A Quote by Laura Riding
The end of poetry is not to create a physical condition which shall give pleasure to the mind... The end of poetry is not an after-effect, not a pleasurable memory of itself, but an immediate, constant and even unpleasant insistence upon itself.
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Cultural criticism finds itself faced with the final stage of the dialectic of culture and barbarism. To write poetry after Auschwitz is barbaric. And this corrodes even the knowledge of why it has become impossible to write poetry today. Absolute reification, which presupposed intellectual progress as one of its elements, is now preparing to absorb the mind entirely. Critical intelligence cannot be equal to this challenge as long as it confines itself to self-satisfied contemplation.
Poetry is a street fighter. It has sharp elbows. It can look after itself. Poetry can't be used for manipulation; it's why you never see good poetry in advertising.
Poetry should describe itself, and always be simultaneously poetry and the poetry of poetry.
Palestinian society is filled with poetry, but not experimental poetry. The Palestinian poetry that people know is not the modernist experimentations, it's certain kinds of poetry that lends itself to recitation and song and things like that.
Having a body is in itself the greatest threat to the mind... The body encloses the mind in a fortress; before long the mind is besieged on all sides, and in the end the mind has to give itself up.
The genius of poetry must work out its own salvation in a man; it cannot be matured by law and precept, but by sensation and watchfulness in itself. That which is creative must create itself.
Painting gives the object itself; poetry what it implies. Painting embodies what a thing contains in itself; poetry suggests what exists out of it, in any manner connected with it.
Verse in itself does not constitute poetry. Verse is only an elegant vestment for a beautiful form. Poetry can express itself in prose, but it does so more perfectly under the grace and majesty of verse. It is poetry of soul that inspires noble sentiments and noble actions as well as noble writings.
If you examine the highest poetry in the light of common sense, you can only say that it is rubbish; and in actual fact you cannot so examine it at all, because there is something in poetry which is not in the words themselves, which is not in the images suggested by the words 'O windy star blown sideways up the sky!' True poetry is itself a magic spell which is a key to the ineffable.
When we say that pleasure is the end, we do not mean the pleasure of the profligate or that which depends on physical enjoyment--as some think who do not understand our teachings, disagree with them, or give them an evil interpretation--but by pleasure we mean the state wherein the body is free from pain and the mind from anxiety.
Poetry is the universal language which the heart holds with nature and itself. He who has a contempt for poetry, cannot have much respect for himself, or for anything else.
Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to meter. The proper and immediate object of science is the acquirement, or communication of truth; the proper and immediate object of poetry is the communication of immediate pleasure.
Looking back, fire images have been constant in my poetry. As a boy, it was my job to light the fire each morning, and I remember the celebratory bonfires at the end of the war. It was from staring into fire that I began my first poetry.
A story is an end in itself. It is not written to teach, sell, explain or destroy anything. It is not written even to entertain. It is written as a man is born - an organic whole, dictated only by its own laws and its own necessity - an end in itself, not a means to an end.
My love of poetry comes from the "actualization" I experienced in the poetry of others. And I was reading it silently and there is deep pleasure in that intimacy, a mind-to-mind transfer going on. All the music is there, inherently. And mystery as well.
If we denote excitation as an end-effect by the sign plus (+), and inhibition as end-effect by the sign minus (-), such a reflex as the scratch-reflex can be termed a reflex of double-sign, for it develops excitatory end-effect and then inhibitory end-effect even during the duration of the exciting stimulus.
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