A Quote by Diane Ackerman

A poem records emotions and moods that lie beyond normal language, that can only be patched together and hinted at metaphorically. — © Diane Ackerman
A poem records emotions and moods that lie beyond normal language, that can only be patched together and hinted at metaphorically.
There are worlds of experience beyond the world of the aggressive man, beyond history, and beyond science. The moods and qualities of nature and the revelations of great art are equally difficult to define; we can grasp them only in the depths of our perceptive spirit.
The poem is not only the point of origin for all the language and narrative arts, the poem returns us to the very social function of art as such.
I am president and do not have the right to give in to emotions. I have bad moods, very bad moods, but I never feel despair.
Lacking a shared language, emotions are perhaps our most effective means of cross-species communication. We can share our emotions, we can understand the language of feelings, and that's why we form deep and enduring social bonds with many other beings. Emotions are the glue that binds.
The very term ['mental disease'] is nonsensical, a semantic mistake. The two words cannot go together except metaphorically; you can no more have a mental 'disease' than you can have a purple idea or a wise space". Similarly, there can no more be a "mental illness" than there can be a "moral illness." The words "mental" and "illness" do not go together logically. Mental "illness" does not exist, and neither does mental "health." These terms indicate only approval or disapproval of some aspect of a person's mentality (thinking, emotions, or behavior).
There are only two emotions: love and fear. All positive emotions come from love, all negative emotions from fear. From love flows happiness, contentment, peace, and joy. From fear comes anger, hate, anxiety and guilt. It's true that there are only two primary emotions, love and fear. But it's more accurate to say that there is only love or fear, for we cannot feel these two emotions together, at exactly the same time. They're opposites. If we're in fear, we are not in a place of love. When we're in a place of love, we cannot be in a place of fear.
There are powerful emotions that bring two people together in wonderful harmony in a marriage. Satan knows this, and would tempt you to try these emotions outside of marriage. Do not stir emotions meant to be used only in marriage.
You must believe: a poem is a holy thing - a good poem, that is. The poem, even a short time after being written, seems no miracle; unwritten, it seems something beyond the capacity of the gods.
It's when you begin to lie to yourself in a poem in order to simply make a poem, that you fail.
I also like different records of mine for creative purposes and metaphorically wise.
When I could no longer cling to my normal supports I discovered that true support and real safety lie far beyond the structures of our world.
We are now beyond nature's normal variation in terms of how the atmosphere is composed. Nature did something for a million years. It actually goes back a lot further than that, but the ice core records show a million years. So, nature has this normal oscillation within this zone, and all of a sudden, we're forty percent outside that zone.
I wouldn't say that my emotions are extreme. I'd say they are committed. My moods are the equivalent of Madonna's dancing: inappropriate but all-out. If I'm going to be sad, I might as well be the saddest a girl can get. And if I'm happy, I want to be the happiest. The trouble is, I feel highs so ecstatic that just being normal feels like a thousand-mile drop and being unhappy is excruciating.
Poetry is a really helpful instrument. It's so physical; the musicality becomes a sort of expression of the body. The mind is there too, in the formal aspects of the poem. The emotions are there in the way the senses gather things into the poem.
And at least in poetry you should feel free to lie. That is, not to lie, but to imagine what you want, to follow the direction of the poem.
A lost trail always extends beyond the evidence, and even the trails we find are only fragments of the trails that lie beyond our comprehension.
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