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Every true poet, I thought, must be original and originality a condition of poetic genius; so that each poet is like a species in nature (not an individuum genericum or specificum) and can never recur. That nothing shd. be old or borrowed however cannot be.
--
Letter to Coventry Patmore (C. C. Abbott (ed.), The Letters of Gerard Manley Hopkins to Robert Bridges, (London: Oxford University Press, 1955), p. 263)

 

Gerard Manley Hopkins

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It has been observed before that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's spirit.

 

Samuel Taylor Coleridge

 

As a Poet, Novalis is no less Idealistic than as a Philosopher. His poems are breathings of a high devout soul, feeling always that here he has no home, but looking, as in clear vision, to a 'city that hath foundations.' He loves external Nature with a singular depth; nay, we might say, he reverences her, and holds unspeakable communings with her: for Nature is no longer dead, hostile Matter, but the veil and mysterious Garment of the Unseen; as it were, the Voice with which the Deity proclaims himself to man. These two qualities, -- his pure religious temper, and heartfelt love of Nature, — bring him into true poetic relation both with the spiritual and the material World, and perhaps constitute his chief worth as a Poet; for which art he seems to have originally a genuine, but no exclusive or even very decided endowment.

 

Novalis

 

What the poet has in mind . . . is that poetic value is an intrinsic value. It is not the value of knowledge. It is not the value of faith. It is the value of imagination. The poet tries to exemplify it, in part as I have tried to exemplify it here, by identifying it with an imaginative activity that diffuses itself throughout our lives.

 

Wallace Stevens

 

It may be dismissed, on the one hand, as a commonplace aesthetic satisfaction: and, on the other hand, if we say that the idea of God is merely a poetic idea, even if the supreme poetic idea, and that our notions of heaven and hell are merely poetry not so called, even if poetry that involves us vitally, the feeling of deliverance, of a release, of a perfection touched, of a vocation so that all men may know the truth and that the truth may set them free — if we say these things and if we are able to see the poet who achieved God and placed Him in His seat in heaven in all His glory, the poet himself, still in the ecstasy of the poem that completely accomplished its purpose, would have seemed, whether young or old, whether in rags or ceremonial robe, a man who needed what he had created, uttering the hymns of joy that followed his creation. This may be a gross exaggeration of a very simple matter. But perhaps the same is true of many of the more prodigious things of life and death.

 

Wallace Stevens

 

Only if we assume that a poet constantly strives to liberate himself from borrowed styles in search for reality, is he dangerous. In a room where people unanimously maintain a conspiracy of silence, one word of truth sounds like a pistol shot. And, alas, a temptation to pronounce it, similar to an acute itching, becomes an obsession which doesn't allow one to think of anything else. That is why a poet chooses internal or external exile. It is not certain, however, that he is motivated exclusively by his concern with actuality. He may also desire to free himself from it and elsewhere, in other countries, on other shores, to recover, at least for short moments, his true vocation — which is to contemplate Being.

 

Czeslaw Milosz