It is enough for a poet to be the guilty conscience of his age.
Saint-John PerseRead
Poetry allies itself with beauty - a supreme union - but never uses it as its ultimate goal or sole nourishment.
Interpretation
Poetry embraces beauty but does not solely rely on it for its purpose.
This quote by Saint-John Perse suggests that while poetry is deeply connected to beauty, the essence of poetry transcends mere aesthetic appreciation. Instead of using beauty as its only source of inspiration, poetry seeks deeper meanings and truths, engaging with emotions and experiences that go beyond the surface.
In practice
In a poetry workshop, to emphasize the depth of poetry, I could quote 'Poetry allies itself with beauty - a supreme union - but never uses it as its ultimate goal or sole nourishment.'
It is enough for a poet to be the guilty conscience of his age.
In truth, every creation of the mind is first of all 'poetic' in the proper sense of the word; and inasmuch as there exists an equivalence between the modes of sensibility and intellect, it is the same function that is exercised initially in the enterprises of the poet and the scientist.
The poet existed among the cave men; he will exist among men of the atomic age, for he is an inherent part of man. Even religions have been born from the need for poetry, which is a spiritual need, and it is through the grace of poetry that the divine spark lives forever in the human flint.
I never approved of talkies. Silent movies were well on their way to developing an entirely new art form. It was not just pantomine, but something wonderfully expressive.
I feel so entirely in my element with a full orchestra; even if my mortal enemies were marshalled before me, I could lead them, master them, surround them, or repulse them.
Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness.
Toward his critics, the artist harbors a defensive ace: knowledge that the future will erase the present.
From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.
I see my finished platinum print (in the viewfinder) in all its desired qualities, before my exposure.
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