But poets were not considered dangerous and they were advised to exercise self-censorship. At most, poets were requested not to write at all. I took advantage of this negative liberty.
Eugenio MontaleRead
It has often been observed that the repercussion of poetic language on prose language can be considered a decisive cut of a whip.
Interpretation
Poetic language profoundly influences prose, shaping its power and clarity.
Eugenio Montale suggests that the impact of poetic language on prose is both significant and sharp, akin to the decisive strike of a whip. This metaphor indicates that poetic elements can invigorate prose, enriching it and enforcing a sense of urgency and clarity that can profoundly affect the reader's experience and understanding.
In practice
This quote could be used in a discussion about the importance of literary techniques in creative writing workshops.
But poets were not considered dangerous and they were advised to exercise self-censorship. At most, poets were requested not to write at all. I took advantage of this negative liberty.
There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.
Mass communication, radio, and especially television, have attempted, not without success, to annihilate every possibility of solitude and reflection.
I have always knocked at the door of that wonderful and terrible enigma which is life.
For my part, if I consider poetry as an object, I maintain that it is born of the necessity of adding a vocal sound (speech) to the hammering of the first tribal music.
Man cannot produce a single work without the assistance of the slow, assiduous, corrosive worm of thought.
Hip-hop was created out of necessity. We needed to create some digitized things to help us understand what we were feeling.
I would like, if I can, to broaden the possibilities of the musical theater. I think there's a better 'Oklahoma!' someplace, a better 'West Side Story.' And I'd like to be mixed up in it.
The sunflower is mine, in a way.
The Dance instills in you something that sets you apart. Something heroic and remote.
I think I probably would have enjoyed to keep my own private pain out of my work. But I was changed by my audience who said your private pain which you have unwittingly shown us in your early songs is also ours.
A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.
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