The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. And he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living.
Que les poètes morts laissent la place aux autres. Et nous pourrions tout de même voir que c'est notre vénération devant ce qui a été déj? fait, si beau et si valable que ce soit, qui nous pétrifie, qui nous stabilise et nous empêche de prendre contact avec la force qui est dessous, que l'on appelle l'énergie pensante, la force vitale, le déterminisme des échanges, les menstrues de la lune ou tout ce qu'on voudra.
Things were changing; I was changing. All swelling limbs and sweating brain, suddenly I had more body than I knew what to do with. Arms and legs became the prey of low desktops and narrow corridors, were ambushed by sharp corners. Mr Baxter ignored my plight. Bodies were inimical to mathematics, or so we were led to believe. Bad hair, acrid breath, lumpy skin, all vanished for an hour every Tuesday and Thursday. Young minds in the buff soared into the sphere of pure reason. Pages turned to parallelograms; cities, circumferences; recipes, ratios. Shorn of our bearings, we groped our way around in this rarefied air.