That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity – that is to say, the unexpected, surprise and astonishment, are a essential part and characteristic of beauty.
Charles BaudelaireRead
Poetry and progress are like two ambitious men who hate one another with an instinctive hatred, and when they meet upon the same road, one of them has to give place.
Interpretation
Poetry and progress often conflict, forcing one to yield to the other in pursuit of their ambitions.
In this quote, Charles Baudelaire illustrates the tension between poetry, a form of artistic expression, and progress, often associated with change and innovation. He suggests that these two forces, while both inherently ambitious, are antagonistic to one another, implying that when they confront each other, one must take precedence over the other, highlighting the struggle between artistic integrity and the demands of progress.
In practice
In a literary discussion, one might quote Baudelaire to illustrate the duality of artistic expression and innovation.
That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity – that is to say, the unexpected, surprise and astonishment, are a essential part and characteristic of beauty.
The dance can reveal everything mysterious that is hidden in music, and it has the additional merit of being human and palpable. Dancing is poetry with arms and legs.
Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness.
There is no sweeter pleasure than to surprise a man by giving him more than he hopes for.
The priest is an immense being because he makes the crowd believe astonishing things.
I consider it useless and tedious to represent what exists, because nothing that exists satisfies me. Nature is ugly, and I prefer the monsters of my fancy to what is positively trivial.
Every good writer I know needs to go into some deep, quiet place to do work that is fully imagined. And what the Internet brings is lots of vulgar data. It is the antithesis of the imagination. It leaves nothing to the imagination.
If there is a magic in story writing, and I am convinced that there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes but by no means always find the way to do it.
The song that nerves a nation's heart is in itself a deed.
My songs are personal music, they're not communal. I wouldn't want people singing along with me. It would sound funny. I'm not playing campfire meetings. I don't remember anyone singing along with Elvis, Carl Perkins or Little Richard.
Nevertheless the passions, whether violent or not, should never be so expressed as to reach the point of causing disgust; and music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music.
Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you're the only expert.
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