“Poetry cannot make a machine, but it is the food of the imagination: it expresses the highest part of man, his eternal hopes and fears, his most intimate feelings, his speculations on the universe, and on his own great end. There is one epic poet, Homer, the Greek. Other Greeks imitated Homer, but they never came near him; Vergil wrote what he called an epic, and so did Milton, but they are not epics. The epic poet depicts a real world in action: there it is, as clear as if we saw it with our eyes; clearer indeed, for the art of the poet lies in that he can, by selection, bring his world within focus for our eyes, which we could not do for ourselves. What a supreme achievement Homer’s was, we can see, if we compare Thomas Hardy’s effort to bring Napoleon’s world before our eyes. He has failed: Homer succeeded, no one else has ever succeeded; and Homer stands, therefore, unrivalled at the head of the world’s poets.”

W.H.D. Rouse, Machines or Mind?

“Fun is closely related to Joy—a sort of emotional froth arising from the play instinct. It is very little use to us. It can sometimes be used, of course, to divert humans from something else which the Enemy would like them to be feeling or doing: but in itself it has wholly undesirable tendencies; it promotes charity, courage, contentment, and many other evils.”

From The Screwtape Letters

“The only way to test a Hymn, is, not merely to read it silently, or even aloud, but to sing it, over and over again, to its own tune. There is nothing in this little book that has not been abundantly subjected to this test before being offered to the public. The fact, that in part of my work I have written words for other people’s music, in another part have written music for other people’s words, while in the rest I furnish both words and music myself, is some evidence that I have bestowed equal care and labor upon both the things which are essential to good Hymnody. The reason why we have so much of unsatisfactory material thrust upon the Church, is that, for the most part, the writers of the words have known little about music, and the writers of music have had little taste or power in the poetic field, and therefore there was no felt organic connection betwixt the two.”

Reverend John Henry Hopkins, Preface to Third Edition of Carols, Hymns, and Songs

"Thou, whose sweet youth and early hopes enhance 
Thy rate and price, and mark thee for a treasure; 
Harken unto a Verser, who may chance 
Rhyme thee to good, and make a bait of pleasure. 
    A verse may find him, who a sermon flies, 
    And turn delight into a sacrifice."

George Herbert, The Temple 

“Poesie therefore, is an Art of Imitation: for so Aristotle termeth it in the word mimesis, that is to say, a representing, counterfeiting, or figuring forth to speake Metaphorically. A speaking Picture, with this end to teach and delight. Of this have bene three generall kindes, the chiefe both in antiquitie and excellencie, were they that did imitate the unconceivable excellencies of God. Such were David in his Psalmes, Salomon in his song of songs, in his Ecclesiastes and Proverbes. Moses and Debora, in their Hymnes, and the wryter of Jobe: Which beside other, the learned Emanuell, Tremelius, and F. Junius, doo entitle the Poeticall part of the scripture: against these none will speake that hath the holie Ghost in due holie reverence. In this kinde, though in a full wrong divinitie, were Orpheus, Amphion, Homer in his himnes, and manie other both Greeke and Romanes. And this Poesie must be used by whosoever will follow S. Paules counsaile, in singing Psalmes when they are mery, and I knowe is used with the frute of comfort by some, when in sorrowfull panges of their death bringing sinnes, they finde the consolation of the never leaving goodnes. The second kinde, is of them that deale with matters Philosophicall, either morall as Tirteus, Phocilides, Cato; or naturall, as Lucretius, and Virgils Georgikes; or Astronomicall as Manilius and Pontanus; or Historicall as Lucan: which who mislike the fault, is in their judgement quite out of tast, & not in the sweet food of sweetly uttered knowledge. But bicause this second sort is wrapped within the fold of the proposed subject, and takes not the free course of his own invention, whether they properly bee Poets or no, let Gramarians dispute, and goe to the third indeed right Poets, of whom chiefly this question ariseth: betwixt whom and these second, is such a kinde of difference, as betwixt the meaner sort of Painters, who counterfeyt onely such faces as are set before them, and the more excelent, who having no law but wit, bestow that in colours upon you, which is fittest for the eye to see, as the constant, though lamenting looke of Lucretia, when she punished in her selfe another faulte: wherein hee painteth not Lucretia whom he never saw, but painteth the outward bewty of such a vertue. For these third be they which most properly do imitate to teach & delight: and to imitate, borrow nothing of what is, hath bin, or shall be, but range onely reined with learned discretion, into the divine consideration of what may be and should be. These be they that as the first and most noble sort, may justly be termed Vates: so these are waited on in the excellentest languages and best understandings, with the fore described name of Poets. For these indeed do meerly make to imitate, and imitate both to delight & teach, and delight to move men to take that goodnesse in hand, which without delight they would flie as from a stranger; and teach to make them know that goodnesse whereunto they are moved: which being the noblest scope to which ever any learning was directed, yet want there not idle tongues to bark at them. These be subdivided into sundry more special denominations. The most notable be the Heroick, Lyrick, Tragick, Comick, Satyrick, Iambick, Elegiack, Pastorall, and certaine others: some of these being tearmed according to the matter they deale with, some by the sort of verse they liked best to write in, for indeed the greatest part of Poets, have apparelled their poeticall inventions, in that numbrous kind of writing which is called vers. Indeed but apparelled verse: being but an ornament and no cause to Poetrie, since there have bene many most excellent Poets that never versified, and now swarme many versifiers that need never answere to the name of Poets. For Xenophon who did imitate so excellently as to give us effigiem justi imperii, the pourtraiture of a just Empyre under the name of Cyrus, as Cicero saith of him, made therein an absolute heroicall Poeme. So did Heliodorus, in his sugred invention of that picture of love in Theagenes & Chariclea, and yet both these wrote in prose, which I speake to shew, that it is not ryming and versing that maketh a Poet, (no more than a long gown maketh an Advocate, who though he pleaded in Armour, should be an Advocat and no souldier) but it is that faining notable images of vertues, vices, or what els, with that delightfull teaching, which must be the right describing note to know a Poet by.”

Sir Philip Sidney, Defence of Poesy

“Almighty God, our heavenly Father, who declarest thy glory and showest forth thy handiwork in the heavens and in the earth: Deliver us, we beseech thee, in our several callings, from the service of Mammon, that we may do the work which thou givest us to do, in truth, in beauty, and in righteousness, with singleness of heart as thy servants, and to the benefit of our fellow men, for the sake of him who came among us as one that serveth, thy Son, Jesus Christ our Lord. Amen.”

The Book of Common Prayer