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Henri Barbusse

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"I have such respect for the actual truth that there are moments when I do not dare to call things by their name," the poet ended.

 
Henri Barbusse

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A year ago, to a startled public, was revealed the most extraordinary prodigy of them all — Nathalia Crane, 11-year-old poet, "The Baby Browning of Brooklyn," whose first volume of verse, The Janitor's Boy, was heralded by critics to be a work of genius.
Such words as "blastoderm", "sindoc," "peris," "parasang," "sarcenet," "teazel," "nullah," "cantatrice," "barracan," "sistrum," writhed and hissed in her verses. One poem began with the nebular hypothesis and ended with prohibition; others cantered with a Eugene Fieldian humor; still others coldly glowed with the passion-weary detachment of a woman who has had her fill of life and its motley follies. Critic-Poet Louis Untermeyer chortled with elation. Poet William Rose Benét wrote a preface. The English Society of Authors and Playwrights (of which Thomas Hardy is President) asked Nathalia Crane to join them.

 
Nathalia Crane
 

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
 

The eye, which is called the window of the soul, is the principal means by which the central sense can most completely and abundantly appreciate the infinite works of nature; and the ear is the second, which acquires dignity by hearing of the things the eye has seen. If you, historians, or poets, or mathematicians had not seen things with your eyes you could not report of them in writing. And if you, O poet, tell a story with your pen, the painter with his brush can tell it more easily, with simpler completeness and less tedious to be understood. And if you call painting dumb poetry, the painter may call poetry blind painting. Now which is the worse defect? to be blind or dumb? Though the poet is as free as the painter in the invention of his fictions they are not so satisfactory to men as paintings; for, though poetry is able to describe forms, actions and places in words, the painter deals with the actual similitude of the forms, in order to represent them. Now tell me which is the nearer to the actual man: the name of man or the image of the man. The name of man differs in different countries, but his form is never changed but by death.

 
Leonardo da Vinci
 

In those former times we lived. Now we hardly live any more, since we have lived. They who we were are dead, for we are here. Her glances come to me, but they do not join again the two surviving voids that we are; her look does not wipe out our widowhood, nor change anything. And I, I am too imbued with clear-sighted simplicity and truth to answer "no" when it is "yes." In this moment by my side Marie is like me.
The immense mourning of human hearts appears to us. We dare not name it yet; but we dare not let it not appear in all that we say.

 
Henri Barbusse
 

It is with the mind as it is with the body, in this respect. The physician says to a household: "Here is a great realm of food. Eat that which agrees with you. The same kinds of food do not agree with all people. If you grow healthy on the food that I loathe, that is the food for you, although it disagrees with me; and if I grow healthy on the food that you loathe, that is the food for me, although it disagrees with you." And it is very much so in the matter of believing. All cannot believe the same things, or cannot believe things in the same way.
"But," say men, "believing amounts to nothing if one man may believe one thing, and another man another thing." Well, let me ask, then, is it not possible for truth to be so large that ten men shall believe it differently, and yet each one of them so sectionally believe it, that they shall be all true though none of them has more than partial truth, and that all of them shall compass the whole truth?

 
Henry Ward Beecher
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