Quotes of All Topics . Occasions . Authors
One does not become a guru by accident.
Great poetry does not have to be technically intricate.
Windbags can be right. Aphorists can be wrong. It is a tough world.
Babies are not brought by storks and poets are not produced by workshops.
Oh let us not be condemned for what we are. It is enough to account for what we do.
Nobody really knows whether they are a poet. I knew I was interested from the age of 15.
Poetry carries its history within it, and it is oral in origin. Its transmission was oral.
What happened to poetry in the twentieth century was that it began to be written for the page.
I don't see that a single line can constitute a stanza, although it can constitute a whole poem.
At somewhere around 10 syllables, the English poetic line is at its most relaxed and manageable.
The lullaby is the spell whereby the mother attempts to transform herself back from an ogre to a saint.
I prefer writing in the mornings, so to that extent I have a routine. I do reading and other things in the afternoon.
One problem we face comes from the lack of any agreed sense of how we should be working to train ourselves to write poetry.
In rap, as in most popular lyrics, a very low standard is set for rhyme; but this was not always the case with popular music.
The writing of a poem is like a child throwing stones into a mineshaft. You compose first, then you listen for the reverberation.
Imitation, if it is not forgery, is a fine thing. It stems from a generous impulse, and a realistic sense of what can and cannot be done.
The Mormon mission to Africa, as to other dark-skinned parts of the world, was for a long time hobbled by the racism of the movement's scripture.
The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.
In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.
Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
My sonnet asserts that the sonnet still lives. My epic, should such fortune befall me, asserts that the heroic narrative is not lost - that it is born again.
English poetry begins whenever we decide to say the modern English language begins, and it extends as far as we decide to say that the English language extends.
In song the same rule applies as in dramatic verse: the meaning must yield itself, or yield itself sufficiently to arouse the attention and interest, in real time.
Working alone on a poem, a poet is of all artists the most free. The poem can be written with a modicum of technology, and can be published, in most cases, quite cheaply.
The iambic line, with its characteristic forward movement from short to long, or light to heavy, or unstressed to stressed, is the quintessential measure of English verse.
Considering the wealth of poetic drama that has come down to us from the Elizabethan and Jacobean periods, it is surprising that so little of any value has been added since.
Hearing that the same men who brought us 'South Park' were mounting a musical to be called 'The Book of Mormon,' we were tempted to turn away, as from an inevitable massacre.
My feeling is that poetry will wither on the vine if you don't regularly come back to the simplest fundamentals of the poem: rhythm, rhyme, simple subjects - love, death, war.
When Mr Ackroyd says that in the 18th century, stranglers bit off the noses of their victims, I feel that he probably knows what he is talking about. I just wish he hadn't told me.
Rhyme is a mnemonic device, an aid to the memory. And some poems are themselves mnemonics, that is to say, the whole purpose of the poem is to enable us to remember some information.
A poem with grandly conceived and executed stanzas, such as one of Keats's odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.
Metrics are not a device for restraining the mad, any more than 'open form' or free verse is a prairie where a man can do all kinds of manly things in a state of wholesome unrestrictedness.
Sometimes I have thought that a song should look disappointing on the page - a little thin, perhaps, a little repetitive, or a little on the obvious side, or a mixture of all of these things.
There is no objection to the proposal: in order to learn to be a poet, I shall try to write a sonnet. But the thing you must try to write, when you do so, is a real sonnet, and not a practice sonnet.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
At four lines, with the quatrain, we reach the basic stanza form familiar from a whole range of English poetic practice. This is the length of the ballad stanza, the verse of a hymn, and innumerable other kinds of verse.
Modernism in other arts brought extreme difficulty. In poetry, the characteristic difficulty imported under the name of modernism was obscurity. But obscurity could just as easily be a quality of metrical as of free verse.
Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work.
The iambic pentameter owes its pre-eminence in English poetry to its genius for variation. Good blank verse does not sound like a series of identically measured lines. It sounds like a series of subtle variations on the same theme.
A really interesting and happy time was when I first went to Florence as a student and studied Italian. I was living in a pensione on an allowance of £40 a month, which was princely. I did a lot of work and enjoyed myself immensely.
It normally happens that if you put two words together, or two syllables together, one of them will attract more weight, more emphasis, than the other. In other words, most so-called spondees can be read as either iambs or trochees.
Poetry carries its history within it, and it is oral in origin. Its transmission was oral. Its transmission today is still in part oral, because we become acquainted with poetry through nursery rhymes, which we hear before we can read.
'What is this', and 'How is this done?' are the first two questions to ask of any work of art. The second question immediately illuminates the first, but it often doesn't get asked. Perhaps it sounds too technical. Perhaps it sounds pedestrian.
The basic rhymes in English are masculine, which is to say that the last syllable of the line is stressed: "lane" rhymes with "pain", but it also rhymes with "urbane" since the last syllable of "urbane" is stressed. "Lane" does not rhyme with "methane".
The basic rhymes in English are masculine, which is to say that the last syllable of the line is stressed: 'lane' rhymes with 'pain,' but it also rhymes with 'urbane' since the last syllable of 'urbane' is stressed. 'Lane' does not rhyme with 'methane.'
The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where "open form" or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term "heightened speech".
The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where 'open form' or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term 'heightened speech.'
In the writing of poetry we never know anything for sure. We will never know if we have 'trained' or 'practised' enough. We will never be able to say that we have reached grade eight, or that we have left the grades behind and are now embarked on an advanced training.
"Love" is so short of perfect rhymes that convention allows half-rhymes like "move". The alternative is a plague of doves, or a kind of poem in which the poet addresses his adored both as "love" and as "guv" - a perfectly decent solution once, but only once, in a while.
'Love' is so short of perfect rhymes that convention allows half-rhymes like 'move.' The alternative is a plague of doves, or a kind of poem in which the poet addresses his adored both as 'love' and as 'guv' - a perfectly decent solution once, but only once, in a while.