"In Advice to a Young Poet Max sets out to answer a question posed by the young man's father: 'What is a lyrical line?' It is his last major statement on poetry, the final development of the thinking of twenty-five years. 'Men used to believe, ' he wrote in the 1916 preface to Le Cornet Ds, 'that artists are inspired by angels and that there are different categories of angels.' By 1941, after the years of prayer and contemplation at Saint-Benot-sur-Loire, this is no longer what 'men used to believe', but a fact in the interior life of a poet, the interior life without which a poet cannot be permeable. Only in a mind that is permeable is that conflagration possible ('the conflagration, ' he called it in his Art Potique of 1922, 'after the encounter of a harmonious man with himself') which produces the lyrical line, the 'consecrated line' identified by its euphoria and its euphony."-from John Adlard's introduction
"In Advice to a Young Poet Max sets out to answer a question posed by the young man's father: 'What is a lyrical line?' It is his last major statement on poetry, the final development of the thinking of twenty-five years. 'Men used to believe, ' he wrote in the 1916 preface to Le Cornet Ds, 'that artists are inspired by angels and that there are different categories of angels.' By 1941, after the years of prayer and contemplation at Saint-Benot-sur-Loire, this is no longer what 'men used to believe', but a fact in the interior life of a poet, the interior life without which a poet cannot be permeable. Only in a mind that is permeable is that conflagration possible ('the conflagration, ' he called it in his Art Potique of 1922, 'after the encounter of a harmonious man with himself') which produces the lyrical line, the 'consecrated line' identified by its euphoria and its euphony."-from John Adlard's introduction
"In Advice to a Young Poet Max sets out to answer a question posed by the young man's father: 'What is a lyrical line?' It is his last major statement on poetry, the final development of the thinking of twenty-five years. 'Men used to believe, ' he wrote in the 1916 preface to Le Cornet Ds, 'that artists are inspired by angels and that there are different categories of angels.' By 1941, after the years of prayer and contemplation at Saint-Benot-sur-Loire, this is no longer what 'men used to believe', but a fact in the interior life of a poet, the interior life without which a poet cannot be permeable. Only in a mind that is permeable is that conflagration possible ('the conflagration, ' he called it in his Art Potique of 1922, 'after the encounter of a harmonious man with himself') which produces the lyrical line, the 'consecrated line' identified by its euphoria and its euphony."-from John Adlard's introduction
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