For I now realize that what overcame me that evening was a sudden awareness of the power of intuition, the supra-logic that cuts out all routine processes of thought and leaps straight from problem to answer.
Robert GravesRead
Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.
Interpretation
Poets create for individuals rather than a faceless crowd, emphasizing personal connection over commercial gain.
Robert Graves argues against the notion of poets having an 'audience,' as it implies a distance and impersonal relationship between the poet and their work. He believes that poetry should be a direct dialogue with a single person, fostering intimacy and personal connection rather than addressing an anonymous crowd for financial gain.
In practice
In a poetry reading, I want to convey that my words are meant for you, not an audience.
For I now realize that what overcame me that evening was a sudden awareness of the power of intuition, the supra-logic that cuts out all routine processes of thought and leaps straight from problem to answer.
To recommend a monarchy on account of the prosperity it gives the provinces seems to me like recommending that a man should have liberty to treat his children as slaves, if at the same time he treats his slaves with reasonable consideration.
A banker warned the British poet Robert Graves that one could not grow rich writing poetry. He replied that if there was no money in poetry, there was certainly no poetry in money, and so it was all even.
Poetry began in the matriarchal age, and derives its magic from the moon, not from the sun. No poet can hope to understand the nature of poetry unless he has had a vision of the Naked King crucified to the lopped oak, and watched the dancers, red-eyed from the acrid smoke of the sacrificial fires, stamping out the measure of the dance, their bodies bent uncouthly forward, with a monotonous chant of "Kill! kill! kill!" and "Blood! blood! blood!
No poem is worth anything unless it starts from a poetic trance, out of which you can be wakened by interruption as from a dream. In fact, it is the same thing.
Before an attack, the platoon pools all its available cash and the survivors divide it up afterwards. Those who are killed can't complain, the wounded would have given far more than that to escape as they have, and the unwounded regard the money as a consolation prize for still being here.
When the writer (or the artist in general) says he has worked without giving any thought to the rules of the process, he simply means he was working without realizing he knew the rules.
The critic who doesn't make a personal statement, in remeasurements he himself has made, is merely an unreliable critic. He is not a measurer but a repeater of other men's results. KRINO, to pick out for oneself, to choose. That's what the word means.
The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.
You don't decide to paint. It's like getting hungry and going to the kitchen to eat. It's a need, not a choice.
Art always opts for the individual, the concrete; art is not Platonic.
You see something, then it clicks with something else, and it will make a story. But you never know when it's going to happen.
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