You have to learn a few things, which you do along the way, but basically, poetry is a matter of the ear. Iambic pentameters or what constitutes a stanza comes naturally - your ears will know.
Interpretation
Poetry relies on natural rhythm and sound, learned through experience rather than strict rules.
In this quote, Vikram Seth emphasizes that the essence of poetry is intuitive and auditory rather than purely technical. While learning about poetic structure is important, the ability to write poetry flows naturally from one's listening and engagement with rhythm and sound, suggesting that the ear plays a crucial role in appreciating and creating poetry.
In practice
This quote can be used in a poetry workshop to inspire participants to trust their instincts when writing.
I am careful about fiction. A novel is not a tract or an essay. If I want to write about land reforms, or Hindu-Muslim relations, or position of women, I can do it as it affects my characters as in 'A Suitable Boy.' I could only write about issues specifically through essays. But I'll do that only if I have something worthwhile to say.
So many Indian novels, quite unfairly, do not get the prominence they should because they have been written in a language other than English.
Music, such music, is a sufficient gift. Why ask for happiness; why hope not to grieve? It is enough, it is to be blessed enough, to live from day to day and to hear such music-not too much, or the soul could not sustain it-from time to time.
But I too hate long books: the better, the worse. If they're bad they merely make me pant with the effort of holding them up for a few minutes. But if they're good, I turn into a social moron for days, refusing to go out of my room, scowling and growling at interruptions, ignoring weddings and funerals, and making enemies out of friends. I still bear the scars of Middlemarch.
I recall drinking sherry in California and dreaming of England, where I ate dalmoth and dreamed of Delhi. What is the purpose, I wonder, of all this restlessness? I sometimes seem to myself to wander around the world merely accumulating material for future nostalgias.
The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.
That's another way of writing a song, of course. Just talking to somebody that ain't there. That's the best way. That's the truest way. Then it just becomes a question of how heroic your speech is. To me, it's something to strive after.
I shall create! If not a note, a hole./If not an overture, a desecration.
You can’t, if you can’t feel it, if it never Rises from the soul, and sways The heart of every single hearer, With deepest power, in simple ways. You’ll sit forever, gluing things together, Cooking up a stew from other’s scraps, Blowing on a miserable fire, Made from your heap of dying ash. Let apes and children praise your art, If their admiration’s to your taste, But you’ll never speak from heart to heart, Unless it rises up from your heart’s space.
Most people read poetry listening for echoes because the echoes are familiar to them. They wade through it the way a boy wades through water, feeling with his toes for the bottom: The echoes are the bottom.
Whenever we have seen a crevice in the crust of convention, we have called attention to it, because we have hoped for a force underneath, which will someday come to light.
The dimensions of a work of art are seldom realized by the author until the work is accomplished. It is like a flowering dream. Ideas grow, budding silently, and there are a thousand illuminations coming day by day as the work progresses. A seed grows in writing as in nature. The seed of the idea is developed by both labor and the unconscious, and the struggle that goes on between them.
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