A Quote by Ezra Pound
One discards rhyme, not because one is incapable of rhyming neat, fleet, sweet, meet, treat, eat, feet but because there are certain emotions or energies which are nor represented by the over-familiar devices or patterns.
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When people ask me, 'When are you gonna stop rhyming?' I don't know when I'm gonna stop rhyming because we all got situations. Even when I get 50 or 60 years old, if God spares my life, if I got false teeth and I'm still rhyming, I have to rhyme about that.
Emotions are not 'bad.' At the roots of our emotions are primal energies which can be put to fruitful use. Indeed...the energies of enlightenment arises from the very same natural origins as those which give rise to our everyday passions and emotions.
I’m not a woman you bring home to Mother, pick out china patterns with, or Mary forefend, breed. I’ve seen a chunk of the universe, true, but there’s still so much more to see. I doubt I’ll ever cure this wanderlust, and I’m content with dedicating my life to failing to sate it... He’s never going to sit at my feet and write me poems, which is good because I hate poetry, except dirty ones that rhyme.
People go to see Shakespeare plays over and over, not because the story is new, but because they want to see how a certain actor will perform in a role that is familiar to the audience.
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.
He's never going to sit at my feet and write me poems, which is good because I hate poetry, except dirty ones that rhyme.
When I start to write a song, I initially fall into patterns and creative habits that are familiar, and because they're familiar, they sound convincing. It's important for me to not pursue those ideas, because I've already done them, but to find ideas that are different and feel strange to write and disconcerting to write.
Tis a morning pure and sweet, And a dewy splendour falls On the little flower that clings To the turrets and the walls; 'Tis a morning pure and sweet, And the light and shadow fleet; She is walking in the meadow, And the woodland echo rings; In a moment we shall meet; She is singing in the meadow, And the rivulet at her feet Ripples on in light and shadow To the ballad that she sings.
In Fleet Street, in Fleet Street, the People are so fleet, They barely touch the cobble-stones with their nimble feet!
I love poetry. I love rhyming. Do you know, there are poets who don't rhyme? Shakespeare did not rhyme most of the time, and that's why I do not like him.
Standing, with reluctant feet, Where the brook and river meet, Womanhood and childhood fleet!
I think we're often guilty of gravitating towards the familiar. Even if we recognize that certain patterns are unsatisfying and destructive, there can still be a comfort in the familiar recognition of a cycle repeating itself.
The criminal law needs to be improved to meet new forms of crime, but to denounce financial devices which are useful and legitimate because use is made of them for fraud, is ridiculous and unworthy of the age in which we live.
Coming to WWE, where they treat the talent a certain way, I really gravitated toward Bellator because you saw the trend in fighters wanting to go over there because they were getting better deals and getting more freedom with it.
Do you eat chicken because you are familiar with the scientific literature on them and have decided that their suffering doesn't matter, or do you do it because it tastes good?
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
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