A Quote by Robert Scholes
The forms of the short, written poem as they have been developed in English over the past few centuries can be usefully seen as compressed, truncated, or fragmented imitations of other verbal forms, especially the play, story, public oration, and personal essay.
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Over the past few years, many of us have increasingly begun to question the direction and meaning of our society as it has developed over the past several centuries.
It is true that short forms of poetry have been cultivated in the Far East more than in modern Europe; but in all European literature short forms of poetry are to be found - indeed quite as short as anything in Japanese.
In a general sense, to convert any short story, novel, play, or opera into a movie, you have to re-rig it. Even though they're all narratives over time, they're very different forms.
A celebrated author and divine has written to me that he has gradually learned to see that it is just as noble a conception of the Deity to believe that he created a few original forms capable of self-development into other and needful forms, as to believe that he required a fresh act of creation to supply the voids caused by the action of his laws.
The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.
The essay is one of my favourite forms of writing, and I feel like what's inside is really personal, more so than with shorter pieces.
There are three kinds of forms in the human figure: Ovoid forms - egg, ball and barrel masses; Column forms - cylinder, cone; Spatulate forms - box, slab and wedge blocks.
Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.
Among those today who believe that modern poetry must do without rhyme or metre, there is an assumption that the alternative to free verse is a crash course in villanelles, sestinas and other such fixed forms. But most... are rare in English poetry. Few poets have written a villanelle worth reading, or indeed regret not having done so.
All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or Ancient Egypt, is re-assimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonize past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality, in attractive and instantly appealing forms.
I think I've learned a lot about how to make movies, and particularly about how to edit movies by thinking about how similar problems are resolved in other forms. The issues in all forms are the same in an abstract sense, aren't they? Characterization, abstraction, metaphor, passage of time... Whether it's a movie, a novel, a play, or a poem, those issues exist. And each person resolves them differently.
From a political perspective, it is important to uphold certain universal principles so that, for example, you can condemn both Islamist forms of violence and injustice as well as forms of violence and injustice from other groups - some superpowers, for example, or the English Defence League, as other examples.
The essay I had to read was called, "An Essay on Criticism" by Alexander Pope. The first challenge was that the essay was, in fact, a very long poem in "heroic couplets". If something is called an essay, it should be an essay.
The inflow of capital from the developed countries is the prerequisite for the establishment of economic dependence. This inflow takes various forms: loans granted on onerous terms; investments that place a given country in the power of the investors; almost total technological subordination of the dependent country to the developed country; control of a country's foreign trade by the big international monopolies; and in extreme cases, the use of force as an economic weapon in support of the other forms of exploitation.
There is grandeur in this view of life, with its several powers, having been originally breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.
The degeneration of the revolution in Russia does not pass from the revolution for communism to the revolution for a developed kind of capitalism, but to a pure capitalist revolution. It runs in parallel with world-wide capitalist domination which, by successive steps, eliminates old feudal and Asiatic forms in various zones. While the historical situation in the seventeenth, eighteenth and nineteenth centuries caused the capitalist revolution to take liberal forms, in the twentieth century it must have totalitarian and bureaucratic ones.
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