“We speak in (rich) monotones. Our poetry is haunted by the music it has left behind. Orpheus shrinks to a poet when he looks back, with the impatience of reason, on a music stronger than death.”
“A canon is a guarded catalogue of that speech, music and art which houses inside us, which is irrevocably familiar to our homecomings. And this will include, if honestly arrived at and declared (even if solely to oneself), all manner of ephemera, trivial, and possibly mendacious matter…No manor woman need justify his personal anthology, his canonic welcomes. Love does not argue its necessities.”
“No phonetic sign, except at a rudimentary, strictly speaking pre-linguistic level of vocal imitation, has any substantive relation or contiguity to that which it is conventionally and temporally held to designate.”
“The capacity for imaginative reflex, for moral risk in any human being is not limitless; on the contrary, it can be rapidly absorbed by fictions, and thus the cry in the poem may come to sound louder, more urgent, more real than the cry in the street outside. The death in the novel may move us more potently than the death in the next room. Thus there may be a covert, betraying link between the cultivation of aesthetic response and the potential of personal inhumanity.”
“A perceptive French critic has argued that in an age of deepening illiteracy, when even the educated have only a smattering of classical or theological knowledge, erudition is of itself a kind of fantasy, a surrealistic construct.”
“There would be no history as we know it, no religion, no metaphysics or aesthetics as we have lived them, without an initial act of trust, of confiding, more fundamental, more axiomatic by far than any “social contract” or covenant with the postulate of the divine. This instauration of trust, this entrance of man into the city of man, is that between word and world.”
“We know now that a man can read Goethe or Rilke in the evening, that he canplay Bach and Schubert, and go to his day's work at Auschwitz in themorning.”