Poetry Quotes
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Students often have such a lofty idea of what a poem is, and I want them to realize that their own lives are where the poetry comes from. The most important things are to respect the language; to know the classical rules, even if only to break them; and to be prepared to edit, to revise, to shape.
I grew up in Jerusalem and went to school here. I studied at the Hebrew University - mostly Islam and Arabic: Arab literature, Arab poetry and culture, because I felt like we are living in this region, in the Middle East, and we are not alone: There are nations here whose culture is Arab.
A poet's autobiography is his poetry. Anything else is just a footnote.
When I read the Koran or hear it read, the images and the poetry, the sound of the language is very inspiring.
Maybe I was blessed that my main drive was purely selfish. I needed to make something, make my life better, wider, have poetry in my life, have something that gives me hope on an everyday basis. That was my main drive all along, really.
I've often said that all poetry is political. This is because real poems deal with a human response to reality and politics is part of reality, history in the making. Even if a poet writes about sitting in a glass house drinking tea, it reflects politics.
The attitude that poetry should not be analyzed is prevalent among many who consider themselves experts on children's literature. But I suspected that kids like to look closely at things and figure out what makes them go.
I know nothing new except that Herr Gellert, the Leipzig poet, is dead, and has written no more poetry since his death.
I cannot speak for more than an hour exclusively about poetry. At that point, life itself takes over again.
Poetic talent doesn't operate in a vacuum. There is a spirit of Polish poetry.
Everyone needs solitude, especially a person who is used to thinking about what she experiences. Solitude is very important in my work as a mode of inspiration, but isolation is not good in this respect. I am not writing poetry about isolation.
Unfortunately, poetry is not born in noise, in crowds, or on a bus. There have to be four walls and the certainty that the telephone will not ring. That's what writing is all about.
In the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone's existence in this world.
Solitude is very important in my work as a mode of inspiration, but isolation is not good in this respect. I am not writing poetry about isolation.
The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
I have always used a great variety of verse forms, especially in my poetry for children. I believe that poetry begins in childhood and that a poet who can remember his own childhood exactly can, and should, communicate to children.
Now, to read poetry at all is to have an ideal anthology of one's own, and in that possession to be incapable of content with the anthologies of all the world besides.
Poetry is that art which selects and arranges the symbols of thought in such a manner as to excite the imagination the most powerfully and delightfully.
We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.
Prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose.
Teach your children poetry; it opens the mind, lends grace to wisdom and makes the heroic virtues hereditary.
A very intimate sense of the expressiveness of outward things, which ponders, listens, penetrates, where the earlier, less developed consciousness passed lightly by, is an important element in the general temper of our modern poetry.
That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the assertion of what was for him almost literal fact.
Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.
Such discussions help us very little to enjoy what has been well done in art or poetry, to discriminate between what is more and what is less excellent in them, or to use words like beauty, excellence, art, poetry, with a more precise meaning than they would otherwise have.
Even if you only want to write science fiction, you should also read mysteries, poetry, mainstream literature, history, biography, philosophy, and science.
I joined the army on my seventeenth birthday, full of the romance of war after having read a lot of World War I British poetry and having seen a lot of post-World War II films. I thought the romantic presentations of war influenced my joining and my presentation of war to my younger siblings.
Most people read poetry listening for echoes because the echoes are familiar to them. They wade through it the way a boy wades through water, feeling with his toes for the bottom: The echoes are the bottom.
Everything is complicated; if that were not so, life and poetry and everything else would be a bore.
In poetry, you must love the words, the ideas and the images and rhythms with all your capacity to love anything at all.
If poetry should address itself to the same needs and aspirations, the same hopes and fears, to which the Bible addresses itself, it might rival it in distribution.
A verbal art like poetry is reflective; it stops to think. Music is immediate, it goes on to become.
Before people complain of the obscurity of modern poetry, they should first examine their consciences and ask themselves with how many people and on how many occasions they have genuinely and profoundly shared some experience with another.
A poet is, before anything else, a person who is passionately in love with language.
Poetry is like making a joke. If you get one word wrong at the end of a joke, you've lost the whole thing.
I can't imagine ever writing anything of any kind on a machine. I never tried to write either poetry or prose on a typewriter. I like to do it on useless paper, scrap paper, because it's of no importance.
Poetry involves the mysteries of the irrational perceived through rational words.
I spent many years of my life as an economist and demographer. I was finally distracted by writing my novels and poetry. I'm enormously happy that was the case. I feel that with writing I have found my metier.
Theater and poetry were what helped people stay alive and want to go on living.
The Victorian language of flowers began with the publication of 'Le Language des Fleurs,' written by Charlotte de Latour and printed in Paris in 1819. To create the book - which was a list of flowers and their meanings - de Latour gathered references to flower symbolism throughout poetry, ancient mythology, and even medicine.
I guess the two Manifesto, Communicating Vessels, Mad Love, and some of his poetry made a significant mark on me but as far as bringing a literary element into the music I see it as a much broader assimilation.
Poetry says the things that I can't say. I read a lot, but I never write it.
So much of my poetry begins with something that I can describe in visual terms, so thinking about distance, thinking about how life begins and what might be watching us.
I work with a lot of young people who have poems that are changing their lives, that they're eager to talk about, but every now and then when I meet someone, maybe someone of my parents' generation, and I tell them that I write poetry, they'll begin to recite something that they memorized when they were in school that has never left them.
We all need poetry. The moments in our lives that are characterized by language that has to do with necessity or the market, or just, you know, things that take us away from the big questions that we have, those are the things that I think urge us to think about what a poem can offer.
Lately, I've been thinking about the difference between poetry and prose, and as I've experienced it, poetry is insistent. It allows for images and statements to operate in a single space and resonate powerfully without the application to be elaborated upon and narrated.
I wanted to write the kind of poetry that people read and remembered, that they lived by - the kinds of lines that I carried with me from moment to moment on a given day without even having chosen to.
What excites me is that I'm an ambassador for poetry, which is something that I wholeheartedly believe in and that has been an anchor and a force of stability and consolation throughout my life. I think that's good news.
A lot of my activity in the theatre, and even in writing poems, was a kind of retrospective aggro on the English teacher who wouldn't allow me to read poetry aloud.
You get early inoculation against the idea of success if you're a poet. When I published my first collection of sonnets, I sold about five copies; now kids study them for A level. Wanting to be successful in that other world of money or fame is not interesting. Poetry isn't like that, and it never has been.
Poetry is all I write, whether for books or readings or for the National Theatre or for the opera house and concert hall or even for TV.
For me, there is a paradox in poetry, which is like the paradox in tragedy. You have the most terrible subject, but it's in a form that is so sensually gratifying that it connects the surviving heart to the despairing intellect.
Coming from a very inarticulate family made me try to speak for those who can't express themselves and created a need for articulation at its most ceremonial - poetry.
In 1971, when I was 29, I wrote my first volume of poetry. I am a poet, and I have published four books of my poems.
Society's dark hull drifts further and further away. It is this place - the place of our separation, our distinction - that much of his poetry occupies.
It's always a combination of physics and poetry that I find inspiring. It's hard to wrap your head around things like the Hubble scope.
I published, privately, a collection of my serious poetry I had written over the years. I only published 50 copies, which I gave to friends, in a special deluxe edition. It was ridiculously expensive but I'm glad that I did it.
I believe that the short story is as different a form from the novel as poetry is, and the best stories seem to me to be perhaps closer in spirit to poetry than to novels.
My strong suits, coming from poetry, will naturally be description, which I love doing. It comes very easily, and possibly structure, up to a point.
At school, I was never given a sense that poetry was something flowery or light. It's a complex and controlled way of using language. Rhythms and the music of it are very important. But the difficulty is that poetry makes some kind of claim of honesty.
I actually remember celebrating National Poetry Day at school; I remember having to write and read a load.
Mostly, when I travel, I want to represent my own work well and let others know how I feel about poetry being an important part of life.
I think of myself as an ambassador of the arts. In my heart of hearts, I know the world would be a more peaceful, tender place if we were more moved by the poetry around us.
Most people can't tell now who wrote what. I like that blurring of identities within the band. because it becomes a unified thing that can't be related to other forms of historical poetry.
But poetry is a way of language, it is not its subject or its maker's background or interests or hobbies or fixations. It is nearer to utterance than history.
So I suppose poetry, language, the shaping of it, was and remains for me an effort to make sense out of essentially senseless situations.
If Galileo had said in verse that the world moved, the inquisition might have let him alone.
Poetry is emotion put into measure. The emotion must come by nature, but the measure can be acquired by art.
Perhaps no person can be a poet, or even enjoy poetry, without a certain unsoundness of mind.
Deep feeling doesn't make for good poetry. A way with language would be a bit of help.
There have been two popular subjects for poetry in the last few decades: the Vietnam War and AIDS, about both of which almost all of us have felt deeply.
When I was young, I read everything I could lay my hands on, but the Scots in my storybooks spent their time fighting glorious battles, rowing across lochs, or escaping over moors of purple heather. Even those Scots were hard to find. For at school, we recited poetry according to the set texts the teachers taught us.
Science fiction, outside of poetry, is the only literary field which has no limits, no parameters whatsoever.
Most poetry in the modern age has retreated to the private sphere, turning its back on the political realm.
Poetry is the most subtle of the literary arts, and students grow more ingenious by the year at avoiding it. If they can nip around Milton, duck under Blake and collapse gratefully into the arms of Jane Austen, a lot of them will.
When I applied for grad school, I did not specify genre. I said I wanted an MFA in Creative Writing. I was so cute and stupid! The admissions committee at Pitt decided to put me in poetry.
So the best way to understand poetry, which is made by men, is to imitate, and that goes back to making work as a kind of doorway into new work, as opposed to making work as a mirror of the old work.
Anyone reading contemporary poetry - especially contemporary African-American poetry - will quickly see that race is an enduring subject. What some don't realize is just how diverse the handling of that subject is. It's as diverse as blackness.
The nerds are my favourite sort of boys - any guy with a passion - whether it be physics or film or writing or poetry even, I think it's super sweet and it's very attractive for a female.
When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.
If you've ever been to a poetry slam, you know that the highest scoring emotion is self-righteous indignation: how dare you judge me. So in that way, the poem, 'What Teachers Make,' is an absolutely formulaic slam poem designed to allow me to get up on my soap box and say, 'Let me tell you what really makes me angry.'
I have been writing poetry since 1975. My first poetry book was published in 1986.
My first book was poetry, but I didn't write it first. I wrote it third. So my first two books were prose.
If our hearts are ready for anything, we are touched by the beauty and poetry and mystery that fill our world.
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