A Quote by Vladimir Mayakovsky

A line is a fuse that's lit. The line smolders, the rhyme explodes— and by a stanza a city is blown to bits. — © Vladimir Mayakovsky
A line is a fuse that's lit. The line smolders, the rhyme explodes— and by a stanza a city is blown to bits.
In our language rhyme is a barrel. A barrel of dynamite. The line is a fuse. The line smoulders to the end and explodes; and the town is blown sky-high in a stanza.
Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
I'd love to have a shoe line, or a sunglasses line, or a purse line. Who am I kidding, I'd like to have an everything line!
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God.
In 1967, in DeKalb v. DeSpain, a court (255 F.Supp. 655. N.D.Ill. 1966.) took a 4-line nursery rhyme used by a K-5 kindergarten class and declared the nursery rhyme unconstitutional. The court explained that although the word 'God' was not contained in this nursery rhyme, if someone were to hear the rhyme, he might think that it was talking about God - and that would be unconstitutional!
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 issues that we face as a country and in South Florida aren't broken down by city line or county line.
The straight line is godless and immoral. The straight line is not a creative line, it is a duplicating line, an imitating line.
It's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.
I started as a fourth-line fighter, went to being a third-line centre, then a second-line winger and a first-line centre. I've played every role there is, and the only thing that matters is helping the team win.
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.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
I don't see that a single line can constitute a stanza, although it can constitute a whole poem.
This is the line of life, this is the line of growth, and this is the line of well-being in India - to follow the track of religion.
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