authoritative line

[One point from a list of 14 principles of composition, which he prefaces by saying, "I honestly do not know how consistent I am in using principles of composition. Certainly the compromise between eye and ear is not always the same kind of compromise. Every poem makes its own peculiar demands. Still, I will try to list a few principles by which I generally work."]

11. Don’t explain away a line which has an authority of its own, even if the line may puzzle the intellect—i.e., don’t write for people more interested in understanding a poem than experiencing it. This is not the same as being willfully difficult or obscure, which is merely tiresome.

—Peter Klappert, in “O’Connor The Bad Traveler,” Fifty Contemporary Poets: The Creative Process (Longman, 1977), edited by Alberta T. Turner

forces equal

First a workshop should be a force-field of informed and attentive intellects, one that the poet recognizes her/his poem must be strong enough to resist.

not easy beauty

One will tell me, perhaps, that there are great beauties which make themselves felt to everyone; for example, those that one calls particularly the beauties of sentiment. I reply first that, although everybody feels certain beauties, not everybody feels them equally. Secondly, there are a great many beauties, and some of them the highest, which are only felt by persons of great intellectual accomplishment. As for the sentiments, they are accessible to everybody only when they are simple and simply expressed. If they are a bit composite, or rendered with finesse and elegance, they escape the multitude, and sometimes they even appear to them to be false.

—l’Abbé N. C. J. Trublet, Essais sur divers sujets de littérature et de morale (Amsterdam, 1755), quoted in The Aesthetic Thought of the French Enlightenment (U. of Pittsburgh Press, 1971) by Francis X. J. Coleman

emotion inflected

The poem’s impetus is emotion. But all the better when inflected by intellect.