She tells her love while half asleep, In the dark hours, With half-words whispered low: As Earth stirs in her winter sleep And puts out grass and flowers Despite the snow, Despite the falling snow.

She told me that all the girls in Annezin prayed every night for the war to end and for the English to go away as soon as their money was spent. She said that the clause about the money was always repeated in case God should miss it.

One gets to the heart of the matter by a series of experiences in the same pattern, but in different colors.

Mythology is the study of whatever religious or heroic legends are so foreign to a student's experience that he cannot believe them to be true. . . . Myth has two main functions. The first is to answer the sort of awkward questions that children ask, such as: 'Who made the world? How will it end? Who was the first man? Where do souls go after death?'. . . . The second function of myth is to justify an existing social system and account for traditional rites and customs.

Poetry began in the matriarchal age, and derives its magic from the moon, not from the sun. No poet can hope to understand the nature of poetry unless he has had a vision of the Naked King crucified to the lopped oak, and watched the dancers, red-eyed from the acrid smoke of the sacrificial fires, stamping out the measure of the dance, their bodies bent uncouthly forward, with a monotonous chant of "Kill! kill! kill!" and "Blood! blood! blood!

Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.

A banker warned the British poet Robert Graves that one could not grow rich writing poetry. He replied that if there was no money in poetry, there was certainly no poetry in money, and so it was all even.