There's no money in poetry, but then there's no poetry in money, either.

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!

For I now realize that what overcame me that evening was a sudden awareness of the power of intuition, the supra-logic that cuts out all routine processes of thought and leaps straight from problem to answer.

Myths are seldom simple, and never irresponsible.

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.

The remarkable thing about Shakespeare is that he really is very good, in spite of all the people who say he is very good.

To know only one thing well is to have a barbaric mind: civilization implies the graceful relation of all varieties of experience to a central humane system of thought. The present age is peculiarly barbaric: introduce, say, a Hebrew scholar to an ichthyologist or an authority on Danish place names and the pair of them would have no single topic in common but the weather or the war (if there happened to be a war in progress, which is usual in this barbaric age).