Among those whom I like or admire, I can find no common denominator, but among those whom I love, I can: all of them make me laugh.

Money cannot buy the fuel of love but is excellent kindling.

As readers, we remain in the nursery stage so long as we cannot distinguish between taste and judgment, so long, that is, as the only possible verdicts we can pass on a book are two: this I like; this I don't like. For an adult reader, the possible verdicts are five: I can see this is good and I like it; I can see this is good but I don't like it; I can see this is good and, though at present I don't like it, I believe that with perseverance I shall come to like it; I can see that this is trash but I like it; I can see that this is trash and I don't like it.

Literary confessors are contemptible, like beggars who exhibit their sores for money, but not so contemptible as the public that buys their books.

It has been said that a poem should not mean but be. This is not quite accurate. In a poem, as distinct from many other kinds of verbal societies, meaning and being are identical. A poem might be called a pseudo-person. Like a person, it is unique and addresses the reader personally. On the other hand, like a natural being and unlike a historical person, it cannot lie.

The truly tragic kind of suffering is the kind produced and defiantly insisted upon by the hero himself so that, instead of making him better, it makes him worse and when he dies he is not reconciled to the law but defiant, that is, damned. Lear is not a tragic hero, Othello is.

Poetry makes nothing happen.