A Quote by Owen Barfield

...the poet, while creating anew, is likely to be in a sense restoring something old. — © Owen Barfield
...the poet, while creating anew, is likely to be in a sense restoring something old.
This perfection is the restoration of man to the state of holiness from which he fell, by creating him anew in Christ Jesus, and restoring to him that image and likeness of God which he has lost.
The more kids are involved, the more likely they are to eat the food. Getting them involved gets them excited, and kids are much more likely to try something that they were involved in the process of creating because it gives them a sense of accomplishment - kids always love approval.
You are doing something very sacred here, something very daring, during your life upon the earth. You are defining yourself, and then creating yourself anew, in each golden moment of now.
The three top issues have to be restoring jobs and private sector job growth to our country, getting the entitlement mess under control, and restoring back to our country a sense of self-confidence that Americans can achieve whatever we want to achieve.
I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.
Nowadays when a poet with one privately printed book can have his next three years taken care of by a Guggenheim fellowship, a Kenyon Review fellowship, and the Prix de Rome, it is hard to remember what chances the poet took in that small-town world, how precariously hand-to-mouth his existence was. And yet in one way the old days were better; [Vachel] Lindsay after a while, by luck and skill, got far more readers than any poet could get today.
While restoring a sense of fiscal discipline to Congress is a top priority, infrastructure spending is an important and necessary task of government. Our nation's long-term debt requires us to prioritize and economize with every tax dollar.
Whenever you are creating beauty around you, you are restoring your own soul.
You must develop a sense of what you can contribute that goes beyond 1 company or organization. A career path today will likely involve moving from organization to organization, creating a picture of rising circles, rather than a vertical ladder. In fact, a vertical rise within one organization will very likely move you away from your strongest areas of competence.
There was something sweet in watching him pull himself back together, restoring the façade he wore for the world while I knew at least a little of the man beneath it.
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 avant-garde poet or artist tries in effect to imitate God by creating something valid solely on its own terms.
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.
I have felt at times with groups of children that I was really being what every poet would like to be - a bard in the old sense.
I think a young poet, or an old poet, for that matter, should try to produce something that pleases himself personally, not only when he's written it but a couple of weeks later. Then he should see if it pleases anyone else, by sending it to the kind of magazine he likes reading.
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.
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