The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

Did you know that Bharatiyar used the pen name “Shelley-dasan”? He admired the poems of Shelley so deeply that he wrote under the name “Shelley’s servant”. Wasn’t that a wonderful gesture of humility by someonewho was such a great poet himself? And later, Bharatiyar had his own dasan, the poet Subburathinam, who tookthe pen name Bharathidasan. Subburathinam’s poetry inspired yet another poet who wrote as Surada, short for Subburathina-dasan. And to think this long chain of inspiration spans centuries, going back to the poets who inspired Wordsworth, who inspired Shelley, who inspired our own Bharati.

It is clear enough that not every something can be elevated to the rank of a thing - otherwise everything and everyone would be speaking once more, and the chatter would spread from humans to things. Rilke privileges two categories of 'entities' [Seienden), to express it in the papery diction of philosophy, that are eligible for the lofty task of acting as message-things - artifices and living creatures - with the latter gaining their particular quality from the former, as if animals were being's highest works of art before humans. Inherent to both is a message energy that does not activate itself, but requires the poet as a decoder and messenger.

Miltons were, on the whole, the most enthusiastic poet followers. A flick through the London telephone directory would yield about four thousand John Miltons, two thousand William Blakes, a thousand or so Samuel Colleridges, five hundred Percy Shelleys, the same of Wordsworth and Keats, and a handful of Drydens. Such mass name-changing could have problems in law enforcement. Following an incident in a pub where the assailant, victim, witness, landlord, arresting officer and judge had all been called Alfred Tennyson, a law had been passed compelling each namesake to carry a registration number tattooed behind the ear. It hadn't been well received--few really practical law-enforcement measures ever are.

The words of the true poems give you more than poems, they give you to form for yourself poems, religions, politics, war, peace, behavior, histories, essays, daily life, & everything else, they balance the ranks, colors, races, creeds, and the sexes, they do not seek beauty, they are sought, forever touching them or close upon them follows beauty, longing, fain, love-sick. They prepare for death, yet they are not the finish, but rather the outset, they bring none of his or her terminus or to be content & full, whom they take they take into space to behold the birth of the stars, to learn one of the meanings, to launch off with absolute faith, to sweep through the ceaseless rings & never be quiet again.

To hear never-heard sounds, To see never-seen colors and shapes, To try to understand the imperceptible Power pervading the world; To fly and find pure ethereal substances That are not of matter But of that invisible soul pervading reality. To hear another soul and to whisper to another soul; To be a lantern in the darkness Or an umbrella in a stormy day; To feel much more than know. To be the eyes of an eagle, slope of a mountain; To be a wave understanding the influence of the moon; To be a tree and read the memory of the leaves; To be an insignificant pedestrian on the streets Of crazy cities watching, watching, and watching. To be a smile on the face of a woman And shine in her memory As a moment saved without planning.

In the case of Michel Angelo we have an artist who with brush and chisel portrayed literally thousands of human forms; but with this peculiarity, that while scores and scores of his male figures are obviously suffused and inspired by a romantic sentiment, there is hardly one of his female figures that is so,—the latter being mostly representative of woman in her part as mother, or sufferer, or prophetess or poetess, or in old age, or in any aspect of strength or tenderness, except that which associates itself especially with romantic love. Yet the cleanliness and dignity of Michel Angelo's male figures are incontestable, and bear striking witness to that nobility of the sentiment in him, which we have already seen illustrated in his sonnets.

Latvieši, kā visiem zināms, ir dzejnieku tauta. Tikai pavisam retais latvietis nebūs vismaz jaunībā kaut drusku pavingrinājies dzejot… Zīmīgi un apbrīnojami, ka latviešu apsēstība ar dzeju izveidojusies par spīti tam, ka dzejo latviski ir nesalīdzināmi grūtāk nekā citās valodās. Patiesībā, tieši bezdievīgi grūti. Kā lai poēts uzlido poēzijas eteriskajos augstumos, ja kā dzirnavu akmens karājas kaklā stingais, negrozāmais uzsvars uz katra vārda pirmā balsiena? Un piedevām, nabaga latviešu dzejnieku līdz izmisumam vārdzina pagalam trūcīga atskaņu izvēle.

Young poets are too apt to consider themselves “children of the mist” – they must dwell apart from men and contemn their kind, or they fear they shall be only taken for common-place characters. They forget that poetry is the language which speaks to all hearts—and that instead of cherishing the sacred fire as a lonely light, as one that burns in a charnel house, they should bring it forth in its beauty and brightness as a guide to the pleasant places and sparkling waters of earth’s happiness and the radiant messenger of heaven’s exalted hopes. And they should rejoice and be glad that to them the kindling of such high imagination is given. ~ Sarah Josepha Hale Ladies Magazine, November 1830From the Introduction to Cherishing the Sacred Fire

Nowadays you have to be a scientist if you want to be a killer. No, no, I was neither. Ladies and gentleman of the jury, the majority of sex offenders that hanker for some throbbing, sweet-moaning, physical but not necessarily coital, relation with a girl-child, are innocuous, inadequate, passive, timid strangers who merely ask the community to allow them to pursue their practically harmless, so-called aberrant behavior, their little hot wet private acts of sexual deviation without the police and society cracking down upon them. We are not sex fiends! We do not rape as good soldiers do. We are unhappy, mild, dog-eyed gentlemen, sufficiently well integrated to control our urge in the presence of adults, but ready to give years and years of life for one chance to touch a nymphet. Emphatically, no killers are we. Poets never kill.

О любви мы знаем немного. Любовь - что груша. Она сладкая и имеет определенную форму. Но попробуйте дать определение формы груши!© Лютик "Полвека поэзии

When Great Trees FallWhen great trees fall,rocks on distant hills shudder,lions hunker downin tall grasses,and even elephantslumber after safety.When great trees fallin forests,small things recoil into silence,their senseseroded beyond fear.When great souls die,the air around us becomeslight, rare, sterile.We breathe, briefly.Our eyes, briefly,see witha hurtful clarity.Our memory, suddenly sharpened,examines,gnaws on kind wordsunsaid,promised walksnever taken.Great souls die andour reality, bound tothem, takes leave of us.Our souls,dependent upon theirnurture,now shrink, wizened.Our minds, formedand informed by theirradiance,fall away.We are not so much maddenedas reduced to the unutterable ignoranceof dark, coldcaves.And when great souls die,after a period peace blooms,slowly and alwaysirregularly. Spaces fillwith a kind ofsoothing electric vibration.Our senses, restored, neverto be the same, whisper to us.They existed. They existed.We can be. Be and bebetter. For they existed.

I’m a maker of ballads right prettyI write them right here in the streetYou can buy them all over the cityyours for a penny a sheetI’m a word pecker out of the printersout of the dens of Gin LaneI’ll write up a scene on a counter- confessions and sins in the main, boysconfessions and sins in the mainThen you’ll find me in Madame Geneva’skeeping the demons at bayThere’s nothing like gin for drowning them inbut they’ll always be back on a hanging day, on a hanging dayThey come rattling over the cobblesthey sit on their coffins of blackSome are struck dumb, some gabbletop-heavy on brandy or sackThe pews are all full of fine fellowsand the hawker has set up her shopAs they’re turning them off at the gallowsshe’ll be selling right under the drop, boysselling right under the dropThen you’ll find me in Madame Geneva’skeeping the demons at bayThere’s nothing like gin for drowning them inbut they’ll always be back on a hanging day, on a hanging day

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.

I is for immortality, which for some poets is a necessary compensation. Presumably miserable in this life, they will be remembered when the rest of us are long forgotten. None of them asks about the quality of that remembrance--what it will be like to crouch in the dim hallways of somebody's mind until the moment of recollection occurs, or to be lifted off suddenly and forever into the pastures of obscurity. Most poets know better than to concern themselves with such things. They know the chances are better than good that their poems will die when they do and never be heard of again, that they'll be replaced by poems sporting a new look in a language more current. They also know that even if individual poems die, though in some cases slowly, poetry will continue: that its subjects, it constant themes, are less liable to change than fashions in language, and that this is where an alternate, less lustrous immortality might be. We all know that a poem can influence other poems, remain alive in them, just as previous poems are alive in it. Could we not say, therefore, that individual poems succeed most by encouraging revisions of themselves and inducing their own erasure? Yes, but is this immortality, or simply a purposeful way of being dead?