Poetry Quotes - page 87
The second observation is that poetry is a universal human art. Despite post-modern theories of cultural relativism that assert there are no human universals, there exists a massive and compelling body of empirical data, collected and documented by anthropologists, linguists, and archeologists that demonstrates there is no human society, however isolated, that has not developed and employed poetry as a cultural practice. Most of this poetry, of course, has been oral poetry. Many of these cultures never developed writing. But the fact remains-and it is a demonstrable fact, not mere opinion-that every society has developed a special class of speech, shaped by apprehensible patterns of sound, namely, poetry.
Dana Gioia
Until quite recently poetry was taught badly-at least according to current academic standards. Poetry was used to teach grammar, elocution, and rhetoric. It was employed to convey history, both secular and sacred, often to instill patriotic sentiment and religious morality. Poetry was chanted in chorus at female academies. It was copied to teach cursive handwriting and calligraphy. It was memorized by wayward schoolboys as punishment. It was recited by children at public events and family gatherings. Being able to write verse was considered a social grace in both domestic and public life. Going to school meant becoming well versed.
Dana Gioia
In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is "Where do you teach?" The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.
Dana Gioia
The reviewers of fifty years ago knew that their primary loyalty must lie not with their fellow poets or publishers but with the reader. Consequently they reported their reactions with scrupulous honesty even when their opinions might lose them literary allies and writing assignments. In discussing new poetry they addressed a wide community of educated readers. Without talking down to their audience, they cultivated a public idiom. Prizing clarity and accessibility they avoided specialist jargon and pedantic displays of scholarship. They also tried, as serious intellectuals should but specialists often do not, to relate what was happening in poetry to social, political, and artistic trends. They charged modern poetry with cultural importance and made it the focal point of their intellectual discourse.
Dana Gioia
But the amateur who reads poetry from love or curiosity does have at least one advantage over the trained specialist who reads it from professional obligation. Amateurs have not learned to shut off parts of their consciousness to focus on only the appropriate elements of a literary text. They respond to poems in the sloppy fullness of their humanity.
Dana Gioia
Poetry is not a branch of analytical philosophy. It is a primal, holistic kind of human communication. A poet needs innocence as much as knowledge, emotion as much as intelligence, vulnerability as much as rigor. A poet can become too smart for his or her own good and forget the childlike pleasures of sound and story, sense, and sensuality that poetry should provide. The challenge for a writer is to master the medium of poetry without losing that inner innocence.
Dana Gioia
Forty years ago, when Dylan Thomas read, he spent half the program reciting other poets' work. Hardly a self-effacing man, he was nevertheless humble before his art. Today most readings are celebrations less of poetry than of the author's ego. No wonder the audience for such events usually consists entirely of poets, would-be poets, and friends of the author.
Dana Gioia
Poems should be memorized, recited, and performed. The sheer joy of the art must be emphasized. The pleasure of performance is what first attracts children to poetry, the sensual excitement of speaking and hearing the words of the poem. Performance was also the teaching technique that kept poetry vital for centuries. Maybe it also holds the key to poetry's future.
Dana Gioia
"Third and finally, poetry originated as a form of vocal music. It began as a performative and auditory medium, linked to music and dance and associated with civic ceremony, religious ritual, and magic. (The earliest poetry almost certainly served a shamanistic function.) Most aboriginal cultures did not distinguish poetry from song because the arts were so interrelated as to be porous. Nor did the classical Greek or Chinese cultures two or three millennia ago differentiate poetry from song" (10).
Dana Gioia
"Pop music provides useful perspective on Plato's association of poetry with madness. There was something dangerously irrational in poetry that worried the philosopher. It wasn't the semantic content but the visceral power of the sound and rhythm. Poetry compellingly communicates feelings that lie beyond or beneath rational discourse. The physicality of poetic speech separates it from the conceptual language of philosophy" (12).
Dana Gioia
"Life is experienced holistically with sensations pouring in through every physical and mental organ of perception. Art exists embodied in physical elements-especially meticulously calibrated aspects of sight and sound-which scholarly explication can illuminate but never fully replace. However conceptually incoherent and subjectively emotional, the amateur response to poetry comes closer to the larger human purposes of the art-which is to awaken, amplify, and refine the sense of being alive-than does critical commentary" (19).
Dana Gioia
"Teachers and writers share a responsibility to create the next generation of readers. We need to create and cultivate in our classrooms a dialectic of intellect and intuition, of mental attention and sensory engagement. In poetry, intellectual-ity without physicality becomes dull and barren, just as intuition untethered by intellect quickly becomes sloppy and subjective. We need to augment methodology with magic" (36).
Dana Gioia
Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.
Dana Gioia
As in poetry, so in prayer, the whole subject matter should be furnished by the heart, and the understanding should be allowed only to shape and arrange the effusions of the heart in the manner best adapted to answer the end designed. From the fullness of a heart overflowing with holy affections, as from a copious fountain, we should pour forth a torrent of pious, humble, and ardently affectionate feelings; while our understandings only shape the channel and teach the gushing streams of devotion where to flow, and when to stop.
Edward Payson
Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light.
Victor Hugo
