A Quote by Miguel de Cervantes

Nay, what is worse, perhaps turn poet, which, they say, is an infectious and incurable distemper. — © Miguel de Cervantes
Nay, what is worse, perhaps turn poet, which, they say, is an infectious and incurable distemper.
Perhaps there is a degree of perception at which what is real and what is imagines are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet.
Turn pimp, flatterer, quack, lawyer, parson, be chaplain to an atheist, or stallion to an old woman, anything but a poet; for a poet is worse, more servile, timorous and fawning than any I have named.
Oh Senor" said the niece. "Your grace should send them to be burned (books), just like all the rest, because it's very likely that my dear uncle, having been cured of the chivalric disease, will read these and want to become a shepherd and wander through the woods and meadows singing and playing and, what would be even worse, become a poet, and that, they say, is an incurable and contagious disease.
Laughter, n. An interior convulsion, producing a distortion of the features and accompanied by inarticulate noises. It is infectious and, though intermittent, incurable.
In all technai or arts (medicine perhaps most of all), there is a self-exhilaration on the part of the practitioner (the intoxication of the ego with its own potency) which is infectious: the patient enjoys a placebo-effect which redounds to the ego of the "artist."
I wrote poetry for seven or eight years, maybe longer, before I could say I was a poet. If people asked, I'd say I wrote poetry; I wouldn't go further. I was in my mid- to late-thirties before I felt that I was a poet, which I think meant that I had begun to embody my poems in some way. I wasn't just a writer of them. Hard to say what, as a poet, my place in the world is. Some place probably between recognition and neglect.
Poetry is perhaps this: an Atemwende, a turning of our breath. Who knows, perhaps poetry goes its way—the way of art—for the sake of just such a turn? And since the strange, the abyss and Medusa’s head, the abyss and the automaton, all seem to lie in the same direction—is it perhaps this turn, this Atemwende, which can sort out the strange from the strange? It is perhaps here, in this one brief moment, that Medusa’s head shrivels and the automaton runs down? Perhaps, along with the I, estranged and freed here, in this manner, some other thing is also set free?
In days of yore, the poet's pen From wing of bird was plunder'd, Perhaps of goose, but now and then, From Jove's own eagle sunder'd. But now, metallic pens disclose Alone the poet's numbers; In iron inspiration glows, Or with the poet slumbers.
Perhaps no poet is a conscious plagiarist, but there seems to be warrant for suspecting that there is no poet who is not at one time or another an unconscious one.
I'm a political poet - let us say a 'human' poet, a poet that's concerned with the plight of people who suffer. If words can be of assistance, then that's what I'm going to use.
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.
It's a big thing to call yourself a poet. All I can say is that I have always written poems. I don't think I'm interested in any discussion about whether I'm a good poet, a bad poet or a great poet. But I am sure, I want to write great poems. I think every poet should want that.
Did the gods once mingle with humankind, or is Homer a visionary madman, or, what is worse, a mere poet, a maker-up of beautiful falsities, an elegant liar? I shall grapple with that perplexity, only to emerge as I went in, in a cloud of unknowing, if perhaps a little the wiser.
The poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen ... Perhaps it can't be done without the poet, but it certainly can't be done without the people. The poet and the people get on generally very badly, and yet they need each other. The poet knows it sooner than the people do. The people usually know it after the poet is dead; but that's all right. The point is to get your work done, and your work is to change the world.
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.
If originally it was not good for a man to be alone, it is much worse for a sick man to be so; he thinks too much of his distemper, and magnifies it.
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