The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.

A poet clings to his own tradition and avoids internationalism.

According to them, the poet is confined to the provinces with his mouth broken on his own syllabic trapeze.

Poetry is the revelation of a feeling that the poet believes to be interior and personal which the reader recognizes as his own.

The Resistance is a moral certainty, not a poetic one. The true poet never uses words in order to punish someone. His judgment belongs to a creative order; it is not formulated as a prophetic scripture.

War, I have always said, forces men to change their standards, regardless of whether their country has won or lost.

My readers at that time were still men of letters; but there had to be other people waiting to read my poems.

We wrote verses that condemned us, with no hope of pardon, to the most bitter solitude.

The antagonism between the poet and the politician has generally been evident in all cultures.

Poetry is also the physical self of the poet, and it is impossible to separate the poet from his poetry.

In opposition to this detachment, he finds an image of man which contains within itself man's dreams, man's illness, man's redemption from the misery of poverty - poverty which can no longer be for him a sign of the acceptance of life.

Europeans know the importance of the Resistance; it has been the shining example of the modern conscience.

The writer of stories or of novels settles on men and imitates them; he exhausts the possibilities of his characters.

Religious poetry, civic poetry, lyric or dramatic poetry are all categories of man's expression which are valid only if the endorsement of formal content is valid.

An exact poetic duplication of a man is for the poet a negation of the earth, an impossibility of being, even though his greatest desire is to speak to many men, to unite with them by means of harmonious verses about the truths of the mind or of things.

The poet does not fear death, not because he believes in the fantasy of heroes, but because death constantly visits his thoughts and is thus an image of a serene dialogue.

Religious power, which, as I have already said, frequently identifies itself with political power, has always been a protagonist of this bitter struggle, even when it seemingly was neutral.

The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.

Thus, the poet's word is beginning to strike forcefully upon the hearts of all men, while absolute men of letters think that they alone live in the real world.

As the poet has expected, the alarms now are sounded, for - and it must be said again - the birth of a poet is always a threat to the existing cultural order, because he attempts to break through the circle of literary castes to reach the center.

At the point when continuity was interrupted by the first nuclear explosion, it would have been too easy to recover the formal sediment which linked us with an age of poetic decorum, of a preoccupation with poetic sounds.

He passes from lyric to epic poetry in order to speak about the world and the torment in the world through man, rationally and emotionally. The poet then becomes a danger.

Even a polemic has some justification if one considers that my own first poetic experiments began during a dictatorship and mark the origin of the Hermetic movement.

The poet's spoken discourse often depends on a mystique, on the spiritual freedom that finds itself enslaved on earth.

From the night, his solitude, the poet finds day and starts a diary that is lethal to the inert. The dark landscape yields a dialogue.

After the turbulence of death, moral principles and even religious proofs are called into question.

Poets are like baseball pitchers. Both have their moments. The intervals are the tough things.

Poets are all who love, who feel great truths, And tell them; and the truth of truths is love.

Poets lose half the praise they should have got, Could it be known what they discreetly blot.

In every age poets and social reformers have tried to stimulate the people of their own time to a nobler life by enchanting stories of the virtues of the heroes of old.

I wonder what all those Chinese poets sound like in Chinese. I like their distilled quality.

There are some fine books and essays about that. Lewis Hyde has written about alcoholism and poets and the role that society gives its writers - encouraging them to die.

A Shakespeare could have arisen only on English soil. In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind.

Example moves the world more than doctrine. The great exemplars are the poets of action, and it makes little difference whether they be forces for good or forces for evil.

In working on a poem, I love to revise. Lots of younger poets don't enjoy this, but in the process of revision I discover things.

Poets are the unacknowledged legislators of the world.

The poets are only the interpreters of the Gods.

Children can write poetry and then, unless they're poets, they stop when reach puberty.

The bicycle, the bicycle surely, should always be the vehicle of novelists and poets.

The poets whom I knew then were all men and all seemed dauntingly sure of themselves - although I am sure that really they were as uncertain as I was.

Nations are born in the hearts of poets, they prosper and die in the hands of politicians.

People wish to be poets more than they wish to write poetry, and that's a mistake. One should wish to celebrate more than one wishes to be celebrated.

Poets are born, not paid.

Inspiration is a farce that poets have invented to give themselves importance.

I'm not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers.

We have to raise the consciousness; the only way poets can change the world is to raise the consciousness of the general populace.

At the age of 18 all young poets are sure they will be dead at 21 - of old age.

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.

Poets, like friends to whom you are in debt, you hate.