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Basil Bunting

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Compose aloud: poetry is a sound.

 
Basil Bunting

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He would have died of loneliness and other things if the divine Omnipotence had not called him whenever It had the chance and invited him to become one with the radiant glory of heaven and earth. He tried whenever the opportunity occurred to obey this call and allow his soul to become one with a higher world beyond this world. He did not compose poetry openly now—his first experience at that had taught him a lesson; he resolved not to compose poetry openly until he was grown up and living among good and high-minded men, whom he imagined must exist elsewhere. But that did not stop him composing poetry; he composed just for himself now. Sometimes he scratched out a whole verse on the ice. He committed to memory every scrap of poetry he heard, and absorbed everything to do with knowledge, and was determined to write it all down in books later on—you see, he had the idea that there were too few books in the world, and that somewhere in the world there were people waiting impatiently, hungry for more books to be written.

 
Halldor Laxness
 

... even though poetry was written for the 'minds ear' as well as the physical ear, the minds ear can be trained only by the other ... which comes back to reading poetry aloud ...

 
Yvor Winters
 

Prose — it might be speculated — is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard. The one is presumably articulate and social, a shared language, the voice of "communication"; the other is private, allusive, teasing, sly, idiosyncratic as the spider’s delicate web, a kind of witchcraft unfathomable to ordinary minds.

 
Joyce Carol Oates
 

You want to cry aloud for your mistakes. But to tell the truth the world doesn't need any more of that sound.

 
Mary Oliver
 

As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour. The great musicians knew this. Beethoven and the rest wrote music — simply music; symphony in this key, concerto or sonata in that. . . . Art should be independent of all claptrap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works 'arrangements' and 'harmonies.'

 
James McNeill Whistler
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