Top 1200 Spring Poems Quotes & Sayings - Page 4

Designers want me to dress like Spring, in billowing things. I don't feel like Spring. I feel like a warm red Autumn.

I know that one of the things that I really did to push myself was to write more formal poems, so I could feel like I was more of a master of language than I had been before. That was challenging and gratifying in so many ways. Then with these new poems, I've gone back to free verse, because it would be easy to paint myself into a corner with form. I saw myself becoming more opaque with the formal poems than I wanted to be. It took me a long time to work back into free verse again. That was a challenge in itself. You're always having to push yourself.

I've changed over my writing life. If I can generalize, I would say that the more recent poems - believe it or not - are more pointedly political; although, if the earlier poems were more existential, they were still political; though, in their own way, had a complicated presence.

I wrote two poems about the 81 uprisings: Di Great Insohreckshan and Mekin Histri. I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

That being said, some of my favorite poets are extremely funny. The aforementioned Matt Rohrer, for instance. Mary Ruefle. James Tate might be the best example of someone who is systematically misread because he can be hilarious. In his poems, as in all great funny poems, the humor is one very appealing version of the surprise and associative movement that is at the heart of all poetry.

- Growth has its season. There are spring and summer, but there are also fall and winter. And then spring and summer again. As long as the roots are not severed, all is well and all be well.

All human life has its seasons and cycles, and no one's personal chaos can be permanent. Winter, after all, gives way to spring and summer, though sometimes when branches stay dark and the earth cracks with ice, one thinks they will never come, that spring, and that summer, but they do, and always.

Spring still makes spring in the mind When sixty years are told: Love wakes anew this throbbing heart, And we are never old Over the winter glaciers I see the summer glow And through the wind-piled snowdrift The warm rosebuds below.

Here at CBS, spring also means March Madness. I love the name March Madness. I'm glad the PC police haven't made us change March Madness to early spring psychosis.

A decade ago, my poems were precious little boxes, small and claustrophobic, completely inward gazing. I didn't possess the command to speak beyond the self. Over the years, my poems have stretched out, grown broader and grander. The intervening years of living and aging - with their portions of tragedy, triumph, and shipwreck - have earned me both the authority and the necessity to write on a cosmic scale.

Spring, the sweet spring, is the year's pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing. Cuckoo, jug-jug, pu-we, to-witta-woo!

So Spring comes merry towards me here, but earns No answering smile from me, whose life is twin'd With the dead boughs that winter still must bind, And whom today the Spring no more concerns. Behold, this crocus is a withering flame; This snowdrop, snow; this apple-blossom's part To breed the fruit that breeds the serpent's art. Nay, for these Spring-flowers, turn thy face from them, Nor stay till on the year's last lily-stem The white cup shrivels round the golden heart.

I tended to write poems about both social and spiritual problems, and some problems one doesn't really want to solve, and so the problems themselves are solved. You certainly don't want to solve problems in poems that haven't been solved in the world.

I know I'll keep writing poems. That's the constant. I don't know about novels. They're hard. It takes so much concentrated effort. When I'm writing a novel it's pretty much all I can do. I get bored. It takes months. Movies do the same thing. It's all-encompassing. It feels like I'm going to end up writing poems, short stories and screenplays.

Earth is dry to the centre, But spring, a new comer, A spring rich and strange, Shall make the winds blow Round and round, Thro' and thro', Here and there, Till the air And the ground Shall be fill'd with life anew.

When the measured dance of the hours brings back the happy smile of spring, the buried dead is born again in the life-glance of the sun. The germs which perished to the eye within the cold breast of the earth spring up with joy in the bright realm of day.

Spring is the season of gaiety, and winter of terror; in spring the heart of tranquility dances to the melody of the groves, and the eye of benevolence sparkles at the sight of happiness and plenty: in winter, compassion melts at universal calamity, and the tear of softness starts at the wailing of hunger and the cries of the creation in distress

We come from God. As the tree from the root and the stream from the spring; that's why we should always be in contact with Him, as the trunk from the root. Because the stream dries up when it is separated from the spring and the tree dies when is uprooted.

One man may have some special knowledge at first-hand about the character of a river or a spring, who otherwise knows only what everyone else knows. Yet to give currency to this shred of information, he will undertake to write on the whole science of physics. From this fault many great troubles spring.

Narrative nonfiction was not my forte. I always wanted to let my imagination run free, and the facts sometimes got in the way. At one point I wanted to illustrate Jack Prelutsky's enchanting poems. Unable to do that, I started devising and improvising my own poems, very raw at first. I immersed myself in verse, writing reams of stuff until it gelled.

I have a Bird in spring Which for myself doth sing - The spring decoys. And as the summer nears - And as the Rose appears, Robin is gone. Yet do I not repine Knowing that Bird of mine Though flown - Learneth beyond the sea Melody new for me And will return.

Right now the day length is exactly the same as in spring when birds key into it and begin singing. The birds are a little confused by it all and the singing isn't very intense. It only lasts a week or so each fall, but it's still cool to hear spring bird songs at this time of the year.

Buttercups and daisies, Oh, the pretty flowers; Coming ere the spring time, To tell of sunny hours. When the trees are leafless; When the fields are bare; Buttercups and daisies Spring up here and there.

It is clear that we do not exactly choose our poems; our poems choose us.

The Arab Spring is a true phenomenon. Embrace Arab Spring; embrace the aspiration for freedom of the people of Egypt, Syria, and Yemen.

Every character has an inward spring; let Christ be that spring. Every action has a keynote; let Christ be that note, to which your whole life is attuned.

The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.

The grotesque in my poems is the motion I use to put myself and the grotesque world together. So the miserable images I use in my poems are the same as the letters I send into the miserable world.

I always think W.S. Merwin's poems will last of anyone writing today. If I had to bet on posterity I would bet Merwin. My poems could easily evaporate. So I don't know. If you find yourself as a writer thinking about posterity you should probably go out for a brisk walk or something.

What does it mean to be a used white wife, a mother, a tragic girl writing poems? Sandra Simonds gets into these messy words and then tears them apart. Sometimes with the words of others. And sometimes with poems made from scratch. They aren't all bad, these words. But they aren't all good either. And that is where Mother was a Tragic Girl gets its power. You will at moments be laughing but then you will also at moments just as much be crying. If Antigone was alive and decided to write some poems about the nuclear family, she would write them like Sandra Simonds. These are tough.

If we will admit time into our thoughts at all, the mythologies, those vestiges of ancient poems, wrecks of poems, so to speak, the world's inheritance,... these are the materials and hints for a history of the rise and progress of the race; how, from the condition of ants, it arrived at the condition of men, and arts were gradually invented. Let a thousand surmises shed some light on this story.

Art devoid of danger lacks many other things as well: pleasure, beauty, and the ability to save us. Poems that divest the self of its masks in order to analyze how those masks are made - by what means, by whom, for what ostensible purpose - those poems risk offering us refuge.

The ancients waited for cherry blossoms, grieved when they were gone, and lamented their passing in countless poems. How very ordinary the poems had seemed to Sachiko when she read them as a girl, but now she knew, as well as one could know, that grieving over fallen cherry blossoms was more than a fad or convention.

Some of Mr. Gregory's poems have merely appeared in The New Yorker ; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it they are the trademark not simply of a magazine but of a class.

Winter is on the road to spring. Some think it a surly road. I do not. A primrose road to spring were not as engaging to my heart as a frozen icicled craggy way angered over by strong winds that never take the iron trumpets from their lips.

There was only - spring itself, the throb of it, the light restlessness, the vital essence of it everywhere; in the sky, in the swift clouds, in the pale sunshine, and in the warm high wind - rising suddenly, sinking suddenly, impulsive ... If I had been tossed down blindfold on that red prairie, I should have known that it was spring.

The spring wakes us, nurtures us and revitalizes us. How often does your spring come? If you are a prisoner of the calendar, it comes once a year. If you are creating authentic power, it comes frequently, or very frequently.

... woman is frequently praised as the more "creative" sex. She does not need to make poems, it is argued; she has no drive to make poems, because she is privileged to make babies. A pregnancy is as fulfilling as, say, Yeats' Sailing to Byzantium.... To call a child a poem may be a pretty metaphor, but it is a slur on the labor of art.

Our children that die young are like those spring bulbs which have their flowers prepared beforehand, and leave nothing to do but to break ground, and blossom, and pass away. Thank God for spring flowers among men, as well as among the grasses of the field.

We are not a failed Arab republic, so we should not fear Arab Spring. We should embrace Arab Spring. That's what I hope Saudi Arabia will do.

When I first became brave enough to tell people that I wrote poems, so many people would rave to me about Edna St. Vincent Millay's work. I was embarrassed not to have read her, and I think that put me off from reading her for a long time. So many of her poems are just impeccable.

Writing for me is an ongoing practice of facing and countering fears. And so, in that sense, I have always been responding to phobias. I am often most surprised by the writing that comes from facing fears that strike closest to home, poems that explore internalized phobias about gender identity, sexuality, and the body, poems that struggle with a question like do I deserve love?

Shy gold begins to peep through the sombre green - the wattle's wedding dress - and Spring is near. Then suddenly it seems, one golden morning, the Bush awakes, a living thing. Flowers bloom, birds sing, and all the world puts on its gayest dress to greet the laughing Spring.

The American spring is by no means so agreeable as the American autumn; both move with faltering step, and slow; but this lingering pace, which is delicious in autumn, is most tormenting in the spring.

I remember in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

The first day of spring is one thing, and the first spring day is another. The difference between them is sometimes as great as a month.

I wrote two poems about the '81 uprisings: 'Di Great Insohreckshan' and 'Mekin Histri.' I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

But Carroll's were more convoluted, and they struck me as funny in a new way: 1) Babies are illogical. 2) Nobody is despised who can manage a crocodile. 3) Illogical persons are despised. Therefore, babies cannot manage crocodiles. And: 1) No interesting poems are unpopular among people of real taste. 2) No modern poetry is free from affectation. 3) All of your poems are on the subject of soap bubbles. 4) No affected poetry is popular among people of taste. 5) Only a modern poem would be on the subject of soap bubbles. Therefore, all your poems are uninteresting.

I have been writing. Even when I intend not to write, I find myself writing. I'm currently in a place where I should be putting together the fifth book, but then more poems are coming. It's exciting and somewhat daunting. You know how we are when a new book of poems is at last coming together - all frenzy, distraction, and bounty? It's as if I've turned into summer itself.

The poems in Helena Mesa’s virtuosic first book, Horse Dance Underwater, run with such speed, verve, and alacrity they leave you breathless, exhilarated, and transformed as if the purest kind of song had lifted you into the air. By this quickness of language finding lyric speech, Mesa’s poems remind us of art’s joyous and ecstatic effects.

When like the patriarchs we learn to dig wells of virtue and spiritual knowledge within ourselves by means of ascetic practice and contemplation, we will find within us Christ the spring of life (cf. Gen. 26:15-18). Wisdom commands us to drink from this spring, saying, 'Drink water from your own pitchers and from the spring of your own wells' (Prov. 5:15). If we do this we shall find that the treasures of wisdom truly are within us.

Now that spring is no longer to be recognised in blossoms or in new leaves on trees, I must look for it in myself. I feel the ice of myself cracking. I feel myself loosen and flow again, reflecting the world. That is what spring means.

Waitress: "And to drink?" Artemis: "Spring water. Irish, if you have it. And no ice, please. As your ice is no doubt made from tap water, which rather defeats the purpose of spring water.

I write poems about relationships, love relationships, and I'm not able to do that all the time. I could go two years without writing poems, and then write a dozen. Having a novel to work on, with the intricate puzzle of character and plot to work out, is satisfying for the time there is no poetry.

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.

Autumn to winter, winter into spring, Spring into summer, summer into fall,-- So rolls the changing year, and so we change; Motion so swift, we know not that we move.

Precise, graceful, and generous, the poems in SuperLoop, seem to be born out of a deep, careful attention and a profound compassion. Sometimes the quiet observer, sometimes the kid in the center of the messed-up carnival, these poems are the fireflies you’ve missed all winter, the longed-for return of the bees. Unaffected and inherently hopeful, Callihan’s work is as merciful as it is moving.

It's difficult to talk about [W.S.] Merwin's poems, as it's hard to talk about a feeling or a smell. It is what it is, but so much so that it overwhelms both sense and the senses. I aspire to something about his work, that imbues his poems, though I'm not sure I could say what that is. A purity, maybe, the kind of purity that comes from being beaten, like steel.

When you paint Spring, do not paint willows, plums, peaches, or apricots - just paint Spring.

Spring, the sweet Spring, is the year's pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing- Cuckoo, jug-jug, pu-we, to-witta-woo! The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay- Cuckoo, jug-jug, pu-we, to-witta-woo! The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes our ears do greet- Cuckoo, jug-jug, pu-we, to-witta-woo! Spring, the sweet Spring!