We all fear loneliness, madness, dying. Shakespeare and Walt Whitman, Leopardi and Hart Crane will not cure those fears. And yet these poets bring us fire and light.
Harold BloomRead
The second, and I think this is the much more overt and I think it is the main cause, I have been increasingly demonstrating or trying to demonstrate that every possible stance a critic, a scholar, a teacher can take towards a poem is itself inevitably and necessarily poetic.
Interpretation
Every interpretation of a poem inherently carries a poetic quality of its own.
In this quote, Harold Bloom suggests that no matter the perspective or critique someone offers regarding a poem—whether from a critic, scholar, or teacher—that stance itself has its own artistic and poetic value. He emphasizes that the act of analyzing or interpreting poetry is a creative endeavor, as it shapes the meaning of the poem in unique ways.
In practice
In a literature class discussing the role of a critic.
We all fear loneliness, madness, dying. Shakespeare and Walt Whitman, Leopardi and Hart Crane will not cure those fears. And yet these poets bring us fire and light.
I am naive enough to read incessantly because I cannot, on my own, get to know enough people profoundly enough.
Reading well is one of the greatest pleasures that solitude can afford you.
Socrates, in Plato, formulates ideas of order: the Iliad, like Shakespeare, knows that a violent disorder is a great order.
Reading the very best writers—let us say Homer, Dante, Shakespeare, Tolstoy—is not going to make us better citizens. Art is perfectly useless, according to the sublime Oscar Wilde, who was right about everything. He also told us that all bad poetry is sincere. Had I the power to do so, I would command that these words be engraved above every gate at every university, so that each student might ponder the splendor of the insight.
I have never believed that the critic is the rival of the poet, but I do believe that criticism is a genre of literature or it does not exist.
What I wanted in life always was to write something as good as 'Pinocchio.' I wanted to write. I wanted to evolve. I wanted to grow.
An artist cannot get along without a public; and when the public is absent, what does he do? He invents it, and turning his back on his age, he looks toward the future for what the present denies.
I discovered the fun of genre is... you get to explore your fears, and you get to use the metaphor of the genre - whether it's a giant monster or a... 12-year-old vampire. Whatever it is, you can sink something underneath the surface and make a personal film under the guise of great fun romp.
I paint the way someone bites his fingernails; for me, painting is a bad habit because I don't know nor can I do anything else.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
You're only reduced to a cliche if you don't humanize a character.
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