The name that no human research can discover-- But THE CAT HIMSELF KNOWS, and will never confess. When you notice a cat in profound meditation, The reason, I tell you, is always the same: His mind is engaged in a rapt contemplation Of the thought, of the thought, of the thought of his name: His ineffable effable Effanineffable Deep and inscrutable singular Name.
It's harder to confess the sin that no one believes in Than the crime that everyone can appreciate. For the crime is in relation to the law And the sin is in relation to the sinner.
He is haunted by a demon, a demon against which he feels powerless, because in its first manifestation it has no face, no name, nothing; and the words, the poem he makes, are a kind of exorcism of this demon.
I would meet you upon this honestly. I that was near your heart was removed therefrom To lose beauty in terror, terror in inquisition. I have lost my passion: why should I need to keep it Since what is kept must be adulterated? I have lost my sight, smell, hearing, taste and touch: How should I use them for your closer contact?
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.
For every life and every act consequence of good and evil can be shown and as in time results of many deeds are blended so good and evil in the end become confounded.