A Quote by Samuel Taylor Coleridge
Milton had a highly imaginative, Cowley a very fanciful mind.
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All my editors since Malcolm Cowley have had instructions to leave my prose exactly as I wrote it. In the days of Malcolm Cowley, with 'On the Road' and 'The Dharma Bums', I had no power to stand by my style for better or for worse.
It will be found, in fact, that the ingenious are always fanciful, and the truly imaginative never otherwise than analytic.
Formerly Milton's Paradise Lost had been my chief favourite, and in my excursions during the voyage of the Beagle, when I could take only a single small volume, I always chose Milton.
Virtually every kid is exposed to giants and ogres and talking wolves, and so forth. And magic. And I think you never outgrow your love for those imaginative, fanciful, farfetched, fantastic characters and situations.
Mind you, as a little boy, I always had other interests from most kids. I was not a boy who rubbed around baseball bats. I always had the storytelling instinct, even as a child. I was a very imaginative little boy.
My landlady, who is only a tailor's widow, reads her Milton; and tells me, that her late husband first fell in love with her on this very account: because she read Milton with such proper emphasis.
The first thing you see in my hallway is a large 18th-century bust of Milton, who stares at me as I watch TV and reminds me of the grave and committed role of the poet. Although he was blind, Milton had one of the most unswerving gazes of all English poets.
I had a really happy childhood - my siblings were great, my mother was very fanciful, and I loved to read. But there was always financial strife.
There are some people who have had no pay rises for a very long time, and, working in highly skilled and highly responsible roles and in the health services and education, they deserve to be properly remunerated.
There are no mute, inglorious Miltons, save in the hallucinations of poets. The one sound test of a Milton is that he functions as a Milton.
In the thirties a whole school of criticism bogged down intellectually in those agitprop, social-realistic days. A play had to be progressive. A number of plays by playwrights who were thought very highly of then - they were very bad playwrights - were highly praised because their themes were intellectually and politically proper. This intellectual morass is very dangerous, it seems to me. A form of censorship.
I had a direct experience of the efficacy of this form of mind-body medicine. This comes from somebody who had been sort of an alpha male, highly cynical war correspondent, who had basically seen it all and heard it all, was cynical and trusted nothing.
I spent a lot of time in hospitals as a child with these dreadful calliper things, and in push-chairs and God knows what else. I had no interest in sport and no ability at it, and so on. But on the other hand, I had a very powerful imaginative life.
Milton took vaudeville, which, if you look up 'vaudeville' in the dictionary, right alongside of it, it says 'Milton Berle' - and he made it just a tremendous party.
Right when I started in show... Milton Berle was my first idol. When I was a kid, I went to see Milton at Lowe's State, and I never laughed so much, and I said, 'That's who I want to be; that's what I want to be.'
The most common-place people become highly imaginative when they are in a passion. Whole dramas of insult, injury, and wrong pass before their minds,--efforts of creative genius, for there is sometimes not a fact to go upon.
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