![]() ![]() He is either thin, not to say of a shagged-out appearance, with lips as fulsome, sensual, and inviting as a hen’s ovipositor, bald from all too maculate birth, his eyes made small and reddened by reading books in French, a language he cannot understand, in an attic in the provinces while young and repellent, his voice like the noise of a mouse’s nail on tinfoil, his nostrils transparent, his breath gray or else he is jowlcd and bushy, with curved pipe and his nose full of dottle, the look of all Sussex in hisstingo’d eyes, his burry tweeds smelling of the dogs he loathes, with a voice like a literate Airedale’s that has learned its vowels by correspondence course, and an intimate friend of Chesterton’s, whom he never met. ![]() He can be divided, so far as his physical appearance goes, into two types. ![]() I shall, to begin with, introduce to you a few of the main types of poets who have made the social and financial grade.įirst, though not in order of importance, is the poet who has emerged docketed “lyrical,” from the Civil Service. I do not intend to ask, let alone to answer, the question, “Is Poetry a Good Thing?” but only, “Can Poetry Be Made Good Business ? ‘' LET me, at once, make it clear that I am not considering, in these supposedly informative jotrhythmic, Poetry as an Art or a Craft, as the rhyt hmic verbal expression of a spiritual necessity or urge, but solely as the means to a social end that end being the achievement of a status in society solid enough to warrant the poet discarding and expunging those affectations, so essential in the early stages, of speech, dress, and behavior an income large enough to satisfy his physical demands, unless he has already fallen victim to the Poet’s Evil, or Great Wen and a permanent security from the fear of having to write any more. ![]()
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