A Quote by Samuel Ervin Beam

I try to use a poetic language more than talk about my feelings, but it is married to the music. — © Samuel Ervin Beam
I try to use a poetic language more than talk about my feelings, but it is married to the music.
I can't use logic concerning my feelings, my feelings demand musical notes, violins, guitar solos, the stomping of feet, poetic language, metaphors, poetic lines about birds or deserts or tree-crowded forests.
When we talk about music, we talk about our reaction to it. One person might say that music is so poetic, while another says it's all mathematics. Yet another might say it's about sensuality, and so on. That's all true. But music is not just one of these things. It's everything all at once.
Fiction writers learn about the development of metaphor, the use of rhythm, the way that language is compacted in order to express the feelings of - express their own feelings and the feelings of their characters.
Poetic language features an iconic rather than a predominantly conventional relationship of form and content in which all language (and cultural) elements, variant as well as invariant, may be involved in the expression of the content.", "Analysis of the Poetic Text.
Naturally, no one knows more about music than musicians. They talk about their own work all the time, but they rarely get to talk about other people's music.
I think the best writers use the language they use every day when they talk to friends. When we talk to each other, we tend to talk in short grabs rather than in long flowing sentences. I think that's not a bad way to write.
Music is the unspoken language that can convey feelings more accurately than talking ever could.
Poetry is so close to music, not just in cadence and sound but in silences. That's why, to me, I can't talk about prose poems. I can talk about poetic prose.
I think there's a part of us that would like to use the fact that we're married, but you don't want the idea that we're married to overshadow the project itself.We're just looking for something that's so specific and good that it becomes a part of the story of why we did it rather than when we go to do press it's, 'Oh, my God, you're married and that's the only thing we want to talk about.' If we can merge both, that could be great.
The poetic impulse is distinct from ideas about things or feelings about things, though it may use these. It's more like a desire to separate a piece of one's experience & set it up on its own, an isolated object never to trouble you again, at least not for a bit. In the absence of this impulse nothing stirs.
I am the ambassador to the world. I use music to talk to the world - to try to unite masses. To try to spark conversations. To try and evoke legislation to change that'll really be for the people. That's behind-the-scenes kind of thing for me. And that's what the music is for me.
The ambiguity of poetic language answers to the ambiguity of human life as a whole, and therein lies its unique value. All interpretations of poetic language only interpret what the poetry has already interpreted.
As I listen to the silence, I learn that my feelings about art and my feelings about the Creator of the Universe are inseparable. To try to talk about art and about Christianity is for me one and the same thing, and it means attempting to share the meaning of my life, what gives it, for me, its tragedy and its glory.
Politically, I don't care what party you're from, offer a point of view and let's see what happens and really debate the issues rather than use personal attacks. Really talk about it, talk about immigration, talk about education, talk about pollution.
I try to make the voice in my head come out onto the page. I try to make it much more conversational than other writing. I speak everything, so if something sounds right I write it. It's more about sound and the rhythm of speech than written language.
A really good stand-up comic is a poet; it's about the use of language. It can be really poetic. And I like politically conscious comedy.
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