No subscription or hidden extras
Read through the most famous quotes by topic #poetry
It’s not that we have to leave this life one day, it's how many things we have to leave all at once: holding hands, hotel rooms, wine, summertime, drunkenness, and the physics of falling leaves, clothing, myrrh, perfumed hair, flirting friends, two strangers' glance; the reflection of the moon, with words like, 'Soon' ... 'do you want me?' ... '...to lie enlaced' ... 'and sleep entwined' thinking ahead, with thoughts behind...?' Ô, Why! Why can’t we leave this life slowly? ↗
#dying #living #losing-a-friend #love #moon
You are always new. THe last of your kisses was ever the sweetest; the last smile the brightest; the last movement the gracefullest. When you pass'd my window home yesterday, I was fill'd with as much admiration as if I had then seen you for the first time...Even if you did not love me I could not help an entire devotion to you. ↗
Terror" There is something About you That seems so young So trusting This is the part of you that I most love And the part of you that I am most frightened to hurt Do you think the German poets When speaking of the terror of love Meant the terror that comes From knowing We can be harmed Or from knowing We have the power to hurt Of these two terrors The second is the greater Humanity's deeper fear Perhaps it is so Even with Americans Who arm their leaders Not for fear of being destroyed But because in disarming them for a moment All the harm done would be exposed Leaving the people Limping home in shame Like Oedipus Who was haunted by mirrors The terror that comes From knowing you have the power to hurt This is the greater fear Perhaps this is why our dogs Can look into our eyes Unflinchingly With unconditional love It is not because they are too stupid to know that someday We may casually break their hearts But because they are wise enough to know that They will never break ours ↗
Pay attention, and use your imagination. ↗
#on-writing #poetry #r-m-engelhardt #writing-life #imagination
Truth is hard-hearted and unrelenting, too clear, precise; a lie is much more imaginative. ↗
#clear #dejan-stojanovic #hard-hearted #imagination #imaginative
His (Samuel Coleridge) dark senses were constantly in play, the frustration of them bringing illness. Weather and organic nature combined in a synaesthetic multi-media event, and this was the ground of all perception before it was divded up in daily living: the Primary Imagination giving way to the Secondary. Poetry was forever seeking a conscious return to this state, which existed all the time, whether he knew it or not. ↗
#inspiration #nature #poetry #samuel-taylor-coleridge #senses
O me! O life!... of the questions of these recurring; Of the endless trains of the faithless—of cities fill’d with the foolish; Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?) Of eyes that vainly crave the light—of the objects mean—of the struggle ever renew’d; Of the poor results of all—of the plodding and sordid crowds I see around me; Of the empty and useless years of the rest—with the rest me intertwined; The question, O me! so sad, recurring—What good amid these, O me, O life? Answer. That you are here—that life exists, and identity; That the powerful play goes on, and you will contribute a verse. ↗
Bisognerebbe saper attendere, raccogliere, per una vita intera e possibilmente lunga, senso e dolcezza, e poi, proprio alla fine, si potrebbero forse scrivere dieci righe valide. Perché i versi non sono, come crede la gente, sentimenti (che si acquistano precocemente), sono esperienze. Per scrivere un verso bisogna vedere molte città, uomini e cose, bisogna conoscere gli animali, bisogna capire il volo degli uccelli e comprendere il gesto con cui i piccoli fiori si aprono al mattino. Bisogna saper ripensare a itinerari in regioni sconosciute, a incontri inaspettati e congedi previsti da tempo, a giorni dell'infanzia ancora indecifrati, ai genitori che eravamo costretti a ferire quando portavano una gioia e non la comprendevamo (era una gioia per qualcun altro), a malattie infantili che cominciavano in modo così strano con tante profonde e grevi trasformazioni, a giorni in stanze silenziose e raccolte e a mattine sul mare, al mare sopratutto, a mari, a notti di viaggio che passavano con un alto fruscio e volavano assieme alle stelle - e ancora non è sufficiente poter pensare a tutto questo. Bisogna avere ricordi di molte notti d'amore, nessuna uguale all'altra, di grida di partorienti e di lievi , bianche puerpere addormentate che si rimarginano. Ma bisogna anche essere stati accanto ad agonizzanti, bisogna essere rimasti vicino ai morti nella stanza con la finestra aperta e i rumori intermittenti. E non basta ancora avere ricordi. Bisogna saperli dimenticare, quando sono troppi, e avere la grande pazienza di attendere che ritornino. Perché i ricordi in sé ancora non sono. Solo quando diventano sangue in noi, sguardo e gesto, anonimi e non più distinguibili da noi stessi, soltanto allora può accadere che in un momento eccezionale si levi dal loro centro e sgorghi la prima parola di un verso. ↗
Poem in other words may or may not result from inspiration but must (in reader and author alike) produce it-- ↗
