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A poem...begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness. It is a reaching-out toward expression; an effort to find fulfillment. A complete poem is one where an emotion finds the thought and the thought finds the words.
--
Letter to Louis Untermeyer (1 January 1916)

 

Robert Frost

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There neither exists nor can exist any work more thoroughly dignified — more supremely noble than this very poem — this poem per se — this poem which is a poem and nothing more — this poem written solely for the poem's sake.

 

Edgar Allan Poe

 

[The value and dignity of the individual] is threatened whenever it is assumed that individual desires, hopes and ideals can be fitted with frictionless harmony into the collective purposes of man. The individual is not discrete. He cannot find his fulfillment outside of the community; but he also cannot find fulfillment completely within society. In so far as he finds fulfillment within society he must abate his individual ambitions. He must 'die to self' if he would truly live. In so far as he finds fulfillment beyond every historical community he lives his life in painful tension with even the best community, sometimes achieving standards of conduct which defy the standards of the community with a resolute "we must obey God rather than man."

 

Reinhold Niebuhr

 

When a man makes a poem, makes it, mind you, he takes words as he finds them interrelated about him and composes them — without distortion which would mar their exact significances — into an intense expression of his perceptions and ardors that they may constitute a revelation in the speech that he uses. It isn’t what he says that counts as a work of art, it’s what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.

 

William Carlos Williams

 

The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent. . . . The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

 

Muriel Rukeyser

 

When a poet is being a poet — that is, when he is writing or thinking about writing — he cannot be concerned with anything but the making of a poem. If the poem is to turn out well, the poet cannot have thought of whether it will be saleable, or of what its effect on the world should be; he cannot think of whether it will bring him honor, or advance a cause, or comfort someone in sorrow. All such considerations, whether silly or generous, would be merely intrusive; for, psychologically speaking, the end of writing is the poem itself.

 

Richard Wilbur