James Fenton Quotes

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.

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.

What I want, when I write a poem, is no more than this: that it be preserved in some published form so that, in principle, someone, somewhere, will be able to find it and read it. That is all I need, as a poet, and that is the beauty, the luxury of my position. My lyric is mine and remains mine. Nobody can ruin it.

In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.

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.

The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.

Saigon was an addicted city, and we were the drug: the corruption of children, the mutilation of young men, the prostitution of women, the humiliation of the old, the division of the family, the division of the country-it had all been done in our name ... The French city ... had represented the opium stage of the addiction. With the Americans had begun the heroin phase.

My sonnet asserts that the sonnet still lives. My epic, should such fortune befall me, asserts that the heroic narrative is not lost - that it is born again.

Imitation, if it is not forgery, is a fine thing. It stems from a generous impulse, and a realistic sense of what can and cannot be done.

My feeling is that poetry will wither on the vine if you don't regularly come back to the simplest fundamentals of the poem: rhythm, rhyme, simple subjects - love, death, war.

The writing of a poem is like a child throwing stones into a mineshaft. You compose first, then you listen for the reverberation.

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.

At somewhere around 10 syllables, the English poetic line is at its most relaxed and manageable.

When Mr Ackroyd says that in the 18th century, stranglers bit off the noses of their victims, I feel that he probably knows what he is talking about. I just wish he hadn't told me.

The iambic line, with its characteristic forward movement from short to long, or light to heavy, or unstressed to stressed, is the quintessential measure of English verse.

I prefer writing in the mornings, so to that extent I have a routine. I do reading and other things in the afternoon.

Babies are not brought by storks and poets are not produced by workshops.

Great poetry does not have to be technically intricate.

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.

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.

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.

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.'

The Mormon mission to Africa, as to other dark-skinned parts of the world, was for a long time hobbled by the racism of the movement's scripture.

Among those today who believe that modern poetry must do without rhyme or metre, there is an assumption that the alternative to free verse is a crash course in villanelles, sestinas and other such fixed forms. But most ... are rare in English poetry. Few poets have written a villanelle worth reading, or indeed regret not having done so.

It normally happens that if you put two words together, or two syllables together, one of them will attract more weight, more emphasis, than the other. In other words, most so-called spondees can be read as either iambs or trochees.

Windbags can be right. Aphorists can be wrong. It is a tough world.

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.

God, A Poem
'I didn't exist at Creation,
I didn't exist at the Flood,
And I won't be around for Salvation
To sort out the sheep from the cud-
'Or whatever the phrase is. The fact is
In soteriological terms
I'm a crude existential malpractice
And you are a diet of worms

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.

It is not what they built. It is what they knocked down.
It is not the houses. It is the spaces between the houses.
It is not the streets that exist. It is the streets that no longer exist.

'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 basic rhymes in English are masculine, which is to say that the last syllable of the line is stressed: 'lane' rhymes with 'pain,' but it also rhymes with 'urbane' since the last syllable of 'urbane' is stressed. 'Lane' does not rhyme with 'methane.'

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.

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.

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.

Stay near to me and I'll
Stay near to you –
As near as you are dear to me will do.

Sometimes I have thought that a song should look disappointing on the page - a little thin, perhaps, a little repetitive, or a little on the obvious side, or a mixture of all of these things.

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.

In song the same rule applies as in dramatic verse: the meaning must yield itself, or yield itself sufficiently to arouse the attention and interest, in real time.

When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.

This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.

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.

Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.

What happened to poetry in the twentieth century was that it began to be written for the page.

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.

Those who actually set out to see the fall of a city or those who choose to go to a front line, are obviously asking themselves to what extent they are cowards. But the tests they set themselves - there is a dead body, can you bear to look at it? - are nothing in comparison with the tests that are sprung on them. It is not the obvious tests that matter (do you go to pieces in a mortar attack?) but the unexpected ones (here is a man on the run, seeking your help - can you face him honestly?).

The Ideal
This is where I came from.
I passed this way.
This should not be shameful
Or hard to say.
A self is a self.
It is not a screen.
A person should respect
What he has been.
This is my past
Which I shall not discard.
This is the ideal.
This is hard.

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.

'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.

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.

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.

Writing for the page is only one form of writing for the eye. Wherever solemn inscriptions are put up in public places, there is a sense that the site and the occasion demand a form of writing which goes beyond plain informative prose. Each word is so valued that the letters forming it are seen as objects of solemn beauty.

At four lines, with the quatrain, we reach the basic stanza form familiar from a whole range of English poetic practice. This is the length of the ballad stanza, the verse of a hymn, and innumerable other kinds of verse.