A Quote by George Santayana
All language is rhetorical, and even the senses are poets.
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In any piece of rhetorical discourse, one rhetorical term overcomes another rhetorical term only by being nearer to the term which stands ultimate. There is some ground for calling a rhetorical education necessarily aristocratic education in that the rhetorician has to deal with an aristocracy of notions.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
The way I mainly use the Internet is keeping in touch with poets that live far away. My main interest is contemporary American poets and some Spanish language poets, and I keep in touch with their work through either their websites or email.
Nearly all men and women are poetical, to some extent, but very few can be called poets. There are great poets, small poets, and men and women who make verses. But all are not poets, nor even good versifiers. Poetasters are plentiful, but real poets are rare. Education can not make a poet, though it may polish and develop one.
That is a horrible thing in a way, but it is the one thing poets can bring back to experience, this intense focus on language, which activates words as a portal back into experience. It's a mysterious process that's very hard to articulate, because it's focused entirely on the material of language in a way, but in the interests not just of language itself whatever that would mean - that's the mistake, by the way, that so many so-called "experimental" poets make - but in service to human experience.
The Language Poets are writing only about language itself. The Ashbery poets are writing only about poetry itself. That seems to me a kind of dead end.
We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded ... unconscious, automatic.
I had a feeling that Pandora's box contained the mysteries of woman's sensuality, so different from a man's and for which man's language was so inadequate. The language of sex had yet to be invented. The language of the senses was yet to be explored.
Whatever I have up till now accepted as most true and assured I have gotten either from the senses or through the senses. But from time to time I have found that the senses deceive, and it is prudent never to trust completely those who have deceived us even once.
For poets (bear the word) Half-poets even, are still whole democrats.
I crave the indulgence of my senses but this is countered by an interior desire that is even keener than my senses to know the meaning of things
Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
The poets are wrong of course […] But then poets are almost always wrong about facts. That's because they are not really interested in facts: only in truth: which is why the truth they speak is so true that even those who hate poets by simple and natural instinct are exalted and terrified by it.
Poetry cannot be translated; and, therefore, it is the poets that preserve the languages; for we would not be at the trouble to learn a language if we could have all that is written in it just as well in a translation. But as the beauties of poetry cannot be preserved in any language except that in which it was originally written, we learn the language.
There is no satisfying the senses, not even with a shower of money. "The senses are of slight pleasure and really suffering." When a wise man has realised this, he takes no pleasure, as a disciple of the Buddhas, even in the pleasures of heaven. Instead he takes pleasure in the elimination of craving.
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