A Quote by Thomas B. Macaulay
In truth it may be laid down as an almost universal rule that good poets are bad critics.
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It may be laid as an universal rule that a government which attempts more than it ought will perform less.
The poets are wrong of course […] But then poets are almost always wrong about facts. That's because they are not really interested in facts: only in truth: which is why the truth they speak is so true that even those who hate poets by simple and natural instinct are exalted and terrified by it.
I do not remember where I read that there are two kinds of poets: the good poets, who at a certain point destroy their bad poems and go off to run guns in Africa, and the bad poets, who publish theirs and keep writing more until they die.
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.
All poets write bad poetry. Bad poets publish them, good poets burn them.
[It] may be laid down as a general rule that, if the result of a long series of precise observations approximates a simple relation so closely that the remaining difference is undetectable by observation and may be attributed to the errors to which they are liable, then this relation is probably that of nature.
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.
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.
if you think it so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.
It may be laid down as a general rule, that no woman who hath any great pretensions to admiration is ever well pleased in a company where she perceives herself to fill only the second place.
Bad poets imitate, good poets steal.
But you are not under a system similar to that by which the Jews were obliged to pay tithes to the priests. If there were any such rule laid down in the Gospel, it would destroy the beauty of spontaneous giving and take away all the bloom from the fruit of your liberality! There is no law to tell me what I should give my father on his birthday. There is no rule laid down in any law book to decide what present a husband should give to his wife, nor what token of affection we should bestow upon others whom we love. No, the gift must be a free one, or it has lost all its sweetness.
It's almost impossible to make the case that Bush is a conservative. That may be good; that may be bad.
Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.
May peace rule the universe, may peace rule in kingdoms and empires, may peace rule in states and in the lands of the potentates, may peace rule in the house of friends and may peace also rule in the house of enemies.
When in doubt, the rule of threes is a rule that plays well with all of storytelling. When describing a thing? No more than three details. A character's arc? Three beats. A story? Three acts. An act? Three sequences. A plot point culminating in a mystery of a twist? At least three mentions throughout the tale. This is an old rule, and a good one. It's not universal - but it's a good place to start.
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