A Quote by Charles Baudelaire

Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness.
Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.
The music I desire must be supple enough to adapt itself to the lyrical effusions of the soul and the fantasy of dreams.
To write rhythmic prose one must go deep into oneself and find the anonymous and multiple rhythm of the blood. Prose needs to be built like a cathedral. There, one is truly without a name, without ambition, without help; on scaffoldings, alone with one's consciousness.
I'm selling my soul to Hollywood Records. I love you like a love song baby, a sinful, miracle, lyrical. He ate my soul. He's Lucifer. I'm torn I'm selling my soul to the rhythm because I'm become so possessed with the music he plays. I chose a path and I'm not looking back.
Dreams are imperfections of sleep; even so is consciousness the imperfection of waking. Dreams are impurities in the circulation of the blood; even so it's consciousness a disorder of life. Dreams are without proportion, without good sense, without truth; so also is consciousness. Awake from dream, the truth is known: awake from waking. The truth is: The Unknown
Rhyme to kill, rhyme to murder, rhyme to stomp, Rhyme to ill, rhyme to romp, Rhyme to smack, rhyme to shock, rhyme to roll, Rhyme to destroy anything, toy boy. On the microphone: I'm Poppa Large, big shot on the East Coast.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Disgrace is a subtle, multi-layered story, as much concerned with politics as it is with the itch of male flesh. Coetzee's prose is chaste and lyrical without being self- conscious: it is a relief to encounter writing as quietly stylish as this. I was not totally convinced by Lurie's musical abilities, with regard to his proposed opera, but that is my sole complaint.
I've already written 300 space poems. But I look upon my ultimate form as being a poetic prose. When you read it, it appears to be prose, but within the prose you have embedded the techniques of poetry.
The harmony of the universe knows only one musical form - the legato; while the symphony of number knows only its opposite - the staccato. All attempts to reconcile this discrepancy are based on the hope that an accelerated staccato may appear to our senses as a legato.
Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame
To me, poetry is a recreation, a renewal of language... The subtlety of what words mean and the fact that you write something and all of a sudden you'll realize that "yes, it reaches out. It meant that, too." Then all of a sudden you'll get a rhyme and the rhyme will throw up a whole new way of looking at things. It's this relationship that you never dreamed of.
That prose is a verse, and verse is a prose; convincing all, by demonstrating plain – poetic souls delight in prose insane
We have dreamt of every woman there is, and dreamt too of the miracle that would bring us the pleasure of being a woman, for women have all the qualities - courage, passion, the capacity to love, cunning - whereas all our imagination can do is naively pile up the illusion of courage.
The old prose writers wrote as if they were speaking to an audience; while, among us, prose is invariably written for the eye alone.
I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.
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