If a poet interprets a poem of his own he limits its suggestibility.
William Butler YeatsRead
For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, schoolmasters, and clergymen The martyrs call the world.
Interpretation
Creating art is a laborious process that is often unrecognized by those who prioritize conventional success.
In this quote, William Butler Yeats reflects on the nature of artistic creation, emphasizing that the effort put into creating beauty through art is substantial and often undervalued by society. While the artists toil to produce their work, they may be dismissed as idle by those who are engaged in more conventional, noisy professions, such as banking or teaching, which society tends to glorify.
In practice
In a speech about the importance of creativity, one might use this quote to highlight the dedication of artists.
If a poet interprets a poem of his own he limits its suggestibility.
It was my first meeting with a philosophy that confirmed my vague speculations and seemed at once logical and boundless.
But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams.
How far away the stars seem, and how far is our first kiss, and ah, how old my heart.
For he would be thinking of love Till the stars had run away And the shadows eaten the moon.
Love is created and preserved by intellectual analysis, for we love only that which is unique, and it belongs to contemplation, not to action, for we would not change that which we love.
When I'm dying, I want to think I did what I felt was best for the words I was writing. This may mean, at any time, that I won't be publishable anymore.
It is not the right angle that attracts me, nor the straight line, hard and inflexible, created by man. What attracts me is the free and sensual curve - the curve that I find in the mountains of my country, in the sinuous course of its rivers, in the body of the beloved woman.
I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.
One must die to life in order to be utterly a creator.
'For Whom the Bell Tolls' was a problem which I carried on each day. I knew what was going to happen in principle. But I invented what happened each day I wrote.
I think that one's art is a growth inside one. I do not think one can explain growth. It is silent and subtle. One does not keep digging up a plant to see how it grows.
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