Great ones about poetry:
Poetry is like painting: some works will captivate you more if you look at them closely, and others if you move further away.
Small cutesy poems irritate the nerves more than the creaking of unoiled wheels.
The most valuable thing in life and in poetry is what has gone wrong.
Marina Tsvetaeva
Of all the arts, poetry is the most susceptible to the temptation to replace its own peculiar beauty with stolen splendors.
Humboldt V.
Poems are successful if they are created with spiritual clarity.
The writing of poetry is closer to worship than is usually believed.
If only you knew from what rubbish poems grow without knowing shame... Like a dandelion on a fence, like burdocks and quinoa.
A. A. Akhmatova
Poetry is not only in verses: it is poured out everywhere, it is all around us. Look at these trees, at this sky - beauty and life emanate from everywhere, and where there is beauty and life, there is poetry.
I. S. Turgenev
For many people, writing poetry is a growing pain of the mind.
G. Lichtenberg
A beautiful verse is like a bow drawn through the sonorous fibers of our being. The poet makes our thoughts sing within us, not our own. By telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He's a magician. By understanding him, we become poets like him.
Where graceful poetry flows, there is no room for vanity.
Murasaki Shikibu
I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in the Russian language. One calls the other. The flame inevitably drags the stone behind it. It is through feeling that art certainly emerges. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.
Alexander Sergeevich Pushkin
-...Are your poems good, tell me yourself?
- Monstrous! – Ivan suddenly said boldly and frankly.
- Do not write anymore! – the newcomer asked pleadingly.
- I promise and swear! - Ivan said solemnly...
Mikhail Afanasyevich Bulgakov. "Master and Margarita"
We all write poetry; poets differ from others only in that they write in their words.
John Fowles. "The French Lieutenant's Mistress"
Every poem is a veil stretched over the edges of a few words. These words shine like stars, and because of them the poem exists.
Alexander Alexandrovich Blok
Ancient poets, unlike modern ones, rarely wrote more than a dozen poems during their long lives. This is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, behind every poetic work of those times there is certainly hidden an entire Universe, filled with miracles - often dangerous for those who carelessly awaken the dozing lines.
Max Fry. "Chatty Dead"
I gave one of my clumsy hippopotamuses this heavenly tail:...
Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea, and not a plague!
Vladimir Vladimirovich Mayakovsky
Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore, drive away the critics. They are just pathetic sippers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let poetry seem to him like an absurd moo, a chaotic pile-up of words. For us, this is a song of freedom from a boring mind, a glorious song sounding on the snow-white slopes of our amazing soul.
Boris Krieger. "A Thousand Lives"
Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing more than pure poetry that has rejected the word.
“The garden is all in bloom” Afanasy Fet
The garden is all in bloom
Afanasy FetThe garden is all in bloom
Evening on fire
It makes me so refreshingly happy!Here I stand
Here I come
I'm waiting for a mysterious speech.This dawn;
This spring
So incomprehensible, but so clear!Are you full of happiness?
Am I crying?
You are my blessed secret.
Analysis of Fet’s poem “The Garden is All in Bloom”
The love that overwhelms Fetov’s hero and the joy of dating his sweetheart are often associated with exciting “spring impulses”, themes of rebirth of the soul and true creativity. The lyrical subject of “,” one of Fet’s most optimistic works, solemnly conveys the infinity of happiness and the boundlessness of joy. The source of the cheerful state was the meeting with the chosen one, her childishly fresh beauty and “sweetly sighing” voice.
The incomprehensible and intoxicating power of beauty is spoken of in a poetic text from 1884. To depict the internal state of the hero, revealed in the beginning, the author chooses verbless constructions, focusing on the traditional symbols of the spring garden and the setting sun. The latter correlate with the blossoming of the soul, expressed by the author’s complex epithet “refreshingly joyful.”
The central stanzas introduce new notes into the mood of the lyrical “I”: he lives in anticipation of a mysterious, undoubtedly romantic meeting. The surrounding world, awakened from a cold sleep, is also shrouded in mystery. Complex feelings are illustrated by the aphoristic oxymoron “incomprehensible” - “clear”. He emphasizes the contradiction between the hidden inner meaning and the obvious expression of external signs of natural transformation.
The opposition “I’m standing” - “I’m walking” also concerns the external side of the life of the lyrical “I”. In this case, the antithesis does not look like a genuine opposition. It is framed by the anaphora “here,” demonstrating indifference to the active principle and switching attention to the spiritual sphere.
In the finale, the situation develops: emotional impulses lose importance. Joy and sadness fade before the meeting with the mystery, which is characterized using Church Slavonicism as “gracious.” The artistic technique indicates the special, high and significant status of the meeting, evoking in the reader’s memory the image of Blok’s Beautiful Lady, one of the consistent successors of the ideas of Fetov’s lyrics.
The rhythmic pattern of the work is unusual: in order to convey the obligatory pause, the author divides the first line into two segments. The result is an original strophic “portrait”, combining a couple of short and one long lines. The dactylic meter, which the poet resorts to, is used within the framework of the semantic aura, established in the Russian lyrical tradition. It serves as an expression of the themes of expectation and passionate aspirations of the soul.
Afanasy Afanasyevich Fet
The garden is all in bloom
Evening on fire
It makes me so refreshingly happy!
Here I stand
Here I come
I'm waiting for a mysterious speech.
This dawn;
This spring
So incomprehensible, but so clear!
Are you full of happiness?
Am I crying?
You are my blessed secret.
The love that overwhelms Fetov’s hero and the joy of dating his sweetheart are often associated with exciting “spring impulses”, themes of rebirth of the soul and true creativity. The lyrical subject “I saw your milky, baby hair...”, one of Fet’s most optimistic works, solemnly conveys the infinity of happiness and the boundlessness of joy. The source of the cheerful state was the meeting with the chosen one, her childishly fresh beauty and “sweetly sighing” voice.
The incomprehensible and intoxicating power of beauty is spoken of in a poetic text from 1884. To depict the internal state of the hero, revealed in the beginning, the author chooses verbless constructions, focusing on the traditional symbols of the spring garden and the setting sun. The latter correlate with the blossoming of the soul, expressed by the author’s complex epithet “refreshingly joyful.”
The central stanzas introduce new notes into the mood of the lyrical “I”: he lives in anticipation of a mysterious, undoubtedly romantic meeting. The surrounding world, awakened from a cold sleep, is also shrouded in mystery. Complex feelings are illustrated by the aphoristic oxymoron “incomprehensible” - “clear”. He emphasizes the contradiction between the hidden inner meaning and the obvious expression of external signs of natural transformation.
The opposition “I stand” - “I go” also concerns the external side of the life of the lyrical “I”. In this case, the antithesis does not look like a genuine opposition. It is framed by the anaphora “here,” demonstrating indifference to the active principle and switching attention to the spiritual sphere.
In the finale, the situation develops: emotional impulses lose importance. Joy and sadness fade before the meeting with the mystery, which is characterized using Church Slavonicism as “gracious.” The artistic technique indicates the special, high and significant status of the meeting, evoking in the reader’s memory the image of Blok’s Beautiful Lady, one of the consistent successors of the ideas of Fetov’s lyrics.
The rhythmic pattern of the work is unusual: in order to convey the obligatory pause, the author divides the first line into two segments. The result is an original strophic “portrait”, combining a couple of short and one long lines. The dactylic meter, which the poet resorts to, is used within the framework of the semantic aura, established in the Russian lyrical tradition. It serves as an expression of the themes of expectation and passionate aspirations of the soul.