“Delvig's best poem is the one he dedicated to Pushkin, his schoolmate, in January 1815. A boy of sixteen, prophesying in exact detail literary immortality to a boy of fifteen, and doing it in a poem that is itself immortal - this is a combination of intuitive genius and actual destiny to which I can find no parallel in the history of world poetry.”

“But the detail of the poem shows power akin to genius, and reveals to us that much neglected law of literary history -- that potential genius can never become actual unless it finds or makes the Form which it requires.”

“The moon people do not eat by swallowing food but by smelling it. Their money is poetry - actual poems, written out on pieces of paper whose value is determined by the worth of the poem itself.”

“I is for immortality, which for some poets is a necessary compensation. Presumably miserable in this life, they will be remembered when the rest of us are long forgotten. None of them asks about the quality of that remembrance--what it will be like to crouch in the dim hallways of somebody's mind until the moment of recollection occurs, or to be lifted off suddenly and forever into the pastures of obscurity. Most poets know better than to concern themselves with such things. They know the chances are better than good that their poems will die when they do and never be heard of again, that they'll be replaced by poems sporting a new look in a language more current. They also know that even if individual poems die, though in some cases slowly, poetry will continue: that its subjects, it constant themes, are less liable to change than fashions in language, and that this is where an alternate, less lustrous immortality might be. We all know that a poem can influence other poems, remain alive in them, just as previous poems are alive in it. Could we not say, therefore, that individual poems succeed most by encouraging revisions of themselves and inducing their own erasure? Yes, but is this immortality, or simply a purposeful way of being dead?”

“I once broke up with a boy because he wrote me an awful poem.”

“I saw Derzhavin only once in my life but shall never forget that occasion. It was in 1815 at a public examination in the Lyceum. When we boys learned Derzhavin was coming, all of us grew excited. Delvig went out on the stairs to wait for him and kiss his hand, the hand that had written 'The Waterfall.' Derzhavin arrived. Derzhavin entered the vestibule, and Delvig heard him ask the janitor: 'Where is the privy here, my good fellow?' This prosaic question disenchanted Delvig, who canceled his intent and returned to the reception hall. Delvig told me the story with wonderful bonhomie and good humor.”