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Clive James

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[[T]he question of originality, if it arises at all, can never be peripheral: originality is more than a requirement in good poetry, it is a description of it.
--
'Two Essays on Theodore Roethke'

 
Clive James

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Originality is not something continuous but something intermittent — a flash of the briefest duration. One must have the time and be watchful (be attuned) to catch the flash and fix it. One must know how to catch and preserve these scant flakes of gold sluiced out of the sand and rocks of everyday life. Originality does not come nugget-size.

 
Eric Hoffer
 

Originality is a thing we constantly clamour for, and constantly quarrel with; as if, observes our author himself, any originality but our own could be expected to content us! In fact all strange thing are apt, without fault of theirs, to estrange us at first view, and unhappily scarcely anything is perfectly plain, but what is also perfectly common.

 
Thomas Carlyle
 

There were at least two avenues for originality open to Plotinus, even if it was not his intention to say fundamentally new things. The first was in trying to say what Plato meant on the basis of what he wrote or said or what others reported him to have said. This was the task of exploring the philosophical position that we happen to call "Platonism". The second was in defending Plato against those who, Plotinus thought, had misunderstood him and therefore unfairly criticized him. Plotinus found himself, especially as a teacher, taking up these two avenues. His originality must be sought for by following his path.

 
Plotinus
 

Now, whether there is feeling or not depends upon what your environment or your association is or whatever you may have in common with the player. If you feel empathy for his personal outlook, you naturally feel him musically more than some other environmental and musical opposite who is, in a way. beyond you.
I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around. But there is no need to compare composers. If you like Beethoven, Bach or Brahms, that's okay. They were all pencil composers. I always wanted to be a spontaneous composer. I thought I was, although no one's mentioned that. I mean critics or musicians. Now, what I'm getting at is that I know I'm a composer. I marvel at composition, at people who are able to take diatonic scales, chromatics, 12-tone scales, or even quarter-tone scales. I admire anyone who can come up with something original. But not originality alone, because there can be originality in stupidity, with no musical description of any emotion or any beauty the man has seen, or any kind of life he has lived.

 
Charles Mingus
 

His multiple and eclectic virtues — originality, erudition, wit, probity, and an irresistible passion — combined to make him the best American poet-critic since Eliot. Or one could call him, after granting Eliot the English citizenship he so actively embraced, the best poet-critic we have ever had. Whichever side of the Atlantic one chooses to place Eliot, Jarrell was his superior in at least one significant respect. He captured a world that any contemporary poet will recognize as "the poetry scene"; his Poetry and the Age might even now be retitled Poetry and Our Age.

 
Randall Jarrell
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