Quotes about poetry

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The Spiral Dance: A Rebirth of the Ancient Religion of the Goddess (1979)
Context: Witchcraft offers the model of a religion of poetry, not theology. It presents metaphors, not doctrines, and leaves open the possibility of reconciliation of science and religion, of many ways of knowing. <!-- p. 209

The Ordering of Love: The New and Collected Poems of Madeleine L'Engle (2005)
Context: Poetry, at least the kind I write, is written out of immediate need; it is written out of pain, joy, and experience too great to be borne until it is ordered into words. And then it is written to be shared.

1455a.33
Poetics

Book III, Chapter 3, p. 361
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)

Wordsworth, originally published as "Preface to the Poems of Wordsworth" in Macmillan's Magazine (July 1879)
Essays in Criticism, second series (1888)
Context: If what distinguishes the greatest poets is their powerful and profound application of ideas to life, which surely no good critic will deny, then to prefix to the word ideas here the term moral makes hardly any difference, because human life itself is in so preponderating a degree moral.
It is important, therefore, to hold fast to this: that poetry is at bottom a criticism of life; that the greatness of a poet lies in his powerful and beautiful application of ideas to life — to the question, How to live. Morals are often treated in a narrow and false fashion, they are bound up with systems of thought and belief which have had their day, they are fallen into the hands of pedants and professional dealers, they grow tiresome to some of us. We find attraction, at times, even in a poetry of revolt against them; in a poetry which might take for its motto Omar Khayam's words: "Let us make up in the tavern for the time which we have wasted in the mosque." Or we find attractions in a poetry indifferent to them, in a poetry where the contents may be what they will, but where the form is studied and exquisite. We delude ourselves in either case; and the best cure for our delusion is to let our minds rest upon that great and inexhaustible word life, until we learn to enter into its meaning. A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life.

Lectures on the English Poets http://www.gutenberg.org/files/16209/16209.txt (1818), Lecture I, "On Poetry in General"
Context: Poetry is the universal language which the heart holds with nature and itself. He who has a contempt for poetry, cannot have much respect for himself, or for anything else.

Source: The Life of Poetry (1949), Chapter One : The Fear of Poetry
Context: Poetry is, above all, an approach to the truth of feeling, and what is the use of truth!
How do we use feeling?
How do we use truth! However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.
If we use the resources we now have, we and the world itself may move in one fullness. Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html
Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

On Peter Porter, 'Talking for Posterity' (Times Literary Supplement, May 14, 2010)
Essays and reviews
Context: [H]e could never have played the hero, because for him it was creativity itself that had the heroic status, beyond politics, beyond patriotism, beyond even personal happiness. It’s the reason why his work is like that. His poetry, so wonderful when it is really flying, isn’t trying to tell you how much he knows. It’s giving thanks for how much there is to be known.

“Selected Aphorisms from the Lyceum (1797)”, Dialogue on Poetry and Literary Aphorisms, Ernst Behler and Roman Struc, trans. (Pennsylvania University Press:1968) #117
Context: Poetry can be criticized only through poetry. A critique which itself is not a work of art, either in content as representation of the necessary impression in the process of creation, or through its beautiful form and in its liberal tone in the spirit of the old Roman satire, has no right of citizenship in the realm of art.

The Man With the Blue Guitar (1937)
Context: Do not speak to us of the greatness of poetry,
Of the torches wisping in the underground,
Of the structure of vaults upon a point of light.
There are no shadows in our sun,
Day is desire and night is sleep.
There are no shadows anywhere.
The earth, for us, is flat and bare.
There are no shadows.

"Legislators of the world" in The Guardian (18 November 2006)
Context: Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness. What's pushing the grammar and syntax, the sounds, the images — is it the constriction of literalism, fundamentalism, professionalism — a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? Poetry has the capacity to remind us of something we are forbidden to see. A forgotten future: a still uncreated site whose moral architecture is founded not on ownership and dispossession, the subjection of women, outcast and tribe, but on the continuous redefining of freedom — that word now held under house arrest by the rhetoric of the "free" market. This on-going future, written-off over and over, is still within view. All over the world its paths are being rediscovered and reinvented.
There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments. There is always (I am quoting the poet/translator Américo Ferrari|) "an unspeakable where, perhaps, the nucleus of the living relation between the poem and the world resides".

1830s, Literary Ethics (1838)
Context: You will hear every day the maxims of a low prudence. You will hear, that the first duty is to get land and money, place and name. "What is this Truth you seek? What is this Beauty?" men will ask, with derision. If, nevertheless, God have called any of you to explore truth and beauty, be bold, be firm, be true. When you shall say, "As others do, so will I. I renounce, I am sorry for it, my early visions; I must eat the good of the land, and let learning and romantic expectations go, until a more convenient season." — then dies the man in you; then once more perish the buds of art, and poetry, and science, as they have died already in a thousand thousand men. The hour of that choice is the crisis of your history; and see that you hold yourself fast by the intellect. … Bend to the persuasion which is flowing to you from every object in Nature, to be its tongue to the heart of man, and to show the besotted world how passing fair is wisdom.

A Week on the Concord and Merrimack Rivers http://www.gutenberg.org/dirs/etext03/7cncd10.txt (1849), Sunday
Context: The hidden significance of these fables which is sometimes thought to have been detected, the ethics running parallel to the poetry and history, are not so remarkable as the readiness with which they may be made to express a variety of truths. As if they were the skeletons of still older and more universal truths than any whose flesh and blood they are for the time made to wear. It is like striving to make the sun, or the wind, or the sea symbols to signify exclusively the particular thoughts of our day. But what signifies it? In the mythus a superhuman intelligence uses the unconscious thoughts and dreams of men as its hieroglyphics to address men unborn. In the history of the human mind, these glowing and ruddy fables precede the noonday thoughts of men, as Aurora the sun's rays. The matutine intellect of the poet, keeping in advance of the glare of philosophy, always dwells in this auroral atmosphere.

Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html

Letter to James Macpherson, 20 June 1778. (Quotation used as epigram to Władysław Tatarkiewicz, "Dwa pojęcia poezji" ("Two Concepts of Poetry"), in Tatarkiewicz's book, Parerga, Warsaw, Państwowe Wydawnictwo Naukowe, 1978, pp. 20–38.)
Letters to and from Dr. Samuel Johnson

Nobel prize lecture (1983)
Context: Words may, through the devotion, the skill, the passion, and the luck of writers prove to be the most powerful thing in the world. They may move men to speak to each other because some of those words somewhere express not just what the writer is thinking but what a huge segment of the world is thinking. They may allow man to speak to man, the man in the street to speak to his fellow until a ripple becomes a tide running through every nation — of commonsense, of simple healthy caution, a tide that rulers and negotiators cannot ignore so that nation does truly speak unto nation. Then there is hope that we may learn to be temperate, provident, taking no more from nature's treasury than is our due. It may be by books, stories, poetry, lectures we who have the ear of mankind can move man a little nearer the perilous safety of a warless and provident world. It cannot be done by the mechanical constructs of overt propaganda. I cannot do it myself, cannot now create stories which would help to make man aware of what he is doing; but there are others who can, many others. There always have been. We need more humanity, more care, more love. There are those who expect a political system to produce that; and others who expect the love to produce the system. My own faith is that the truth of the future lies between the two and we shall behave humanly and a bit humanely, stumbling along, haphazardly generous and gallant, foolishly and meanly wise until the rape of our planet is seen to be the preposterous folly that it is.
For we are a marvel of creation. I think in particular of one of the most extraordinary women, dead now these five hundred years, Juliana of Norwich. She was caught up in the spirit and shown a thing that might lie in the palm of her hand and in the bigness of a nut. She was told it was the world. She was told of the strange and wonderful and awful things that would happen there. At the last, a voice told her that all things should be well and all manner of things should be well and all things should be very well.
Now we, if not in the spirit, have been caught up to see our earth, our mother, Gaia Mater, set like a jewel in space. We have no excuse now for supposing her riches inexhaustible nor the area we have to live on limitless because unbounded. We are the children of that great blue white jewel. Through our mother we are part of the solar system and part through that of the whole universe. In the blazing poetry of the fact we are children of the stars.

Autobiography (1873)
Context: I have already mentioned Carlyle's earlier writings as one of the channels through which I received the influences which enlarged my early narrow creed; but I do not think that those writings, by themselves, would ever have had any effect on my opinions. What truths they contained, though of the very kind which I was already receiving from other quarters, were presented in a form and vesture less suited than any other to give them access to a mind trained as mine had been. They seemed a haze of poetry and German metaphysics, in which almost the only clear thing was a strong animosity to most of the opinions which were the basis of my mode of thought; religious scepticism, utilitarianism, the doctrine of circumstances, and the attaching any importance to democracy, logic, or political economy. Instead of my having been taught anything, in the first instance, by Carlyle, it was only in proportion as I came to see the same truths through media more suited to my mental constitution, that I recognized them in his writings. Then, indeed, the wonderful power with which he put them forth made a deep impression upon me, and I was during a long period one of his most fervent admirers; but the good his writings did me, was not as philosophy to instruct, but as poetry to animate. Even at the time when out acquaintance commenced, I was not sufficiently advanced in my new modes of thought, to appreciate him fully; a proof of which is, that on his showing me the manuscript of Sartor Resartus, his best and greatest work, which he had just then finished, I made little of it; though when it came out about two years afterwards in Fraser's Magazine I read it with enthusiastic admiration and the keenest delight. I did not seek and cultivate Carlyle less on account of the fundamental differences in our philosophy. He soon found out that I was not "another mystic," and when for the sake of my own integrity I wrote to him a distinct profession of all those of my opinions which I knew he most disliked, he replied that the chief difference between us was that I "was as yet consciously nothing of a mystic." I do not know at what period he gave up the expectation that I was destined to become one; but though both his and my opinions underwent in subsequent years considerable changes, we never approached much nearer to each other's modes of thought than we were in the first years of our acquaintance. I did not, however, deem myself a competent judge of Carlyle. I felt that he was a poet, and that I was not; that he was a man of intuition, which I was not; and that as such, he not only saw many things long before me, which I could only when they were pointed out to me, hobble after and prove, but that it was highly probable he could see many things which were not visible to me even after they were pointed out. I knew that I could not see round him, and could never be certain that I saw over him; and I never presumed to judge him with any definiteness, until he was interpreted to me by one greatly the superior of us both -- who was more a poet than he, and more a thinker than I -- whose own mind and nature included his, and infinitely more.

Source: Infinite in All Directions (1988), Ch. 1 : In Praise of Diversity
Context: Science is not a monolithic body of doctrine. Science is a culture, constantly growing and changing. The science of today has broken out of the molds of classical nineteenth-century science, just as the paintings of Pablo Picasso and Jackson Pollock broke out of the molds of nineteenth century art. Science has as many competing styles as painting or poetry. The diversity of science also finds a parallel in the diversity of religion.

Source: Poetry and Craft (1965), p. 89

“Reflections on Wallace Stevens”, p. 127, originally in Partisan Review, Vol. 18, (May/June 1951)
Poetry and the Age (1953)
Context: Poetry is a bad medium for philosophy. Everything in the philosophical poem has to satisfy irreconcilable requirements: for instance, the last demand that we should make of philosophy (that it be interesting) is the first we make of a poem; the philosophical poet has an elevated and methodical, but forlorn and absurd air as he works away at his flying tank, his sewing-machine that also plays the piano.

Note, on "The Book of the Dead"
U.S. 1 (1938), The Book of the Dead
Context: This is to be a summary poem of the life of the Atlantic coast of this country, nourished by the communications which run down it. Gauley Bridge is inland, but it was created by theories, systems, and workmen from many coastal sections — factors which are, in the end, not regional or national. Local images have one kind of reality. U. S. 1 will, I hope, have that kind and another too. Poetry can extend the document.

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.

Wordsworth, originally published as "Preface to the Poems of Wordsworth" in Macmillan's Magazine (July 1879)
Essays in Criticism, second series (1888)
Context: If what distinguishes the greatest poets is their powerful and profound application of ideas to life, which surely no good critic will deny, then to prefix to the word ideas here the term moral makes hardly any difference, because human life itself is in so preponderating a degree moral.
It is important, therefore, to hold fast to this: that poetry is at bottom a criticism of life; that the greatness of a poet lies in his powerful and beautiful application of ideas to life — to the question, How to live. Morals are often treated in a narrow and false fashion, they are bound up with systems of thought and belief which have had their day, they are fallen into the hands of pedants and professional dealers, they grow tiresome to some of us. We find attraction, at times, even in a poetry of revolt against them; in a poetry which might take for its motto Omar Khayam's words: "Let us make up in the tavern for the time which we have wasted in the mosque." Or we find attractions in a poetry indifferent to them, in a poetry where the contents may be what they will, but where the form is studied and exquisite. We delude ourselves in either case; and the best cure for our delusion is to let our minds rest upon that great and inexhaustible word life, until we learn to enter into its meaning. A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life.

Variant translation:
With gaudy words their lines are formed
And further adorned by novel and curious phrases.
Yet if they fail to express what is in their own minds
What is the use, no matter
How many poems they compose!
"Zen Poetics of Ryokan" in Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry (Summer 2006)
Dewdrops on a Lotus Leaf : Zen Poems of Ryokan (1993)

The Usurpation Of Language (1910)
Context: Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights. In this the poet and the philosopher are one. Using language as the lever, they lift thought above the levels where words perplex and retard its flight, and leave it, at last, standing face to face with the object which reveals itself.

Introduction to Ward's English Poets (1880)
Context: For poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is the fact. The strongest part of our religion today is its unconscious poetry.

Source: The Sacred Depths of Nature (1998), p. 139
Context: For me, and probably for all of us, the concept of a personal, interested god can be appealing, often deeply so. In times of sorrow or despair, I often wonder what it would be like to be able to pray to God or Allah or Jehovah or Mary and believe that I was heard, believe that my petition might be answered. When I sing the hymns of faith in Jesus' love, I am drawn to their intimacy, their allure, their poetry. But in the end, such faith is simply not available to me. I can’t do it. I lack the resources to render my capacity for love and my need to be loved to supernatural Beings. And so I have no choice but to pour these capacities and needs into earthly relationships, fragile and mortal and difficult as they often are.

Part I : Contemporary Issues in Science, Ch. 1 : "The Scientist as Rebel"; this first appeared in New York Review of Books (25 May 1995).
The Scientist As Rebel (2006)
Context: There is no such thing as a unique scientific vision, any more than there is a unique poetic vision. Science is a mosaic of partial and conflicting visions. But there is one common element in these visions. The common element is rebellion against the restrictions imposed by the locally prevailing culture, Western or Eastern as the case may be. It is no more Western than it is Arab or Indian or Japanese or Chinese. Arabs and Indians and Japanese and Chinese had a big share in the development of modern science. And two thousand years earlier, the beginnings of science were as much Babylonian and Egyptian as Greek. One of the central facts about science is that it pays no attention to East and West and North and South and black and yellow and white. It belongs to everybody who is willing to make the effort to learn it. And what is true of science is true of poetry.... Poetry and science are gifts given to all of humanity.

Phlogiston interview (1995)
Context: Well, I decided that as a teenager that I really didn't know enough to describe character well and I was wasting my time. I'd learned as much as I could about story telling techniques and it wasn't a matter of technique any more. It was a matter of substance. As a result I said I was going to wait until I was a lot older and had more experience. So it was that after I got out of college I'd been away from SF for about four years. I'd read SF steadily from when I was eleven until I started college. When I started college I said, "I'm not going to read that while I'm here, I'm going to learn poetry and other things of that sort" in fact I wrote a lot of poetry then.

On Writing Poetry (1995)
Context: I no longer feel I'll be dead by thirty; now it's sixty. I suppose these deadlines we set for ourselves are really a way of saying we appreciate time, and want to use all of it. I'm still writing, I'm still writing poetry, I still can't explain why, and I'm still running out of time. Wordsworth was sort of right when he said, "Poets in their youth begin in gladness/ But thereof comes in the end despondency and madness." Except that sometimes poets skip the gladness and go straight to the despondency. Why is that? Part of it is the conditions under which poets work — giving all, receiving little in return from an age that by and large ignores them — and part of it is cultural expectation — "The lunatic, the lover and the poet," says Shakespeare, and notice which comes first. My own theory is that poetry is composed with the melancholy side of the brain, and that if you do nothing but, you may find yourself going slowly down a long dark tunnel with no exit. I have avoided this by being ambidextrous: I write novels too. But when I find myself writing poetry again, it always has the surprise of that first unexpected and anonymous gift.

in Waliyyullāh, S. (2014) Al-Fawz al-Kabīr fī Uṣūl at-Tafsīr. The Great Victory on Qur’ānic Hermeneutics: A Manual of the Principles and Subtleties of Qur’anic Tafsīr. Translated, Introduction and Annotated by Tahir Mahmood Kiani. London: Taha, p.160.

S.K. Chatterjee quoted in Aziz Ahmad, Studies In Islamic Culture in the Indian Environment, Oxford. 1964, pp. 252-55. https://archive.org/details/StudiesInIslamicCultureInTheIndianE

Interviewed by Zora Burden https://zoraburden.weebly.com/jack-sargeant.html (2014)

Source: Notes Towards the Definition of Culture, T.S. Eliot. Quoted from Gewali, Salil (2013). Great Minds on India. New Delhi: Penguin Random House.

On his writing preferences in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)

Bradbury Talk Likely to Feature the Unexpected (1994)

Source: The Nature of the Physical World (1928), Ch. 12 : Pointer Readings

On the U.S.-Mexican border wall issue in “Poetry is Built for Compassion: An Interview with Juan Felipe Herrera” https://thi.ucsc.edu/poetry-built-compassion-interview-juan-felipe-herrera/ (Humanities Institute, UC Santa Cruz; 2019 Feb 27)

On her work in “ The young ‘Instapoet’ Rupi Kaur: from social media star to bestselling writer” https://www.theguardian.com/books/2017/may/27/rupi-kaur-i-dont-fit-age-race-class-of-bestselling-poet-milk-and-honey in The Guardian (2017 May 27)

Soirées scientifiques de la Sorbonne (1864)
Original: (fr) Comprenez-vous maintenant le lien qui existe entre la question des générations spontanées et ces grands problèmes que j'ai énumérés en commençant? Mais, messieurs, dans un pareil sujet, assez de poésie comme cela, assez de fantaisie et de solutions instinctives; il est temps que la science, la vraie méthode reprenne ses droits et les exerce. Il n'y a ici ni religion, ni philosophie, ni athéisme, ni matérialisme, ni spiritualisme qui tienne. Je pourrais même ajouter : Comme savant, peu m'importe. C'est une question de fait; je l'ai abordée sans idée préconçue, aussi prêt à déclarer, si l'expérience m'en avait imposé l'aveu, qu'il existe des générations spontanées, que je suis persuadé aujourd'hui que ceux qui les affirment ont un bandeau sur les veux.

On if the poet has a responsibility in “‘The language is constructing our ideas more than we are deploying the language’: An interview with Gregory Pardlo” http://gulfcoastmag.org/reviews-and-interviews/art-and-reviews/an-interview-with-gregory-pardlo/ in Gulf Coast Magazine (2019 Jul 17)

On his preferred themes in “Deaf poetics: Conversation with Raymond Antrobus" https://poetryinternationalonline.com/conversation-with-raymond-antrobus/ (Poetry International; 2018 Oct 11)

On the impact that poetry has had on his life in “Deaf poetics: Conversation with Raymond Antrobus" https://poetryinternationalonline.com/conversation-with-raymond-antrobus/ (Poetry International; 2018 Oct 11)

On keeping poetry apolitical in “INTERVIEW WITH ARIANA REINES” http://www.thewhitereview.org/feature/interview-ariana-reines/ in The White Review (July 2019)

On the challenges of the writing process in “BWW Interview: Acclaimed Playwright Luis Alfaro of OEDIPUS EL REY at Magic Theatre Talks about His Path & the Role of the Artist in Creating Change” https://www.broadwayworld.com/san-francisco/article/BWW-Interview-Acclaimed-Playwright-Luis-Alfaro-of-OEDIPUS-EL-REY-at-Magic-Theatre-Talks-about-His-Path-the-Role-of-the-Artist-in-Creating-Change-20190614 in Broadway World (2010 Jun 14)

On how people shape their own sense of reality in “The Writer’s Block Transcripts: A Q&A with Martin Espada” https://www.sampsoniaway.org/interviews/2015/12/11/the-writers-block-transcripts-a-qa-with-martin-espada/ in Sampsonia Way (2015 Dec 11)

On how certain poetry intermingles popular culture in “Q & A: AMERICAN POETRY—Francisco Aragón” https://poetrysociety.org/features/q-a-american-poetry-1/francisco-arag%C3%B3n (Poetry Society of America)

On his advice to Latino poets in “Interview with Francisco Aragón: Latino Poetry From All Its Perspectives” https://www.sampsoniaway.org/literary-voices/2010/09/16/interview-with-francisco-aragon-latino-poetry-from-all-its-perspectives/ in Sampsonia Way (2010 Sept 16)

On translating Spanish poetry into English in “Interview with Francisco Aragón: Latino Poetry From All Its Perspectives” https://www.sampsoniaway.org/literary-voices/2010/09/16/interview-with-francisco-aragon-latino-poetry-from-all-its-perspectives/ in Sampsonia Way (2010 Sept 16)

On how he views poetry in “Daljit Nagra” https://www.aestheticamagazine.com/daljit-nagra/ in Aesthetica

On reworking the Ramayana in “An Interview With Daljit Nagra” https://www.thebubble.org.uk/culture/literature/an-interview-with-daljit-nagra/ in The Bubble (2014 Sept 17)

On how he views the art of poetry in “Daljit Nagra: ‘Poetry is an espresso shot of thought’” https://www.theguardian.com/books/2017/jul/14/daljit-nagra-poetry-espresso-shot-of-thought-interview in The Guardian (2017 Jul 14)

1930s, Obituary for Emmy Noether (1935)

Source: Demon Princes (1964-1981), The Palace of Love (1967), Chapter 5 (p. 343)

By Namita Devidayal in Pain gave the singer her song, 10 October 2009, 2 January 2014, Times of India http://articles.timesofindia.indiatimes.com/2009-10-10/mumbai/28060204_1_begum-akhtar-music-lovers-divine-music,

On how she hopes to change poetry by bringing it towards visual art in “A Graphic Revolution Talking Poetry & Politics with Giannina Braschi” https://www.academia.edu/36916781/A_Graphic_Revolution_Talking_Poetry_and_Politics_with_Giannina_Braschi in Chiricú Journal (2018)

On her worldly view of poetry in “Poet Lucille Clifton: 'Everything Is Connected'” https://www.npr.org/templates/story/story.php?storyId=124113507 in NPR (2010 Feb 28)

On her advice to poets in “The First Native American U.S. Poet Laureate on How Poetry Can Counter Hate” https://time.com/5658443/joy-harjo-poet-interview/ in Time Magazine (2019 Aug 22)

On the art of poetry in “An Interview with Joy Harjo, U.S. Poet Laureate” https://poets.org/text/interview-joy-harjo-us-poet-laureate?gclid=EAIaIQobChMIiJP5naHW5QIV0Rx9Ch0tGgkkEAAYASAAEgIJD_D_BwE in Poets.org (2019 Mar 31)

On her poetic lineage in “An Interview with Joy Harjo, U.S. Poet Laureate” https://poets.org/text/interview-joy-harjo-us-poet-laureate?gclid=EAIaIQobChMIiJP5naHW5QIV0Rx9Ch0tGgkkEAAYASAAEgIJD_D_BwE in Poets.org (2019 Mar 31)

1840s, Essays: Second Series (1844), Nominalist and Realist

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

The Year of the Jackpot (p. 644)
Short fiction, Off the Main Sequence (2005)

London 1759, p. 28 books.google https://books.google.de/books?id=h1IJAAAAQAAJ&pg=PA28&dq=mysteries
Conjectures on Original Composition (1759)

12 July 1827
Table Talk (1821–1834)

Source: The Lights in the Sky Are Stars (1953), Chapter 5 “2001” (pp. 243-244; "ascetism" should be "asceticism")

Quote of Ball, 21 July 1920, in Flucht aus der Zeit, p. 266; as quoted by Debbie Lewer in 'Papers of Surrealism Issue 6 Autumn 2007', p. 15, note 15
while reading a book of mystic writers, Ball noted this remark
after 1916

Source: The Case for India, Will Durant. Quoted from Gewali, Salil (2013). Great Minds on India. New Delhi: Penguin Random House.

[Pictures Called Products Of Art., The Record, https://commons.wikimedia.org/wiki/File:Harvey_Dwight_Dash_(1924-2002)_in_The_Record_of_Hackensack,_New_Jersey_on_5_November_1959.png, November 5, 1959, Harvey Dwight Dash]
Quote

Original in German: Und wenn ich einen so großen Akzent auf den Spinosa lege, so geschieht es wahrlich nicht aus einer subjektiven Vorliebe (deren Gegenstände ich vielmehr ausdrücklich entfernt gehalten habe) oder um ihn als Meister einer neuen Alleinherrschaft zu erheben; sondern weil ich an diesem Beispiel am auffallendsten und einleuchtendsten meine Gedanken vom Wert und der Würde der Mystik und ihrem Verhältnis zur Poesie zeigen konnte. Ich wählte ihn wegen seiner Objektivität in dieser Rücksicht als Repräsentanten aller übrigen.
Friedrich Schlegel, Rede über die Mythologie, in Friedrich Schlegels Gespräch über die Poesie (1800)
S - Z

Antonio Labriola, Socialism and Philosophy (1897) [original in Italian]
G - L

Guo Moruo, 1983. As quoted in Yuan Li (2016), Study of Comparative Poetic Thought of Guo Moruo's Goddess [original in Chinese]
G - L

Douglas Young in Van Eerde, John; Williamson, Robert (1978). "Sorley MacLean: A Bard and Scottish Gaelic".
About him

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

Does it make sense to define "virtual" reality as what actually reaches us through the Internet? How the artist relates to it, how he or she perceives and represents it and how a net-poet should "sing" it? The relationship with reality mediated by the Internet is a network of contacts in itself, it is ontologically a "connective" image of reality, which gradually outlines and qualify itself, both as reality and as representation.
Source: Virtual Mercury House. Planetary & Interplanetary Events, p. 132

Grierson, in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", p. 35
On Tulsidas’s epic Ramacharritamanas

Vincent Smith in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", pp.34-35
On Tulsidas’s epic Ramacharritamanas

K. R. Sundararajan in Hindu spirituality: Postclassical and modern http://books.google.co.in/books?id=LO0DpWElIRIC&pg=PA306&hl=en#v=onepage&q=Bhakti&f=false, p. 73

View by H.R. Prasad quoted in [Critical Response To Indian Poetry In English, http://books.google.com/books?id=4NcHdrqUJpYC&pg=PA11, 1 January 2008, Sarup & Sons, 978-81-7625-825-8, 11–]

Note, on "The Book of the Dead"
U.S. 1 (1938), The Book of the Dead

Ah, benedicite! how he will mourn over the fall of such a pearl of knighthood, be it on the side he happens to favour, or on the other. But, truly, for sweeping from the face of the earth some few hundreds of villain churls, who are born but to plough it, the high-born and inquisitive historian has marvellous little sympathy.
Claverhouse, in Walter Scott's Old Mortality (1816), ch. 35.
Criticism

Letter to John Taylor (February 27, 1818)
Letters (1817–1820)

Source: Fallen Leaves (2014), Ch. 3 : On Middle Age

'Long before I had enlarged in any considerable degree, the basis of my intellectual creed, I had obtained in the natural course of my mental progress, poetic culture of the most valuable kind, by means of reverential admiration for the lives and characters of heroic persons; especially the heroes of philosophy.'
Autobiography (1873)

We never do that, do we, being all of us too much poets. We like to talk in parables and in hints and in indirections — whether from diffidence or some other instinct.
" Education by Poetry http://www.en.utexas.edu/amlit/amlitprivate/scans/edbypo.html", speech delivered at Amherst College and subsequently revised for publication in the Amherst Graduates’ Quarterly (February 1931)
General sources

Well, taste for some reason or the other can't carry one far into the world of beauty—that reason being perhaps that though you don't want comradership there you do want the possibility of comradership, and A cannot swallow B's mouthful by any possibility:....and this exclusiveness (to maunder on) also attaches to the physical side of sex though not the least to the spiritual.
Letter 162, to Malcolm Darling, 1 December 1916
Selected Letters (1983-1985)

"Poetry is Not a Luxury"
Sister Outsider: Essays and Speeches (1984)

Sister Outsider: Essays and Speeches (1984)

Interview with The New York Times https://nyti.ms/2Uzw2nh, June 27, 1968, p. 49

Rollingstone interview (2015)

Original: (ur) گردوں بہ رنج و درد مارا کشتہ بود اگر
پیوند و عمر من نہ شدے نظم جان فضائے

On his writing inspiration in “Interview with Rudolfo Anaya” https://ebuah.uah.es/dspace/bitstream/handle/10017/4986/Interview%20with%20Rudolfo%20Anaya.pdf?sequence=1&isAllowed=y (CARMEN FLYS JUNQUERA, Universidad de Alcalá de Henares)

On how she favors a musical quality to her poetry in the book Truthtellers of the Times: Interviews with Contemporary Women Poets https://books.google.com/books?id=LkVO9mmfwZYC&pg=PA23&lpg=PA23&dq

On how her politics and poetry merged in “A Conversation with Lorna Dee Cervantes” https://www.academia.edu/4464223/A_Conversation_with_Lorna_Dee_Cervantes in World Literature Today (2010)

Jami's Divan, p. 70-80
about himself