A Quote by George Steiner
The private reader of listener can become an executant of felt meaning when he learns the poem or the musical passage by heart. To learn by heart is to afford the text or music an indwelling clarity and life-force.
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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.
A poem, necessarily, sits at a register that's different from our usual conversational voices. You have to listen more actively to get to the heart of what's being said, what you as a reader or listener are being asked to feel or notice.
By clarity I don't mean that we're always in kind of a simple area where everything is clear and comforting and understood. Clarity is certainly a way toward disorientation because if you don't start out - if the reader isn't grounded, if the reader is disoriented in the beginning of the poem, then the reader can't be led astray or disoriented later.
We speak of memorizing as getting something 'by heart,' which really means 'by head.' But getting a poem or prose passage truly 'by heart' implies getting it by mind and memory and understanding and delight.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone.
There are three things, after all, that a poem must reach: the eye, the ear, and what we may call the heart or the mind. It is the most important of all to reach the heart of the reader.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
A poem is what the reader lives through under the guidance of the text and experiences as relevant to the text.
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.
Whenever I read a poem that moves me, I know I'm not alone in the world. I feel a connection to the person who wrote it, knowing that he or she has gone through something similar to what I've experienced, or felt something like what I have felt. And their poem gives me hope and courage, because I know that they survived, that their life force was strong enough to turn experience into words and shape it into meaning and then bring it toward me to share.
To me, soul music is anything that is made from the heart, and therefore moves the listener; it's not overly self-aware, and leaves room for the listener to make their own conclusions.
So we start with an oversignifying reader. Those texts that appear to reward this reader for this additional investment - text that we find exceptionally suggestive, apposite, or musical - are usually adjudged to be 'poetic'. ... The work of the poet is to contribute a text that will firstly invite such a reading; and secondly reward such a reading.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
When you are aware that you are the force that is Life, anything is possible. Miracles happen all the time, because those miracles are performed by the heart. The heart is in direct communion with the human soul, and when the heart speaks, even with the resistance of the head, something inside you changes; your heart opens another heart, and true love is possible.
The most important tribute any human being can pay to a poem or a piece of prose he or she really loves is to learn it by heart. Not by brain, by heart; the expression is vital.
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