The passionate heart of the poet is whirled into folly and vice.
genius is original, unique; and in whatever form it may develop itself is the greatest gift that can be given to man, the strongest known link between the material life we have and the spiritual life that we can only guess at. Every great poet, painter, or musician - every inventor or man of science, every fine actor or orator, comes to us as the exponent of something diviner than we know. We cannot understand it, but we feel it, and acknowledge it.
A parent, unlike a poet, is not born - he is made.
God makes many poets, but he only gives utterance to a few.
Rare almost as great poets, rarer, perhaps, than veritable saints and martyrs; are consummate men of business. A man, to be excellent in this way, requires a great knowledge of character, with that exquisite tact which feels unerringly the right moment when to act. A discreet rapidity must pervade all the movements of his thought and action. He must be singularly free from vanity, and is generally found to be an enthusiast who has the art to conceal his enthusiasm.
A king or a prince becomes by accident a part of history. A poet or an artist becomes by nature and necessity a part of universal humanity.
Ausonius must be read to be believed! As poet, no subject is too trivial for him; as courtier, no flattery too excessive.
In love, a verse of Mimnermus has more power than one of Homer.
The whole history of modern poetry is a continuous commentary on the short text of philosophy: every art should become science, and every science should become art; poetry and philosophy should be united.
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.
Just as a child is really a thing that wants to become a man, so is the poem an object of nature that wants to become an object ofart.
In every good poem everything must be both deliberate and instinctive. That is how the poem becomes ideal.
There is so much poetry, and yet nothing is more rare than a poetic work. This is what the masses make out of poetical sketches, studies, aphorisms, trends, ruins, and raw material.
In many a poetic work, one gets here and there, instead of representation merely a title indicating that this or that was supposedto be represented here, that the artist has been prevented from doing it and most humbly asks to be kindly excused.
Since poetry is infinitely valuable, I do not understand why it should be more valuable than this or that which is also infinitelyvaluable. There are artists who perhaps do not think art to be too great, for this is impossible, and yet they are not free enough to be able to rise above their own best accomplishments.
In the ancients, one sees the accomplished letter of entire poetry: in the moderns, one has the presentiment of the spirit in becoming.
Without poetry, religion becomes obscure, false, and malignant; without philosophy, licentious in all wantonness, and lascivious to the point of self-castration.
The life and vigor of poetry consists of the fact that it steps out of itself, tears out a section of religion, then withdraws into itself to assimilate it. The same is true of philosophy.
If one believes philosophers, then what we call religion is only a deliberately popularized or an instinctively artless philosophy. Poets seem to consider religion rather as a variation of poetry which by misjudging its proper beautiful game takes itself too seriously and one-sidedly. Philosophy, however, admits and recognizes that it can begin and complete itself only with religion. Poetry seeks only to strive for the infinite and despises worldly utility and culture, which are the true antitheses of religion. Eternal peace among artists is thus not far away.
Poetry and philosophy are, according to how you take them, different spheres, different forms, or factors of religion. Try to really combine both, and you will have nothing but religion.
Where philosophy ends, poetry must commence. There should not be a common point of view, a natural manner of thinking which standsin contrast to art and liberal education, or mere living; that is, one should not conceive of a realm of crudeness beyond the boundaries of education. Every conscious link of an organism should not perceive its limits without a feeling for its unity in relation to the whole. For example, philosophy should not only be contrasted to non-philosophy, but also to poetry.
With respect to ingenious subconsciousness, I think, philosophers might well rival poets.
There are ancient and modern poems which breathe, in their entirety and in every detail, the divine breath of irony. In such poemsthere lives a real transcendental buffoonery. Their interior is permeated by the mood which surveys everything and rises infinitely above everything limited, even above the poet's own art, virtue, and genius; and their exterior form by the histrionic style of an ordinary good Italian buffo.
The three states of the caterpillar, larva, and butterfly have, since the time of the Greek poets, been applied to typify the human being,--its terrestrial form, apparent death, and ultimate celestial destination.
Drill in exact translation is an excellent way of disposing the mind against that looseness and exaggeration with which the sensationalists have corrupted our world. If schools of journalism knew their business, they would graduate no one who could not render the Greek poets.
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