[D]oes not all power that is real exact that it shall be visible! - Wyndham Lewis

[T]he world created by Art — Fiction, Drama, Poetry etc. — must be sufficiently removed from the real world so that no character from the one could under any circumstances enter the other (the situation imagined by Pirandello), without the anomaly being apparent at once.

Sex was really all bluff — power the thing.

Certainly Mr Eliot in the twenties was responsible for a great vogue for verse-satire. An ideal formula of ironic, gently "satiric", self-expression was provided by that master for the undergraduate underworld, tired and thirsty for poetic fame in a small way. The results of Mr Eliot are not Mr Eliot himself: but satire with him has been the painted smile of the clown. Habits of expression ensuing from mannerism are, as a fact, remote from the central function of satire. In its essence the purpose of satire — whether verse or prose — is aggression. (When whimsical, sentimental, or "poetic" it is a sort of bastard humour.) Satire has a great big glaring target. If successful, it blasts a great big hole in the center. Directness there must be and singleness of aim: it is all aim, all trajectory.