Laura Riding Quotes

What is science? yard-measure and scale to philosophy, expert-accountant, bank clerk. What is poetry? miserable, ill-fed, underpaid, unionized labourer, pleased to oblige, grateful for work, flattering himself that poverty makes him an aristocrat.

Because most people are not sufficiently employed in themselves, they run about loose, hungering for employment, and satisfy themselves in various supererogatory occupations. The easiest of these occupations, which have all to do with making things already made, is the making of people: it is called the art of friendship.

Yet what representative trio do not make a mad trio? Blake, Mrs. Aphra Behn, Zeno - not a typical but a representative threesome... Things do not go in simple pairs. Poetry is not a case of Shakespeare and Marlowe, Shelley and Keats, Wordsworth and Coleridge, Bridges and Masefield, Emily Dickinson and T. S. Eliot. Poetry is some awkward trio - like Caedmon, Oliver Goldsmith, Edna St. Vincent Millay. So with the novel.

The group is only interested in the formal publishing of individuals for the purpose of establishing their social solidarity.

She [Venison] had never travelled and so could invent all kinds of strange places without being limited, as travelled people are, by knowledge of certain places only.

Euripides seems to have felt that the dignified perfection of Sophocles could be challenged only by novelty and irresponsibility. The religious conditions of the Dionysian festival kept him within certain bounds... But within the imposed limits Euripides was as profane as he dared to be, making melodrama of the divine realities which his predecessors accepted religiously, using the stage merely as a convenience for popularizing his own eccentric values.

The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.

The object of all religious activity is to mingle the human and the non-human, and the lower gods represent that which is cast back to the human from the non-human – human gods merely, practice-gods who embody the errors which man makes in first conceiving the non-human.

The object of group truth is group-confirmation and perpetuation; while individual truth has no object other than discovering itself and involves neither proofs nor priests. In order, however, to win any acceptance it must translate itself into group truth, it must accommodate itself to the fact-curriculum of the group. But not only is such truth forced to submit to group terminology and order, but the group conscience demands that the individual mind serve it by working with the purposes of the group. The group, indeed, tries to preclude all idiosyncratic thought-activity and to use what intelligence it can control against it.

In the old romanticism the poem was an uncommon effect of common experience on the poet. All interest in the poem centred in this mysterious capacity of the poet for overfeeling, for being overaffected. In Poe the old romanticism ended and the new romanticism began. That is, the interest was broadened to include the reader: the end of the poem was pushed ahead a stage, from the poet to the reader. The uncommon effect of experience on the poet became merely incidental to the uncommon effect which he might have on the reader. Mystery was replaced by science; inspiration by psychology.

I feel an intense intimacy with those who have this loathing interest in me. Further than this, I know what they mean, I sympathize with them, I understand them. There should be a name (as poetic as love) for this relationship between loather and loathed; it is of the closest and more full of passion than incest.

Her one serious failing was that she could not write above love. She could not write a story with more than one important character in it, whom she thought of for the moment as herself; with love there had to be at least two important characters.

...poets are sensitive to the challenge 'What is the moral justification of poetry?' because they are conscious of the intrinsic goodness of poetry. Goody-goody humanitarian causes draw them easily into membership by making them wince at the notion of all the injustices prevalent in the world of physical consciousness. Let it be declared as clearly as possible that the goodness of poetry is not moral goodness, the goodness of temporal action, but the goodness of thought, the loving exercise of the will in the pursuit of truth.

When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation.... Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.

Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.