Quotes about poetry

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Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

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

The Usurpation Of Language (1910)

Sämtliche Werke, Bd. 5, pp. 160-161, E. Payne, trans. (1974) Vol. 1, pp. 148-149
Parerga and Paralipomena (1851), On Philosophy in the Universities

This Business of Living (1935-1950)

1915 - 1940
Source: a letter to art-seller in New York Pierre Matisse, [son of Henri Matisse, 19 February 1936]; the Pierre Matisse Gallery Archives, The Pierpont Morgan Library, New York MA 5020

Translations, From the French

The Monthly Magazine

and on receiving an answer in the negative, have nothing further to say.
"On Coffee-House Politicians"
Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

Interview with Kritya: In the Name of Poetry

Moonlighting on Yale Field, Riders on Earth (1978)

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

Source: Where There's a Will: Thoughts on the Good Life (2003), Ch. 19 : The Marketplace

Source: The Self Awakened: Pragmatism Unbound (2007), p. 157-8.

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

Japan, the Beautiful and Myself (1969)

Source: The Bed of Procrustes: Philosophical and Practical Aphorisms (2010), p. 17

from Form & Value in Modern Poetry, Doubleday , New York 1957

An Introduction to English Poetry, Viking Penguin, London 2002 ISBN 0141004398

The Cosmos as a Poem (2010)

Un Art de Vivre (The Art of Living) (1939), The Art of Leadership

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

"A High-Toned Old Christian Woman" first published in The Dial No. 73 (July 1922)

January 26, 1840
Journals (1838-1859)
Context: Poetry — No definition of poetry is adequate unless it be poetry itself. The most accurate analysis by the rarest wisdom is yet insufficient, and the poet will instantly prove it false by setting aside its requisitions. It is indeed all that we do not know. The poet does not need to see how meadows are something else than earth, grass, and water, but how they are thus much. He does not need discover that potato blows are as beautiful as violets, as the farmer thinks, but only how good potato blows are. The poem is drawn out from under the feet of the poet, his whole weight has rested on this ground. It has a logic more severe than the logician's. You might as well think to go in pursuit of the rainbow, and embrace it on the next hill, as to embrace the whole of poetry even in thought.

"The Divine Comedy" (1977)
Context: Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

Source: The Artful Universe (1995), Ch. 5, pp. 219-220

"James Clarence Mangan" (1902) http://andromeda.rutgers.edu/~ehrlich/382/MANGAN1, a lecture on Mangan delivered at the Literary and Historical Society, University College, Dublin (1 February 1902) and printed in the college magazine St. Stephen's
Context: Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt, in a sense, against actuality. It speaks of what seems fantastic and unreal to those who have lost the simple intuitions which are the test of reality; and, as it is often found at war with its age, so it makes no account of history, which is fabled by the daughters of memory.

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.

Diary of an Unknown (1988), On Invisibility
Context: Poetry is an ethic. By ethic I mean a secret code of behavior, a discipline constructed and conducted according to the capabilities of a man who rejects the falsifications of the categorical imperative.
This personal morality may appear to be immorality itself in the eyes of those who lie to themselves, or who live a life of confusion, in such a manner that, for them, a lie becomes the truth, and our truth becomes a lie...

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)

Table-Talk (1857)

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.

"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.

On the influence of Jack Kerouac, as quoted in Jack Kerouac (2007) by Alison Behnke, p. 100
Context: Someone handed me Mexico City Blues in St. Paul [Minnesota] in 1959 and it blew my mind. It was the first poetry that spoke my own language.

Dedication (1960)

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.

Lectures on Education delivered at the Royal Institution of Great Britain, London, 1855, published in "What Knowledge is of Most Worth", The Westminster Review (July 1859) volume CXLI, p. 1-23, at p. 19 http://books.google.com/books?id=5NQ6AQAAMAAJ&pg=RA1-PA19
Context: The current opinion that science and poetry are opposed is a delusion. … Think you that a drop of water, which to the vulgar eye is but a drop of water, loses any thing in the eye of the physicist who knows that its elements are held together by a force which, if suddenly liberated, would produce a flash of lightning? Think you that what is carelessly looked upon by the uninitiated as a mere snow-flake does not suggest higher associations to one who has seen through a microscope the wondrously varied and elegant forms of snow-crystals? Think you that the rounded rock marked with parallel scratches calls up as much poetry in an ignorant mind as in the mind of a geologist, who knows that over this rock a glacier slid a million years ago? The truth is, that those who have never entered upon scientific pursuits know not a tithe of the poetry by which they are surrounded.

"'Soul at the White Heat': The Romance of Emily Dickinson’s Poetry," (Woman) Writer: Occasions and Opportunities (1988)<!-- E.P. Dutton -->
Context: Prose — it might be speculated — is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard. The one is presumably articulate and social, a shared language, the voice of "communication"; the other is private, allusive, teasing, sly, idiosyncratic as the spider’s delicate web, a kind of witchcraft unfathomable to ordinary minds.

Aphorism 7
Les Caractères (1688), Des Ouvrages de l'Esprit
Context: There are certain things in which mediocrity is intolerable: poetry, music, painting, public eloquence. What torture it is to hear a frigid speech being pompously declaimed, or second-rate verse spoken with all a bad poet's bombast!

Quoted in "Contexts" (1982) by Irena Klepfisz http://www.theparisreview.org/interviews/4569/the-art-of-fiction-no-29-katherine-anne-porter

Part I, ch. 1.
The Compleat Angler (1653-1655)
Context: Angling is somewhat like poetry, men are to be born so: I mean, with inclinations to it, though both may be heightened by discourse and practice

14 August 1853
Correspondence, Letters to Madame Louise Colet

The Tragic Sense of Life (1913), Conclusion : Don Quixote in the Contemporary European Tragi-Comedy
Context: The philosophy of Bergson, which is a spiritualist restoration, essentially mystical, medieval, Quixotesque, has been called a demi-mondaine philosophy. Leave out the demi; call it mondaine, mundane. Mundane — yes, a philosophy for the world and not for philosophers, just as chemistry ought to be not for chemists alone. The world desires illusion (mundus vult decipi) — either the illusion antecedent to reason, which is poetry, or the illusion subsequent to reason, which is religion. And Machiavelli has said that whosoever wishes to delude will always find someone willing to be deluded. Blessed are they who are easily befooled!

Introduction
The Wedge (1944)
Context: Each speech having its own character, the poetry it engenders will be peculiar to that speech also in its own intrinsic form. The effect is beauty, what in a single object resolves our complex feelings of propriety.

Source: The Life of Poetry (1949), p. 221
Context: Experience taken into the body, breathed-in, so that reality is the completion of experience, and poetry is what is produced. And life is what is produced.
To stand against the idea of the fallen world, a powerful and destructive idea overshadowing Western poetry. In that sense, there is no lost Eden, and God is the future. The child walled-up in our life can be given his growth. In this growth is our security.

What It Means to Be a Poet in America (1926)
Context: There were three great Virginia poets in the very beginning — George Washington, Patrick Henry, Thomas Jefferson. “What!” you say. “We do not even know the names of their publishers. They were not poets!”
Well, how do you know? Did you ever really read them? What do you know about it? Their very names will breathe poetry forever.

Letter to Sister Mary James Power (1 October 1934); published in The Wild God of the World : An Anthology of Robinson Jeffers (2003), edited by Albert Gelpi, p. 189 - 190
Context: I think that one may contribute (ever so slightly) to the beauty of things by making one's own life and environment beautiful, as far as one's power reaches. This includes moral beauty, one of the qualities of humanity, though it seems not to appear elsewhere in the universe. But I would have each person realize that his contribution is not important, its success not really a matter for exultation nor its failure for mourning; the beauty of things is sufficient without him.
(An office of tragic poetry is to show that there is beauty in pain and failure as much as in success and happiness.)

Diary of an Unknown (1988), On Invisibility
Context: Poetry, being elegance itself, cannot hope to achieve visibility. In that case, you ask me, of what use is it? Of no use. Who will see it? No one. Which does not prevent it from being an outrage to modesty, though its exhibitionism is squandered on the blind. It is enough for poetry to express a personal ethic, which can then break away in the form of a work. It insists on living its own life. It becomes the pretext for a thousand misunderstandings that go by the name of glory...

The History of Oracles, and the Cheats of the Pagan Priests (1688)
Context: But why then did the Ancient Priestesses always answer in Verse?... To this Plutarch replies... That even the Ancient Priestesses did now and then speak in Prose. And besides this, in Old times all People were born Poets.... [T]hey had no sooner drank a little freely, but they made Verses; they had no sooner cast their eyes on a Handsom Woman, but they were all Poesy, and their very common discourse fell naturally into Feet and Rhime: So that their Feasts and their Courtships were the most delectable things in the World. But now this Poetick Genius has deserted Mankind: and tho' our passions be as ardent... yet Love at present creeps in humble prose.... Plutarch gives us another reason... that the Ancients wrote always in Verse, whether they treated of Religion, Morality, Natural Philosophy or Astrology. Orpheus and Hesiod, whom every body acknowledges for Poets, were Philosophers also: and Parmenides, Xenophanes, Empedocles, Eudoxus, and Thales... [the] Philosophers, were Poets too. It is very strange indeed that Poetry should be elder Brother to Prose... but it is very probable... precepts... were shap'd into measured lines, that they might be the more easily remembred: and therefore all their Laws and their rules of Morality were in Verse. By this we may see that Poetry had a much more serious beginning than is usually imagin'd, and that the Muses have of late days mightily deviated from their original Gravity.<!--pp. 207-209

Letter to James Hessey (October 9, 1818)
Letters (1817–1820)
Context: I have written independently without Judgment. I may write independently, and with Judgment, hereafter. The Genius of Poetry must work out its own salvation in a man: It cannot be matured by law and precept, but by sensation and watchfulness in itself — That which is creative must create itself — In Endymion, I leaped headlong into the sea, and thereby have become better acquainted with the Soundings, the quicksands, and the rocks, than if I had stayed upon the green shore, and piped a, silly pipe, and took tea and comfortable advice. I was never afraid of failure; for I would sooner fail than not be among the greatest.

The Life of Poetry (1949)
Context: Poetry is not; or seems not to be. But it appears that among the great conflicts of this culture, the conflict in our attitude toward poetry stands clearly lit. There are no guards built up to hide it. We call see its expression, and we can see its effects upon us. We can see our own conflict and our own resource if we look, now, at this art, which has been made of all the arts the one least acceptable.
Anyone dealing with poetry and the love of poetry must deal, then, with the hatred of poetry, and perhaps even Ignore with the indifference which is driven toward the center. It comes through as boredom, as name-calling, as the traditional attitude of the last hundred years which has chalked in the portrait of the poet as he is known to this society, which, as Herbert Read says, "does not challenge poetry in principle it merely treats it with ignorance, indifference and unconscious cruelty."
Poetry is foreign to us, we do not let it enter our daily lives.

The World in Six Songs (2008)
Context: Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality.... that is a feature of the musical brain.

Poetry International Programme note (1967); also in Selected Translations (2006), edited by Daniel Weissbort, p. 10
Context: However rootedly national it may be, poetry is less and less the prisoner of its own language. It is beginning to represent as an ambassador, something far greater than itself. Or perhaps, it is only now being heard for what, among other thngs, it is — a universal language of understanding, coherent behind the many languages in which we can all hope to meet. … We now give more serious weight to the words of a country's poets than to the words of its politicians — though we know the latter may interfere more drastically with our lives. Religions, ideologies, mercantile competition divide us. The essential solidarity of the very diverse poets of the world, besides being mysterious fact is one we can be thankful for, since its terms are exclusively those of love, understanding and patience. It is one of the few spontaneous guarantees of possible unity that mankind can show, and the revival of an appetite for poetry is like a revival of an appetite for all man's saner possibilities, and a revulsion from the materialist cataclysms of recent years and the worse ones which the difference of nations threatens for the years ahead.
The idea of global unity is not new, but the absolute necessity of it has only just arrived, like a sudden radical alteration of the sun, and we shall have to adapt or disappear. If the nations are ever to make a working synthesis of their ferocious contradictions, the plan will be created in spirit before it can be formulated or accepted in political fact. And it is in poetry that we can refresh our hope that such a unity is occupying people's imaginations everywhere, since poetry is the voice of spirit and imagination and all that is potential, as well as of the healing benevolence that used to be the privilege of the gods.

Small Houses: Their Economic Design and Construction (1922)
Context: When, in architecture, one uses a fixed unit and combinations of it, to produce harmony, the effect should be most striking and apparent... as it is in music by the measured beat and in poetry by the cadence and rhythm.<!--Ch. II

A Poets View (1984)
Context: Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.

"Legislators of the world" in The Guardian (18 November 2006) http://books.guardian.co.uk/comment/story/0,,1950812,00.html
Context: I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.

Journal entry (2 March 1861), Ch. 5 : The Beginning of the War.
Lucy Larcom : Life, Letters, and Diary (1895)
Context: I believe the best poetry of our times is growing too artistic; the study is too visible. If freedom and naturalness are lost out of poetry, everything worth having is lost.

Preface
The Marble Faun (1860)
Context: No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land. It will be very long, I trust, before romance writers may find congenial and easily handled themes, either in the annals of our stalwart republic, or in any characteristic and probable events of our individual lives. Romance and poetry, ivy, lichens and wallflowers need ruin to make them grow.

Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Annotations on John C. Thirlwell's copy of The Collected Earlier Poems (c. 1958)
General sources

Source: Alcestis (438 BC), l. 358
Context: Oh, if I had Orpheus' voice and poetry
with which to move the Dark Maid and her Lord,
I'd call you back, dear love, from the world below.
I'd go down there for you. Charon or the grim
King's dog could not prevent me then
from carrying you up into the fields of light.

The History of Oracles, and the Cheats of the Pagan Priests (1688)
Context: But why then did the Ancient Priestesses always answer in Verse?... To this Plutarch replies... That even the Ancient Priestesses did now and then speak in Prose. And besides this, in Old times all People were born Poets.... [T]hey had no sooner drank a little freely, but they made Verses; they had no sooner cast their eyes on a Handsom Woman, but they were all Poesy, and their very common discourse fell naturally into Feet and Rhime: So that their Feasts and their Courtships were the most delectable things in the World. But now this Poetick Genius has deserted Mankind: and tho' our passions be as ardent... yet Love at present creeps in humble prose.... Plutarch gives us another reason... that the Ancients wrote always in Verse, whether they treated of Religion, Morality, Natural Philosophy or Astrology. Orpheus and Hesiod, whom every body acknowledges for Poets, were Philosophers also: and Parmenides, Xenophanes, Empedocles, Eudoxus, and Thales... [the] Philosophers, were Poets too. It is very strange indeed that Poetry should be elder Brother to Prose... but it is very probable... precepts... were shap'd into measured lines, that they might be the more easily remembred: and therefore all their Laws and their rules of Morality were in Verse. By this we may see that Poetry had a much more serious beginning than is usually imagin'd, and that the Muses have of late days mightily deviated from their original Gravity.<!--pp. 207-209

The Usurpation Of Language (1910)
Context: The poet takes us straight into the presence of things. Not by explanation, but by indication; not by exhausting its qualities, but by suggesting its value he gives us the object, raising it from the mire where it lies trodden by the concepts of the understanding, freeing it from the entanglements of all that “the intellect perceives as if constituting its essence.” Thus exhibited, the object itself becomes the meeting-ground of the ages, a centre where millions of minds can enter together into possession of the common secret. It is true that language is here the instrument with which the fetters of language are broken. Words are the shifting detritus of the ages; and as glass is made out of the sand, so the poet makes windows for the soul out of the very substance by which it has been blinded and oppressed. In all great poetry there is a kind of “kenosis” of the understanding, a self-emptying of the tongue. Here language points away from itself to something greater than itself.

"Martin Luther King, Jr : A Personal Tribute" in Freedomways Vol. 12, No. 1 (1972); also in Freedomways Reader : Prophets in their own Country (2000) By Esther Cooper Jackson and Constance Pohl, p. 378
Context: On all levels of life and as each day unfolds, respect for Dr. Martin Luther King, Jr. grows impressively, and the essence of this respect is the fact that he had deeper insights than most of us have appreciated. It is not mere poetry to call him prophetic. The accuracy of his prophecies is almost uncanny.
By the early 1950's history had endowed him with a sense of the precise moment that Black people were ready for mass action, ready for its risks, and ready for its responsibilities.

On Writing Poetry (1995)
Context: I did not know that the rules about these things were different if you were female. I did not know that "poetess" was an insult, and that I myself would some day be called one. I did not know that to be told I had transcended my gender would be considered a compliment. I didn't know — yet — that black was compulsory. All of that was in the future. When I was sixteen, it was simple. Poetry existed; therefore it could be written; and nobody had told me — yet — the many, many reasons why it could not be written by me.

"Definitions of Poetry" (1811).
Context: Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to metre. The proper and immediate object of science is the acquirement, or communication, of truth; the proper and immediate object of poetry is the communication of immediate pleasure.

Anarchism: Its Philosophy and Ideal (1896)
Context: Far be it from us not to recognize the importance of the second factor, moral teaching — especially that which is unconsciously transmitted in society and results from the whole of the ideas and comments emitted by each of us on facts and events of every-day life. But this force can only act on society under one condition, that of not being crossed by a mass of contradictory immoral teachings resulting from the practice of institutions.
In that case its influence is nil or baneful. Take Christian morality: what other teaching could have had more hold on minds than that spoken in the name of a crucified God, and could have acted with all its mystical force, all its poetry of martyrdom, its grandeur in forgiving executioners? And yet the institution was more powerful than the religion: soon Christianity — a revolt against imperial Rome — was conquered by that same Rome; it accepted its maxims, customs, and language. The Christian church accepted the Roman law as its own, and as such — allied to the State — it became in history the most furious enemy of all semi-communist institutions, to which Christianity appealed at Its origin.

“The Obscurity of the Poet”, p. 3
Poetry and the Age (1953)
Context: When I was asked to talk about the Obscurity of the Modern Poet I was delighted, for I have suffered from this obscurity all my life. But then I realized that I was being asked to talk not about the fact that people don’t read poetry, but about the fact that most of them wouldn’t understand it if they did: about the difficulty, not the neglect, of contemporary poetry. And yet it is not just modern poetry, but poetry, that is today obscure. Paradise Lost is what it was; but the ordinary reader no longer makes the mistake of trying to read it — instead he glances at it, weighs it in his hand, shudders, and suddenly, his eyes shining, puts it on his list of the ten dullest books he has ever read, along with Moby-Dick, War and Peace, Faust, and Boswell’s Life of Johnson. But I am doing this ordinary reader an injustice: it was not the Public, nodding over its lunch-pail, but the educated reader, the reader the universities have trained, who a few weeks ago, to the Public’s sympathetic delight, put together this list of the world’s dullest books.
Since most people know about the modern poet only that he is obscure—i. e., that he is difficult, i. e., that he is neglected — they naturally make a causal connection between the two meanings of the word, and decide that he is unread because he is difficult. Some of the time this is true: the poet seems difficult because he is not read, because the reader is not accustomed to reading his or any other poetry.

Academy of Achievement interview (2006)
Context: !-- One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it. … What theater does best is to be abstract and not to do literal reality. …  -->Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it. … each art form makes me more interested in the other art form because I try and bring in those techniques and those ideas and put them into a different way of using them.

January 26, 1840
Journals (1838-1859)
Context: Poetry — No definition of poetry is adequate unless it be poetry itself. The most accurate analysis by the rarest wisdom is yet insufficient, and the poet will instantly prove it false by setting aside its requisitions. It is indeed all that we do not know. The poet does not need to see how meadows are something else than earth, grass, and water, but how they are thus much. He does not need discover that potato blows are as beautiful as violets, as the farmer thinks, but only how good potato blows are. The poem is drawn out from under the feet of the poet, his whole weight has rested on this ground. It has a logic more severe than the logician's. You might as well think to go in pursuit of the rainbow, and embrace it on the next hill, as to embrace the whole of poetry even in thought.

The History of Oracles, and the Cheats of the Pagan Priests (1688)
Context: [A]bout the time of Alexander the Great, a little before Pyrrhus's days, there appear'd in Greece certain great Sects of Philosophers, such as the Peripateticks and Epicureans, who made a mock of Oracles. The Epicureans especially made sport with the paltry Poetry that came from Delphos. For the Priests hammered out their Verses as well as they could, and they often times committed faults against the common Rules of Prosodia. Now those Fleering Philosophers were mightily concerned that Apollo, the very God of Poetry, should come so far behind Homer, who was but a meer mortal, and was beholding to the same Apollo for his inspirations.<!--p. 220

"Legislators of the world" in The Guardian (18 November 2006) http://books.guardian.co.uk/comment/story/0,,1950812,00.html
Context: I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.

Source: In My Own Way: An Autobiography 1915-1965 (1972), p. xiii

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VII Further Observations on Homer <!-- p.224, 1965 paper -->

The Paris Review interview (1994)
Context: It’s the same old wilderness, just no longer up on that hill or around that bend or in the gully. It’s the fact that there is no more hill or gully, that the hollow is there and you’ve got to explore the hollow with faith. If you don’t have faith that there is something down there, pretty soon when you’re in the hollow, you begin to get scared and start shaking. That’s when you stop taking acid and start taking coke and drinking booze and start trying to fill the hollow with depressants and Valium. Real warriors like William Burroughs or Leonard Cohen or Wallace Stevens examine the hollow as well as anybody; they get in there, look far into the dark, and yet come out with poetry.

R. S. Thomas : Priest and Poet, BBC TV (2 April 1972)
Context: Any form of orthodoxy is just not part of a poet's province … A poet must be able to claim … freedom to follow the vision of poetry, the imaginative vision of poetry … And in any case, poetry is religion, religion is poetry. The message of the New Testament is poetry. Christ was a poet, the New Testament is metaphor, the Resurrection is a metaphor; and I feel perfectly within my rights in approaching my whole vocation as priest and preacher as one who is to present poetry; and when I preach poetry I am preaching Christianity, and when one discusses Christianity one is discussing poetry in its imaginative aspects. … My work as a poet has to deal with the presentation of imaginative truth.

Nobel Lecture (8 December 1990)
Context: Only now have I understood that there was a secret relationship between what I have called my expulsion from the present and the writing of poetry. Poetry is in love with the instant and seeks to relive it in the poem, thus separating it from sequential time and turning it into a fixed present. But at that time I wrote without wondering why I was doing it. I was searching for the gateway to the present: I wanted to belong to my time and to my century. A little later this obsession became a fixed idea: I wanted to be a modern poet. My search for modernity had begun.

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 8. Of the Ancient Practice of Painting
Context: An illustrious Circle, overcome by the artistic beauty of the forces under his command, threw aside his marshal's baton and his royal crown, exclaiming that he henceforth exchanged them for the artist's pencil. How great and glorious the sensuous development of these days must have been is in part indicated by the very language and vocabulary of the period. The commonest utterances of the commonest citizens in the time of the Colour Revolt seem to have been suffused with a richer tinge of word or thought; and to that era we are even now indebted for our finest poetry and for whatever rhythm still remains in the more scientific utterance of these modern days.

Source: The Life of Poetry (1949), p. 31
Context: The meanings of poetry take their growth through the interaction of the images and the music of the poem. The music is not the rhythm, which is a representation of life, alone. The music involves the interplay of the sounds of words, the length of the sequences, the keeping and breaking of rhythms, and the repetition and variation of syllables unrhymed and rhymed. It also involves the play of ideas and images.

General rules for the "Poetry for the People" program she founded at the University of Berkeley in 1991, as quoted in June Jordan : Her Life and Letters (2006) by Valerie Kinloch, Ch. 6 : Affirmative Acts: Political Essays, p. 123
Context: 1. “The People” shall not be defined as a group excluding or derogating anyone on the basis of race, ethnicity, language, sexual preference, class, or age.
2. “The People” shall consciously undertake to respect and to encourage each other to feel safe enough to attempt the building of a community of trust in which all may try to be truthful and deeply serious in the messages they craft for the world to contemplate.
3. Poetry for the People rests upon a belief that the art of telling the truth is a necessary and a healthy way to create powerful, and positive, connections among people who, otherwise, remain (unknown and unaware) strangers. The goal is not to kill connections but, rather, to create and to deepen them among truly different men and women.

The Need for Transcendence in the Postmodern World (1994)
Context: Until recently, it might have seemed that we were an unhappy bit of mildew on a heavenly body whirling in space among many that have no mildew on them at all. this was something that classical science could explain. Yet, the moment it begins to appear that we are deeply connected to the entire universe, science reaches the outer limits of its powers. Because it is founded on the search for universal laws, it cannot deal with singularity, that is, with uniqueness. The universe is a unique event and a unique story, and so far we are the unique point of that story. But unique events and stories are the domain of poetry, not science. With the formulation of the Anthropic Cosmological Principle, science has found itself on the border between formula and story, between science and myth. In that, however, science has paradoxically returned, in a roundabout way, to man, and offers him — in new clothing — his lost integrity. It does so by anchoring him once more in the cosmos.

The Paris Review interview
Context: Goethe called his work one big confession, didn’t he? Looking at his work in the broadest sense, you could say the same of Shakespeare: a total self-examination and self-accusation, a total confession—very naked, I think, when you look into it. Maybe it’s the same with any writing that has real poetic life. Maybe all poetry, insofar as it moves us and connects with us, is a revealing of something that the writer doesn’t actually want to say but desperately needs to communicate, to be delivered of. Perhaps it’s the need to keep it hidden that makes it poetic—makes it poetry. The writer daren’t actually put it into words, so it leaks out obliquely, smuggled through analogies. We think we’re writing something to amuse, but we’re actually saying something we desperately need to share.

"To a Dog Injured in the Street"
The Desert Music and Other Poems (1954)
Context: I think
of the poetry
of René Char
and all he must have seen
and suffered
that has brought him
to speak only of
sedgy rivers,
of daffodils and tulips
whose roots they water,
even to the free-flowing river
that laves the rootlets
of those sweet-scented flowers
that people the
milky
way

Required Writing-Miscellaneous Pieces 1955-1982 Farrar Strauss 1984
Context: Poetry is an affair of sanity, of seeing things as they are, to recreate the familiar, eternalizing the poet's own perception in unique and original verbal form.

Source: The Life of Poetry (1949), p. 109
Context: There are ways in which poetry reaches the people who, for one reason or another, are walled off from it. Arriving in diluted forms, serving to point up an episode, to give to a climax an intensity that will carry it without adding heaviness, to travel toward the meaning of a work of graphic art, nevertheless poetry does arrive. And in the socially accepted forms, we may see the response and the fear, expressed without reserve, since they are expressed during enjoyment which has all the sanctions of society.
Close to song, poetry reaches us in the music we admit: the radio songs that flood our homes, the juke-boxes, places where we drink and eat, the songs of work for certain occupations, the stage-songs we hear as ticketed audience.

Interview with Richard B. Sale (1969)
Context: But to poetry — You have to be willing to waste time. When you start a poem, stay with it and suffer through it and just think about nothing, not even the poem. Just be there. It's more of a prayerful state than writing the novels is. A lot of the novel is in doing good works, as it were, not praying. And the prayerful state is just being passive with it, mumbling, being around there, lying on the grass, going swimming, you see. Even getting drunk. Get drunk prayerfully, though.

National Book Award Acceptance Speech (1957)
Context: Writing poetry, then, is an unsocial way of manufacturing a thoroughly social product. Because he must shield his poetry in its creation, the poet, more than other writers, will write without recognition. And because his product is not in great demand, he is likely to look on honors and distinctions with the feigned indifference of the wallflower. Yet of course he is pleased when recognition comes; for what better proof is there that for some people poetry is still a useful and necessary thing — like a shoe.

Cassandra (1860)

"Firefly" on Greta Gaines (1999); the phrase in quotes is one earlier found in "Strange Fruit" (1937) by Abel Meeropol, famously sung by Billie Holiday.
Context: I wake to "magnolias sweet and fresh",
Lines of poetry on my breath,
You were here but you have stolen away.
My inspiration is an evening star,
So come to me wherever you are,
I will wait for you tonight alone in the dark…

Inside Information p. 7
The Book on the Taboo Against Knowing Who You Are (1966)

Lectures on Education delivered at the Royal Institution of Great Britain, London, 1855, published in "What Knowledge is of Most Worth", The Westminster Review (July 1859) volume CXLI, p. 1-23, at p. 19 http://books.google.com/books?id=5NQ6AQAAMAAJ&pg=RA1-PA19
Context: The current opinion that science and poetry are opposed is a delusion. … Think you that a drop of water, which to the vulgar eye is but a drop of water, loses any thing in the eye of the physicist who knows that its elements are held together by a force which, if suddenly liberated, would produce a flash of lightning? Think you that what is carelessly looked upon by the uninitiated as a mere snow-flake does not suggest higher associations to one who has seen through a microscope the wondrously varied and elegant forms of snow-crystals? Think you that the rounded rock marked with parallel scratches calls up as much poetry in an ignorant mind as in the mind of a geologist, who knows that over this rock a glacier slid a million years ago? The truth is, that those who have never entered upon scientific pursuits know not a tithe of the poetry by which they are surrounded.

National Book Award Acceptance Speech (1957)
Context: It is true that the poet does not directly address his neighbors; but he does address a great congress of persons who dwell at the back of his mind, a congress of all those who have taught him and whom he has admired; that constitute his ideal audience and his better self. To this congress the poet speaks not of peculiar and personal things, but of what in himself is most common, most anonymous, most fundamental, most true of all men. And he speaks not in private grunts and mutterings but in the public language of the dictionary, of literary tradition, and of the street. Writing poetry is talking to oneself; yet it is a mode of talking to oneself in which the self disappears; and the products something that, though it may not be for everybody, is about everybody.

Song lyrics, The Kick Inside (1978)
Context: You'll never know that you had all of me.
You'll never know the poetry you've stirred in me.
Of all the stars I've seen that shine so brightly,
I've never known or felt in myself so rightly,
It's in me…

The Life of Poetry (1949)
Context: Poetry is not; or seems not to be. But it appears that among the great conflicts of this culture, the conflict in our attitude toward poetry stands clearly lit. There are no guards built up to hide it. We call see its expression, and we can see its effects upon us. We can see our own conflict and our own resource if we look, now, at this art, which has been made of all the arts the one least acceptable.
Anyone dealing with poetry and the love of poetry must deal, then, with the hatred of poetry, and perhaps even Ignore with the indifference which is driven toward the center. It comes through as boredom, as name-calling, as the traditional attitude of the last hundred years which has chalked in the portrait of the poet as he is known to this society, which, as Herbert Read says, "does not challenge poetry in principle it merely treats it with ignorance, indifference and unconscious cruelty."
Poetry is foreign to us, we do not let it enter our daily lives.

The Necessary Angel (1951), Imagination as Value
Context: The best definition of true imagination is that it is the sum of our faculties. Poetry is the scholar's art. The acute intelligence of the imagination, the illimitable resources of its memory, its power to possess the moment it perceives — if we were speaking of light itself, and thinking of the relationship between objects and light, no further demonstration would be necessary... What light requires a day to do, and by day I mean a kind of Biblical revolution of time, the imagination does in the twinkling of an eye. It colors, increases, brings to a beginning and end, invents languages, crushes men, and, for that matter, gods in its hands, it says to women more than it is possible to say, it rescues all of us from what we have called absolute fact...

Quotes from interviews, Insider Audio interview (1997)
Context: I don't appreciate poetry--I don't mind admitting that now, I don't understand poetry. We studied it in high school and college, but they never told us why it was good. I got A's on all the exams--"Hail to thee blithe spirit, bird thou never wert"-- what the hell does that mean? I have no idea.