1819–1892) American poet, essayist and journalist

Complete Prose Works (1892), III. Notes Left Over 3. Ventures, on an Old Theme, p.324 http://books.google.com/books?id=UJA1AAAAMAAJ&pg=PA324 Context: If the United States haven't grown poets, on any scale of grandeur, it is certain that they import, print, and read more poetry than any equal number of people elsewhere — probably more than the rest of the world combined. Poetry (like a grand personality) is a growth of many generations — many rare combinations. To have great poets, there must be great audiences too.

Personality

“After a while one is embarrassed not so much for them as for poetry, which is for these poor poets one more of the openings against which everyone in the end beats his brains out; and one finds it unbearable that poetry should be so hard to write — a game of Pin the Tail on the Donkey in which there is for most of the players no tail, no donkey, not even a booby prize.”

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
Context: Sometimes it is hard to criticize, one wants only to chronicle. The good and mediocre books come in from week to week, and I put them aside and read them and think of what to say; but the "worthless" books come in day after day, like the cries and truck sounds from the street, and there is nothing that anyone could think of that is good enough for them. In the bad type of thin pamphlets, in hand-set lines on imported paper, people's hard lives and hopeless ambitions have expressed themselves more directly and heartbreakingly than they have ever expressed in any work of art: it is as if the writers had sent you their ripped-out arms and legs, with "This is a poem" scrawled on them in lipstick. After a while one is embarrassed not so much for them as for poetry, which is for these poor poets one more of the openings against which everyone in the end beats his brains out; and one finds it unbearable that poetry should be so hard to write — a game of Pin the Tail on the Donkey in which there is for most of the players no tail, no donkey, not even a booby prize.

Game

“The poet's matter being the hitherto experience of the world, and his own, increases with every century.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

Letter to Arthur Hugh Clough (December 1847/early 1848)
Context: Had Shakespeare and Milton lived in the atmosphere of modern feeling, had they had the multitude of new thoughts and feelings to deal with a modern has, I think it likely the style of each would have been far less curious and exquisite. For in a man style is the saying in the best way what you have to say. The what you have to say depends on your age. In the 17th century it was a smaller harvest than now, and sooner to be reaped; and therefore to its reaper was left time to stow it more finely and curiously. Still more was this the case in the ancient world. The poet's matter being the hitherto experience of the world, and his own, increases with every century.

World

“There is much poetry for which most of us do not care, but with a little trouble when we are young we may find one or two poets whose poetry, if we get to know it well, will mean very much to us and become part of ourselves…”

Edward Grey, 1st Viscount Grey of Fallodon (1862–1933) British Liberal statesman

Recreation (1919)
Context: There is much poetry for which most of us do not care, but with a little trouble when we are young we may find one or two poets whose poetry, if we get to know it well, will mean very much to us and become part of ourselves... The love for such poetry which comes to us when we are young will not disappear as we get older; it will remain in us, becoming an intimate part of our own being, and will be an assured source of strength, consolation, and delight.

Parting

“Yet was Rob Roy as wise as brave;
Forgive me if the phrase be strong;—
A Poet worthy of Rob Roy
Must scorn a timid song.”

William Wordsworth (1770–1850) English Romantic poet

Rob Roy's Grave, st. 3.
Memorials of a Tour in Scotland (1803)

“He tried to weigh his soul to see if it was a poet's soul.”

James Joyce book Dubliners

"A Little Cloud"
Dubliners (1914)
Context: He tried to weigh his soul to see if it was a poet's soul. Melancholy was the dominant note of his temperament, he thought, but it was a melancholy tempered by recurrences of faith and resignation and simple joy. If he could give expression to it in a book of poems perhaps men would listen.

Soul

“Great poet, 'twas thy art
To know thyself, and in thyself to be
Whate'er Love, Hate, Ambition, Destiny,
Or the firm, fatal purpose of the Heart
Can make of Man. Yet thou wert still the same,
Serene of thought, unhurt by thy own flame.”

Hartley Coleridge (1796–1849) British poet, biographer, essayist, and teacher

"To Shakespeare"
Poems (1851)
Context: The soul of man is larger than the sky,
Deeper than ocean, or the abysmal dark
Of the unfathomed center. Like that ark,
Which in its sacred hold uplifted high,
O'er the drowned hills, the human family,
And stock reserved of every living kind,
So, in the compass of the single mind,
The seeds and pregnant forms in essence lie,
That make all worlds. Great poet, 'twas thy art
To know thyself, and in thyself to be
Whate'er Love, Hate, Ambition, Destiny,
Or the firm, fatal purpose of the Heart
Can make of Man. Yet thou wert still the same,
Serene of thought, unhurt by thy own flame.

Love, Hate, Art, Heart

“I think a poet is anybody who wouldn't call himself a poet.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Quoted in Robert Shelton's No Direction Home https://books.google.com/books?id=-IefAAAAMAAJ&dq=%22I+think+a+poet+is+anybody+who+wouldn%27t+call+himself+a+poet.%22&focus=searchwithinvolume&q=%22I+think+a+poet+is+anybody+who+wouldn%27t+call+himself+a+poet.+Anybody+who+could+possibly+call+himself+a+poet+just+cannot+be+a+poet.%22 (1986), p. 353 Context: I think a poet is anybody who wouldn't call himself a poet. Anybody who could possibly call himself a poet just cannot be a poet.

Thinking

“I am the poet who once tuned his song
On a slender reed and then leaving the woods
Compelled the fields to obey the hungry farmer,
A pleasing work. But now War's grim and savage …”
Ille ego, qui quondam gracili modulatus avena Carmen, et egressus silvis vicina coegi Ut quamvis avido parerent arva colono, Gratum opus agricolis, at nunc horrentia Martis ...

Virgil (-70–-19 BC) Ancient Roman poet

Ille ego, qui quondam gracili modulatus avena Carmen, et egressus silvis vicina coegi Ut quamvis avido parerent arva colono, Gratum opus agricolis, at nunc horrentia Martis ... Spurious opening lines of the Aeneid (tr. Stanley Lombardo), not found in the earliest manuscripts. Attributed to Virgil on the authority of "the grammarian Nisus", who claimed to have "heard from older men" that Varius had "emended the beginning of the first book by striking out" the four introductory lines, as reported in Suetonius' Life of Vergil http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Suetonius/de_Poetis/Vergil*.html, 42 (Loeb translation). John Conington, in his Commentary on Vergil's Aeneid, remarks: "The external evidence of such a story it is impossible to estimate, but its existence suspiciously indicates that the lines were felt to require apology" (Vol. II, p. 30). Attributed

War

“When a poet is being a poet — that is, when he is writing or thinking about writing — he cannot be concerned with anything but the making of a poem.”

Richard Wilbur (1921–2017) American poet

National Book Award Acceptance Speech (1957)
Context: When a poet is being a poet — that is, when he is writing or thinking about writing — he cannot be concerned with anything but the making of a poem. If the poem is to turn out well, the poet cannot have thought of whether it will be saleable, or of what its effect on the world should be; he cannot think of whether it will bring him honor, or advance a cause, or comfort someone in sorrow. All such considerations, whether silly or generous, would be merely intrusive; for, psychologically speaking, the end of writing is the poem itself.

Thinking

“We dwell with satisfaction upon the poet's difference from his predecessors”

T.S. Eliot book Tradition and the Individual Talent

Tradition and the Individual Talent (1919)
Context: We dwell with satisfaction upon the poet's difference from his predecessors, especially his immediate predecessors; we endeavour to find something that can be isolated in order to be enjoyed. Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but the period of full maturity.

“Are the ravishments of truth, so fatal to
The truth itself, the first idea becomes
The hermit in a poet’s metaphors”

Wallace Stevens (1879–1955) American poet

Notes Toward a Supreme Fiction (1942), It Must Be Abstract
Context: p>So poisonousAre the ravishments of truth, so fatal to
The truth itself, the first idea becomes
The hermit in a poet’s metaphors,Who comes and goes and comes and goes all day.</p

Truth, Idea

“It looks like poets will always have their work cut out for them.”

Wisława Szymborska (1923–2012) Polish writer

The Poet and the World (1996)
Context: Granted, in daily speech, where we don't stop to consider every word, we all use phrases like "the ordinary world," "ordinary life," "the ordinary course of events"… But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone's existence in this world.
It looks like poets will always have their work cut out for them.

“All literate men are sustained by the philosopher, the historian, the political analyst, the economist, the scientist, the poet, the artisan and the musician.”

Glenn T. Seaborg (1912–1999) American scientist

Statement upon being appointed as UC Berkeley chancellor in 1958, as quoted Biographical Memoirs (2000) edited by Darleane C. Hoffman, p, 252 
Context: There is a beauty in discovery. There is mathematics in music, a kinship of science and poetry in the description of nature, and exquisite form in a molecule. Attempts to place different disciplines in different camps are revealed as artificial in the face of the unity of knowledge. All literate men are sustained by the philosopher, the historian, the political analyst, the economist, the scientist, the poet, the artisan and the musician.

Men

“It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance.”

M. C. Escher (1898–1972) Dutch graphic artist

1950's, On Being a Graphic Artist', 1953
Context: It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet.

People, Problem

“I’ve sometimes wondered if it wouldn’t be a good idea to write under a few pseudonyms. Keep several quite different lines of writing going. Like Fernando Pessoa, the Portuguese poet who tried four different poetic personalities.”

Ted Hughes (1930–1998) English poet and children's writer

The Paris Review interview
Context: I’ve sometimes wondered if it wouldn’t be a good idea to write under a few pseudonyms. Keep several quite different lines of writing going. Like Fernando Pessoa, the Portuguese poet who tried four different poetic personalities. They all worked simultaneously. He simply lived with the four. What does Eliot say? “Dance, dance, / Like a dancing bear, / Cry like a parrot, chatter like an ape, / To find expression.” It’s certainly limiting to confine your writing to one public persona, because the moment you publish your own name you lose freedom.

Idea, Personality

“Richard Wright’s outstanding characteristics are two seemingly opposite tendencies. One is an overwhelming need for association and integration with humanity at large. The other is a tragic, highly individualized loneliness. Except that he is a Negro in 20th century America he might have been a lyric poet. Whenever he describes the life he wants for mankind he rises to great heights of lyric beauty. At the same time when he doubts that a new life can ever be achieved he writes with the same beauty but in tragic despair. Wright wants a new world; men working freely together in social relationships that not only realize a complete personality but develop every potential and result in new associations and new men altogether. He wants to share a common life, not in a regimented sense but in a free interchange of ideas and experience; a relationship which will be the blending of a common belief and a solidarity of ideals. He wants a life in which basic emotions are shared; in which common memory forms a common past; in which collective hope reflects a national future. He has a vision of life where man can reveal his destiny as man by grappling with the world and getting from it the satisfactions he feels he must have. He wants a life where man’s inmost nature and emotional capacities will be used. He has a passionate longing to belong, to be identified with the world at large; he wants the "deep satisfaction of doing a good job in common with others."”

Richard Wright (1908–1960) African-American writer

He doesn’t want a society where he is separate as Negro, but one where he is just another man.
Constance Webb, "Notes preliminary to a full study of the work of Richard Wright" (privately published, 1946)

Life, Men, World, Beauty

Quotes about poet page 12

Quotes about poet
page 12