A Quote by Paul Valery
...in song the words tend to lose their significance, do often lose it, while at the other extreme, in current prose it is the musical value that tends to disappear - so that verse stands symmetrically, as it were, between song, on the one hand, and prose on the other - and is thus admirably and delicately balanced between the sensual and the intellectual power of language.
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That prose is a verse, and verse is a prose; convincing all, by demonstrating plain – poetic souls delight in prose insane
I'm often a little perplexed, when I read a review of a book, by the quotes that are pulled out as evidence of excellent prose. I don't think great novels are necessarily composed of great prose, or that there's a correlation between beautiful prose and the quality of a work of fiction. A really good, interesting novel will often let a little ugliness get into its words - to create a certain effect, to leave the reader with a certain sense of disorientation.
My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself.
The simple Wordsworth . . . / Who, both by precept and example, shows / That prose is verse, and verse is merely prose.
In the French language, there is a great gulf between prose and poetry; in English, there is hardly any difference. It is a splendid privilege of the great literary languages Greek, Latin, and French that they possess a prose. English has not this privilege. There is no prose in English.
Prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose.
The definition of good prose is proper words in their proper places; of good verse, the most proper words in their proper places.The propriety is in either case relative. The words in prose ought to express the intended meaning, and no more; if they attract attention to themselves, it is, in general, a fault.
You don't have to be as good a writer to write a song; it's a very different process to writing straight prose. To learn how to write prose takes a lot of years of practice.
I mean there's no other feeling than when you hear a great hip-hop song. You feel good. If you lose that as an artist, you lose a part of your passion.
The old prose writers wrote as if they were speaking to an audience; while, among us, prose is invariably written for the eye alone.
Everything that's prose isn't verse and everything that isn't verse is prose. Now you see what it is to be a scholar!
This was the first time that he has ever looked into the labyrinth of the human soul. He was very far from understanding what he saw. But what was of more value, he felt and suffered with her. In years that were yet to come, he relived this memory in song, in the most beautiful song this world has known. For the understanding of the soul's defencelessness, of the conflict between the two poles, is not the source of the greatest song. The source of the greatest song is sympathy.
I often encountered books by academics and others who had not actually done what they had written about. They tend to create artificial simplicity; their prose doesn't have the vigor of "lived words." On the other hand, many practitioners lack the context or introspection to make their experiences and understandings transferable - and, in our time, many don't actually write the books they "author." My ideal is to unify theory and practice.
Prose is like this big block - you write big paragraphs. I feel that when I'm reading and writing, that a prose book is kind of monolithic. But a song is more like a feather or something.
I do love writing prose interspersed with the poetry of other people. Their rhythms break into my prose and create a connection.
Prose-it might be speculated-is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard. The one is presumably articulate and social, a shared language, the voice of "communication"; the other is private, allusive, teasing, sly, idiosyncratic as the spider's delicate web, a kind of witchcraft unfathomable to ordinary minds.
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