A Quote by E. B. White

A poem compresses much in a small space and adds music, thus heightening its meaning. — © E. B. White
A poem compresses much in a small space and adds music, thus heightening its meaning.
A poem compresses much in a small space and adds music, thus heightening its meaning. The city is like poetry: it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines. The island of Manhattan is without any doubt the greatest human concentrate on earth, the poem whose magic is comprehensible to millions of permanent residents but whose full meaning will always remain elusive.
The city is like poetry; it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines.
The writer's job, after all, is not to dictate meaning, but to give the reader enough pieces to create his or her own satisfying meaning. The story is truly finished—and meaning is made—not when the author adds the last period, but when the reader enters the story and fills that little ambiguous space, completing the circuit, letting the power flow through.
Often when I write poetry I don't quite know what I'm saying myself. I mean, I can't restate the poem. The meaning of the poem is the poem.
I want to reiterate that my understanding of the poem is not the poem's core, true meaning. Once a poem goes out into the world, the poet is just one more reader.
There is a beautiful expression of this in the Chandogya Upanishad: 'There is this City of Brahman, (that is the body), and in this city there is a shrine, and in that shrine there is a small lotus, and in that lotus there is a small space, (akasa). Now what exists within that small space, that is to be sought, that is to be understood.' This is the great discovery of the Upanishads, this inner shrine, this guha, or cave of the heart, where the inner meaning of life, of all human existence, is to be found.
In its beginnings, music was merely chamber music, meant to be listened to in a small space by a small audience.
I want each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.
There's always an added element of a poem when it's read aloud because then you can really hear the rhythm, and the cadence, and even the pronunciation sometimes adds another layer to the poem.
It has a double meaning - the superabundance also means the space around, the incomparable massiveness of things, and how there's not much of a discrepancy between the tiniest microbe and the supercluster: the small and the infinite are inseparable.
...a good poem contains both meaning and music
the truth of a poem is its form and its content, its music and its meaning are the same.
The bigness of the world is redemption. Despair compresses you into a small space, and a depression is literally a hollow in the ground. To dig deeper into the self, to go underground, is sometimes necessary, but so is the other route of getting out of yourself, into the larger world, into the openness in which you need not clutch your story and your troubles so tightly to your chest.
Writing a poem is making music with words and space.
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.
We live in a society of triviality, and my music and what I'm about kind of starts to break that mold and adds more meaning and dialogue to hip hop.
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