Samuel Johnson, English writer and lexicographer (1709–1784)
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Poetry is the art that is closest to music, standing between music and narrative orality (which can be speechmaking, sermon or theater). Poetry is the voice of what can’t be spoken, the mode of truth-telling when meaning needs to rise above or skim below everyday language in shapes not discernible by the ordinary mind. It trumps the rhetoric of politicians. Poetry is prophetic by nature and not bound by time. Because of these qualities poetry carries grief, heartache, ecstasy, celebration, despair, or searing truth more directly than any other literary art form. It is ceremonial in nature. Poetry is a tool for disruption and creation and is necessary for generations of humans to know who they are and who they are becoming in the wave map of history. Without poetry, we lose our way.
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Poetry is the report of a nuance between two moments, when people say 'Listen!' and 'Did you see it?' 'Did you hear it? What was it?'
Poetry is a plan for a slit in the face of a bronze fountain goat and the path of fresh drinking water.
Poetry is a slipknot tightened around a time-beat of one thought, two thoughts, and a last interweaving thought there is not yet a number for.
Poetry is the journal of a sea animal living on land, wanting to fly the air.
Poetry is any page from a sketchbook of outlines of a doorknob with thumb-prints of dust, blood, dreams.
Poetry is a type-font design for an alphabet of fun, hate, love, death.
Poetry is the silence and speech between a wet struggling root of a flower and a sunlit blossom of that flower.
Poetry is a fresh morning spider-web telling a story of moonlit hours of weaving and waiting during a night.
Poetry is a packsack of invisible keepsakes.
Poetry is the establishment of a metaphorical link between white butterfly-wings and the scraps of torn-up love letters.
Poetry is the achievement of the synthesis of hyacinths and biscuits.
Poetry, finally, is the form of art where not only are the unities of time, place, and action freed from the restrictive bounds of the single instant, the single spot, the single simple transaction, but the medium of embodiment is thought itself, with its completely articulate utterance in language. Here the very source of the ideal view of the world, the very origin of the creative artistic impulse, becomes the material and the instrument of its own purpose, the executor of its own will. The scope of the creative faculty is therefore the utmost conceivable, and poetry rightfully takes the highest place as the art of the greatest possibilities — the art, indeed, of an all-inclusive compass, as at length completely self-supplying and self-directing.
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