Poetry Quotes
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The same people who are murdered slowly in the mechanized slaughterhouses of work are also arguing, singing, drinking, dancing, making love, holding the streets, picking up weapons and inventing a new poetry.
I think that one possible definition of our modern culture is that it is one in which nine-tenths of our intellectuals can't read any poetry.
First of all, I'm not a singer or rapper. I'm an artiste. Besides singing, I produce music, dance, write poetry, and sometimes I paint as well.
I liked painting and drawing, and I liked humanities mainly - poetry, literature - this speculative attitude toward life.
Back then, I was an acoustically-oriented artist. Honestly, 'Poetry Man' wouldn't have been my first choice.
There is a gap in my work from '84 to 2002, 18 years where I stopped writing. I was working at fiction and other things and starting a school and getting married and starting a family, but I wasn't writing poetry for the better part of 15 years.
If you have so earth-creeping a mind that it cannot lift itself up to look to the sky of poetry... thus much curse I must send you, in the behalf of all poets, that while you live, you live in love, and never get favour for lacking skill of a sonnet; and, when you die, your memory die from the earth for want of an epitaph.
I realized poetry's the thing that I can do 'cause I can stick at it and work with tremendous intensity.
There is an urgent need for Americans to look deeply into themselves and their actions, and musical poetry is perhaps the most effective mirror available. Every newspaper headline is a potential song.
Profound thoughts and profound experiences get revealed to be tricks that we play on ourselves, and poetry gets revealed to be just, like, some dumb words that somebody put in an interesting order.
I call myself a grasshopper. I paint, I write poetry, and I'm in a band. When it comes to movies and TV, I like to work in everything and with everyone. I wanna do it all, beyond even the screen.
It's bad poetry executed by people that can't sing. That's my definition of Rap.
I started off in England and very few people knew I was Australian. I mean, the clues were in the poems, but they didn't read them very carefully, and so for years and years I was considered completely part of the English poetry scene.
The one thing they didn't tell you at Iowa is how hard it is to make a living writing fiction and poetry.
For 8,000 years, we've had lyric poetry; for 400 years we've had the novel: theatre hands its meaning down in text. Let's find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.
My friends never talk to me about my poetry because they're embarrassed that I write it or they're embarrassed by what I write about which are not such extraordinarily terrifying things, but they are the state of human existence.
I think poetry has lost an awful lot of its muscle because nobody knows any. Nobody has to memorize poetry.
Dealing with poetry is a daunting task, simply because the reason one does it as an editor at all is because one is constantly coming to terms with one's own understanding of how to understand the world.
Poetry was invented as an mnemonic device to enable people to remember their prayers.
Poetry should be able to reach everybody, and it should be able to appeal to all levels of understanding.
Every so often I find some poems that are too good for the readers of The Atlantic because they are a little too involved with the nature of poetry, as such.
They need to learn poetry. They don't need to learn about poetry. They don't need to be told how to interpret poetry. They don't need to be told how to understand poetry. They need to learn it.
The more poetry you have in the head, the more poetry you will understand because you will be getting to the roots of what it is that makes people write poetry at all.
And there are a lot more people reading poetry, but there are not so many people reading an individual poet.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
It is a way we reassess our past. We can do that in poetry in ways we can't do in prose.
With Shakespeare and poetry, a new world was born. New dreams, new desires, a self consciousness was born. I desired to know to know myself in terms of the new standards set by these books.
Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar.
Poetry is the record of the best and happiest moments of the happiest and best minds.
A poet is a nightingale, who sits in darkness and sings to cheer its own solitude with sweet sounds.
Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.
I've been surprised to learn how many people love poetry. It's beautiful to see that people want poetry in their lives.
I lived a pretty chaotic life. I went to England, and I moved around, and there were a lot of things that I was interested in. I wrote poetry. I took photographs. I was a musician and all sorts of things. Nothing brilliant, but I did all these different things.
I started out as a writer. Poetry and prose and also kind of satirical David Sedaris-esque stuff.
I wrote a lot of poetry when I was a teenager - mostly desperate love poetry!
I took my first creative writing class when I was 24, then went onto to get a graduate degree in poetry. I've sort of never looked back from there.
To design is much more than simply to assemble, to order, or even to edit: it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry.
For whatever reason, people, including very well-educated people or people otherwise interested in reading, do not read poetry.
One will never again look at a birch tree, after the Robert Frost poem, in exactly the same way.
That's one of the great things about poetry; one realises that one does one's little turn - that you're just part of the great crop, as it were.
The other side of it is that, despite all that, people reach out to poetry at the key moments in their lives.
I read a lot of nineteenth-century French poetry. And Irish poetry from the ninth century on.
Poetry is as vital as ever. The teaching of poetry reading, however, is sluggish and, often, slovenly. It needs to be expanded in the school curriculum and be more a feature of society at large. The newspapers should all be carrying a daily poem. It should be as natural as reading a novel.
I don't shape trends, I'd say. I merely reflect them. I think the emphasis is on 'them.' I like variety in poetry. I love how it comes in so many guises. As rock lyric, as rap, as note on a fridge.
I do believe that we've a responsibility to try to acknowledge the range, both geographic and graphic, of what's happening in poetry in English. I'm interested in poems that are first-rate. After that, I'm not too concerned if they come from Queens or Queensland.
I think poetry, rather than suffering, is more and more sufficient to the needs of our society. It's one of the reasons so much of it is, for want of a better term, 'surreal.'
After attending the gymnasium between my eighth and seventeenth years, I studied classical philology at Berlin University for two years under Boeckh and Lachmann, and with the friendly support of Emanuel Geibel and Franz Kugler, I dabbled in all sorts of poetry.
In Bonn, where I studied for a year, I changed from classical to Romance philology, taught there by its great founder, F. Diez, and at the beginning of 1852, I received the doctorate for a dissertation on the refrain in Provencal poetry.
Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words.
All poetry is an ordered voice, one which tries to tell you about a vision in the un-visionary language of farm, city, and love.
I began to write poetry in high school, and would ride miles over sandy roads in the fine hills around Cedar Rapids, repeating the lines over and over until I had them right, making some of the rhythm of the horse help.
I have published in 'The New Yorker,' 'Holiday,' 'Life,' 'Mademoiselle,' 'American Heritage,' 'Horizon,' 'The Ladies Home Journal,' 'The Kenyon Review,' 'The Sewanee Review,' 'Poetry,' 'Botteghe Oscure,' the 'Atlantic Monthly,' 'Harper's.'
In science one tries to tell people, in such a way as to be understood by everyone, something that no one ever knew before. But in poetry, it's the exact opposite.
I do not see how a man can work on the frontiers of physics and write poetry at the same time. They are in opposition.
I guess I wanted to leave America for awhile. It wasn't that I wanted to become an expatriate, or just never come back, I needed some breathing room. I'd already been translating French poetry, I'd been to Paris once before and liked it very much, and so I just went.
I was always interested in French poetry sort of as a sideline to my own work, I was translating contemporary French poets. That kind of spilled out into translation as a way to earn money, pay for food and put bread on the table.
When I was younger, I felt it was my duty to wake people up. I thought poetry was asleep. I thought rock 'n' roll was asleep.
I came into music because I thought the presentation of poetry wasn't vibrant enough. So I merged improvised poetry with basic rock chords. That was my original mission.
What I wanted to do in rock 'n roll was merge poetry with sonic scapes, and the two people who had contributed so much to that were Jimi Hendrix and Jim Morrison.
Probably induced by the asthma, I started reading and writing early on, my literary efforts from the age of about nine running chiefly to poetry and plays.
In its truest manifestation, where it gives judgments, poetry is super-luxury. It would be interesting to see what would happen to a High Court judge if he were forced to follow the true poetic formula, doing the job for love, being forced into pubs for relief.
Poetry is not Irish or any other nationality; and when writers such as Messrs. Clarke, Farren and the late F. R. Higgins pursue Irishness as a poetic end, they are merely exploiting incidental local colour.
I originally went to school for writing, for non-fiction. I'm specifically a poetry major within literature, but I don't know.
I grew up in this town, my poetry was born between the hill and the river, it took its voice from the rain, and like the timber, it steeped itself in the forests.
I work on words, mostly, toward them being poetry or short stories, and then some of those become songs. They all find their place in the world, but they all start off in the same place. I'm always painting and drawing as well, and it's an ongoing creative assignment.
I've always written poetry and lyrics. My first husband, who was a musician, we wrote a bunch of songs together.
Nothing I had written before 'Mary Poppins' had anything to do with children, and I have always assumed, when I thought about it at all, that she had come out of the same wall of nothingness as the poetry, myth and legend that had absorbed me all my writing life.
I enjoy listening to contemporary rock on the college stations while I'm taking long walks, love gospel and soul music, am fascinated by hip-hop and rap as the new kind of urban 'beat' poetry and, come to think of it, find something interesting about just any kind of music.
Only those ignorant of what poetry means will ask the question: what is it good for?
It is my belief that many who think they dislike poetry are really poetical in their natures and are indebted to it, more than they imagine, for the success they may have achieved, even in practical pursuits, and for the enjoyment their lives have afforded them.
The commonest error made in relation to poetry is that it consists simply in verse-making. Many confound the casket of meter and rhyme with the jewel of thought which it encloses, and, perhaps, in some instances, after close investigation, they have found the casket empty and turned away with feelings of disappointment and disgust.
Poetry is that sentiment of the soul, or faculty of the mind, which enables its possessor to appreciate and realize the heights and depths of human experience. It is the power to feel pleasure or suffer pain in all its exquisiteness and intensity.
Poetry is the elder sister of history, the mother of language, the ancestress of civilization.
To read a poem is to hear it with our eyes; to hear it is to see it with our ears.
Poetry is the experience of liberty. The poet risks himself, chances all on the poem's all with each verse he writes.
Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.
Poetry is not a genre in harmony with the modern world; its innermost nature is hostile or indifferent to the dogmas of modern times, progress and the cult of the future.
Poetry, whatever the manifest content of the poem, is always a violation of the rationalism and morality of bourgeois society.
Any reflection about poetry should begin, or end, with this question: who and how many read poetry books?
All those authors there, most of whom of course I've never met. That's the poetry side, that's the prose side, that's the fishing and miscellaneous behind me. You get an affection for books that you've enjoyed.
And if they haven't got poetry in them, there's nothing you can do that will produce it.
However, I learned something. I thought that if the young person, the student, has poetry in him or her, to offer them help is like offering a propeller to a bird.
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