A Quote by T. S. Eliot

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.
The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion.
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.
A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.
The only nice poets I've ever met were bad poets, and a bad poet is not a poet at all - ergo, I've never met a nice poet.
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.
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.
One of the appeals of William Carlos Williams to me is that he was many different kinds of poet. He tried out many different forms in his own way of, more or less, formlessness. He was also a poet who could be - he was a love poet, he was a poet of the natural order and he was also a political poet.
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.
For me, musicians are poets. Beethoven describes himself as a poet of tones, just like Coltrane's a poet of tempo.
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.
You don't necessarily have to write to be a poet. Some people work in gas stations and they're poets. I don't call myself a poet, because I don't like the word. I'm a trapeze artist.
Bad poets imitate, good poets steal.
The poet is the voice of the people. And when the poet presents certain ideas, two phrases in one poem can alter a generation's view. So poets have always been feared - and controlled and jailed.
And some poets are far better read off the page because they're very bad speakers. I'm thinking of one in particular whom I won't name, a good poet, and he reads in such a dry, boring way, your eyes start drooping.
A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating.
I once gave a workshop and I asked the women poets there, If you went back to that little town you've come from - these were from small towns - would you say, I'm a poet? And one of them said, If I said I was a poet in that town, they'd think I didn't wash my windows. And that stayed with me for so long, the sense of the collective responsibility of someone as against the individual thing it takes to be a poet.
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