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" Sometimes I have thought that a song should look disappointing on the page - a little thin, perhaps, a little repetitive, or a little on the obvious side, or a mixture of all of these things. "
James Fenton
Song
Page
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" Poetry carries its history within it, and it is oral in origin. Its transmission was oral. Its transmission today is still in part oral, because we become acquainted with poetry through nursery rhymes, which we hear before we can read. "
James Fenton
Poetry
Become
Today
" I've not been a prolific poet, and it always seemed to me to be a bad idea to feel that you had to produce in order to get... credits. Production of a collection of poems every three years or every five years, or whatever, looks good, on paper. But it might not be good; it might be writing on a kind of automatic pilot. "
James Fenton
Bad
Writing
Me
" Writing for the page is only one form of writing for the eye. Wherever solemn inscriptions are put up in public places, there is a sense that the site and the occasion demand a form of writing which goes beyond plain informative prose. Each word is so valued that the letters forming it are seen as objects of solemn beauty. "
James Fenton
Beauty
Places
Page
" Some of my educated Filipino friends were aspiring poets, but their aspirations were all in the direction of the United States. They had no desire to learn from the bardic tradition that continued in the barrios. Their ideal would have been to write something that would get them to Iowa, where they would study creative writing. "
James Fenton
Creative
Friends
Writing
" An aria in an opera - Handel's 'Ombra mai fu,' for example - gets along with an incredibly small number of words and ideas and a large amount of variation and repetition. That's the beauty of it. It's not taxing to the listener's intelligence because if you haven't heard it the first time round, it'll come around again. "
James Fenton
Time
Beauty
Intelligence
" Metrics are not a device for restraining the mad, any more than 'open form' or free verse is a prairie where a man can do all kinds of manly things in a state of wholesome unrestrictedness. "
James Fenton
Open
Mad
Man
" In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables. "
James Fenton
Writing
Numbers
You
" The term 'epitaph' itself means 'something to be spoken at a burial or engraved upon a tomb.' When an epitaph is a poem written for a tomb, and appears in a book, we are aware that we are not reading it in its proper form: we are reading a reproduction. The original of the epitaph is the tomb itself, with its words cut into the stone. "
James Fenton
Stone
Book
Original
" Some people think that English poetry begins with the Anglo-Saxons. I don't, because I can't accept that there is any continuity between the traditions of Anglo-Saxon poetry and those established in English poetry by the time of, say, Shakespeare. And anyway, Anglo-Saxon is a different language, which has to be learned. "
James Fenton
People
Language
Time
" Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work. "
James Fenton
Words
Good
Music
" Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing. "
James Fenton
Know
Done
Beautiful
" Imitation, if it is not forgery, is a fine thing. It stems from a generous impulse, and a realistic sense of what can and cannot be done. "
James Fenton
Done
Imitation
Realistic
" One does not become a guru by accident. "
James Fenton
Guru
Accident
Does
" If you're writing a song, you have to write something that can be understood serially. When you're reading a poem that's written for the page, your eye can skip up and down. You can see the thing whole. But you're not going to see the thing whole in the song. You're going to hear it in series, and you can't skip back. "
James Fenton
Reading
You
Writing
" The lullaby is the spell whereby the mother attempts to transform herself back from an ogre to a saint. "
James Fenton
Transform
Back
Spell
" A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer. "
James Fenton
Song
More
Singer
" Considering the wealth of poetic drama that has come down to us from the Elizabethan and Jacobean periods, it is surprising that so little of any value has been added since. "
James Fenton
Little
Drama
Down
" English poetry begins whenever we decide to say the modern English language begins, and it extends as far as we decide to say that the English language extends. "
James Fenton
Poetry
Say
Language
" In song the same rule applies as in dramatic verse: the meaning must yield itself, or yield itself sufficiently to arouse the attention and interest, in real time. "
James Fenton
Attention
Time
Song
" What I want, when I write a poem, is no more than this: that it be preserved in some published form so that, in principle, someone, somewhere, will be able to find it and read it. That is all I need, as a poet, and that is the beauty, the luxury of my position. My lyric is mine and remains mine. Nobody can ruin it. "
James Fenton
Need
Someone
Nobody
" My feeling is that poetry will wither on the vine if you don't regularly come back to the simplest fundamentals of the poem: rhythm, rhyme, simple subjects - love, death, war. "
James Fenton
Love
Death
Poetry
" Working alone on a poem, a poet is of all artists the most free. The poem can be written with a modicum of technology, and can be published, in most cases, quite cheaply. "
James Fenton
Free
Alone
Poem
" Free verse seemed democratic because it offered freedom of access to writers. And those who disdained free verse would always be open to accusations of elitism, mandarinism. Open form was like common ground on which all might graze their cattle - it was not to be closed in by usurping landlords. "
James Fenton
Always
Open
Like
" When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back. "
James Fenton
Back
Page
Poetry