A Quote by William Shenstone
Harmony of period and melody of style have greater weight than is generally imagined in the judgment we pass upon writing and writers. As a proof of this, let us reflect what texts of scripture, what lines in poetry, or what periods we most remember and quote, either in verse or prose, and we shall find them to be only musical ones.
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The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
What judgment I had increases rather than diminishes; and thoughts, such as they are, come crowding in so fast upon me, that my only difficulty is to choose or reject; to run them into verse or to give them the other harmony of prose.
So it is in poetry. All we ask is that the mood recorded shall impress us as having been of the kind that exhausts the imaginative capacity; if it fails to do this the failure will announce itself either in prose or in insignificant verse.
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.
Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quitewell developed civilizations can produce good prose. So don't think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you'll see what I mean.
The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.
Traditionally poetry is written in lines. But the prose poem is the kind of poem that isn't written in lines. It is lyrical prose that uses the tricks of poetry, such as dense imagery. This is a big topic of debate in poetry land. There's no perfect definition.
Will there never come a season Which shall rid us from the curse? Of a prose which knows no reason And an unmelodious verse: When the world shall cease to wonder At the genius of an Ass, And a boy's eccentric blunder Shall not bring success to pass: When mankind shall be delivered From the clash of magazines, And the inkstand shall be shivered Into countless smithereens: When there stands a muzzled stripling, Mute, beside a muzzled bore: When the Rudyards cease from Kipling And the Haggards Ride no more.
Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.
Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.
In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can’t pick up a page. All the words slide off.
For me, prose is never a poem. Because with prose there are so very few tools to create the music. And one of the most important tools missing is the ability to create silences, as you can in poetry by how you fashion the lines and breaks within the lines and stanzas.
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.
It is generally supposed that where there is no QUOTATION, there will be found most originality; and as people like to lay out their money according to their notions, our writers usually furnish their pages rapidly with the productions of their own soil: they run up a quickset hedge, or plant a poplar, and get trees and hedges of this fashion much faster than the former landlords procured their timber. The greater part of our writers, in consequence, have become so original, that no one cares to imitate them; and those who never quote, in return are never quoted!
The line is a way of framing poetry. All verse is measured by lines. The poetic line immediately announces its difference from everyday speech and prose.
Prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose.
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