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Read through the most famous quotes by topic #poetry
The image of a wood has appeared often enough in English verse. It has indeed appeared so often that it has gathered a good deal of verse into itself; so that it has become a great forest where, with long leagues of changing green between them, strange episodes of poetry have taken place. Thus in one part there are lovers of a midsummer night, or by day a duke and his followers, and in another men behind branches so that the wood seems moving, and in another a girl separated from her two lordly young brothers, and in another a poet listening to a nightingale but rather dreaming richly of the grand art than there exploring it, and there are other inhabitants, belonging even more closely to the wood, dryads, fairies, an enchanter's rout. The forest itself has different names in different tongues- Westermain, Arden, Birnam, Broceliande; and in places there are separate trees named, such as that on the outskirts against which a young Northern poet saw a spectral wanderer leaning, or, in the unexplored centre of which only rumours reach even poetry, Igdrasil of one myth, or the Trees of Knowledge and Life of another. So that indeed the whole earth seems to become this one enormous forest, and our longest and most stable civilizations are only clearings in the midst of it. ↗
#literature #nature #poetry #trees #art
Whenever an art form loses its fire, when it gets weakened by intellectual inbreeding and first principles fade into stale tradition, a radical fringe eventually appears to blow it up and rebuild from the rubble. Young Gun ultrarunners were like Lost Generation writers in the ’20s, Beat poets in the ’50s, and rock musicians in the ’60s: they were poor and ignored and free from all expectations and inhibitions. They were body artists, playing with the palette of human endurance. ↗
Who among us has not suddenly looked into his child's face, in the midst of the toils and troubles of everyday life, and at that moment "seen" that everything which is good, is loved and lovable, loved by God! Such certainties all mean, at bottom, one and the same thing: that the world is plumb and sound; that everything comes to its appointed goal; that in spite of all appearances, underlying all things is - peace, salvation, gloria; that nothing and no one is lost; that "God holds in his hand the beginning, middle, and end of all that is." Such nonrational, intuitive certainties of the divine base of all that is can be vouchsafed to our gaze even when it is turned toward the most insignificant-looking things, if only it is a gaze inspired by love. That, in the precise sense, is contemplation... Out of this kind of contemplation of the created world arise in never-ending wealth all true poetry and all real art, for it is the nature of poetry and art to be paean and praise heard above all the wails of lamentation. No one who is not capable of such contemplation can grasp poetry in a poetic fashion, that is to say, in the only meaningful fashion. The indispensability, the vital function of the arts in man's life, consists above all in this: that through them contemplation of the created world is kept alive and active. ↗
I caution against communication because once language exist only to convey information, it is dying. In news articles the relation of the words to the subject is a strong one. The relation of the words to the writer is weak. (Since the majority of your reading has been newspapers, you are used to seeing language function this way). When you write a poem these relations must reverse themselves: The relation of the word to the subject must weaken – the relation of the words to the writer (you) must take on strength. This is probably the hardest thing about writing poems In a poem you make something up, say for example a town, but an imagined town is at least as real as an actual town. If it isn’t you may be in the wrong business. Our triggering subjects, like our words, come from obsessions we must submit to, whatever the social cost. It can be hard. It can be worse 40 years from now if you feel you could have done it and didn’t. RICHARD HUGO Public versus private poets: With public poets the intellectual and emotional contents of the words are the same for the reader as for the writer. With the private poet, the words, at least certain key words, mean something to the poet they don’t mean to the reader. A sensitive reader perceives this relation of poet to word and in a way that relation – the strange way the poet emotionally possesses his vocabulary – is one of the mysteries and preservative forces of the art. If you are a private poet, then your vocabulary is limited by your obsessions. In fact, most poets write the same poem over and over. (Wallace Stevens was honest enough not to try to hide it. Frost’s statement that he tried to make every poem as different as possible from the last one is a way of saying that he knew it couldn’t be). ↗
