Prose Quotes - page 14
[Vathek] has, in parts, been called, but to some judgments, never is, dull: it is certainly in parts, grotesque, extravagant and even nasty. But Beckford could plead sufficient "local colour" for it, and a contrast, again almost Shakespearean, between the flickering farce atrocities of the beginning and the sombre magnificence of the end. Beckford's claims, in fact, rest on the half-score or even half-dozen pages towards the end: but these pages are hard to parallel in the later literature of prose fiction.
William Thomas Beckford
Charlotte Brontë, with all her splendid gift for prose, stumbled and fell with that clumsy weapon in her hands. George Eliot committed atrocities with it that beggar description. Jane Austen looked at it and laughed at it and devised a perfectly natural, shapely sentence proper for her own use and never departed from it. Thus, with less genius for writing than Charlotte Brontë, she got infinitely more said.
Jane Austen
![The link between Betty Mahmoody's "Not Without My Daughter” and Azar Nafisi's [Reading Lolita in Tehran] is the link between two phases and modes of labor migration, the moral salvation that "the West” provides, and imperial hubris. What is paramount in all of these is the denigration of local cultures as the site of actual or potential resistance to imperial domination. There cannot be any politics of resistance, aesthetics of emancipation, or prose and poetry of agential autonomy in history for people around the world-nothing except a Starbucks Coffee version of the so-called "Western classics” to go and save them. Interview with Znet. (Hamid Dabashi)](https://cdn.quotesdtb.com/img/quotes_images_webp/03/hamid-dabashi-actual-aesthetics-864203.webp)
the correct statement would be, not that I disliked poetry, but that I was theoretically indifferent to it. I disliked any sentiments in poetry which I should have disliked in prose; and that included a great deal. And I was wholly blind to its place in human culture, as a means of educating the feelings. But I was always personally very susceptible to some kinds of it.
Long before I had enlarged in any considerable degree, the basis of my intellectual creed, I had obtained in the natural course of my mental progress, poetic culture of the most valuable kind, by means of reverential admiration for the lives and characters of heroic persons; especially the heroes of philosophy.
Condorcet's Life of Turgot; a book well calculated to rouse the best sort of enthusiasm, since it contains one of the wisest and noblest of lives, delineated by one of the wisest and noblest of men.
John Stuart Mill
the correct statement would be, not that I disliked poetry, but that I was theoretically indifferent to it. I disliked any sentiments in poetry which I should have disliked in prose; and that included a great deal. And I was wholly blind to its place in human culture, as a means of educating the feelings. But I was always personally very susceptible to some kinds of it.
John Stuart Mill
Making drawings to indicate the many elements in any human situation is something which has characterized SSM from the start. Its rationale lies in the fact that the complexity of human affairs is always a complexity of multiple interacting relationships; and pictures are a better medium than linear prose for expressing relationships. Pictures can be taken in as a whole and help to encourage holistic rather than reductionist thinking about a situation.
Peter Checkland
I chose to rewrite it in poetry because the original Ramayana was in poetry- the fact is, it's sort of been corrupted into prose. In its original form it was an epic poem rather like the Iliad or works of that sort. Rather than traditional poetry, it was a verse novel, without a traditional structure. What I most wanted to do was to preserve the essential musicality of the lines. Especially as the Ramayana like so many stories, was based on a fundamentally oral tradition.
Daljit Nagra
Well, I think it is accidental. It's just something I started doing naturally and it had a lot to do with reading. I think that Dylan Thomas, his prose and poetry, was a big influence on me. Just his use of words... He would use so many odd words: like these three- and four-syllable words that you just don't normally hear. And they're not used in a manner that sets the text apart from the reader. Rather they're drawing the reader in. It's entirely based on the alliteration of the word itself-onomatopoeia and things like that. I feel like a lot of the words I use don't stick out in the song because they keep the feel of the song in mind. The rhythm-that's the primary thing. They're put in there for rhythm and alliteration as much as they are for meaning. And as long as they are not used extraneously, they're real lightning rods for people listening to the lyrics. If the words are really helping out the rhythm of the song then all they're going to do is draw the listener in even more.
Colin Meloy
Poetry is the language in which man explores his own amazement... says heaven and earth in one word... speaks of himself and his predicament as though for the first time. It has the virtue of being able to say twice as much as prose in half the time, and the drawback, if you do not give it your full attention, of seeming to say half as much in twice the time.
Christopher Fry
