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T. S. Eliot and Jean-Paul Sartre, dissimilar enough as thinkers, both tend to undervalue prose and to deny it any imaginative function. Poetry is the creation of linguistic quasi-things; prose is for explanation and exposition, it is essentially didactic, documentary, informative. Prose is ideally transparent; it is only faute de mieux written in words. The influential modern stylist is Hemingway. It would be almost inconceivable now to write like Landor. Most modern English novels indeed are not written. One feels they could slip into some other medium without much loss. It takes a foreigner like Nabokov or an Irishman like Beckett to animate prose language into an imaginative stuff in its own right.

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The prose method might be described as that where the writer provides a complete description of all those material factors in the environment which condition his characters. The poetic method sees the centre of consciousness as the point where all that is significant in the surrounding world becomes aware and transformed; the prose method requires a description of that world in order to explain the characteristics of the people in it. The hero of the poetic method is Rimbaud; of the prose method, Balzac.

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.

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That prose is a verse, and verse is a prose; convincing all, by demonstrating plain – poetic souls delight in prose insane

As I see it, poetry is not prose simply because poetry is in one way or another formalized. It is not poetry by reason of its content or ambiguity but by reason of its allowing musical elements (time, sound) to be introduced into the world of words. Thus, traditionally, information no matter how stuffy (e. g. the sutras and shastras of India) was transmitted in poetry. It was easier to grasp that way. Karl Shapiro may have been thinking along these lines when he wrote his Essay on Rime in poetry.

The difference between poetry and prose is not one of surface qualities, or form, or mode of expression, but of essence. The state of mind in which poetry originates must either seek poetic expression or it must not be expressed.

Poetry is creative expression; Prose is constructive expression. … by creative I mean original. In Poetry the words are born or reborn in the act of thinking. … There is no time interval between the words and the thought when a real poet writes, both of them happen together, and both the thought and the word are Poetry.

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The prose-writer's art is an art that must conceal itself, and produce not a jewel that is looked at for its own beauty but a crystal in whose depths the thought can be seen without distortion or confusion ; and the philosophical writer in especial follows the trade not of a jeweller but of a lens-grinder. He must never use metaphors or imagery in such a way that they attract to themselves the attention due to his thought ;
if he does that he is writing not prose, but, whether well or ill, poetry; but he must avoid this not by rejecting all use of metaphors and imagery, but by using them, poetic things themselves, in the domestication of prose : using them just so far as to reveal thought, and no farther.

Speech and prose are not the same thing. They have different wave-lengths, for speech moves at the speed of light, where prose moves at the speed of the alphabet, and must be consecutive and grammatical and word-perfect. Prose cannot gesticulate. Speech can sometimes do nothing else.

Prose and poetry are different in construction. You can lie back and read prose, and you can read it fast. Poetry on the other hand, requires a different kind of attention and concentration … the effect it has on the ear and the imagination.

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Poetry is to prose as dancing is to walking.

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