A Quote by Vikram Seth
You have to learn a few things, which you do along the way, but basically, poetry is a matter of the ear. Iambic pentameters or what constitutes a stanza comes naturally - your ears will know.
Related Quotes
My third day playing saxophone, I was in front of a congregation. I still didn't know the names of all the notes. I was playing by ear, following along, but it was such an encouraging environment, I couldn't fail. It was all, 'Yeah baby, you sound real good' no matter what you play. It was a great way to learn.
Even though poetry was written for the 'minds ear' as well as the physical ear, the minds ear can be trained only by the other ... which comes back to reading poetry aloud.
I think that happens for a lot of people, they have this idea that there's only one type of way to write poetry and that you have to have this information. You have to know about meter, you have to know about form, you have to know about iambic pentameter, and all of that.
The Italian word 'stanza' means 'a room', and a room is a good way to conceive of a stanza. A room, generally speaking, is sufficient for its own purposes, but it does not constitute a house. A stanza has the same sense of containment, without being complete or independent.
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.
Poetry isn't written from the idea down. It's written from
the phrase, line and stanza up, which is different from
what your teacher taught you to do in school.
There's this biological association, when you do this movement, these things happen, and you're basically trying to rewire this 4-billion-year-old reflexive circuitry, which for me can be challenging if I don't really focus. It's the one of the few times as an actor where you are basically showing something with your body and your face that's completely different than what's going on in your mind.
One of the things that distinguishes poetry from ordinary speech is that in a very few number of words, poetry captures some kind of deep feeling, and rhythm is the way to get there. Rhythm is the way the poetry carries itself.
My feeling is that poetry is also a healing process, and then when a person tries to write poetry with depth or beauty, he will find himself guided along paths which will heal him, and this is more important, actually, than any of the poetry he writes.
I think the media in America have been absolutely fantastic about the rise of Trump, they've kept a firm eye on the ball: this constitutes democracy, this constitutes transparency, this constitutes fairness, this constitutes the way to behave in a civic society, this constitutes fascism, this constitutes authoritarianism. They're drawing that line, and they're calling him out every time. That's really what needs to happen, and you just have to do that.
When you think intensely and beautifully, something happens. That something is called poetry. If you think that way and speak at the same time, poetry gets in your mouth. If people hear you, it gets in their ears. If you think that way and write at the same time, then poetry gets written. But poetry exists in any case. The question is only: are you going to take part, and if so, how?
Your face will freeze like that, you know, Kat," Raffin said helpfully to Katsa. "Maybe I should rearrange your face, Raff," said Katsa. "I should like smaller ears," Raffin offered. "Prince Raffin has nice, handsome ears," Helda said, not looking up from her knitting. "As will his children. Your children will have no ears at all, My Lady," she said sternly to Katsa. Katsa stared back at her, flabbergasted. "I believe it's more that her ears won't have children," began Raffin, "which, you'll agree, sounds much less—
BLANK-VERSE, n. Unrhymed iambic pentameters - the most difficult kind of English verse to write acceptably; a kind, therefore, much affected by those who cannot acceptably write any kind.
I have these huge, pointed ears. They're like three times the size of Orlando Bloom's ears. And I think he has ear envy, I love my ears.
To succeed in this new world, we will have to learn, first, who we are. Few people, even highly successful people, can answer the questions, Do you know what you're good at? Do you know what you need to learn so that you get the full benefit of your strengths? Few have even asked themselves these questions.
I've been naturally quick at learning things, and I learn by doing things, so if I sit beside someone who is actively doing something, I look at how they do it and absorb the way in which they do something and find my own comfortable way of reimagining that, or using certain techniques in my own way.
Related Authors
Charles Bukowski Quotes
American
Novelist
Charles Dickens Quotes
English
Novelist
Chuck Palahniuk Quotes
American
Novelist
Ernest Hemingway Quotes
American
Novelist
George Eliot Quotes
British
Novelist
George Orwell Quotes
British
Novelist
George R. R. Martin Quotes
American
Novelist
Jane Austen Quotes
British
Novelist
Johann Wolfgang von Goethe Quotes
German
Novelist
Margaret Atwood Quotes
Canadian
Novelist
Nicholas Sparks Quotes
American
Novelist
Paulo Coelho Quotes
Brazilian
Novelist
Sarah Dessen Quotes
American
Novelist
Stephenie Meyer Quotes
American
Novelist
Veronica Roth Quotes
American
Novelist
Victor Hugo Quotes
French
Novelist