Approaching Storm
Tree of evolution
Radical Evil
Frei wie ein Blatt im Wind
FIGURE 5.2 ~ Schopenhauer's Buddha?
Figure 29.I
Venuses
Flora, 1515-1517
Woman Pouring Milk
Melancholia I
Wedding Feast, detail 1568
Sacred and Profane Love c.1514
The Death of Marat ~ 1793
The Artist in Despair over the Magnitude of Antiqu…
The Princess Chained to the Tree, 1866
Reading Woman Crowned with Flowers, 1845
The Countess Houssonville, 1845
Charles Townley & his friends in the Part Street G…
The Swing. 1767
Rita Hayworth
The Kiss. 1859
Illustration of The Beatles in Yellow Submarine, 1…
Venus Restored, 1936
The Train passing. 1879
Photo montage for an Olivetti Calendar 1934
The Blond Bather 1882
Young Ladies on the Banks of the Seine. 1857
The View of the Sermitsialik Glacier
A Young Girl Reading. 1776
Chalk Cliffs at Rugen. 1818
Winter Trail
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Poetry
I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important
not because ah-sounding interpretation can be put upon them but because
they are useful.
When they become so derivative as to become unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse
that feels a flea, the base-
ball fan, the statistician--
nor is it valid
to discriminate against "business documents and
school-books"; all these phenomena are important. One must make a distinction however: when dragged into prominence by half poets, the
result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"--above
insolence and triviality and can present
for inspection, "imaginary gardens with real toads in them,"
shall we have it,
In the meantime, if you demand on the one hand, the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
"Poetry" ~ Marianne Moore
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important
not because ah-sounding interpretation can be put upon them but because
they are useful.
When they become so derivative as to become unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse
that feels a flea, the base-
ball fan, the statistician--
nor is it valid
to discriminate against "business documents and
school-books"; all these phenomena are important. One must make a distinction however: when dragged into prominence by half poets, the
result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"--above
insolence and triviality and can present
for inspection, "imaginary gardens with real toads in them,"
shall we have it,
In the meantime, if you demand on the one hand, the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
"Poetry" ~ Marianne Moore
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