The Atlantic | Feburary 1964 | Poetry and Power

More on poetry from The Atlantic Monthly.

More on politics & society from The Atlantic Monthly.

More on Presidents from The Atlantic's archive.

From the archives:

"New England and the South" (January 1954)
"The southward migration of industry from New England has too frequently taken place for causes other than normal competition and natural advantages." By John F. Kennedy

"A New American Poet" (August 1915)
"A literary friend chanced to place in my hands a slim green volume, North of Boston, by Robert Frost. It seemed to me that this poet was destined to take a permanent place in American literature." By Edward Garnett

From Atlantic Unbound:

From Atlantic Unbound:

Flashbacks: "The Cultural Meaning of the Kennedys" (December 4, 2002)
Articles by John F. Kennedy, Caitlin Flanagan, Thomas Mallon, and others offer insight into the Kennedy mystique.

Soundings: Robert Frost's "The Wood-pile" (February 3, 1999)
Readings by Peter Davison, Donald Hall, and Maxine Kumin. Introduction by Peter Davison.

Poetry Pages: "Robert Frost in The Atlantic Monthly" (April 1996)
The first three poems—and one that got away—introduced and read aloud by Peter Davison.

The Atlantic Monthly | Feburary 1964

Poetry and Power

"A nation reveals itself not only by the men it produces but also by the men it honors, the men it remembers"

by John Fitzgerald Kennedy

.....

his day, devoted to the memory of Robert Frost, offers an opportunity for reflection which is prized by politicians as well as by others and even by poets. For Robert Frost was one of the granite figures of our time in America. He was supremely two things: an artist and an American. A nation reveals itself not only by the men it produces but also by the men it honors, the men it remembers.

In America our heroes have customarily run to men of large accomplishments. But today this college and country honor a man whose contribution was not to our size but to our spirit; not to our political beliefs but to our insight; not to our self-esteem but to our self-comprehension.

In honoring Robert Frost we therefore can pay honor to the deepest sources of our national strength. That strength takes many forms, and the most obvious forms are not always the most significant.

The men who create power make an indispensable contribution to the nation's greatness, but the men who question power make a contribution just as indispensable, especially when that questioning is disinterested, for they determine whether we use power or power uses us. Our national strength matters; but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost.

He brought an unsparing instinct for reality to bear on the platitudes and pieties of society. His sense of the human tragedy fortified him against self-deception and easy consolation.

"I have been," he wrote, "one acquainted with the night." And because he knew the midnight as well as the high noon, because he understood the ordeal as well as the triumph of the human spirit, he gave his age strength with which to overcome despair.

At bottom he held a deep faith in the spirit of man. And it is hardly an accident that Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself.

When power leads man towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man's concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses, for art establishes the basic human truths which must serve as the touchstones of our judgement. The artists, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure. He has, as Frost said, "a lover's quarrel with the world." In pursuing his perceptions of reality he must often sail against the currents of his time. This is not a popular role. If Robert Frost was much honored during his lifetime, it was because a good many preferred to ignore his darker truths. Yet, in retrospect, we see how the artist's fidelity has strengthened the fiber of our national life.

If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, make them aware that our nation falls short of its highest potential.

I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.

We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeigh once remarked of poets, "There is nothing worse for our trade than to be in style."

In free society art is not a weapon, and it does not belong to the sphere of polemics and ideology. Artists are not engineers of the soul. It may be different elsewhere. But in a democratic society the highest duty of the writer, the composer, the artist, is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man—the fate of having "nothing to look backward to with pride, And nothing to look forward to with hope."

I look forward to a great future for America—a future in which our country will match its military strength with our moral strength, its wealth with our wisdom, its power with our purpose.

I look forward to an America which will not be afraid of grace and beauty, which will protect the beauty of our national environment, which will preserve the great old American houses and squares and parks of our national past, and which will build handsome and balanced cities for our future.

I look forward to an America which will reward achievement in the arts as we reward achievement in business or statecraft.

I look forward to an America which will steadily raise the standards of artistic accomplishment and which will steadily enlarge cultural opportunities for all our citizens.

And I look forward to an America which commands respect throughout the world, not only for its strength but for its civilization as well.

And I look forward to a world which will be safe, not only for democracy and diversity but also for personal distinction.

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