Poetry Quotes - Page 22

• Pretty conceptions, fine metaphors, glittering expressions, and something of a neat cast of verse are properly the dress, gems, or loose ornaments of poetry.

  Alexander Pope

  Expression, Dresses, Ornaments

  Alexander Pope (1806). “The Works of Alexander Pope, Esq. In Verse and Prose: Containing the Principal Notes of Drs. Warburton and Warton: Illustrations, and Critical and Explanatory Remarks, by Johnson, Wakefield, A. Chalmers, F.S.A. and Others. To which are Added, Now First Published, Some Original Letters, with Additional Observations, and Memoirs of the Life of the Author”, p.151

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• Poetry has a small audience, but a large influence.

  Genevieve Taggard

  Influence, Audience

  Genevieve Taggard (1936). “Calling Western union”

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• Your poems are like God's birds; they fly into people's hearts.

  Maia Wojciechowska

  Heart, People, Bird

  maia wojciechowska (1968). “a single light”

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• I want a poem which is made of compression, passion, precision, symmetry, & disruption.

  Lucie Brock-Broido

  Passion, Symmetry

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• Poetry ... is the music and painting of the mind.

  Sonia Orwell

  Mind, Painting, Poetry Is

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• I believe in solitude broken like bread by poetry.

  Anne Hebert

  Believe, Broken, Solitude

  Anne Hébert, Alan Brown (1975). “Poems”, Don Mills, Ont. : Musson Book Company

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• To do a poem justice, explain what makes it unique; to get a poem noticed, explain what makes it typical.

  Stephen Burt

  Unique, Justice, Typical

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• Almost any poem has to be read twice, first for strangeness, second for clarity.

  Peter J. Daniels

  Literature, Firsts, Clarity

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• Poetry depends on being simultaneously opaque and transparent. It can't be only one or the other. The pebble and the pool.

  Peter J. Daniels

  Literature, Opaque, Pebbles

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• The spirit of poetry, like all other living powers, must of necessity circumscribe itself by rules, were it only to unite power with beauty.

  Samuel Taylor Coleridge

  Literature, Spirit

  Samuel Taylor Coleridge (2015). “Shakespeare, With Introductory Matter on Poetry, The Drama, and The Stage by S.T. Coleridge: Coleridge’s Essays and Lectures on Shakespeare and Other Old Poets and Dramatists”, p.32, e-artnow

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• The idea of the person enters poetics where art and reality, or intentionality and circumstance, meet.

  Lyn Hejinian

  Art, Reality, Ideas

  Lyn Hejinian (2000). “The Language of Inquiry”, p.207, Univ of California Press

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• Powell belongs, in fact to the first generation of American poets who may have grown up without even a vestigial connection to the accentual-syllabic, rhyming English tradition - his inventive lines have this absence at their back.

  Stephen Burt

  Connections, Generations, Literature

  Stephen Burt (2009). “Close Calls with Nonsense: Reading New Poetry”, Graywolf Press

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• Charles Dickens was an avid seeker of names - he read directories and looked for odd names on gravestones.

  Jane Smiley

  Avid, Names, Literature

  Jane Smiley (2008). “13 Ways of Looking at the Novel”, p.97, Anchor

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• Not only every great poet, but every genuine, but lesser poet, fulfils once for all some possibility of language, and so leaves one possibility less for his successors.

  T. S. Eliot

  Literature, Language, Possibility

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• Baudelaire's L'Héautontimorouménos was long seen to be a sexual sadomasochistic poem, it is now generally accepted that the poem is about writing poetry.

  Stephen Dobyns

  Writing, Long, Literature

  Stephen Dobyns (2011). “Next Word, Better Word: The Craft of Writing Poetry”, p.198, Macmillan

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• When a philosopher, scientist, or psychologist discusses the discrepancy between the actual and the ideal, he or she attempts to convince us with the tools of discursive thought ... An artist does it differently ... their primary approach is different, even though both groups, if you will, are investigating the actual, the ideal, and the discrepancy in between.

  Stephen Dobyns

  Artist, Convince Us, Discrepancies Between

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• The progress of any writer is marked by those moments when he manages to outwit his own inner police system.

  Ted Hughes

  Police, Progress, Literature

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• The beauty of reality-based art - art underwritten by reality hunger - is that it's perfectly situated between life itself and (unattainable) "life as art".

  David Shields

  Art, Reality, Literature

  David Shields (2010). “Reality Hunger”, p.166, Vintage

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• In pursuing certain virtues - colorful local effects, personae and personality, juxtaposition, close calls with nonsense, uncertainty, critiques of ordinary language - the current crop of American poets necessarily give up on others.

  Stephen Burt

  Giving Up, Personality, Ordinary

  Stephen Burt (2009). “Close Calls with Nonsense: Reading New Poetry”, Graywolf Press

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• Sentimental poetry differs from naive poetry in that it relates the real state at which the latter stops to ideas and applies ideas to that reality.

  Friedrich Schiller

  Real, Ideas, Literature

  Friedrich Schiller (1981). “On the naive and sentimental in literature”

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• For me, the measure of a poem is the word, not the line.

  John Kinsella

  Literature, Lines

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• The most prevalent poetic representation of contemporary experience is the mimesis of disorientation by non sequitor.

  Tony Hoagland

  Literature, Mimesis, Poetic

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• Poetry and code - and mathematics - make us read differently from other forms of writing. Written poetry makes the silent reader read three kinds of pattern at once; code moves the reader from a static to an active, interactive and looped domain; while algebraic topology allows us to read qualitative forms and their transformations.

  Stephanie Strickland

  Moving, Writing, Three

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• Interfaces called transparent allow us to interact/do what we're supposed to do without being aware of how the effects are obtained. We should perhaps speak instead about their opacity, given that we cannot see through them to the machine.

  Stephanie Strickland

  Machines, Literature, Speak

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• It is the role of the artistic coder to question the coding languages, both through self-reflection and by using them for unintended purposes. These coders introduce multiplicity where none existed and challenge definitions of intent for the entire environment of programming language, machine and system.

  Stephanie Strickland

  Reflection, Self, Challenges

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