A Quote by Tom Stoppard
He says his aim is poetry. One does not aim at poetry with pistols. At poets, perhaps.
Related Quotes
What poetry does above all else is develop sensibility. And that's what makes poetry so dangerous. That's why poetry is so good at undermining governments and so bad at building them. There's nothing harder to organize than a group of poets.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
The aim of science is to make difficult things understandable in a simpler way; the aim of poetry is to state simple things in an incomprehensible way. The two are incompatible.
There's poetry in the world. Poetry doesn't belong just to the poets. You know, you can look at the most premeditated, cold blooded movie and find poetry in it.
There's a sameness about American poetry that I don't
think represents the whole people. It represents a poetry
of the moment, a poetry of evasion, and I have problems
with this. I believe poetry has always been political, long
before poets had to deal with the page and white
space . . . it's natural.
Don't fall victim to what I call the ready-aim-aim-aim-aim syndrome. You must be willing to fire.
Poetry was syllable and rhythm. Poetry was the measurement of breath. Poetry was time make audible. Poetry evoked the present moment; poetry was the antidote to history. Poetry was language free from habit.
The aim of the missionary is to do God's will, not to be useful, not to win the heathan; he is useful and does win the heathen, but that is not his aim. His aim is to do the will of his Lord.
I didn't ever consider poetry the province exclusively of English and American literature and I discovered a great amount in reading Polish poetry and other Eastern European poetry and reading Russian poetry and reading Latin American and Spanish poetry and I've always found models in those other poetries of poets who could help me on my path.
There's no difference between lyrics and poetry. Words are words. The only difference is the people who are in academic positions and call themselves poets and have an academic stance. They've got something to lose if they say it's all poetry; if there's not music to it, and you have to wear a certain kind of checkered shirt or something like that. It's all the same. Lyrics are lyrics, poetry is poetry, lyrics are poetry, and poetry is lyrics. They are interchangeable to me.
Poets are excellent students of blizzards and salt and broken statuary, but they are always elsewhere for the test. Any intention in the writing of poetry besides the aim to make a poem, of engaging the materials, SHOULD be disappointed. If the poet does not have the chutzpah to jeopardize habituated assumptions and practices, what will be produced will be sleep without dream, a copy of a copy of a copy.
It is a mistake to suppose, with some philosophers of aesthetics, that art and poetry aim to deal with the general and the abstract. This misconception has been foisted upon us by mediaeval logic. Art and poetry deal with the concrete of nature, not with separate 'particulars,' for such rows do not exist.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.
Be willing to make decisions. That's the most important quality in a good leader. Don't fall victim to what I call the 'ready-aim-aim-aim-aim syndrome'. You must be willing to fire.
It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.
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