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“The ordinary reader, when warned against the obscurity of a poem, is apt to be thrown into a state of consternation very unfavourable to poetic receptivity. Instead of beginning, as he should, in a state of sensitivity, he obfuscates his senses by the desire to be clever and to look very hard for something, he doesn't know what-or else by the desire not to be taken ill. There is such a thing as stage fright, but what such readers have is pit or gallery fright. The more seasoned reader, he who has reached, in these matters, a state of greater purity, does not bother about understanding; not, at least, at first. I know that some of the poetry to which I am most devoted is poetry which I did not understand at first reading; some is poetry which I am not sure I understand yet: for instance, Shakespeare's.”

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Book:The Use of Poetry and the Use of Criticism
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“I am alive to a usual objection to what is clearly part of my programme for the metier of poetry. The objection is that the doctrine requires a ridiculous amount of erudition (pedantry), a claim which can be rejected by appeal to the lives of poets in any pantheon. It will even be affirmed that much learning deadens or perverts poetic sensibility. While, however, we persist in believing that a poet ought to know as much as will not encroach upon his necessary receptivity and necessary laziness, it is not desirable to confine knowledge to whatever can be put into a useful shape for examinations, drawing rooms, or the still more pretentious modes of publicity. Some can absorb knowledge, the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. What is to be insisted upon is that the poet must develop this consciousness throughout his career. What happens is a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”

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Author:T.S. Eliot
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“We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, remembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. Quick now, here, now, always— A condition of complete simplicity (Costing not less than everything) And all shall be well and All manner of thing shall be well When the tongues of flames are in-folded Into the crowned knot of fire And the fire and the rose are one.”

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Book:Four Quartets
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“Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table. Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question... Oh, do not ask, "What is it?" Let us go and make our visit. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.”

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Book:The Fault in Our Stars
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“The child wonders at the Christmas Tree: Let him continue in the spirit of wonder At the Feast as an event not accepted as a pretext; [...] So that before the end, the eightieth Christmas (By “eightieth” meaning whichever is last) The accumulated memories of annual emotion May be concentrated into a great joy Which shall be also a great fear, as on the occasion When fear came upon every soul: Because the beginning shall remind us of the end And the first coming of the second coming.”

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Book:The Cultivation of Christmas Trees
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“Coleridge was one of those unhappy persons-Donne, I suspect, was such another-of whom one might say, that if they had not been poets, they might have made something of their lives, might even have had a career; or conversely, that if they had not been interested in so many things, crossed by such diverse passions, they might have been great poets. It was better for Coleridge, as poet, to read books of travel and exploration than to read books of metaphysics and political economy. He did genuinely want to read books of metaphysics and political economy, for he had a certain talent for such subjects. But for a few years he had been visited by the Muse (I know of no poet to whom this hackneyed metaphor is better applicable) and thenceforth was a haunted man; for anyone who has ever been visited by the Muse is thenceforth haunted. He had no vocation for the religious life, for there again somebody like a Muse, or a much higher being, is to be invoked, he was condemned to know that the little poetry he had written was worth more than all he could do with the rest of his life. The author of Biographia Litteraria was already a ruined man. Sometimes, however, to be a 'ruined man' is Itself a vocation.”

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Book:The Use of Poetry and the Use of Criticism
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