Defence Of Poetry Quotes

A man, to be greatly good, must imagine intensely and comprehensively; he must put himself in the place of another and many others; the pains and pleasures of his species must become his own. The great instrument of moral good is the imagination.

a single word even may be a spark of inextinguishable thought

A Poet is a nightingale who sits in darkness, and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why.

...the poet, he nothing affirmeth, and therefore never lieth.

Sorrow, terror, anguish, despair itself are often the chosen expressions of an approximation to the highest good. Our sympathy in tragic fiction depends on this principle; tragedy delights by affording a shadow of the pleasure which exists in pain. This is the source also of the melancholy which is inseparable from the sweetest melody. The pleasure that is in sorrow is sweeter than the pleasure of pleasure itself.

...music, I say, the most divine striker of the senses...

Poets are the unacknowledged legislators of the world.

Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar.

Be like Abel who said to Cain: To strike you in self-defence, gives me pain. For to take your life, what can I gain? Your blood will eternally remain, In all my days to be a stain, Forever on my mind and upon my brain.

At last everything was satisfactorily arranged, and I could not help admiring the setting: these mingled touches betrayed on a small scale the inspiration of a poet, the research of a scientist, the good taste of an artist, the gourmet’s fondness for good food, and the love of flowers, which concealed in their delicate shadows a hint of the love of women

With a sword thou mayest kill thy father, and with a sword thou mayest defend thy prince and country.

If you have so earth-creeping a mind that it cannot lift itself up to look to the sky of poetry...thus much curse I must send you, in the behalf of all poets, that while you live, you live in love, and never get favour for lacking skill of a sonnet; and, when you die, your memory die from the earth for want of an epitaph.

[Poetry] strips the veil of familiarity from the world, and lays bear the naked and sleeping beauty which is the spirit of its forms.

Anger, the Stoics said, was a short madness.

Hence the vanity of translation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its color and odor, as seek to transfuse from one language into another the creations of a poet. The plant must spring again from its seed, or it will bear no flower—and this is the burden of the curse of Babel.

Who will be taught, if he be not moved with desire to be taught?

Poetry turns all things to loveliness; it exalts the beauty of that which is most beautiful, and it adds beauty to that which is most deformed; it marries exultation and horror, grief and pleasure, eternity and change; it subdues to union under its light yoke all irreconcilable things. It transmutes all that it touches, and every form moving within the radiance of its presence is changed by wondrous sympathy to an incarnation of the spirit which it breathes: its secret alchemy turns to potable gold the poisonous waters which flow from death through life; it strips the veil of familiarity from the world, and lays bare the naked and sleeping beauty, which is the spirit of its forms.

A poem is the very image of life expressed in its eternal truth. There

it were as wise to cast a violet into a crucible that you might discover the formal principle of its color and odor, as seek to transfuse from one language into another the creations of a poet

So, then, the best of the historian is subject to the poet; for whatsoever action or faction, whatsoever counsel, policy, or war-stratagem the historian is bound to recite, that may the poet, if he list, with his imitation make his own, beautifying it both for further teaching and more delighting, as it pleaseth him; having all, from Dante’s Heaven to his Hell, under the authority of his pen.

Poetry enlarges the circumference of the imagination by replenishing it with thoughts of ever new delight, which have the power of attracting and assimilating to their own nature all other thoughts, and which form new intervals and interstices whose void for ever craves fresh food.

For grammar it [poetry] might have, but it needs it not; being so easy in itself, and so void of those cumbersome differences of cases, genders, moods, and tenses, which, I think, was a piece of the Tower of Babylon's curse, that a man shoult be put to school to learn his mother-tongue.

A poet is a nightingale who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why.

The cultivation of those sciences which have enlarged the limits of the empire of man over the external world, has, for want of poetical faculty, proportionally circumscribed those of the internal world; and man, having enslaved the elements, remains himself a slave.

We have more moral, political and historical wisdom, than we know how to reduce into practice; we

Poetry thus makes immortal all that is best and most beautiful in the world

Poetry: Language against which we have no defences.

It belongs to a philosophical critic to distinguish rather than confound

Poetry defeats the curse which binds us to be subjected to the accident of surrounding impressions.

Thou demandest what is love? It is that powerful attraction towards all that we conceive, or fear, or hope beyond ourselves, when we find within our own thoughts the chasm of an insufficient void, and seek to awaken in all things that are, a community with what we experience within ourselves.

Implacable hate, patient cunning, and a sleepless refinement of device to inflict the extremest anguish on an enemy, these things are evil; and, although venial in a slave are not to be forgiven in a tyrant; although

We want the creative faculty to imagine that which we know; we want the generous impulse to act that which we imagine; we want the poetry of life: our calculations have outrun conception; we have eaten more than we can digest. The

The cultivation of poetry is never more to be desired than at periods when, from an excess of the selfish and calculating principle, the accumulation of the materials of external life exceed the quantity of the power of assimilating them to the internal laws of human nature. The

Hence the vanity of translation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its colour and odour, as seek to transfuse from one language into another the creations of a poet. The plant must spring again from its seed, or it will bear no flower—and this is

The knowledge both of the Poet and the Man of science is pleasure; but the knowledge of the one cleaves to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with our fellow-beings. The Man of science seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: the Poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. Poetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all Science. Emphatically may it be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.’ He is the rock of defence for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time. The objects of the Poet’s thoughts are everywhere; though the eyes and senses of man are, it is true, his favourite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge—it is as immortal as the heart of man.

If they have a dull wit, let them not reproach the poets for their indolence, nor insist against them with frivolous barks.

Poetry is ever accompanied with pleasure.

Poetry, in a general sense, may be defined to be 'the expression of the imagination': and poetry is connate with the origin of man.

A man cannot say, 'I will compose poetry.' The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the colour of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure. Could this influence be durable in its original purity and force, it is impossible to predict the greatness of the results; but when composition begins, inspiration is already on the decline, and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conceptions of the poet. I

But hereto is replied that the poets give names to men they write of, which argueth a conceit of an actual truth, and so, not being true, proveth a falsehood. And doth the lawyer lie then, when, under the names of John of the Stile, and John of the Nokes, he putteth his case? But that is easily answered: their naming of men is but to make their picture the more lively, and not to build any history. Painting men, they cannot leave men nameless. We see we cannot play at chess but that we must give names to our chess-men; and yet, me thinks, he were a very partial champion of truth that would say we lied for giving a piece of wood the reverend title of a bishop.

These trifles are collected and republished chiefly with a view to their redemption from the many improvements to which they have been subjected while going at random the "rounds of the press." I am naturally anxious that what I have written should circulate as I wrote it, if it circulate at all. In defence of my own taste, nevertheless, it is incumbent upon me to say that I think nothing in this volume of much value to the public, or very creditable to myself. Events not to be controlled have prevented me from making, at any time, any serious effort in what, under happier circumstances, would have been the field of my choice. With me poetry has been not a purpose, but a passion; and the passions should be held in reverence: they must not—they cannot at will be excited, with an eye to the paltry compensations, or the more paltry commendations, of mankind. 1845. E. A. P.

According to one mode of regarding those two classes of mental action, which are called reason and imagination, the former may be considered as mind contemplating the relations borne by one thought to another, however produced; and the latter, as mind acting upon those thoughts so as to colour them with its own light, and composing from them, as from elements, other thoughts, each containing within itself the principle of its own integrity.

The most extensive and sustained exploration of the world, and the mightiest monument of collective wondering, is, of course, science. Richard Dawkins speaks of 'the feeling of awed wonder' that science can give us and asserts that 'it is one of the highest experiences of which the human psyche is capable. It is deep aesthetic passion to rank with the finest music and poetry can deliver'. Anyone who is not acquainted with science - its questions, its answers, the limits to its answers, and honesty about those limits, the brilliance of its methodologies and instruments, its sense of the unanswerable - is denying herself a great opening, a dormer window, in conciousness.

The Enemy Within by Stewart Stafford There is more to a smile than the baring of teeth, His grin had all the warmth of daggers unsheathed, The lips did part but the eyes remained staring, The skin was pocked and trust was badly faring. The lips quivered at every imagined slight, The eyes glittered like a serpent's at twilight, Arms crossed in constant defence, The foot tapping, waiting to take offence. Who knows or cares of his jealousy's genesis, He strove beyond measure to become my nemesis, Seeking to frustrate me at every turn, And put me prematurely in a cremation urn. The hero can fend off any attack, Except for the knife that's plunged in the back, They may not even know the weapon's in far, Until the assailant's coup de grâce. © Stewart Stafford, 2021. All rights reserved.

It’s hard to imagine a time when French writers were uncertain about the legitimacy and importance of their language, but that was the case in the sixteenth century. French was considered appropriate for vulgar (that is, popular) writing or for old medieval poetic forms such as rondeaux or madrigals, but not for “higher” forms of writing, higher learning or the sciences, which were still the exclusive domain of Latin. While François I didn’t regulate French in any way, his policies did legitimize the efforts of the many artists, poets, savants and printers who were trying to dump Latin and make French prestigious by inserting it into the language of state administration, universities and spheres of higher learning such as medicine and poetry. In some ways writers led the way in this movement. The most militant anti-Latin lobby in France was a group of poets originally called the Brigade who were soon to choose a more poetic name: La Pléiade. They were up-and-coming writers who wanted to position themselves as a literary avant-garde. Their manifesto, Déffence et illustration de la langue Françoyse (Defence and Illustration of the French Language), was an indictment of Latin in favour of French. It was published in 1549, ten years after the publication of the Ordinance of Villers-Cotterêts. Signed by the poet Joachim Du Bellay, it begged poets to use French for the new-found forms of classic Greek and Latin literature—the ode, the elegy, and comedy and tragedy (these were, of course, very old forms, but they were only just being rediscovered after having been forgotten for more than a thousand years). In a chapter titled “Exhortation to Frenchmen,” Du Bellay wonders, “Why are we so hard on ourselves? Why do we use foreign languages as if we were ashamed to use our own?…Thou must not be ashamed of writing in thy own language.” The debate is surprisingly similar to the twentieth-century one in which French musicians wondered if it was possible to make rock ’n’ roll in their own language. François I’s policies definitely added weight to the case made by Du Bellay and the Pléiade poets. While Du Bellay’s Déffence was in many ways a squabble between poets over their art, it also contained a program for the promotion of French in science and art.

To India has been given her problem from the beginning of history—it is the race problem. Races ethnologically different have in this country come into close contact. This fact has been and still continues to be the most important one in our history. It is our mission to face it and prove our humanity by dealing with it in the fullest truth. Until we fulfil our mission all other benefits will be denied us. There are other peoples in the world who have to overcome obstacles in their physical surroundings, or the menace of their powerful neighbours. They have organized their power till they are not only reasonably free from the tyranny of Nature and human neighbours, but have a surplus of it left in their hands to employ against others. But in India, our difficulties being internal, our history has been the history of continual social adjustment and not that of organized power for defence and aggression. Neither the colourless vagueness of cosmopolitanism, nor the fierce self-idolatry of nation-worship, is the goal of human history. And India has been trying to accomplish her task through social regulation of differences, on the one hand, and the spiritual recognition of unity on the other. She has made grave errors in setting up the boundary walls too rigidly between races, in perpetuating in her classifications the results of inferiority; often she has crippled her children's minds and narrowed their lives in order to fit them into her social forms; but for centuries new experiments have been made and adjustments carried out. Her mission has been like that of a hostess who has to provide proper accommodation for numerous guests, whose habits and requirements are different from one another.

Sweet food of sweetly uttered knowledge

Villicus Vadum: Soldier Of Fortune by Stewart Stafford I am the ghost of lupine Romulus, Founder of Rome, hear my tale, Of Villicus Vadum - young, driven, Steward to Senator Lucius Flavius. Villicus wanted Flavia, the senator’s daughter, But she was betrothed to Marcus Brutus; A consul of noble and virtuous stock, Villicus conspired to take Flavia's hand. Treachery and deception were his tools, Knavish peacock of Rome's epic stage, Sought to take Flavia from Marcus Brutus, To snatch and cage his treasured gem. Bribed a false soothsayer to trap her, Believing her beloved began with V, Flavia agreed to elope with him to Gaul, With Brutus vowing deadly vengeance. Fleeing to the bosom of Rome's enemy - Vercingetorix, at war with Julius Caesar, Villicus offered to spy on the Senate, While plotting to seize Gaul's throne. Queen Verica also caught his eye, Villicus was captured by Mark Antony, Taken to Caesar's camp as a traitor; Brutus challenged him to a duel. Brutus slashed him but spared his life, They dragged Villicus to Rome in chains, To try him for his now infamous crimes; Cicero in defence, Cato as prosecutor. Cicero argued Villicus acted out of love, And that his ambition merited mercy, Cato wanted death for his wicked threat, Julius Caesar pondered a final verdict. Villicus - pardoned but banished from Rome, Immediate death if he returned to Flavia, Villicus kissed the emperor's foot for naught, Flavia refused to join him in fallen exile. Now learn from this outcast's example, friends, That I, Romulus, warn you to avoid at your peril, Villicus Vadum, the wrath of the gods upon him, Until time ceases, sole spectre of night's edge. © Stewart Stafford, 2023. All rights reserved.

This purifying of wit, this enriching of memory, enabling of judgment, and enlarging of conceit, which commonly we call learning, under what name soever it come forth or to what immediate end soever it be directed, the final end is to lead and draw us to as high a perfection as our degenerate souls, made worse by their clay lodgings, can be capable of.

The sword is meant for the vigour of the religion. Whenever it comes out of the sheath, it is for the defence of the religion

If you still have your trigger finger And your punching fists Your township mob justice Your mothers with whistles Your seven-month self-defence course If you remember your second-year Anatomy course Particularly the Stab wound lecture Bring them all. Use them now

A society like the Italian, the very disorder of which renders the action of the State useless and ridiculous, is not without its charm and helps us to grasp this political truth: the principal task of the State today is to justify its own existence. To do so, it has to annihilate society's capacity to survive by itself. Surreptitiously undermining all forms of spontaneous regulation, deregulating, desocializing, breaking down the traditional mechanisms of bodies and antibodies, in order to substitute its artificial mechanisms - such is the strategy of a State locked in a subtle struggle with society - exactly like medicine, which lives off the destruction of natural defences and their replacement by artificial ones. In Rome, Niccolini manages to counter the obsessive fear of terrorism with a cultural revival. To the Romans who no longer dare go out in the evenings he offers festivals, performances, poetry galas. He brings culture down into the street. He combats the terrorist festival with the cultural, advertising festival. He will be criticized for wasteful expenditure, but the only way to fight terrorism is not to create 'solid' institutions, but to put upon the stage a culture that is as sacrificial, eccentric, and ephemeral as the terrorist acts themselves. One festival against the other. If terrorism is a sort of murderous advertising campaign which keeps our imagination on tenterhooks, it can be countered only by a piece of even more effective advertising.

After I consumed Frost in his entirety, my days of exploration began. I read The Diving Comedy while leafing through E. E. Cummings. I read Sidney and Milton and Shelley, piecing together my own aesthetics, my own defence of poetry. I felt alone and religious and desperately sad.

What do I mean by commitment? I'll flash back to 1821: Shelley's claim, in "The Defence of Poetry", that "poets are the unacknowledged legislaters of the world". Piously overquoted, mostly out of context, it's taken to suggest that simply by virtue of compossing verse, poets exert some exemplary moral power - in a vaue, unthreatening way. (...) He did NOT say, "Poets are the unacknowledged interior decorators of the world".