Quotes about poet
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that does not occur to them.
Source: Culture and Value (1980), p. 36e
Hymn: The Burial of Moses http://www.bethanyipc.org.sg/poems/bulletin080113.htm
“But where is last year's snow? This was the greatest care that Villon, the Parisian poet, took.”
François Rabelais, Gargantua and Pantagruel, Chapter xiv.
Criticism
Bei diesem Zusammenhange ist die leidenschaftliche Zuneigung begreiflich, welche die Dichter der neueren Komödie zu Euripides empfanden; so dass der Wunsch des Philemon nicht weiter befremdet, der sich sogleich aufhängen lassen mochte, nur um den Euripides in der Unterwelt aufsuchen zu können: wenn er nur überhaupt überzeugt sein dürfte, dass der Verstorbene auch jetzt noch bei Verstande sei.
Source: The Birth of Tragedy (1872), p. 55
“The Poet in his Art
Must intimate the whole, and say the smallest part.”
The Unexpressed.
Bartlett's Familiar Quotations, 10th ed. (1919)
“Poets and anarchists are always the first to go.
—Where.
—To the frontline. Wherever it is.”
Yo-Yo Boing! (Spanglish novel, 1998)
A Mathematician's Apology (1941)
Everything must be doubted
Marx's replies to a set of questions given to him by his daughters Jenny and Laura in 1865 http://www.marxists.org/archive/marx/works/1865/04/01.htm
The Right to Be Lazy (1883), H. Kerr, trans. (1907), pp. 11-12
“Money is everywhere but so is poetry. What we lack are the poets.”
"Poets"
I'm a Born Liar (2003)
“Thy rare gold ring of verse (the poet praised)
Linking our England to his Italy.”
Book XII: The Book and the Ring, line 873.
The Ring and the Book (1868-69)
Source: A Room of One's Own (1929), Ch. 6, p. 117)
Source: Night and Day (1919), Ch. 24
Under Ben Bulben http://poetry.poetryx.com/poems/1745/, V
Last Poems (1936-1939)
Lecture notes of 1858, quoted in The Life and Letters of Faraday (1870) by Bence Jones, Vol. 2, p. 403
Falsely attributed to Darwin, but actually from The Clansman: An Historical Romance of the Ku Klux Klan (1905) by Thomas Dixon, page 134 http://www.freefictionbooks.org/books/c/11773-the-clansman-by-thomas-dixon?start=133.
Misattributed
Galen, On the Doctrines of Hippocrates and Plato,: PHP III 8.35.1-11 translation: De Lacy, Phillip (1978- 1984) Galen, On the Doctrines of Hippocrates and Plato, Berlin. p. 233; cited in: Christopher Jon Elliott. "Galen, Rome and the Second Sophistic." p. 147-8.
O poeta é um fingidor.
Finge tão completamente
Que chega a fingir que é dor
A dor que deveras sente.
"Autopsicografia" ["Autopsychography"], in Presença, No. 36 (November 1932)
Fernando Pessoa's most translated poem.
Richard Zenith's translation:
The poet is a faker
Who's so good at his act
He even fakes the pain
Of pain he feels in fact.
“We want to be poets of our life — first of all in the smallest most everyday matters.”
Sec. 299
The Gay Science (1882)
The Sarcastic Fair
Dionysian-Dithyrambs (1888)
"Writing", p. 27
The Dyer's Hand, and Other Essays (1962)
Arthur Symons Figures of Several Centuries (London: Constable, 1916) p. 40.
Criticism
Source: Orlando: A Biography (1928), Ch. 4
Letter to James F. Morton (10 February 1923), published in Selected Letters Vol. I (1965), p. 208
Non-Fiction, Letters, to James Ferdinand Morton, Jr.
“I am the poor man's poet; because I am poor myself and I have known what it is to be in love. Not being able to pay them in presents, I pay my mistresses in poetry.”
Pauperibus vates ego sum, quia pauper amavi;
Cum dare non possem munera, verba dabam.
Book II, lines 165–166 (tr. J. Lewis May)
Ars Amatoria (The Art of Love)
Part 1.3 Rights of Man
1790s, Rights of Man, Part I (1791)
Act II, sc. iv
Wallenstein (1798), Part I - Die Piccolomini (The Piccolomini)
G.K. Gokhale urged her to join the Indian Independence Movement quoted in [Naravane, Vishwanath S., Sarojini Naidu: An Introduction to Her Life, Work and Poetry, http://books.google.com/books?id=h6v8HsRUBucC&pg=PA133, 1 January 1996, Orient Blackswan, 978-81-250-0931-3, 133]
As quoted in In Victorian Days and Other Papers (1939) http://books.google.com/books?id=LfIjfuQGwOIC&printsec=frontcover&dq=In+Victorian+days&as_brr=0&cd=1#v=onepage&q=notorious&f=false by Sir David Oswald Hunter-Blair, p. 122
"How It Strikes a Contemporary"
The Common Reader (1925)
Judaism in Music (1850)
written after 1908
in The Mad Poet's Diary, T 2734
1896 - 1930
Interview on The David Frost Show (14 June 1969) http://web.archive.org/web/20010719003543/http://homepage.ntlworld.com/carousel/pob07.html
“I have no ambitions nor desires.
To be a poet is not my ambition,
It's simply my way of being alone.”
Não tenho ambições nem desejos
Ser poeta não é uma ambição minha
É a minha maneira de estar sozinho.
Alberto Caeiro (heteronym), O Guardador de Rebanhos ("The Keeper of Herds", tr. Richard Zenith) in Athena (January 1925)
For My Legionaries: The Iron Guard (1936), Politics
“Poets are all who love, who feel great truths,
And tell them; and the truth of truths is love.”
Scene XVI, The Hesperian Sphere
Festus (1839)
A Short History of Decay (1949)
“Poets are like proverbs: you can always find one to contradict another.”
Les poëtes sont comme les proverbes : l’un est toujours là pour contredire l’autre.
Source: The Survivors of the Chancellor (1875), Ch. 5: An Unusual Route
“Homer has taught all other poets the art of telling lies skillfully.”
1460a.19
Poetics
Variant: It is Homer who has chiefly taught other poets the art of telling lies skillfully.
Book I, 21-[1]
History of the Peloponnesian War, Book I
“Whoever knows many things
By nature is a poet.”
Olympian 2, line 87; page 16; the Greek simply says:
"wise is one who knows much by nature," but σοφός is Pindar's usual word for poet.
Variant translations:
Inborn of nature's wisdom
The poet's truth.
Olympian Odes (476 BC)
“Goethe is an altogether practical Poet.”
Novalis (1829)
Context: Goethe is an altogether practical Poet. He is in his works what the English are in their wares: highly simple, neat, convenient and durable. He has done in German Literature what Wedgwood did in English Manufacture. He has, like the English, a natural turn for Economy, and a noble Taste acquired by Understanding. Both these are very compatible, and have a near affinity in the chemical sense.
Nobel lecture (1978)
Context: The storyteller and poet of our time, as in any other time, must be an entertainer of the spirit in the full sense of the word, not just a preacher of social or political ideals. There is no paradise for bored readers and no excuse for tedious literature that does not intrigue the reader, uplift him, give him the joy and the escape that true art always grants. Nevertheless, it is also true that the serious writer of our time must be deeply concerned about the problems of his generation. He cannot but see that the power of religion, especially belief in revelation, is weaker today than it was in any other epoch in human history. More and more children grow up without faith in God, without belief in reward and punishment, in the immortality of the soul and even in the validity of ethics. The genuine writer cannot ignore the fact that the family is losing its spiritual foundation.
Foreword
The Still Centre (1939)
Context: A poet can only write about what is true to his own experience, not about what he would like to be true to his experience.
Poetry does not state truth, it states the conditions within which something felt is true. Even while he is writing about the little portion of reality which is part of his experience, the poet may be conscious of a different reality outside. His problem is to relate the small truth to the sense of a wider, perhaps theoretically known, truth outside his experience.
“The way out, as the poet says, is always through.”
National Observer (20 January 1964)
Context: The best of our theater is standing on tiptoe, striving to see over the shoulders of father and mother. The worst is exploiting and wallowing in the self-pity of adolescence and obsessive keyhole sexuality. The way out, as the poet says, is always through.
Source: Motivation and Personality (1954), p. 93.
Context: A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself. What a man can be, he must be. This need we may call self-actualization. This term, first coined by Kurt Goldstein, is being used in this paper in a much more specific and limited fashion. It refers to the desire for self-fulfillment, namely, to the tendency for him to become actualized in what he is potentially. This tendency might be phrased as the desire to become more and more what one is, to become everything that one is capable of becoming.
The Inferno (1917), Ch. XIV
Context: I thought of all those wise men, poets, artists before me who had suffered, wept, and smiled on the road to truth. I thought of the Latin poet who wished to reassure and console men by showing them truth as unveiled as a statue. A fragment of his prelude came to my mind, learned long ago, then dismissed and lost like almost everything that I had taken the pains to learn up till then. He said he kept watch in the serene nights to find the words, the poem in which to convey to men the ideas that would deliver them. For two thousand years men have always had to be reassured and consoled. For two thousand years I have had to be delivered. Nothing has changed the surface of things. The teachings of Christ have not changed the surface of things, and would not even if men had not ruined His teachings so that they can no longer follow them honestly. Will the great poet come who shall settle the boundaries of belief and render it eternal, the poet who will be, not a fool, not an ignorant orator, but a wise man, the great inexorable poet? I do not know, although the lofty words of the man who died in the boarding-house have given me a vague hope of his coming and the right to adore him already.
"The Distracted Public" (1990), p. 167
It All Adds Up (1994)
Context: Writers, poets, painters, musicians, philosophers, political thinkers, to name only a few of the categories affected, must woo their readers, viewers, listeners, from distraction. To this we must add, for simple realism demands it, that these same writers, painters, etc., are themselves the children of distraction. As such, they are peculiarly qualified to approach the distracted multitudes. They will have experienced the seductions as well as the destructiveness of the forces we have been considering here. This is the destructive element in which we do not need to be summoned to immerse ourselves, for we were born to it.
The Inferno (1917), Ch. XIV
Context: I thought of all those wise men, poets, artists before me who had suffered, wept, and smiled on the road to truth. I thought of the Latin poet who wished to reassure and console men by showing them truth as unveiled as a statue. A fragment of his prelude came to my mind, learned long ago, then dismissed and lost like almost everything that I had taken the pains to learn up till then. He said he kept watch in the serene nights to find the words, the poem in which to convey to men the ideas that would deliver them. For two thousand years men have always had to be reassured and consoled. For two thousand years I have had to be delivered. Nothing has changed the surface of things. The teachings of Christ have not changed the surface of things, and would not even if men had not ruined His teachings so that they can no longer follow them honestly. Will the great poet come who shall settle the boundaries of belief and render it eternal, the poet who will be, not a fool, not an ignorant orator, but a wise man, the great inexorable poet? I do not know, although the lofty words of the man who died in the boarding-house have given me a vague hope of his coming and the right to adore him already.
Pupils at Sais (1799)
Context: No one, of a surety, wanders farther from the mark than he who fancies to himself that he already understands this marvellous Kingdom, and can, in few words, fathom its constitution, and everywhere find the right path. To no one, who has broken off, and made himself an Island, will insight rise of itself, nor even without toilsome effort. Only to children, or childlike men, who know not what they do, can this happen. Long, unwearied intercourse, free and wise Contemplation, attention to faint tokens and indications; an inward poet-life, practised senses, a simple and devout spirit: these are the essential requisites of a true Friend of Nature; without these no one can attain his wish.
Source: Terre des Hommes (1939), Ch. I : The Craft
Context: I had a vision of the face of destiny.
Old bureaucrat, my comrade, it is not you who are to blame. No one ever helped you to escape. You, like a termite, built your peace by blocking up with cement every chink and cranny through which the light might pierce. You rolled yourself up into a ball in your genteel security, in routine, in the stifling conventions of provincial life, raising a modest rampart against the winds and the tides and the stars. You have chosen not to be perturbed by great problems, having trouble enough to forget your own fate as man. You are not the dweller upon an errant planet and do not ask yourself questions to which there are no answers. You are a petty bourgeois of Toulouse. Nobody grasped you by the shoulder while there was still time. Now the clay of which you were shaped has dried and hardened, and naught in you will ever awaken the sleeping musician, the poet, the astronomer that possibly inhabited you in the beginning.
The squall has ceased to be a cause of my complaint. The magic of the craft has opened for me a world in which I shall confront, within two hours, the black dragons and the crowned crests of a coma of blue lightnings, and when night has fallen I, delivered, shall read my course in the stars.
Know Thyself (1881)
Context: Clever though be the many thoughts expressed by mouth or pen about the invention of money and its enormous value as a civiliser, against such praises should be set the curse to which it has always been doomed in song and legend. If gold here figures as the demon strangling manhood's innocence, our greatest poet shews at last the goblin's game of paper money. The Nibelung's fateful ring become a pocket-book, might well complete the eerie picture of the spectral world-controller. By the advocates of our Progressive Civilisation this rulership is indeed regarded as a spiritual, nay, a moral power; for vanished Faith is now replaced by "Credit," that fiction of our mutual honesty kept upright by the most elaborate safeguards against loss and trickery. What comes to pass beneath the benedictions of this Credit we now are witnessing, and seem inclined to lay all blame upon the Jews. They certainly are virtuosi in an art which we but bungle: only, the coinage of money out of nil was invented by our Civilisation itself; or if the Jews are blamable for that, it is because our entire civilisation is a barbaro-judaic medley, in nowise a Christian creation.
“Another ancient poet, whose name I have forgotten, said that Truth is the daughter of Time.”
Noctes Atticae, XII, 11, 7.
Original: (la) Alius quidam veterum poetarum, cuius nomen mihi nunc memoriae non est, Veritatem Temporis filiam esse dixit.
Section 1, paragraph 14.
The Communist Manifesto (1848)
“A good poet is of no more use to his country than a good petanque player.”
Source: Unsourced
“Oh what a poet I will flay myself into.”
Source: Tradition and the Individual Talent: An Essay
Variant: The plain state of being human is dramatic enough for anyone; you don't need to be a heroin addict or a performance poet to experience extremity. You just have to love someone.
Source: How to Be Good
Source: Sister Outsider: Essays and Speeches (1984), p. 38
“A poet is not something you become; a poet is something you are.”
“The poets are in the vanguard of a changed conception of Being.”
On Regine Olsen (2 February 1839)
1830s, The Journals of Søren Kierkegaard, 1830s
Context: Oh, can I really believe the poet's tales, that when one first sees the object of one's love, one imagines one has seen her long ago, that all love like all knowledge is remembrance, that love too has its prophecies in the individual. … it seems to me that I should have to possess the beauty of all girls in order to draw out a beauty equal to yours; that I should have to circumnavigate the world in order to find the place I lack and which the deepest mystery of my whole being points towards, and at the next moment you are so near to me, filling my spirit so powerfully that I am transfigured for myself, and feel that it's good to be here.
“No man was ever yet a great poet, without being at the same time a profound philosopher.”
Source: Biographia Literaria (1817), Ch. XV
Nobel lecture (8 December 1980)
Context: Only if we assume that a poet constantly strives to liberate himself from borrowed styles in search for reality, is he dangerous. In a room where people unanimously maintain a conspiracy of silence, one word of truth sounds like a pistol shot. And, alas, a temptation to pronounce it, similar to an acute itching, becomes an obsession which doesn't allow one to think of anything else. That is why a poet chooses internal or external exile. It is not certain, however, that he is motivated exclusively by his concern with actuality. He may also desire to free himself from it and elsewhere, in other countries, on other shores, to recover, at least for short moments, his true vocation — which is to contemplate Being.
Source: The Collected Dorothy Parker
“A poet's autobiography is his poetry. Anything else can be only a footnote.”
Andrew R. MacAndrew (trans.) A Precocious Autobiography (1963; repr. Harmondsworth: Penguin, 1965) p. 7.
1840s, Essays: First Series (1841), History
Context: The difference between men is in their principle of association. Some men classify objects by color and size and other accidents of appearance; others by intrinsic likeness, or by the relation of cause and effect. The progress of the intellect is to the clearer vision of causes, which neglects surface differences. To the poet, to the philosopher, to the saint, all things are friendly and sacred, all events profitable, all days holy, all men divine. For the eye is fastened on the life, and slights the circumstance. Every chemical substance, every plant, every animal in its growth, teaches the unity of cause, the variety of appearance.