A Quote by T. E. Hulme

A poem is good if it contains a new analogy and startles the reader out of the habit of treating words as counters. — © T. E. Hulme
A poem is good if it contains a new analogy and startles the reader out of the habit of treating words as counters.
In a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem.
The poem is not, as someone put it, deflective of entry. But the real question is, 'What happens to the reader once he or she gets inside the poem?' That's the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
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.
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.
My advice to the reader approaching a poem is to make the mind still and blank. Let the poem speak. This charged quiet mimics the blank space ringing the printed poem, the nothing out of which something takes shape.
I think it's good not to make demands on the reader too early. But as the poem goes on, I want the journey of the poem to lead into some interesting places.
Things that I have a hard time being able to fully grasp, sometimes writing the poem helps me work through it. Or I get to the end of the poem and I still haven't figured anything out, but at least I have a new poem out of it.
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
If I begin writing a poem that means I'm intrigued in some way by whatever it's about and that if I'm not trying to find something new and pushing the envelope in the poem I can't expect my reader to be particularly excited about it either.
...a good poem contains both meaning and music
A good poem is not completely a poem until it has received a critical response that grows out of the poem in an almost biological way.
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.
The idea of a poem as a message in a bottle means that it's sent out towards some future reader and the reader who opens that bottle becomes the addressee of the literary text.
The idea of a poem as a message in a bottle means that it's sent out towards some future reader, and the reader who opens that bottle becomes the addressee of the literary text.
It is absurd to think that the only way to tell if a poem is lasting is to wait and see if it lasts. The right reader of a good poem can tell the moment it strikes him that he has taken an immortal wound-that he will never get over it.
A recent government publication on the marketing of cabbage contains, according to one report, 26,941 words. It is noteworthy in this regard that the Gettysburg Address contains a mere 279 words while the Lord's Prayer comprises but 67.
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