I take as metaphysical poetry that in which what is ordinarily apprehensible only by thought is brought within the grasp of feeling, or that in which what is ordinarily only felt is transformed into thought without ceasing to be feeling.
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.
No doubt, to a man of sense, travel offers advantages. As many languages as he has, as many friends, as many arts and trades, so many times is he a man. A foreign country is a point of comparison, wherefrom to judge his own.
The virtue of art lies in detachment, in sequestering one object from the embarrassing variety. Until one thing comes out from theconnection of things, there can be enjoyment, contemplation, but no thought.
I think comedy has evolved like every art form, and people probably do less standing around and telling jokes, and more things that have to do with reality.
No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
From the latter he is defended by being well armed and having good allies, and if he is well armed he will have good friends, and affairs will always remain quiet within when they are quiet without, unless they should have been already disturbed by conspiracy; and even should affairs outside be disturbed, if he has carried out his preparations and has lived as I have said, as long as he does not despair, he will resist every attack.
It is commonly said by farmers, that a good pear or apple costs no more time or pains to rear, than a poor one; so I would have no work of art, no speech, or action, or thought, or friend, but the best.
When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself.
No one who has read official documents needs to be told how easy it is to conceal the essential truth under the apparently candid and all- disclosing phrases of a voluminous and particularizing report.
You must never believe that the enemy does not know how to conduct his own affairs. Indeed, if you want to be deceived less and want to bear less danger, the more the enemy is weak or the less the enemy is cautious, so much more must you esteem him.