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There is no poetry of distinction without formal invention, for it is in the intimate form that works of art achieve their exact meaning, in which they most resemble the machine, to give language its highest dignity, its illumination in the environment to which it is native. Such war, as the arts live and breathe by, is continuous.
It may be that my interests as expressed here are pre-art. If so I look for a development along these lines and will be satisfied with nothing else.
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Introduction

 

William Carlos Williams

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In our highly complex organic state we advanced organisms respond to our environment with an invention of many marvelous analogues. We invent earth and heavens, trees, stones and oceans, gods, music, arts, language, philosophy, engineering, civilization and science. We call these analogues reality. And they are reality. We mesmerize our children in the name of truth into knowing that they are reality. We throw anyone who does not accept these analogues into an insane asylum. But that which causes us to invent the analogues is Quality. Quality is the continuing stimulus which our environment puts upon us to create the world in which we live. All of it. Every last bit of it.

 

Robert M. Pirsig

 

It is a new form of leadership of states, never encountered yet. I don't know what designation it will be given, but it is a new form. I think that it is based on this state of mind, this state of high national consciousness which, sooner or later, spreads to the periphery of the national organism. It is a state of inner light. What previously slept in the souls of the people, as racial instinct, is in these moments reflected in their consciousness, creating a state of unanimous illumination, as found only in great religious experiences. This state could be rightly called a state of national oecumenicity. A people as a whole reach self-consciousness, consciousness of its meaning and its destiny in the world. In history, we have met in peoples nothing else than sparks, whereas, from this point of view, we have today permanent national phenomena. In this case, the leader is no longer a 'boss' who 'does what he wants', who rules according to 'his own good pleasure': he is the expression of this invisible state of mind, the symbol of this state of consciousness. He does not do what he wants, he does what he has to do. And he is guided, not by individual interests, nor by collective ones, but instead by the interests of the eternal nation, to the consciousness of which the people have attained. In the framework of these interests and only in their framework, personal interests as well as collective ones find the highest degree of normal satisfaction.

 

Corneliu Zelea Codreanu

 

Washington absorbed, and later came to personify what you might call the dignity code. The code was based on the same premise as the nation's Constitution — that human beings are flawed creatures who live in constant peril of falling into disasters caused by their own passions. Artificial systems have to be created to balance and restrain their desires.
The dignity code commanded its followers to be disinterested — to endeavor to put national interests above personal interests. It commanded its followers to be reticent — to never degrade intimate emotions by parading them in public. It also commanded its followers to be dispassionate — to distrust rashness, zealotry, fury and political enthusiasm.

 

George Washington

 

There are ways in which poetry reaches the people who, for one reason or another, are walled off from it. Arriving in diluted forms, serving to point up an episode, to give to a climax an intensity that will carry it without adding heaviness, to travel toward the meaning of a work of graphic art, nevertheless poetry does arrive. And in the socially accepted forms, we may see the response and the fear, expressed without reserve, since they are expressed during enjoyment which has all the sanctions of society.
Close to song, poetry reaches us in the music we admit: the radio songs that flood our homes, the juke-boxes, places where we drink and eat, the songs of work for certain occupations, the stage-songs we hear as ticketed audience.

 

Muriel Rukeyser

 

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