Poetry has sometimes been credited with a special place as a form of conduct in language, as if it were a world of words of its own from which the poet masterfully dispenses a distinctly free speech. These essays enquire whether such high praises, even when sincere, are apt to the real conditions of poets' work, to their share of drudgery, their fears of misapprehension or their need to please, to the entanglements of meaning in historical communities.