The impulse to create begins - often terribly and fearfully - in a tunnel of silence. Every real poem is the breaking of an existing silence, and the first question we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken?
Anecdote: It is by no means self-evident that human beings are most real when most violently excited; violent physical passions do not in themselves differentiate men from each other, but rather tend to reduce them to the same state.
It must be recognized that the real truths of history are hard to discover. Happily, for the most part, they are rather matters of curiosity than of real importance.
We must, if we are to be consistent, and if we re to have a real pedigree herd, mate the best of our men with the best of our women as often as possible, and the inferior men with the inferior women as seldom as possible, and keep only the offspring of the best.
What we have forgotten is that thoughts and words are conventions, and that it is fatal to take conventions too seriously. A convention is a social convenience, as, for example, money ... but it is absurd to take money too seriously, to confuse it with real wealth ... In somewhat the same way, thoughts, ideas and words are "coins" for real things.
It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style.
The real trouble with this world of ours is not that it is an unreasonable world, nor even that it is a reasonable one. The commonest kind of trouble is that it is nearly reasonable, but not quite. ... It looks just a little more mathematical and regular than it is; its exactitude is obvious, but its inexactitude is hidden; its wilderness lies in wait.
What intrigued me more than anything else was finding out the way in which everything, all of creation - all of it! - was held together by invisible chemical bonds, and I found a strange, inexplicable comfort in knowing that somewhere, even though we couldn't see it in our own world, there was a real stability.
The thief steals from himself. The swindler swindles himself. For the real price is knowledge and virtue, whereof wealth and credit are signs. These signs, like paper money, may be counterfeited or stolen, but that which they represent, namely, knowledge and virtue, cannot be counterfeited or stolen.
Ah! What avails the classic bent
And what the cultured word,
Against the undoctored incident
That actually occurred?
And what is Art whereto we press
Through paint and prose and rhyme-
When Nature in her nakedness
Defeats us every time?
Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.