A Quote by Friedrich Nietzsche

The spirit of the poet craves spectators... even if only buffaloes. — © Friedrich Nietzsche
The spirit of the poet craves spectators... even if only buffaloes.
The poet craves emotion, and feeds the fire that consumes him, and only under this condition is he baptized with creative power.
Your soul craves truth, beauty, wonder, love. Your soul craves to dream, to imagine, and even simply to understand. Your soul craves to connect, to commune, to create.
The buffaloes are gone. And those who saw the buffaloes are gone.
If the poet wants to be a poet, the poet must force the poet to revise. If the poet doesn't wish to revise, let the poet abandon poetry and take up stamp-collecting or real estate.
The poet…is the man of metaphor: while the philosopher is interested only in the truth of meaning, beyond even signs and names, and the sophist manipulates empty signs…the poet plays on the multiplicity of signifieds.
Camels are snobbish and sheep, unintelligent; water buffaloes, neurasthenic-- even murderous. Reindeer seem over-serious.
The ear tends to be lazy, craves the familiar and is shocked by the unexpected; the eye, on the other hand, tends to be impatient, craves the novel and is bored by repetition.
Every movement of the theater by a skilful poet is communicated, as it were, by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions which actuate the several personages of the drama.
The painter is, as to the execution of his work, a mechanic; but as to his conception and spirit and design he is hardly below even the poet.
It has been observed before that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's spirit.
Another trouble with poetry - and I'm gonna stop the list at two - is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions.
There is this tendency to think that if you could only find the magic way, then you could become a poet. "Tell me how to become a poet. Tell me what to do." . . . What makes you a poet is a gift for language, an ability to see into the heart of things, and an ability to deal with important unconscious material. When all these things come together, you're a poet. But there isn't one little gimmick that makes you a poet. There isn't any formula for it.
So, I've never been politically correct, even before that term was available to us, and I have really identified with other people who don't want to be read as just a black poet, or just a woman poet, or just someone who represents a cause, an anti-Vietnam war poet.
In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.
A poet is not somebody who has great thoughts. That is the menial duty of the philosopher. A poet is somebody who expresses his thoughts, however commonplace they may be, exquisitely. That is the one and only difference between the poet and everybody else.
I look at pastries and cakes, tarts and pies. My body craves sugar, always craves sugar. Years of alcohalism and the high level of sugar in alcohal created the craving, which I feed with candy and soda.
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