luka

Well-known member
The house of language is not innocent, and is no temple. The inten-
sities of poetic encounter, of imagination and deep insight into spiritual

reality and poetic truth, carry with them all the fierce contradiction of
what human language is and does. There is no protection or even

temporary shelter from these forms of knowledge that is worth even a
moment’s considered preference, even for poets or philosophers with
poetic missions.

 

luka

Well-known member
It may be resisted that true poets are patriots only to an ideal kingdom, of pure language and equally pure humanity; but enquiry shews this contention to be mostly false, because such purity is itself chimerical, often substituted for less admissible alternatives. The bread and butter that a man or woman eats (or even a poet) does not materialise like manna out of thin air. The emergence of nineteenth-century European nationalism, in the period of state-formation that composed the map for the start of the twentieth, was propelled by the intense development of national schools of culture and literature, by the locking up of international possibilities into the closed citadels of a national language, and by the poets who endorsed its ultimate separateness from the other languages all around its frontiers. No other art will do this so well, because music and painting are able to be more transparent to trans-national modalities; but writers proclaim the essence of their patriotic kingdom, and their work is most frequently enrolled into ideas of national identity by which one kingdom rallies its purposes against another.... If writers and poets think that language can somehow resist this involvement with the worst, while claiming natural affinity with the best, then they are guilty of a naive idealism that ought least of all to attract those who know how language works and what it can do.
 
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woops

is not like other people
It may be resisted that true poets are patriots only to an ideal kingdom, of pure language and equally pure humanity; but enquiry shews this contention to be mostly false, because such purity is itself chimerical, often substituted for less admissible alternatives. The bread and butter that a man or woman eats (or even a poet) does not materialise like manna out of thin air. The emergence of nineteenth-century European nationalism, in the period of state-formation that composed the map for the start of the twentieth, was propelled by the intense development of national schools of culture and literature, by the locking up of international possibilities into the closed citadels of a national language, and by the poets who endorsed its ultimate separateness from the other languages all around its frontiers. No other art will do this so well, because music and painting are able to be more transparent to trans-national modalities; but writers proclaim the essence of their patriotic kingdom, and their work is most frequently enrolled into ideas of national identity by which one kingdom rallies its purposes against another.... If writers and poets think that language can somehow resist this involvement with the worst, while claiming natural affinity with the best, then they are guilty of a naive idealism that ought least of all to attract those who know how language works and what it can do. It may be resisted that true poets are patriots only to an ideal kingdom, of pure language and equally pure humanity; but enquiry shews this contention to be mostly false, because such purity is itself chimerical, often substituted for less admissible alternatives. The bread and butter that a man or woman eats (or even a poet) does not materialise like manna out of thin air. The emergence of nineteenth-century European nationalism, in the period of state-formation that composed the map for the start of the twentieth, was propelled by the intense development of national schools of culture and literature, by the locking up of international possibilities into the closed citadels of a national language, and by the poets who endorsed its ultimate separateness from the other languages all around its frontiers. No other art will do this so well, because music and painting are able to be more transparent to trans-national modalities; but writers proclaim the essence of their patriotic kingdom, and their work is most frequently enrolled into ideas of national identity by which one kingdom rallies its purposes against another.... If writers and poets think that language can somehow resist this involvement with the worst, while claiming natural affinity with the best, then they are guilty of a naive idealism that ought least of all to attract those who know how language works and what it can do.
@version-like mystery quotation plus you're rubbish
 
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