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A successful poem says what a poet wants to say, and more, with particular finality. The remarks he makes about his poems are incidental when the poem is good, or embarrassing or absurd when it is bad — and he is not permitted to say how the good poem is good, and may never know how the bad poem is bad. It is better to write about other people's poetry.
Randall Jarrell
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... a poem is, so to speak, a way of making you forget how you wrote it...
Randall Jarrell
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I shook myself; I was dreaming. As I went to bed the words of the eighth-grade class's teacher, when the class got to Evangeline, kept echoing in my ears: We're coming to a long poem now, boys and girls. Now don't be babies and start counting the pages. I lay there like a baby, counting the pages over and over, counting the pages.
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People always ask: For whom does the poet write? He needs only to answer, For whom do you do good? Are you kind to your daughter because in the end someone will pay you for being?... The poet writes his poem for its own sake, for the sake of that order of things in which the poem takes the place that has awaited it.
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Many young poets, nowadays, are insured against everything. For them poetry is a game like court tennis or squash racquets — one they learned at college — and they play it with propriety, as part of their social and academic existence; their poems are occasional verse for which life itself is only one more occasion.
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Ruskin says that anyone who expects perfection from a work of art knows nothing of works of art. This is an appealing sentence that, so far as I can see, is not true about a few pictures and statues and pieces of music, short stories and short poems. Whether or not you expect perfection from them, you get it; at least, there is nothing in them that you would want changed. But what Ruskin says is true about novels: anyone who expects perfection from even the greatest novel knows nothing of novels.
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A Little Treasury of Modern Poetry is a standard Oscar Williams production...... the book has the merit of containing a considerably larger selection of Oscar Williams's poems than I have seen in any other anthology. There are nine of his poems — and five of Hardy's. It takes a lot of courage to like your own poetry almost twice as well as Hardy's.
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The weight and concentration of the poems fall upon things (and those great things, animals and people), in their tough, laconic, un-get-pastable plainness: they have kept the stolid and dangerous inertia of the objects of the sagas—the sword that snaps, the man looking at his lopped-off leg and saying, That was a good stroke.
Randall Jarrell
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... whether they write poems or don't write poems, poets are best.
Randall Jarrell
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[Robert] Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even— at least not systematic ; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.
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I think Miss Moore was right to cut The Steeple-Jack — the poem seems plainer and clearer in its shortened state — but she has cut too much... The reader may feel like saying, Let her do as she pleases with the poem; it's hers, isn't it? No; it's much too good a poem for that, it long ago became everybody's, and we can protest just as we could if Donatello cut off David's left leg.
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The poet needs to be deluded about his poems—for who can be sure that it is delusion? In his strongest hours the public hardly exists for the writer; he does what he ought to do, has to do, and if afterwards some Public wishes to come and crown him with laurel crowns, well, let it! if critics wish to tell people all that he isn't, well, let them—he knows what he is. But at night when he can't get to sleep it seems to him that it is what he is, his own particular personal quality, that he is being disliked for. It is this that the future will like him for, if it likes him for anything; but will it like him for anything? The poet's hope is in posterity, but it is a pale hope; and now that posterity itself has become a pale hope...
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... I simply don't want the poems mixed up with my life or opinions or picture or any other regrettable concomitants. I look like a bear and live in a cave; but you should worry.
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It is odd how pleasant and sympathetic her poems are, in these days when many a poet had rather walk down children like Mr. Hyde than weep over them like Swinburne, and when many a poem is gruesome occupational therapy for a poet who stays legally innocuous by means of it.
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If there were only some mechanism (like Seurat's proposed system of painting, or the projected Universal Algebra that Gödel believes Leibnitz to have perfected and mislaid) for reasonably and systematically converting into poetry what we see and feel and are! When one reads the verse of people who cannot write poems — people who sometimes have more intelligence, sensibility, and moral discrimination than most of the poets — it is hard not to regard the Muse as a sort of fairy godmother who says to the poet, after her colleagues have showered on him the most disconcerting and ambiguous gifts, "Well, never mind. You're still the only one that can write poetry."
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I don't need to praise anything so justly famous as Frost's observation of and empathy with everything in Nature from a hornet to a hillside; and he has observed his own nature, one person's random or consequential chains of thoughts and feelings and perceptions, quite as well. (And this person, in the poems, is not the alienated artist cut off from everybody who isn't, yum-yum, another alienated artist; he is someone like normal people only more so — a normal person in the less common and more important sense of normal.)
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A poem is sort of an onion of contexts, and you can no more locate any of the important meanings exclusively in a part than you can locate a relation in one of its terms. The significance of a part may be greatly modified or even in extreme cases completely reversed by later and larger parts and by the whole.
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One of our universities recently made a survey of the reading habits of the American public; it decided that forty-eight percent of all Americans read, during a year, no book at all. I picture to myself that reader — that non-reader, rather; one man out of every two — and I reflect, with shame: "Our poems are too hard for him." But so, too, are Treasure Island, Peter Rabbit, pornographic novels — any book whatsoever.
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If you look at the world with parted lips and a pure heart, and will the good, won't that make a true and beautiful poem? One's heart tells one that it will; and one's heart is wrong. There is no direct road to Parnassus.
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A good religious poem, today, is ambergris, and it is hard to enjoy it for thinking of all those suffering whales; but martyrs are born, not made.
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The characteristic poetic strategy of our time—refine your singularities—is something Auden has not learned; so his best poems are very peculiarly good, nearly the most interesting poems of our time. When he writes badly, we can afford to be angry at him, and he can afford to laugh at us.
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If poetry were nothing but texture, [Dylan] Thomas would be as good as any poet alive. The what of his poems is hardly essential to their success, and the best and most brilliantly written pieces usually say less than the worst.
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It is better to have the child in the chimney corner moved by what happens in the poem, in spite of his ignorance of its real meaning, than to have the poem a puzzle to which that meaning is the only key. Still, complicated subjects make complicated poems, and some of the best poems can move only the best readers; this is one more question of curves of normal distribution. I have tried to make my poems plain, and most of them are plain enough; but I wish that they were more difficult because I had known more.
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Some of Mr. Gregory's poems have merely appeared in The New Yorker; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it—they are the trademark not simply of a magazine but of a class.
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One is forced to remember how far from "self-expression" great poems are — what a strange compromise between the demands of the self, the world, and Poetry they actually represent.
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It is always hard for poets to believe that one says their poems are bad not because one is a fiend but because their poems are bad.
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Poetry is a bad medium for philosophy. Everything in the philosophical poem has to satisfy irreconcilable requirements: for instance, the last demand that we should make of philosophy (that it be interesting) is the first we make of a poem; the philosophical poet has an elevated and methodical, but forlorn and absurd air as he works away at his flying tank, his sewing-machine that also plays the piano.
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When you begin to read a poem you are entering a foreign country whose laws and language and life are a kind of translation of your own; but to accept it because its stews taste exactly like your old mother's hash, or to reject it because the owl-headed goddess of wisdom in its temple is fatter than the Statrue of Liberty, is an equal mark of that want of imagination, that inaccessibily to experience, of which each of us who dies a natural death will die.
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The usual bad poem in somebody's Collected Works is a learned, mannered, valued habit, a habit a little more careful than, and little emptier than, brushing one's teeth.
Randall Jarrell
Quote of the day
Most of the slaves, who were thus unconditionally freed, returned without any solicitation to their former masters, to serve them, at stated wages; as free men. The work, which they now did, was found to better done than before.
Thomas Clarkson
Randall Jarrell
Born:
May 6, 1914
Died:
October 14, 1965
(aged 51)
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