Quotes of All Topics . Occasions . Authors
Dante Alighieri is a universal poet, and great creators, they are writing for everybody always. Every single verse is very moving, and the beauty - if we don't understand, we just stay listening to the sound and it's like hearing music.
I started writing poetry in high school because I wanted desperately to write, but somehow, writing stories didn't appeal to me, and I loved the flow and the feel and sense of poetry, especially that of what one might call formal verse.
In expressing so completely his own type, Mr. Yeats presents us with the case for integrity. If we can express eventually our own scholastic mentality in verse, I believe that our art will lead us not towards, but away from, English art.
The blues is deceptively simple. Verse and chorus. Sometimes not even a chorus. Four bars that repeat, no Auto-Tune, electricity optional. It is the most direct, bare-bones of content. There is no interference between the head and heart.
To me, a poem that's in rhyme and meter is the difference between watching a film in full color and watching a film in black and white. Not that a few black and white films aren't wonderful. So are certain successful pieces of free verse.
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.
It is not just shameful for a contemporary American poet to use rhymes, it is unthinkable. It seems banal to him; he fears banality worse than anything, and therefore, he uses free verse - though free verse is no guarantee against banality.
As I read more and more - and it was not all verse, by any means - my love for the real life of words increased until I knew that I must live with them and in them, always. I knew, in fact, that I must be a writer of words, and nothing else.
I've learned not turning things up to full volume is a good idea. Also, because I have the freedom, sometimes when I'm writing a song I'll get carried away with production when I'm only on the first verse, and that sacrifices the songwriting.
What I view as worship now is certainly a little different than how I used to view worship. I don't see it as a verse in a chorus, on a big screen with words, like I used to. It's just trying to be as real as possible in front of an audience.
My first name - I have no middle name - was chosen by my father, as he told me, on that solitary walk in the forested hills. He selected it from a verse of the seventh chapter of Isaiah; there was no Immanuel among our ancestors known to him.
On the subject of literary genres, I've always felt that my response to poetry is inadequate. I'd love to be the kind of person that drifts off into the garden with a slim volume of Elizabethan verse or a sheaf of haikus, but my passion is story.
Our job is to make manifest the story, to be it. In a sense, the theatre is such a big star itself, bigger than any Shakespearean actor I could hire, that we should take the opportunity to fill it with voice and verse and movement, not interpretation.
There is a real formula to writing music, verse, chorus, verse, chorus, bridge. It's very formulaic. The subject matter that you can address in pop music is somewhat restricted. It just doesn't allow that same emotive quality that you can put into poetry.
The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where 'open form' or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term 'heightened speech.'
Sometimes I'll have sections that I'm not quite sure how they fit in the puzzle of a tune, they'll get moved around; what I think was originally a verse ends up becoming the chorus, or what's an intro gets dropped as a hook, things get shifted around a lot.
I love writing songs. One of the toughest things is structure; it just works when you use verse, chorus, verse, chorus, bridge. And as soon as you become aware of that formula, you start to have a bad conscience when you write with that particular structure.
Well, it's a badge of honour for any self-respecting poet to be criticized by Auberon Waugh. But in a lot of ways my poems are very conventional, and it's no big deal for me to write a poem in either free verse or strict form; modern poets can, and do, do both.
To have Run-DMC acknowledge you, something like that, you're like, 'Oh, I'm that dude.' To have Jay-Z do a verse, you that dude. To have Jay-Z shout you out in an intro, you're that dude. Like, it doesn't get any greater than that. Nobody can take that from you.
Ab-Souls Outro' serves as a jazzy, spoken summation of 'Section.80's themes. Guest cohort Ab-Soul opens the song with one urgent verse after another: Flowing freely like the saxophone behind him, his words advocate veering outside life's most predictable pathways.
I've always loved the mixture of crushing live drums with a programmed groove, that really cool blend, like in the verse there's a really funky drum beat that is programmed then it comes in to the chorus; you've got that enormous human feel where the band kicks in.
The lovely daisy, so justly celebrated by European poets, is not a native of our soil; we know it well, however, by cultivation in our gardens and green houses; besides, we are disposed to remember it for the sake of those who have sung its praises in immortal verse.
Woke Up Today' is a number of different sections compounded together. There's the melodica solo section which is three divisions; there's the really funky thing in eleven before that, there's the chorus and verse and there's the ending which slows down and speeds up.
I recorded harp first or singing first. I recorded it all together. Part of the reason is that I don't know how to play the songs without also singing. I forget how they progress. I don't think that any of them are verse, chorus, verse, and so on. They are not simple.
Probably the one Bible passage that is read by Jews and Roman Catholics, Protestants, Islam, more than any other chapter is Psalm 23. And in Psalm 23 there is a verse that says, 'Surely, yea though I walk through the valley of the shadow of death, I will fear no evil.'
The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.
There's a Bible verse that says if you believe, you will be in the presence of the Lord in the blink of an eye. And I know Dale was a believer, and that means that he saw his son and his friend going to win the Daytona 500, and he was in heaven all within the blink of an eye.
Some of the finest Shakespeare has been done recently by college theater programs. I'll tell you what these young kids have: They have a natural authority in Shakespeare. They feel a right to do it. And once they honor the humanity of it, the rhythm of the verse comes with it.
A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be doing what it should be doing.
On the second verse of 'Tears to Snow,' I talk about rappers and the way they view me now, rappers in the underground world who I might've know for a little bit, or they might've opened a show for me. A lot of them talk crap about me behind my back, and they'll smile in my face.
At home and in church - which I didn't go to a lot, I was very rebellious, but my family was strict Christians - they would ask us, 'What's the shortest verse in the Bible?' and I was the one who always said 'John 11:35' straightaway. It stayed with me: the Bible has stayed with me.
I got a little bit lost in the writing process: like, that moment in the 'Fight Song' music video where I'm throwing the crumpled paper on the bed, that was really true life. I was filling journals with different possibilities of lyrics for the first verse. And none of them felt right.
With 'Break The Night,' each verse is saying, 'Nothing's going right today; nothing ever does.' It's about that kind of repetition, it's that kind of mantra you can get in your mind when you're depressed or down, when it's become like a hamster on a wheel - it's very difficult to break.
In Ezekiel, chapter 33, verse 11, it says, that 'God has no pleasure in the person that's living in sin.' He's a loving God and he wants people to turn away from what they're living in and he'll give them life. That's the message I'm trying to share, even though it comes across as harsh.
Mike is the craziest person. He's scattered; he's all over the place. When you hold him down and tell him, 'This is what you're doing,' he's fantastic. But you have to hold him down. Like, when he had to write his verse for 'Hello Nasty,' we had to take his phone away to get him to do it.
Reviewers have called my books 'novels in verse.' I think of them as written in prose, but I do use stanzas. Stanza means 'room' in Latin, and I wanted there to be 'room' - breathing opportunities to receive thoughts and have time to come out of them before starting again at the left margin.
One hundred percent, all your Shakespeare training serves you in the work in musical theater today: specifically in modern musical theater, our soliloquies, and now what we call rap. It's the reason it's so easy to learn, because it's verse; it's rhyme! It just sticks in the soul very easily.
One day, out of irritation, I said, you know all of those years with the Royal Shakespeare Company, all those years of playing kings and princes and speaking black verse, and bestriding the landscape of England was nothing but a preparation for sitting in the captain's chair of the Enterprise.
The problem with writing a book in verse is, to be successful, it has to sound like you knocked it off on a rainy Friday afternoon. It has to sound easy. When you can do it, it helps tremendously because it's a thing that forces kids to read on. You have this unconsummated feeling if you stop.
Common would come to my house and give me a freestyle verse. I'd make a new beat for it and put it with something else. That's how I met Eminem - he came to my house back when he first started. He gave me a bunch of freestyles, and that's how we built a relationship. Everyone came to my house.
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.
When I wrote 'East,' I wanted a completely earthy, very sexy, very violent play, so I wrote in verse. I found it not only satisfying but releasing. It gave me an opportunity to play with language. We never played the characters like the yobs that they are, but rather in a slightly heightened way.
I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.
Poets these days, like artists and composers, have won for themselves almost unlimited freedom. You can pass yourself off as a painter without being able to draw, as a composer without being conscious of key relationships, and as a poet without making yourself familiar with traditional verse forms.
Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process - maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like 'Lights Please' happens like that.
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.
History is a sly boots, and for a generation of blacks that cannot identify with the frustrations of Jim Crow, and for whites who cannot understand the hard deal that faces working-class blacks, it is difficult to reconcile Hughes's reputation as a poet-hero with his topical verse and uncomplicated prose.
Just checking up on someone with a, 'Hey, how are you doing?' usually means the most to someone. I try my best to regularly check in with friends who are musicians just because I know we go through things where we feel like people only hit us up because they need something from us like a verse or a promo.
I think that 'Prayers' is a really interesting one because we wrote it well before the border crisis was happening, and in that first verse, I was actually writing about the experience of me and my wife's relationship and finding someone who you feel safe with and you relate to and can ponder existence with.
'Are 'Friends' Electric?' was two songs: the verse part and the talking part. Two different songs I couldn't finish. One day I was playing the main verse part of 'Are 'Friends' Electric?' and after a few minutes I got frustrated, as normal, then started to play the other song, and realized they went together.