I Prefer Writing In The Mornings, So

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.

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.

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.

"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.

Modernism In Other Arts Brought Extreme Difficulty. In Poetry, The Characteristic Difficulty Imported Under The Name Of Modernism Was Obscurity. But Obscurity Could Just As Easily Be A Quality Of Metrical As Of Free Verse.