Poets From England

"The aesthetic canons of Puritanism or Iconoclasm have little relevance to the facts of art, in so far as these facts are an expression of the diversity of human creatures. Like Fascism today, those religious movements were attempts to dragoon art to control it from a centre and to impose uniformity on it. I personally take the view, which is heterodox to most people, that the more consciously moral or political values are imposed on art, the more art suffers."

"To stop the war, besides being a futile gesture, would leave the crisis unresolved. It would postpone the necessity of a solution. Therefore, in a spirit of fatalism (which my opponents are welcome to call a spirit of sadism) I say: Let the war go on. It is the shortest and therefore the best way to replace the capitalist system by a democratic system, and which will at the same time rescind those partial and tyrannical solutions of the crisis represented by the Soviet Union no less than by Germany and Italy."

"All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State. "The strange and terrifying growth of the modern State can be considered as the logical conclusion of inordinate technical and philosophical ambitions, foreign to the true spirit of rebellion, but which nevertheless gave birth to the revolutionary spirit of our time. The prophetic dream of Marx and the over-inspired predictions of Hegel or of Nietzsche ended by conjuring up, after the city of God had been razed to the ground, a rational or irrational State, which in both cases, however, was founded on terror." The counterrevolutions of fascism only serve to reinforce the general argument. Camus shows the real quality of his thought in his final pages. It would have been easy, on the facts marshaled in this book, to have retreated into despair or inaction. Camus substitutes the idea of "limits." "We now know, at the end of this long inquiry into rebellion and nihilism, that rebellion with no other limits but historical expediency signifies unlimited slavery. To escape this fate, the revolutionary mind, if it wants to remain alive, must therefore, return again to the sources of rebellion and draw its inspiration from the only system of thought which is faithful to its origins: thought that recognizes limits." To illustrate his meaning Camus refers to syndicalism, that movement in politics which is based on the organic unity of the cell, and which is the negation of abstract and bureaucratic centralism. He quotes Tolain: "Les etres humains ne s'emancipent qu'au sein des groupes naturels" — human beings emancipate themselves only on the basis of natural groups. "The commune against the State... deliberate freedom against rational tyranny, finally altruistic individualism against the colonization of the masses, are, then, the contradictions that express once again the endless opposition of moderation to excess which has animated the history of the Occident since the time of the ancient world." This tradition of "mesure" belongs to the Mediterranean world, and has been destroyed by the excesses of German ideology and of Christian otherworldliness — by the denial of nature. Restraint is not the contrary of revolt. Revolt carries with it the very idea of restraint, and "moderation, born of rebellion, can only live by rebellion. It is a perpetual conflict, continually created and mastered by the intelligence.... Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others."

"The modern poet has no essential alliance with regular schemes of any sorts.He reserves the right to adapt his rhythm to his mood, to modulate his metre as he progresses. Far from seeking freedom and irresponsibility (implied by the unfortunate term free verse) he seeks a stricter discipline of exact concord of thought and feeling."

"The politics of the unpolitical—these are the politics of those who desire to be pure in heart: the politics of men without personal ambition; of those who have not desires wealth or an unequal share of worldly possessions; of those who have always striven, whatever their race or condition, for human values and not for national or sectional interests. For our Western world, Christ is the supreme example of this unselfish devotion to the good of humanity, and the Sermon on the Mount is the source of all the politics of the unpolitical."

"Art is most simply and most usually defined as an attempt to create pleasing forms. Such forms satisfy our sense of beauty and the sense of beauty is satisfied when we are able to appreciate a unity or harmony of formal relations among our sense-perceptions."

"The modern poet is above all things honest. He does not write for fame nor for money. He merely writes to vent his own spleen, his own bitterness. His own sense of disparity between the ugliness of the world that is and the beauty of the world that might be."

"Poetry, we might say, is concerned with the truth of what is, not with what is truth."

"The modern world has largely forgotten, and our educational systems ignore, the primary importance, in the evolution of man, of various types of symbolic communication—the communication embodied in gesture, ritual, dance, music myth, and poetic metaphor. All these modes of expression constitute a language of feeling, a non-discursive form of thought, absolutely essential to our individual development and to the unity of social life."

"There is no beauty in anything rational. Beauty emerges from the unknown, often from the inane, generally irrational, as unforseen combinations."

"The revolutionary artist is born into a world of clichés, of stale images and signs which no longer pierce the consciousness to express reality. He therefore invents new symbols, perhaps a whole new symbolic system."

"Kierkegaard is a new world of thought, a rare mental atmosphere in which we live dangerously, as many people have already discovered at the cost of their complacency. .... To begin reading Kierkegaard is to embark on a long journey, a journey which will be difficult and dangerous, but with such a reward at the end that all the incidental pain will be immediately forgotten. Kierkegaard’s life was in every sense that of a saint. He is perhaps the most real saint of modern times. p. 251-252, 255"

"I believe that the poet is necessarily an anarchist, and that he must oppose all organized conceptions of the State, not only those which we inherit from the past, but equally those which are imposed on people in the name of the future."

"The rhythm of a poem ceases the moment the feeling loses its intensity."

"The poem, even when it has some predetermined pattern, must be wrought to some effect or finish that justifies the exclamation: This is a poem!"

"True poetry was never speech, but always song."

"Poetry is creative expression; Prose is constructive expression. … by creative I mean original. In Poetry the words are born or reborn in the act of thinking. … There is no time interval between the words and the thought when a real poet writes, both of them happen together, and both the thought and the word are Poetry."

"The words in a poem, (or more exactly, syllables) are vocal signs that convey an intangible essence (the pattern of feeling) that vanishes the moment we approach it with an analytical intelligence."

"A poem therefore is to be defined as a structure of words whose sound constitutes a rhythmical unity, complete in itself, irrefragable, unanalyzable, completing its symbolic references within the ambit of its sound effects."

"Such is our ideal – not another museum, another bleak exhibition gallery, another classical building in which insulated and classified specimens of a culture are displayed for instruction, but an adult play-centre, a workshop where work is a joy, a source of vitality and daring experiment. We may be mocked for our naive idealism, but at least it will not be possible to say that an expiring civilisation perished without a creative protest."

"The Thousand and One Nights, with its magnificent apparatus of genii and afrits, is the greatest work of fantasy that has ever been evolved by tradition, and given literary form. But it, alas, is not English, and has no English equivalent. The Western world does not seem to have conceived the necessity of fairy-tales for grown-ups — though it has been suggested that the modern detective story is an equivalent — and that is perhaps why it condemns them to a life of unremitted toil."

"A poem is not a statement, but a manifestation, a manifestation of being"

"It is not my purpose as a poet to condemn war (or to be exact, modern warfare). I only wish to present the universal aspects of a particular event,"

"Did Péguy kill Juarés? Did he incite"

"An achieved poem is always beautiful in its own way, though such a way will many times strike people as harsh and repellent."

"The Mystery of the Charity of Charles Péguy,"

"For this creating to take place (as it does from time to time) words have to be accepted as heirs of their forebears, as we are of ours. And in each case, what exists is often only a bankrupt inheritance; or the hinterlands of the unspoken."

"It is to be hoped—I mean, I hope—that the poetry I have been writing since 1992 squares up to, takes the measure of, weighs up, the violent evasions and stock affronts of the oligarchy of fraud. I don't, even so, write poems to be polemical; I write to create a being of beautiful energy."

"Charles Péguy, stubborn rancours and mishaps and all, is one of the great souls, one of the great prophetic intelligences of the 20th century.I offer my poem as my homage to the triumph of his 'defeat'."

"The years will not answer for what they have done, that much is certain. There is no shaking them, we might have foreseen this but refused."

"I think intelligence has a kind of range of sense and allows us to contemplate the coexistence of the conceptual aspect of thought and the emotional aspect of thought as ideally wedded, troth-plight, and the circumstances in which this troth-plight can be effected are to be found in the medium of language itself."

"I think men and women who write poetry or write music or paint are finally responsible for what they do. They are entitled to praise for any success they achieve and they should not complain of just criticism."

"Self-astonishment is achieved when, by some process I can't fathom, common words are moved, or move themselves, into clusters of meaning so intense that they seem to stand up from the page, three-dimensional almost."

"I think art has a right—not an obligation—to be difficult if it wishes. And, since people generally go on from this to talk about elitism versus democracy, I would add that genuinely difficult art is truly democratic."

"The idea that the intellect is somehow alien to sensuousness, or vice versa, is one that I have never been able to connect with. I can accept that it is a prevalent belief, but it seems to me, nonetheless, a false notion."

""One cannot lose what one has not possessed." So much for that abrasive gem. I can lose what I want. I want you."

"In memory of those things these words were born."

"To say a poet is to be condemned or inaccessible because she invokes some fields of vision which we have difficulty in grasping; this seems to me a crass kind of bullying."

"The idea that you write to express yourself seems to me revolting. The idea that you write to glorify or to make glorious the art of expressiveness seems to me spot on."

"I try to make a distinction between enjoyment and joy. You are only prepared to enjoy what you already have a taste for; wheras joy is shocking and surprising."

"I contrast hierarchy with hegemony , the juxtaposition of the real & surreal"

"We are difficult. Human beings are difficult. We’re difficult to ourselves, we’re difficult to each other. And we are mysteries to ourselves, we are mysteries to each other."

"I have learned one thing: not to look down Too much upon the damned."

"Or say it is Pentecost: the hawthorn-tree, set with coagulate magnified flowers of may, blooms in a haze of light; old chalk-pits brim with seminal verdue from the roots of time. Landscape is like revelation; it is both singular crystal and the remotest things. Cloud-shadows of seasons revisit the earth, odourless myrrh bourne by the wandering kings."

"I write to astonish myself"

"Primroses; salutations; the miry skull of a half-eaten ram; vicious wounds in earth opening. What seraphs are afoot."

"Thus I grind to conclusion."

"Shakespeare clearly heard many voices. No secret: voicing means hearing, at a price a gift"

"September fattens on vines. Roses flake from the wall. The smoke of harmless fires drifts to my eyes."

"I wish I understood myself more clearly or less well."