I could define poetry this way: it is that which is lost out of both prose and verse in translation.
Yet, do thy worst, old Time; despite thy wrong, My love shall in my verse ever live young.
But I do not want to use Hungarian verses for British people.
We're not attacking Islam but Islam has attacked us. The God of Islam is not the same God. It's a different God, and I believe it [Islam] is a very evil and wicked religion.
I recently bought a book of free verse. For twelve dollars.
Universe is just a verse of me, I keep it generic and the niggas take it personally.
Then my verse I dishonor, my pictures despise, my person degrade and my temper chastise; and the pen is my terror, the pencil my shame; and my talents I bury, and dead is my fame.
Some people like to read so many [Bible] chapters every day. I would not dissuade them from the practice, but I would rather lay my soul asoak in half a dozen verses all day than rinse my hand in several chapters. Oh, to be bathed in a text of Scripture, and to let it be sucked up in your very soul, till it saturates your heart!
A verse from the Veda says, 'What you see, you become.' In other words, just the experience of perceiving the world makes you what you are. This is a quite literal statement.
Youth is the time to go flashing from one end of the world to the other to try the manners of different nations; to hear the chimes at midnight; to see the sunrise in town and country; to be converted at a revival; to circumnavigate the metaphysics, write halting verses, run a mile to see a fire, and wait all day long in the theatre to applaud Hernani.
And I just hope that I'm forgiven for carin bout how they livin and loanin a little money and keepin em outta prison I aint lyin in my verses, I'm just tellin you the basics of growin up wit ya friends and becomin the one that made it
Ignorance is in relationship to content; it is not just a spirit of ignorance. In verse 21 it speaks of "the truth in Jesus." Truth is content, truth has something to do with reason. Truth has something to do with the rational creature that God has made us. The dilemma here in the internal world is not just some sort of grey fog, it is in relationship to content.
Verses which do not teach men new and moving truths do not deserve to be read.
A great actor is independent of the poet, because the supreme essence of feeling does not reside in prose or in verse, but in the accent with which it is delivered.
His wet white face and miserable eyesBrought nurses to him more than groans and sighs:But hoarse and low and rapid rose and fellHis troubled voice: he did the business well.(First verse of Died of Wounds)
And ever against eating cares Lap me in soft Lydian airs, Married to immortal verse
But theological change happens though selective quoting. Every religious person does it: You quote those verses that resonate with your own religious insights and ignore or reinterpret those that undermine your certainties. Selective quoting isn't just legitimate, but essential: Religions evolve through shifts in selective quoting.
Opinions. Ideas. Possibilities. So many! How can I choose? Between bursts of lightning-swift energy, I enjoy peaceful moments when the whole world seems to be a flowing river of verse and all I have to do is learn how to swim.
But for a few phrases from his letters and an odd line or two of his verse, the poet walks gagged through his own biography.
It would be nice to abandon the verse-chorus-bridge structure completely, and make it so none of these things are definable...Make up new names for them. Instead of a bridge, you can call it a highway, or an overpass...Music should never be harmless.
Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.
I just start playing music and eventually I sing something, a line of a verse or a B section or a line of a chorus, and the line that I end up singing is related to the music I'm playing, if that makes any sense. And I go from there.
When I was writing The Satanic Verses, if you had asked me about the phenomenon that we all now know as radical Islam, I wouldn't have had much to say. As recently as the mid-1980s, it didn't seem to be a big deal.
In writing 'The Satanic Verses,' I think I was writing for the first time from the whole of myself. The English part, the Indian part. The part of me that loves London, and the part that longs for Bombay. And at my typewriter, alone, I could indulge this.
'The Satanic Verses' was denied the ordinary life of a novel. It became something smaller and uglier: an insult.
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