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[Robert Lowell] is a poet of both Will and Imagination, but his Will is always seizing his Imagination by the shoulders and saying to it in a grating voice: “Don’t sit there fooling around; get to work!” — and his poor Imagination gets tense all over and begins to revolve determinedly and familiarly, like a squirrel in a squirrel-cage. Goethe talked about the half-somnambulistic state of the poet; but Mr. Lowell too often is either having a nightmare or else is wide awake gritting his teeth and working away at All The Things He Does Best. Cocteau said to poets: Learn what you can do and then don’t do it; and this is so—we do it enough without trying. As a poet Mr. Lowell sometimes doesn’t have enough trust in God and tries to do everything himself: he proposes and disposes — and this helps to give a certain monotony to his work.
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“Three Books”, p. 236

 

Randall Jarrell

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In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is "Where do you teach?" The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.

 

Dana Gioia

 

Willard Gibbs is the type of the imagination at work in the world. His story is that of an opening up which has had its effect on our lives and our thinking; and, it seems to me, it is the emblem of the naked imagination —which is called abstract and impractical, but whose discoveries can be used by anyone who is interested, in whatever "field"— an imagination which for me, more than that of any other figure in American thought, any poet, or political, or religious figure, stands for imagination at its essential points.

 

Josiah Willard Gibbs

 

For the poet, the imagination is paramount, and . . . he dwells apart in his imagination, as the philosopher dwells in his reason, and as the priest dwells in his belief ... The imagination is the power of the mind over the possibilities of things."

 

Wallace Stevens

 

A person can be both good and evil, just as it is quite simply said that a human being has a disposition to both good and evil, but one cannot simultaneously become both good and evil. Esthetically, the poet has been required not to depict these abstract models of virtue or diabolical characters but to do as Goethe does, whose characters are both good and evil. And why is this a legitimate requirement? Because we want the poet to depict human beings as they are, and every human being is both good and evil, and because the poet’s medium is the medium of imagination, is being but not becoming, at most is becoming in a very foreshortened perspective. But take the individual out of this medium of imagination, out of this being, and place him in existence-then ethics immediately confronts him with its requirement, whether he now deigns to become, and then he becomes-either good or evil. In the earnest moment of self-contemplation, in the sacred moment of confession, the individual removes himself from the process of becoming and in the realm of being inspects how he is. Alas, the result unfortunately is that he is both good and evil, but as soon as he is again in the process of becoming he becomes either good or evil.

 

Soren Aabye Kierkegaard

 

Now the power of the imagination is a unifying power, hence the force of metaphor; and the poet is the supreme manipulator of metaphor... the world needs the unifying power of the imagination. The two things that give it best are poetry and religion.

 

R. S. Thomas