Quotes & Sayings About Modernist Poetry

TO A GIRAFFE
If it is unpermissible, in fact fatal
to be personal and undesirable
to be literal - detrimental as well
if the eye is not innocent-does it mean that
one can live only on top leaves that are small
reachable only by a beast that is tall? -
of which the giraffe is the best example -
the unconversational animal.
When plagued by the psychological,
a creature can be unbearable
that could have been irresistible;
or to be exact, exceptional
since less conversational
than some emotionally-tied-in-knots animal.
After all
consolations of the metaphysical
can be profound. In Homer, existence
is flawed; transcendence, conditional;
"the journey from sin to redemption, perpetual. — Marianne Moore

Palestinian society is filled with poetry, but not experimental poetry. The Palestinian poetry that people know is not the modernist experimentations, it's certain kinds of poetry that lends itself to recitation and song and things like that. — Elliott Colla

I'm truly an outsider in the poetry world. When I started writing, I was trying to move my poems away from modernist lines. — Richard Grossman

In the days of Prismatic Color
not in the days of Adam and Eve, but when Adam
was alone; when there was no smoke and color was
fine, not with the refinement
of early civilization art, but because
of its originality; with nothing to modify it but the
mist that went up, obliqueness was a variation
of the perpendicular, plain to see and
to account for: it is no
longer that; nor did the blue-red-yellow band
of incandescence that was color keep its stripe — Marianne Moore

BY DISPOSITION OF ANGELS
Messengers much like ourselves? Explain it.
Steadfastness the darkness makes explicit?
Something heard most clearly when not near it?
Above particularities,
these unparticularities praise cannot violate.
One has seen, in such steadiness never deflected,
how by darkness a star is perfected.
Star that does not ask me if I see it?
Fir that would not wish me to uproot it?
Speech that does not ask me if I hear it?
Mysteries expound mysteries.
Steadier than steady, star dazzling me, live and elate,
no need to say, how like some we have known; too like her,
too like him, and a-quiver forever. — Marianne Moore

Beowulf stands out as a poem which makes extensive use of this kind of figurative language. There are over one thousand compounds in the poem, totalling one-third of all the words in the text. Many of these compounds are kennings. The word 'to ken' is still used in many Scottish and Northern English dialects, meaning 'to know'. Such language is a way of knowing and of expressing meanings in striking and memorable ways; it has continuities with the kinds of poetic compounding found in nearly all later poetry but especially in the Modernist texts of Gerard Manley Hopkins and James Joyce. — Ronald Carter

Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself. — Clement Greenberg

When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation ... Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame. — Laura Riding

The rock has split, the egg has hatched, the prismatically plumed bird of life has escaped from its cage. It spreads its wings and is perched now on the peak of the huge African mountain Kilimanjaro.
Strange recompense, in the depths of our despair at the unfathomable mist into which all mankind is plunging, a curious force awakens. It is Hope long asleep, aroused once more. Wilson has taken an army of advisers and sailed for England. The ship has sunk. But the men are all good swimmers. They take the women on their shoulders and buoyed on by the inspiration of the moment they churn the free seas with their sinewy arms, like Ulysses, landing all along the European seaboard.
Yes, hope has awakened once more in men's hearts. It is NEW! Let us go forward!
The imagination, freed from the handcuffs of "Art", takes the lead! Her Feet are bare and not too delicate. In fact those who come behind her have much to think of. Hm. Let it pass. — William Carlos Williams

ROSEMARY
Beauty and Beauty's son and rosemary -
Venus and Love, her son, to speak plainly -
born of the sea supposedly, at Christmas each, in company,
braids a garland of festivity.
Not always rosemary - since the flight to Egypt, blooming differently.
With lancelike leaf, green but silver underneath,
its flowers - white originally -
turned blue. The herb of memory,
imitating the blue robe of Mary,
is not too legendary
to flower both as symbol and as pungency.
Springing from stones beside the sea,
the height of Christ when thirty-three -
it feeds on dew and to the bee
"hath a dumb language"; is in reality
a kind of Christmas-tree. — Marianne Moore