A Quote by W. H. Auden

By mourning tongues The death of the poet was kept from his poems. — © W. H. Auden
By mourning tongues The death of the poet was kept from his poems.
Far from his illness The wolves ran on through the evergreen forests, The peasant river was untempted by the fashionable quays; By mourning tongues The death of the poet was kept from his poems.
Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
It's a big thing to call yourself a poet. All I can say is that I have always written poems. I don't think I'm interested in any discussion about whether I'm a good poet, a bad poet or a great poet. But I am sure, I want to write great poems. I think every poet should want that.
My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.
Poems are taught as though the poet has put a secret key in his words and it is the reader's job to find it. Poems are not mystery novels.
We could think or feel as we wished toward the characters, or as the poet, discounting history, invited us to; we were the poet's guest, his world was his own kingdom, reached, as one of the poems told us, through the 'Ring of Words.
The reason a poet is a poet is to write poems, not to advertise himself as a poet.
The most important part of the process of mourning is regularly reciting kaddish in a synagogue. Kaddish is a doxology, which Jewish tradition has mandated children to recite daily in a synagogue during the year of mourning for a deceased parent and then on the anniversary of his or her death thereafter.
Time sped. And the poet through sorrow Became like his suffering kind. Again he toiled over his poems To lighten the grief of his mind.
If you want to write poetry, you must have poems that deeply move you. Poems you can't live without. I think of a poem as the blood in a blood transfusion, given from the heart of the poet to the heart of the reader. Seek after poems that live inside you, poems that move through your veins.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
As a university student, I tried hard to write poems in Korean. It was at that time that I foresaw my death and the world's death. I think my poems started at that time.
Gabriel Levin's book is a journey through time and through entrenched animosities of the Middle East. What's astonishing and refreshing is his ability to combine the reporter's perspective with a deep knowledge of poetry, including pre-Islamic Arab poems. A brilliant poet is at work here-a poet in the rugged landscape of conflict and pain.
These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.
There's nothing in the world for which a poet will give up writing, not even he is a Jew and the language of his poems is German.
There's a Welsh poet, R.S. Thomas. He was a very crotchety, strange man, but his poems are wonderful. He was nominated for the Nobel in the 1990s but never won.
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