Words matter. These are the best James Fenton Quotes, and they’re great for sharing with your friends.
The Italian word ‘stanza’ means ‘a room’, and a room is a good way to conceive of a stanza. A room, generally speaking, is sufficient for its own purposes, but it does not constitute a house. A stanza has the same sense of containment, without being complete or independent.
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.
No poet is required to write in stanzas, or indeed in regular forms at all. Coleridge’s ‘Dejection: An Ode’ has a rhyme scheme and sequence of long and short lines that goes without regular pattern, following the mood and whim of the poet. Such a form is known as an irregular ode.
‘What is this’, and ‘How is this done?’ are the first two questions to ask of any work of art. The second question immediately illuminates the first, but it often doesn’t get asked. Perhaps it sounds too technical. Perhaps it sounds pedestrian.
The 1960s was a period when writers in the West began to be aware of the extraordinary eloquence and popular attraction of the Russian poets such as Yevtushenko and Voznesensky – oppositional figures who could draw crowds. The Russian poets recited from memory as a matter of course.
Great poetry does not have to be technically intricate.
Nobody really knows whether they are a poet. I knew I was interested from the age of 15.
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.
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.
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.
A poem with grandly conceived and executed stanzas, such as one of Keats’s odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.
One problem we face comes from the lack of any agreed sense of how we should be working to train ourselves to write poetry.
In rap, as in most popular lyrics, a very low standard is set for rhyme; but this was not always the case with popular music.
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.
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.
A really interesting and happy time was when I first went to Florence as a student and studied Italian. I was living in a pensione on an allowance of £40 a month, which was princely. I did a lot of work and enjoyed myself immensely.
There is no objection to the proposal: in order to learn to be a poet, I shall try to write a sonnet. But the thing you must try to write, when you do so, is a real sonnet, and not a practice sonnet.
The iambic pentameter owes its pre-eminence in English poetry to its genius for variation. Good blank verse does not sound like a series of identically measured lines. It sounds like a series of subtle variations on the same theme.
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.
Rhyme is a mnemonic device, an aid to the memory. And some poems are themselves mnemonics, that is to say, the whole purpose of the poem is to enable us to remember some information.
Modernism in other arts brought extreme difficulty. In poetry, the characteristic difficulty imported under the name of modernism was obscurity. But obscurity could just as easily be a quality of metrical as of free verse.
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.
One does not become a guru by accident.
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.
‘Love’ is so short of perfect rhymes that convention allows half-rhymes like ‘move.’ The alternative is a plague of doves, or a kind of poem in which the poet addresses his adored both as ‘love’ and as ‘guv’ – a perfectly decent solution once, but only once, in a while.
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.’
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.
Hearing that the same men who brought us ‘South Park’ were mounting a musical to be called ‘The Book of Mormon,’ we were tempted to turn away, as from an inevitable massacre.
I don’t see that a single line can constitute a stanza, although it can constitute a whole poem.
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.
