A Quote by Jose Marti
Terrible times in which priests no longer merit the praise of poets and in which poets have not yet begun to be priests.
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I don't deny," he said, "that there should be priests to remind men that they will one day die. I only say that at certain strange epochs it is necessary to have another kind of priests, called poets, actually to remind men that they are not dead yet.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
In the Western Church to which I belong, priests cannot be married as in the Byzantine, Ukrainian, Russian or Greek Catholic Churches. In those churches, the priests can be married, but the bishops have to be celibate. They are very good priests.
I started moving away from poets like Wallace Stevens and Hart Crane and started reading poets like, again, Karl Shapiro, Howard Nemerov, Philip Larkin, and the British poets who were imported through that important anthology put together by Alvarez - and those would include Thom Gunn and Ted Hughes. And I think these poets gave me assurance that there were other ways to write besides the rather involuted style of high modernism whose high priests were Pound, Eliot and Stevens, and Crane perhaps.
Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.
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.
Popular poets are the parish priests of the Muse, retailing her ancient divinations to a long since converted public.
The theory of evolution is impossible. At base, in spirit of appearances, no one any longer believes in it... Evolution is a kind of dogma which the priests no longer believe, but which they maintain for their people.
The priests of one religion never credit the miracles of another religion. Is this because priests instinctively know priests?
Sure there are poets which did never dream Upon Parnassus, nor did taste the stream Of Helicon; we therefore may suppose Those made not poets, but the poets those.
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.
Men of real talents in Arms have commonly approved themselves patrons of the liberal arts and friends to the poets, of their own as well as former times. In some instances by acting reciprocally, heroes have made poets, and poets heroes.
My advice to aspiring poets is to find a community of other poets who are willing to read one another's work. And to read widely, in a variety of time periods and cultures, to identify which traits of poems are appealing and which aversive. And what can be stolen.
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.
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.
Most poets, most good poets even, no longer have the heart to write about what is most terrible in the world of the present: the bombs waiting beside the rockets, the hundreds of millions staring into the temporary shelter of their television sets, the decline of the West that seems less a decline than the fall preceding an explosion.
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