A Quote by Amy Lowell
Polyphonic prose is a kind of free verse, except that it is still freer. Polyphonic makes full use of cadence, rime, alliteration, assonance.
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From authors whom I read more than once I learn to value the weight of words and to delight in their meter and cadence -- in Gibbon's polyphonic counterpoint and Guedalla's command of the subjunctive, in Mailer's hyperbole and Dillard's similes, in Twain's invectives and burlesques with which he set the torch of his ferocious wit to the hospitality tents of the world's colossal humbug . . . I know no other way out of what is both the maze of the eternal present and the prison of the self except with a string of words.
Christians are a polyphonic people.
My own verse is usually free verse. The freer the better.
That prose is a verse, and verse is a prose; convincing all, by demonstrating plain – poetic souls delight in prose insane
The [guitar is the] instrument most complete and richest in its harmonic and polyphonic possibilities.
In 'Where the Air is Clear', Carlos Fuentes composed a polyphonic portrait of Mexico City amid the growth and modernization brought on by the economic boom of the 1950s. The novel can be read as a jazz interpretation - free and in a Mexican key - of John Dos Passos' 'Manhattan Transfer'.
The simple Wordsworth . . . / Who, both by precept and example, shows / That prose is verse, and verse is merely prose.
People still talk about sampling as this new, progressive problem in music. There are technologies now where you can glean the polyphonic information out of a sample and then put that back in and then score it for five instruments. You don't need digital audio to sample; you can rewrite things.
The guitar is a small orchestra. It is polyphonic. Every string is a different color, a different voice.
Polyphonic painting is superior to music in that there, the time element becomes a spatial element. The notion of simultaneity stands out even more richly.
Like many modern poets, I tend to conceal rhymes by placing them in the middle of lines, and to avoid immediate alliteration and assonance in favor of echoes placed later in the poems.
It is not just shameful for a contemporary American poet to use rhymes, it is unthinkable. It seems banal to him; he fears banality worse than anything, and therefore, he uses free verse - though free verse is no guarantee against banality.
If I can quote myself, I explained whatever it is I'm doing once for No Tell Motel, and I still think it's the clearest I've ever been about this: "I don't write free verse poems - mostly because I can't. But I am interested in the musical effects achievable with free verse."
Dinted dimpled wimpled-his mind wandered down echoing corridors of assonance and alliteration ever further and further from the point. He was enamoured with the beauty of words.
Everything that's prose isn't verse and everything that isn't verse is prose. Now you see what it is to be a scholar!
I think my prose - mine and that of others - sometimes slips into a cadence or rhythm that can replicate or come close to the music in a wonderful poem, and then it returns to the sound of prose.
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