A Quote by Robert Graves
Nine-tenths of English poetic literature is the result either of vulgar careerism or of a poet trying to keep his hand in. Most poets are dead by their late twenties.
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There's not a big range in the political poetry of the last year, or not a political range. On the one hand, no poet that I know of who writes in English in the United States is anything but a humanist. So all poets, including myself, seem to be under that umbrella. We just don't have Rush Limbaugh poets, Ann Coulter poets.
I always say perseverance is nine-tenths of any art — not that it's much help to be nine-tenths an artist, of course.
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.
That's the way it is: life inculdes a lot of empty space. We are one-tenth living tissue, nine-tenths water; life is one-tenth Here and Now, nine-tenths a history lesson. For most of the time the Here and Now is neither now nor here.
English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.
Possession isn't nine-tenths of the law. It's nine-tenths of the problem.
No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
Emerson stands apart from the other poets and essayists of New England, and of English literature generally, as of another order. He is a reversion to an earlier type, the type of the bard, the skald, the poet-seer.
One of the most persistent fallacies about the Christian Church is that it kept learning alive during the Dark and Middle Ages. What the Church did was to keep learning alive in the monasteries, while preventing the spread of knowledge outside them... Even as late as the beginning of the nineteenth century, however, nine-tenths of Christian Europe was illiterate.
Speaking as an outsider is the most authentic voice for a poet. Poets who have one hundred thousand or one million readers [as many South Korean poets do] might not be a real, authentic poet.
Check this out,” Nine says. He holds up a small purple stone and then places it on the back of his hand. The stone slides into his hand—through it. Nine turns his hand over just as the stone pops out in his palm. “Pretty cool, right?” he asks me, waggling his eyebrows. “Uh, but what is it supposed to do?” Eight asks, looking up from his own Chest. “I dunno. Impress girls?” Nine looks over at me. “Did it work?” “Um . . .” I hesitate, trying not to roll my eyes too hard. “Not really. But, I’ve seen guys teleport so I’m kind of hard to impress.” “Tough crowd.
I certainly was surprised to be named Poet Laureate of this far-out city on the left side of the world, and I gratefully accept, for as I told the Mayor, "How could I refuse?" I'd rather be Poet Laureate of San Francisco than anywhere because this city has always been a poetic center, a frontier for free poetic life, with perhaps more poets and more poetry readers than any city in the world.
Poets, if they're genuine, must keep repeating "I don't know." Each poem marks an effort to answer this statement, but as soon as the final period hits the page, the poet begins to hesitate, starts to realize that this particular answer was pure makeshift that's absolutely inadequate to boot. So the poets keep on trying, and sooner or later the consecutive results of their self-dissatisfaction are clipped together with a giant paperclip by literary historians and called their oeuvre.
Nine-tenths of wisdom is appreciation. Go find someone's hand and squeeze it, while there's still time.
Geoffrey Hill may be the strongest and most original English poet of the second half of our fading century, although his work is by no means either easy or very popular. Dense, intricate, exceedingly compact, his poetry has always had great visionary force.
It is unwise to equate scientific activity with what we call reason, poetic activity with what we call imagination. Without the imaginative leap from facts to generalisation, no theoretic discovery in science is made. The poet, on the other hand, must not imagine but reason--that is to say, he must exercise a great deal of consciously directed thought in the selection and rejection of his data: there is a technical logic, a poetic reasoning in his choice of the words, rhythms and images by which a poem's coherence is achieved.
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