Delmore Schwartz Quotes

Love is the most difficult and dangerous form of courage. Courage is the most desperate, admirable and noble kind of love.

For reality's glow and glory, without poetry,
Fade, like the red operas of sunset

In this our life there are no beginnings but only departures entitled beginnings, wreathed in the formal emotions thought to be appropriate and often forced. Darkly rises each moment from the life which has been lived and which does not die, for each event lives in the heavy head forever, waiting to renew itself.

"The kingdom of poetry"

This is like light.
This is light,
Useful as light, as charming
And enchanting…

…Poetry is certainly
More interesting, more valuable,
and certainly more charming
Than Niagara Falls, the Grand Canyon, the Atlantic Ocean
And other much admired natural phenomena.
It is useful as light, and as beautiful
It is preposterous
Precisely, making it possible to say
One cannot carry a mountain, but a poem can be carried all over.
It is monstrous.
Pleasantly, for poetry can say, seriously or in play:

“Poetry is better than hope,
“For poetry is patience of hope, and all hope’s vivid pictures,
“Poetry is better than excitement, it is far more delightful,
“Poetry is superior to success, and victory, it endures in serene blessedness
“Long after the most fabulous feat like fireworks has mounted and fallen.
“Poetry is far more powerful and far more enchanting animal
“Than any wood, jungle, ark, circus or zoo possesses.”

For poetry magnifies and heighten reality:
Poetry says of reality that if it is magnificent, it is also stupid:
For poetry is, in a way, omnipotent;
For reality is various and rich, powerful and vivid, but it is not enough
Because it is disorderly and stupid or only at times, and erratically, intelligent:
For without poetry, reality is speechless or incoherent:
It is inchoate, like the pomp and the bombast of thunder:
Its peroration verge upon the ceaseless oration of the ocean:
For reality glows and glory, without poetry,
Fake, like the red operas of sunset
The blue rivers and the windows of morning.

The arts of poetry makes it possible to say: Pandemonium.
For poetry is gay and exact. It says:
“The sunset resembles a bull-fight.
“A sleeping arm feels like soda, fizzing.”

Poetry resurrect the past from the sepulchre, like Lazarus.
It transforms a lion into a sphinx and a girl.
It gives a girl the splendor of Latin.
It transforms the water into wine at each marriage in Cana of Galilee.

For it is true that poetry invented the unicorn, the

O your life, your lonely life
What have you ever done with it,
And done with the great gift of consciousness?
What will you ever do before Death's knife
Provides the answer ultimate and appropriate?

As I for my part felt in my heart as one who falls,
Falls in a parachute, falls endlessly, and feels the vast
Draft of the abyss sucking him down and down,
An endlessly helplessly falling and appalled clown:

This is the way the night passes by, this
Is the overnight endless trip to the famous unfathomable abyss.

What was the freedom to which the adult human being rose in the morning, if each act was held back or inspired by the overpowering ghost of a little child?

But this, this which we say before we’re sorry,
This which we live behind our unseen faces,
Is neither dream, nor childhood, neither
Myth, nor landscape, final, nor finished,
For we are incomplete and know no future,
And we are howling or dancing out our souls
In beating syllables before the curtain:
We are Shakespearean, we are strangers.

That inescapable animal walks with me,
Has followed me since the black womb held,
Moves where I move, distorting my gesture,
A caricature, a swollen shadow,
A stupid clown of the spirit's motive,
Perplexes and affronts with his own darkness,
The secret life of belly and bone.

Call us what you will: we are made such by love.

"The True-Blue American"

Jeremiah Dickson was a true-blue American,
For he was a little boy who understood America, for he felt that he must
Think about everything; because that’s all there is to think about,
Knowing immediately the intimacy of truth and comedy,
Knowing intuitively how a sense of humor was a necessity
For one and for all who live in America. Thus, natively, and
Naturally when on an April Sunday in an ice cream parlor Jeremiah
Was requested to choose between a chocolate sundae and a banana split
He answered unhesitatingly, having no need to think of it
Being a true-blue American, determined to continue as he began:
Rejecting the either-or of Kierkegaard, and many another European;
Refusing to accept alternatives, refusing to believe the choice of between;
Rejecting selection; denying dilemma; electing absolute affirmation: knowing
in his breast
The infinite and the gold
Of the endless frontier, the deathless West.

“Both: I will have them both!” declared this true-blue American
In Cambridge, Massachusetts, on an April Sunday, instructed
By the great department stores, by the Five-and-Ten,
Taught by Christmas, by the circus, by the vulgarity and grandeur of
Niagara Falls and the Grand Canyon,
Tutored by the grandeur, vulgarity, and infinite appetite gratified and
Shining in the darkness, of the light
On Saturdays at the double bills of the moon pictures,
The consummation of the advertisements of the imagination of the light
Which is as it was — the infinite belief in infinite hope — of Columbus,
Barnum, Edison, and Jeremiah Dickson.

Each minute bursts in the burning room, The great globe reels in the solar fire, Spinning the trivial and unique away. (How all things flash! How all things flare!) What am I now that I was then? May memory restore again and again The smallest color of the smallest day: This is the school in which we learn, Time is the fire in which we burn.

Time is the school in which we learn,
Time is the fire in which we burn.

All Night, All Night

Rode in the train all night, in the sick light. A bird
Flew parallel with a singular will. In daydream's moods and
attitudes
The other passengers slumped, dozed, slept, read,
Waiting, and waiting for place to be displaced
On the exact track of safety or the rack of accident.

Looked out at the night, unable to distinguish
Lights in the towns of passage from the yellow lights
Numb on the ceiling. And the bird flew parallel and still
As the train shot forth the straight line of its whistle,
Forward on the taut tracks, piercing empty, familiar — The bored center of this vision and condition looked and
looked
Down through the slick pages of the magazine (seeking
The seen and the unseen) and his gaze fell down the well
Of the great darkness under the slick glitter,
And he was only one among eight million riders and
readers.

And all the while under his empty smile the shaking drum
Of the long determined passage passed through him
By his body mimicked and echoed. And then the train
Like a suddenly storming rain, began to rush and thresh — The silent or passive night, pressing and impressing
The patients' foreheads with a tightening-like image
Of the rushing engine proceeded by a shaft of light
Piercing the dark, changing and transforming the silence
Into a violence of foam, sound, smoke and succession.

A bored child went to get a cup of water,
And crushed the cup because the water too was
Boring and merely boredom's struggle.
The child, returning, looked over the shoulder
Of a man reading until he annoyed the shoulder.
A fat woman yawned and felt the liquid drops
Drip down the fleece of many dinners.

And the bird flew parallel and parallel flew
The black pencil lines of telephone posts, crucified,
At regular intervals, post after post
Of thrice crossed, blue-belled, anonymous trees.

And then the bird cried as if to all of us:

0 your life, your lonely life
What have you ever done with it,
And done with the great gift of consciousness?
What will yo

A car coughed, starting. Morning softly
Melting the air, lifted the half-covered chair
From underseas, kindled the looking-glass,
Distinguished the dresser and the white wall.
The bird called tentatively, whistled, called,
Bubbled and whistled, so! Perplexed, still wet
With sleep, affectionate, hungry and cold. So, so,
O son of man, the ignorant night, the travail
Of early morning, the mystery of the beginning
Again and again,
while history is unforgiven.

"Baudelaire"

When I fall asleep, and even during sleep,
I hear, quite distinctly, voices speaking
Whole phrases, commonplace and trivial,
Having no relation to my affairs.

Dear Mother, is any time left to us
In which to be happy? My debts are immense.
My bank account is subject to the court’s judgment.
I know nothing. I cannot know anything.
I have lost the ability to make an effort.
But now as before my love for you increases.
You are always armed to stone me, always:
It is true. It dates from childhood.

For the first time in my long life
I am almost happy. The book, almost finished,
Almost seems good. It will endure, a monument
To my obsessions, my hatred, my disgust.

Debts and inquietude persist and weaken me.
Satan glides before me, saying sweetly:
“Rest for a day! You can rest and play today.
Tonight you will work.” When night comes,
My mind, terrified by the arrears,
Bored by sadness, paralyzed by impotence,
Promises: “Tomorrow: I will tomorrow.”
Tomorrow the same comedy enacts itself
With the same resolution, the same weakness.

I am sick of this life of furnished rooms.
I am sick of having colds and headaches:
You know my strange life. Every day brings
Its quota of wrath. You little know
A poet’s life, dear Mother: I must write poems,
The most fatiguing of occupations.

I am sad this morning. Do not reproach me.
I write from a café near the post office,
Amid the click of billiard balls, the clatter of dishes,
The pounding of my heart. I have been asked to write
“A History of Caricature.” I have been asked to write
“A History of Sculpture.” Shall I write a history
Of the caricatures of the sculptures of you in my heart?

Although it costs you countless agony,
Although you cannot believe it necessary,
And doubt that the sum is accurate,
Please send me money enough for at least three weeks.