i will show you fear in a handful of dust." t.s. eliot we don't actually fear death, we fear that no one will notice our absence, that we will disappear without a trace.
O father, father
Gone from us, lost to us,
The church lies bereft,
Alone,
Desecrated, desolated.
And the heathen shall build
On the ruins
Their world without God.
I see it.
I see it.
I think it was rather an advantage not having any living poets in England or America in whom one took any particular interest. I don't know what it would be like but I think it would be a rather troublesome distraction to have such a lot of dominating presences, as you call them, about. Fortunately we weren't bothered by each other.
The majority of mankind is lazyminded, incurious, absorbed in vanities, and tepid in emotion, and is therefore incapable of either much doubt or much faith.
In spite of all the dishonour, the broken standards, the broken lives, The broken faith in one place or another, There was something left that was more than the tales Of old men on winter evenings.
So far as we are human, what we do must be either evil or good: so far as we do evil or good, we are human: and it is better, in a paradoxical way, to do evil than to do nothing: at least we exist.
If we all were judged according to the consequences Of all our words and deeds, beyond the intention And beyond our limited understanding Of ourselves and others, we should all be condemned.
Art serves us best precisely at that point where it can shift our sense of what is possible, when we know more than we knew before, when we feel we have - by some manner of a leap - encountered the truth. That, by the logic of art, is always worth the pain.
We die to each other daily. What we know of other people is only our memory of the moments during which we knew them. And they have changed since then. To pretend that they and we are the same is a useful and convenient social convention which must sometimes be broken. We must also remember that at every meeting we are meeting a stranger.
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.