„When composing a verse let there not be a hair's breath separating your mind from what you write; composition of a poem must be done in an instant, like a woodcutter felling a huge tree or a swordsman leaping at a dangerous enemy.“

Última actualización 3 de Junio de 2021. Historia
Bashō Matsuo Foto
Bashō Matsuo5
poeta japonés 1644 - 1694

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Ryōkan Foto

„It's a pity, a gentleman in refined retirement composing poetry:
He models his work on the classic verse of China.
And his poems are elegant, full of fine phrases.
But if you don't write of things deep in your own heart,
What's the use of churning out so many words?“

—  Ryōkan Japanese Buddhist monk 1758 - 1831

Variant translation:
With gaudy words their lines are formed
And further adorned by novel and curious phrases.
Yet if they fail to express what is in their own minds
What is the use, no matter
How many poems they compose!
"Zen Poetics of Ryokan" in Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry (Summer 2006)
Dewdrops on a Lotus Leaf : Zen Poems of Ryokan (1993)

E.L. Doctorow Foto
Carl Sandburg Foto
Robert Hunter Foto
Robert Pinsky Foto

„Craft is something you learn by studying models. When a student asks, what is a good book about traditional iambic verse, The Collected Poems of Ben Jonson. What is an excellent book about free verse? The Collected Poems of William Carlos Williams.“

—  Robert Pinsky American poet, editor, literary critic, academic. 1940

What is a good book about short line in ballad metre? The Collected Poems of Emily Dickinson.
The Art of Poetry - interview 1995 with Downing & Kunitz

Edwidge Danticat Foto
Dinu Lipatti Foto

„You see, it is not enough to be a great composer. To write music like that you must be a chosen instrument of God.“

—  Dinu Lipatti Pianist, Composer 1917 - 1950

Listening Beethoven's F minor Quartet; Quoted by Walter Legge, in Walter Legge: Words and Music (1998) edited by Alan Sanders

Robert Pinsky Foto
Gwendolyn Brooks Foto

„When I start writing a poem, I don't think about models or about what anybody else in the world has done.“

—  Gwendolyn Brooks American writer 1917 - 2000

"An Interview with Gwendolyn Brooks", Contemporary Literature 11:1 (Winter 1970)

Gloria E. Anzaldúa Foto

„Write with your eyes like painters, with your ears like musicians, with your feet like dancers. You are the truthsayer with quill and torch. Write with your tongues of fire. Don't let the pen banish you from yourself.“

—  Gloria E. Anzaldúa, Speaking in Tongues

"Speaking in Tongues: A Letter to Third World Women Writers" (1981)
Fuente: in This Bridge Called My Back: Writings by Radical Women of Color, p. 171

Joseph Goebbels Foto

„When I sit near the ocean in the morning and write my verses and breathe the salty wind which is coming from the water, I rejoice in God and I am blissful, as I was as a child.“

—  Joseph Goebbels Nazi politician and Propaganda Minister 1897 - 1945

Wenn ich morgens am Meere sitze und Verse dichte und atme dabei den salzigen Wind, der vom Wasser herüberspringt, dann gehe ich auf in Gott und bin glücklich, wie ich es nur noch in der Kinderzeit war.
Michael: a German fate in diary notes (1926)

Rick Riordan Foto

„You can teach the writing of verse.. like prose.. an instrument.. and the recognition of true poetry. The rest, writers must teach them selves.“

—  John Hollander American poet 1929 - 2013

Interview with J D McCarthy 'The Art of Poetry' no 35 Fall 1985

Walter Mosley Foto
Arundhati Roy Foto

„There are things that you can't do - like writing letters to a part of yourself. To your feet or hair. Or heart.“

—  Arundhati Roy, libro El dios de las pequeñas cosas

Fuente: The God of Small Things

Richard Francis Burton Foto

„The recruit must be carefully and sedulously taught when meeting the enemy, even at a trot or canter, to use no force whatever, otherwise his sword will bury itself to the hilt, and the swordsman will either be dragged from his horse, or will be compelled to drop his weapon — if he can.“

—  Richard Francis Burton British explorer, geographer, translator, writer, soldier, orientalist, cartographer, ethnologist, spy, linguist, poe... 1821 - 1890

A New System of Sword Exercise for Infantry (1876)
Contexto: The recruit must be carefully and sedulously taught when meeting the enemy, even at a trot or canter, to use no force whatever, otherwise his sword will bury itself to the hilt, and the swordsman will either be dragged from his horse, or will be compelled to drop his weapon — if he can. Upon this point I may quote my own System of Bayonet Exercise (p. 27): —
"The instructor must spare no pains in preventing the soldier from using force, especially with the left or guiding arm, as too much exertion generally causes the thrust to miss. A trifling body-stab with the bayonet (I may add with the sword) is sufficient to disable a man; and many a promising young soldier has lost his life by burying his weapon so deep in the enemy's breast that it could not be withdrawn quickly enough to be used against a second assailant. To prevent this happening, the point must be delivered smartly, with but little exertion of force, more like a dart than a thrust, and instantly afterwards the bayonet must be smartly withdrawn." In fact the thrust should consist of two movements executed as nearly simultaneously as possible; and it requires long habit, as the natural man, especially the Englishman, is apt to push home, and to dwell upon his slouching push.

Rollo May Foto

„When you write a poem, you discover that the very necessity of fitting your meaning into such and such a form requires you to search in your imagination for new meanings.“

—  Rollo May US psychiatrist 1909 - 1994

Fuente: The Courage to Create (1975), Ch. 6 : On the Limits of Creativity, p. 119
Contexto: When you write a poem, you discover that the very necessity of fitting your meaning into such and such a form requires you to search in your imagination for new meanings. You reject certain ways of saying it; you select others, always trying to form the poem again. In your forming, you arrive at new and more profound meanings than you had even dreamed of. Form is not a mere lopping off of meaning that you don't have room to put into your poem; it is an aid to finding new meaning, a stimulus to condensing your meaning, to simplifying and purifying it, and to discovering on a more universal dimension the essence you wish to express.

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