A Quote by Emily Dickinson

I dwell in possibilities... a fairer house than prose. — © Emily Dickinson
I dwell in possibilities... a fairer house than prose.
I dwell in Possibility A fairer house than Prose More numerous of Windows Superior — for Doors.
I dwell in Possibility A fairer House than Prose More numerous of Windows Superior--for Doors Of Chambers as the Cedars Impregnable of Eye And for an Everlasting Roof The Gambrels of the Sky Of Visitors--the fairest For Occupation--This The spreading wide my narrow Hands To gather Paradise
How can God stoop lower than to come and dwell with a poor humble soul? Which is more than if he had said, such a one should dwell with him; for a beggar to live at court is not so much as the king to dwell with him in his cottage.
I dwell in possibilities .
There's nothing ill can dwell in such a temple. If the ill spirit have so fair a house, Good things will strive to dwell with't
Thinking of possibilities is like driving a car on a freeway. You have an open road that stretches endlessly before you where your thoughts are not shackled. But when we say 'impossible,' we have already reached a dead-end in our minds. So dwell on possibilities to open up your horizon.
But when you dwell in a house you mislike, you will look out of a window a deal more than those that are content with their dwelling.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
In his eyes I saw all the other possibilities. The dream-world possibilities. The fairytale possibilities. The seemingly impossible possibilities.
In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can’t pick up a page. All the words slide off.
Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.
I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.
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.
To my mind, most prose poems are more prose than poetry. They don't possess most of the qualities of a poem.
There are days when any electrical appliance in the house, including the vacuum cleaner, seems to offer more entertainment possibilities than the television set.
MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.
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