Quotes About Poem

What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up

A poem is a flexible thing, and a poem is a poem.

Theology is-- or should be-- a species of poetry,which read quickly or encountered in a hubbub of noise makes no sense. You have to open yourself to a poem with a quiet, receptive mind, in the same way you might listen to a difficult piece of music... If you seize upon a poem and try to extort its meaning before you are ready, it remains opaque. If you bring your own personal agenda to bear upon it, the poem will close upon itself like a clam, because you have denied its unique and separate identity, its inviolate holiness.

To declaim freedom verses seems like a poem within a poem; freedom requires guns, it requires arms, but no feet.

A good athlete can enter a state of body-awareness in which the right stroke or the right movement happens by itself, effortlessly, without any interference of the conscious will. This is a paradigm for non-action: the purest and most effective form of action. The game plays the game; the poem writes the poem; we can't tell the dancer from the dance. It happens when we trust the intelligence of the universe in the same way that an athlete or a dancer trusts the superior intelligence of the body.

I don't know what started me, I just wrote poetry from the time was quite small. I guess I liked nursery rhymes and I guess I thought I could do the same thing. I wrote my first poem, my first published poem, when I was eight-and-a-half years old. It came out in The Boston Traveller and from then on, I suppose, I've been a bit of a professional.

Let us dismiss, as irrelevant to the poem per se, the circumstance ... which, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.

If I thought that any poem of mine could have been written by anyone else, either a contemporary or a forerunner, I should suppress it with a blush; and I should do the same if I ever found I were imitating myself. Every poem should be new, unexpected, inimitable, and incapable of being parodied.

I hope to go into a poem sober and come out a little drunk. And if I do then that's a real poem.

I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.

Anything Can Happen is also, incidentally, a poem that arose from teaching. I'd talked about the Horace Ode (I, 34) [on which the poem is based] in a lecture I gave at Harvard in the fall of 2000 entitled Bright Boltsand remembered it after the Twin Towers attack.

I can't tell you where a poem comes from, what it is, or what it is for: nor can any other man. The reason I can't tell you is that the purpose of a poem is to go past telling, to be recognised by burning.

The poet must not only write the poem but must scrutinize the world intensely, or anyway that part of the world he or she has taken for subject. If the poem is thin, it is likely so not because the poet does not know enough words, but because he or she has not stood long enough among the flowers--has not seen them in any fresh, exciting, and valid way.

It is worthwhile adding that the power of the poem to teach not only sensibilities and the subtle movements of the spirit but knowledge, real lasting felt knowledge, is going mostly unnoticed among our scholars. The body of knowledge locked into and releasable from poetry can replace practically any university in the Republic. First things first, then: the primal importance of a poem is what it can add to the individual mind.Poetry is the voice of a poet at its birth, and the voice of a people in its ultimate fulfillment as a successful and useful work of art.

My theory is that poems are written because of a state of emotional irritation. It may be present for some time before the poet is conscious of what is tormenting him. The emotional irritation springs, probably, from subconscious combinations of partly forgotten thoughts and feelings. Coming together, like electrical currents in a thunder storm, they produce a poem. ... the poem is written to free the poet from an emotional burden.

I find myself absolutely fulfilled when I have written a poem, when I'm writing one. Having written one, then you fall away very rapidly from having been a poet to becoming a sort of poet in rest, which isn't the same thing at all. But I think the actual experience of writing a poem is a magnificent one.

Readers have to be sought out and won to the light of the page, poem by poem, one by one by one.

As a poet I would say everything should be able to come into a poem but I can't put toothbrushes in a poem. I really can't.

Write the poem only you can write.

When we have read a book or poem so often that we can no longer find any amusement in reading it by ourselves, we can still take pleasure in reading it to a companion. To him it has all the graces of novelty.

One must write poetry in such as way that if one threw the poem in a window, the pane would break.

Ordering a man to write a poem is like commanding a pregnant woman to give birth to a red-headed child.

To me, a poem is almost like someone whispering to another person, or you hear the whispering in your head. I hope with my own poems that the reader feels a connection, soul to soul, that'll help us all feel a little less alone on the planet. And it does have the power to direct change. A writer can make the word 'dark' be something positive. You can relieve a word like 'hysterical' of its misogynistic implications. You can make the language your own. That's what poetry is about.

Yes, there is a Nirvanah; it is leading your sheep to a green pasture, and in putting your child to sleep, and in writing the last line of your poem

So much of our lives depends on accidents of birth, time, and geography. This haunts me. In some lives, few "or"s are possible. The pain of that is behind the second stanza of this poem.

[Kenneth Koch] taught children in public schools in New York City to write poems and told them down worry about rhyming, don't worry about any of that stuff. You know, write a poem where you mention three colors and make it five lines - or he would just give them, you know, little strategies. And, man, they wrote some great poems.

So writing about love or having it infuse the poems that I'm writing has never been something I've set myself to do, except when I write a poem for my wife, for an occasion, such as our anniversary.

And for the authentical truth of either person or actions, who (worth the respecting) will expect it in a poem, whose subject is not truth, but things like truth? Poor envious souls they are that cavil at truth's want in these natural fictions; material instruction, elegant and sententious excitation to virtue, and deflection from her contrary, being the soul, limbs, and limits of an authentical tragedy.

I wasn't quite used to writing a diary - I didn't understand why people did it - but I wrote down notes and they went into a poem.

I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.

This is a city of absolute enchantment in the literal sense of the word. It loosens all the bonds binding the traveller to his own age and sets him free to live in a past that is vital and crude but never ugly. Herat is as old as history and as moving as a great epic poem - if Afghanistan had nothing else it would have been worth coming to experience this.

Art is a luxury. It's not necessary for you to - you can work your job and you can make some money and never know who Walt Whitman was, and never read a poem.

There are different gradations of personhood in different poems. Some of them seem far away from me and some up close, and the up-close ones generally don't say what I want them to say. And that's true of the persona in the poem who's lamenting this as a fact of a certain stage of life. But it's also true of me as me.

There are some situations which men understand by instinct, by which reason is powerless to explain; in such cases the greatest poet is he who gives utterance to the most natural and vehement outburst of sorrow. Those who hear the bitter cry are as much impressed as if they listened to an entire poem, and when th sufferer is sincere they are right in regarding his outburst as sublime.

Poetry is not a silent art. The poem must perform, unaided, in its reader's head. Educated readers give themselves a good performance. Educated listeners compare performance with text and with other performances. Good poets use the full resources of language.

The progress of our soul is like a perfect poem. It has an infinite idea which, once realised, makes all movements full of meaning and joy.

And your eyes must do some raining if you're ever gonna grow / When crying don't help, you can't compose yourself / It's best to compose a poem, an honest verse of longing / Or a simple song of hope.

I visited Paterson many years ago - 20 some years ago as a kind of day trip because of William Carlos Williams, because of Allen Ginsberg having lived there. And I went to the Great Falls and sat really in the exact same spot as Adam Driver does as Paterson. And I walked around the factory buildings, and I was rereading - I was reading at the time the epic length poem "Paterson" by Williams.

For me, the Bild-Dichtung [image-poem] is the ideal form, because the drawing process is constantly being interrupted or contrasted by the writing. And since I always have something to say when I am writing, the effort has a balancing effect. Drawing and writing are wonderful complements.

The poem has to bear the weight with image, language... the screenplay with dialogue, plot.

One ambition of poetry, certainly, is to create a reverberant silence in its wake, one that means more or differently than the silence that preceded the poem.

As writers we live life twice, like a cow that eats its food once and then regurgitates it to chew and digest it again. We have a second chance at biting into our experience and examining it. ...This is our life and it's not going to last forever. There isn't time to talk about someday writing that short story or poem or novel. Slow down now, touch what is around you, and out of care and compassion for each moment and detail, put pen to paper and begin to write.

No other human being, no woman, no poem or music, book or painting can replace alcohol in its power to give man the illusion of real creation.

Around the time of the Terran Caesar Augustus, a Martian artist had been composing a work of art. It could have been called a poem, a musical opus, or a philosophical treatise; it was a series of emotions arranged in tragic, logical necessity. Since it could be experienced by a human only in the sense in which a man blind from birth might have a sunset explained to him, it does not matter which category it be assigned.

Style is not something applied. It is something that permeates. It is of the nature of that in which it is found, whether the poem, the manner of a god, the bearing of a man. It is not a dress.

I don't see why a poem couldn't be spoken out a car window or written on the beach at low tide. In fact, I'm sure people are doing it.

I think it was Roger Fry who first coined what he took to be a final definition of a work of art, whether it was a painting, building, poem or Hepplewhite chair. He said that the best works of art are finished products that preserve 'a valuable state of mind'.

Look, do you see that poem?' she said suddenly, pointing.