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Poetical composition results from two intellectual phenomena, meditati — Inspiration

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"Poetical composition results from two intellectual phenomena, meditation and inspiration. Meditation is a faculty ; inspiration is a gift. All men, to a certain degree, can meditate; very few are inspired. Spiritus flat ubi vult. In meditation, the spirit acts; in inspiration, it oheys ; because the first is of men, the second comes from a higher source. He who gave us this power is stronger than we. These two processes of thoughts are intimately linked in the soul of the poet. The poet invites inspiration by meditation, as the prophets raised themselves to ecstacies by prayer. That the muse should reveal herself to him, he must in some sort have passed all his material existence in repose, in silence, and in meditation. He must be isolated from external life, to enjoy in its fullness that inward life, which developes in bim a new existence; and it is only when the physical world has utterly vanished from before his eyes, that the ideal world is fully revealed to him. It seems that poetic inspiration has in it some- thing too sublime for~the common nature of man. Genius can compass its greater efforts only when the soul is released from the vulgar cares that follow it in life ; for thought cannot take its wings till it has laid aside its burden. Thence comes it, doubtless, that inspiration is born only of meditation. Among the Jews, the people whose history is so rich in mysterious symbols when the priest had built the altar, he lighted upon it an earthly flame -- and it was then only that the divine ray descended from Heaven."
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"I got on with the task of turning myself into a brief professional writer. The term professional is not meant to imply a high standard of commitment and attainment: it meant then, as it still does, the pursuit of a trade or calling to the end of paying the rent and buying liquor. I leave the myth of inspiration and agonised creative inaction to the amateurs. The practice of a profession entails discipline, which for me meant the production of two thousand words of fair copy every day, weekends included. I discovered that, if I started early enough, I could complete the day’s stint before the pubs opened. Or, if I could not, there was an elated period of the night after closing time, with neighbours banging on the walls to protest at the industrious clacking. Two thousand words a day means a yearly total of 730,000. Step up the rate and, without undue effort, you can reach a million. This ought to mean ten novels of 100,000 words each. This quantitative approach is not, naturally, to be approved. And because of hangovers, marital quarrels, creative deadness induced by the weather, shopping trips, summonses to meet state officials, and sheer torpid gloom, I was not able to achieve more than five and a half novels of very moderate size in that pseudo-terminal year. Still, it was very nearly E.M.Forster’s whole long life’s output."
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