A Quote by Thomas Gray

The language of the age is never the language of poetry, except among the French, whose verse, where the thought or image does not support it, differs in nothing from 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.
Verse in itself does not constitute poetry. Verse is only an elegant vestment for a beautiful form. Poetry can express itself in prose, but it does so more perfectly under the grace and majesty of verse. It is poetry of soul that inspires noble sentiments and noble actions as well as noble writings.
French is not a language that lends itself naturally to the opaque and ponderous idiom of nature-philosophy, and Teilhard has according resorted to the use of that tipsy, euphoristic prose-poetry which is one of the more tiresome manifestations of the French spirit.
I learned that to be amusing was not to be frivolous and that language - always the language - was the magic key as much to prose as to poetry.
We can write the new chapters in a visual language whose prose and poetry will need no translation.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
Poetry cannot be translated; and, therefore, it is the poets that preserve the languages; for we would not be at the trouble to learn a language if we could have all that is written in it just as well in a translation. But as the beauties of poetry cannot be preserved in any language except that in which it was originally written, we learn the language.
I like bringing poetry's focus on figurative language and compression into the essay. Of course, the musical properties of language, the cadence of the sentence, are really important to me in prose.
She alone dares and wishes to know from within, where she, the outcast, has never ceased to hear the resonance of fore language. She lets the other language speak - the language of 1,000 tongues which knows neither enclosure nor death. To life she refuses nothing. Her language does not contain, it carries; it does not hold back; it makes possible.
What is important-what lasts-in another language is not what is said but what is written. For the essence of an age, we look to its poetry and its prose, not its talk shows.
Since the boundary of the world of poetry is fluid, the language in it is also fluid. Hence, the language that is outside of the poetry world, namely the language that is not the language of poetry, cannot go into the poetry world.
The language of poetry is not stuck in place. Nothing can own language. I think, however, the genre of poetry itself is very feminine and motherly.
Poetry is very playful with language. I think all poetry, at its heart, is playful. It's doing unusual and playful things with the language, stirring it up. And prose is not doing that. Primarily it's not attempting to do that.
I am a guest of the French language. My poems in French are born of my interaction with the French language, which is not the same as that of a French poet.
The language of politics is poetry, not prose. Jackson is poetry. Cuomo is poetry. Dukakis is a word processor.
As a prose writer, I work with language; and those who work with language turn to poetry for renewal.
This site uses cookies to ensure you get the best experience. More info...
Got it!