complete equipment

The poet is a rebuilder of the imagination…And he is not a complete poet if his whole imagination is not attuned and his whole experience composed into a single symphony.

For his complete equipment, then, it is necessary, in the first place, that he sing; that his voice be pure and well pitched, and that his numbers flow; then, at a higher stage, his images must fit with one another; he must be euphuistic, coloring his thoughts with many reflected lights of memory and suggestion, so that their harmony may be rich and profound; again, at a higher stage, he must be sensuous and free, that is, he must build up his world with the primary elements of experience, not with conventions of common sense or intelligence; he must draw the whole soul into his harmonies, even if in doing so he disintegrates the partial systemizations of experience made by abstract science in the categories of prose.

—George Santayana, “The Elements and Functions of Poetry,” Aesthetics and the Arts (McGraw-Hill, 1968), edited by Lee A Jacobus