A Quote by Thom Gunn

I work best in rhyme and meter. I was most confident of myself in that way. — © Thom Gunn
I work best in rhyme and meter. I was most confident of myself in that way.
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.
The most challenging aspect of the decathlon is not the events themselves, but how you train to become the best 100-meter runner you are on the same day that you're the best 1,500-meter runner.
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.
Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose.
Rhyme and meter force gaps in meaning so the muse can enter.
[Rhyme is] but the invention of a barbarous age, to set off wretched matter and lame Meter; ... Not without cause therefore some both Italian and Spanish poets of prime note have rejected rhyme, ... as have also long since our best English tragedies, as... trivial and of no true musical delight; which [truly] consists only in apt numbers, fit quantity of syllables, and the sense variously drawn out from one verse into another, not in the jingling sound of like endings, a fault avoided by the learned ancients both in poetry and all good oratory.
As a writer given to the old formalities of rhyme and meter, I sometimes feel endangered these days.
The word "Verse" is used here as the term most convenient for expressing, and without pedantry, all that is involved in the consideration of rhythm, rhyme, meter, and versification... the subject is exceedingly simple; one tenth of it, possibly may be called ethical; nine tenths, however, appertains to the mathematics.
You might think the thinner version of yourself is going to be the most positive or confident, but that's not how it is for me. When I'm over 200 pounds, that's when I'm the most confident version of myself.
My favorite piece of tech gear is my SRM power meter. It's the most accurate power meter on the market.
Don't be married to a line or verse if it can't rhyme, fit the meter, or doesn't fit the outline.
Rhyme, that enslaved queen, that supreme charm of our poetry, that creator of our meter.
When I began rapping, I only had one form at my disposal. All I had, all I needed was a rhyme verse; sixteen bar, thirty-two bar, whatever it was. If I had an idea it came out as a rhyme. When I challenged myself to think beyond that, my first thing other than a rhyme that I wrote was a play.
I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.
I want to prove that if you write in strict meter and rhyme about subjects people care about, they will buy poetry.
Some rhyme a neebor's name to lash; Some rhyme (vain thought!) for needfu' cash; Some rhyme to court the countra clash, An' raise a din; For me, an aim I never fash; I rhyme for fun.
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