A Quote by Flora Thompson
Special qualities are required of the essayist. A poem or a novel may spring from the inner consciousness of an author. Reasoning poers must be brought to reinforce imagination.
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... if you insist that the inference is made by a chain of reasoning, I desire you to produce that reasoning. The connection between the two is not intuitive. There is required a medium, which may enable the mind to draw such an inference, if indeed it be drawn by reasoning and argument. What that medium is, I must confess, passes my comprehension; and it is incumbent on those to produce it, who assert that it really exists, and is the origin of all our conclusions concerning matter of fact.
Poem in other words may or may not result from inspiration but must (in reader and author alike) produce it--
But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel ... it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.
A simile, to be perfect, must both illustrate and ennoble the subject; must show it to the understanding in a clearer view, and display it to the fancy with greater dignity; but either of these qualities may be sufficient to recommend it.... That it may be complete, it is required to exhibit, independently of its references, a pleasing image; for a simile is said to be a short episode.
The act of consciousness is central; otherwise we are overrun by the complexes.
The hero in each of us is required to answer the call of individuation.
We must turn away from the cacaphony of the outerworld to hear the inner voice.
When we can dare to live its promptings, then we achieve personhood.
We may become strangers to those who thought they knew us, but at least we are no longer strangers to ourselves.
Great literature must spring from an upheaval in the author's soul. If that upheaval is not present then it must come from the works of any other author which happens to be handy and easily adapted.
How do we see physically? No differently that we do in our consciousness - by means of the productive power of imagination. Consciousness is the eye and ear, the sense for inner and outer meaning.
The one man who should never attempt an explanation of a poem is its author. If the poem can be improved by it's author's explanations it never should have been published, and if the poem cannot be improved by its author's explanations the explanations are scarcely worth reading.
All the translations of a poem in all possible languages may add nuance to nuance and, by a kind of mutual retouching, by correcting one another, may give an increasingly faithful picture of the poem they translate, yet they will never give the inner meaning of the original.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
Many people become self-conscious when they communicate. Whether it's writing or speaking, they are consumed by anxiety. Self-consciousness is an impediment to what is required to serve an audience effectively. One's goal must be to achieve audience consciousness. To put oneself in their place, to recognize that the value of any communication arises from how it is received by them, not by what it means to the author. Rather than learning a multiplicity of rules for speaking, for example, I would suggest that a focus on serving one's audience will simplify and clarify everything.
The Srimad-Bhagavatam states that any bona fide preacher of God consciousness must have the qualities of titiksa (tolerance) and karuna (compassion). In the character of Lord Jesus Christ we find both these qualities.
When an author creates a town in her novels, she spends a great deal of time visualizing the streets and buildings, landmarks and topography. And while the town becomes real in her imagination, it's rare for an author to see the place she's created actually spring to life.
It is unwise to equate scientific activity with what we call reason, poetic activity with what we call imagination. Without the imaginative leap from facts to generalisation, no theoretic discovery in science is made. The poet, on the other hand, must not imagine but reason--that is to say, he must exercise a great deal of consciously directed thought in the selection and rejection of his data: there is a technical logic, a poetic reasoning in his choice of the words, rhythms and images by which a poem's coherence is achieved.
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
The 'idea' for the poem, which may come as an image thrown against memory, as a sound of words that sets off a traveling of sound and meaning, as a curve of emotion (a form) plotted by certain crises of events or image or sound, or as a title which evokes a sense of inner relations; this is the first 'surfacing' of the poem. Then a period of stillness may follow.
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