“Classical poetry counts on people's similarity. It regards idea associations as unequivocal. This is a mistake. In any case, it rests on a fulcrum of idea associations: 'Above the peaks is peace.'... The poet counts on poetic feelings. And what is a poetic feeling? The whole poetry of peace / quiet stands or falls on the reader's ability to feel. Words are not judged here.”

— Kurt Schwitters

1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, (commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam), NAI Publishers, Rotterdam 2000, p. 151.

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Kurt Schwitters 32

German artist 1887–1948

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“A painter makes patterns with shapes and colours, a poet with words. A painting may embody an ‘idea’, but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but, […] the importance of ideas in poetry is habitually exaggerated: '… Poetry is not the thing said but a way of saying it.' [In poetry, ] the poverty of the ideas seems hardly to affect the beauty of the verbal pattern.”

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“Pop music provides useful perspective on Plato’s association of poetry with madness. There was something dangerously irrational in poetry that worried the philosopher. It wasn’t the semantic content but the visceral power of the sound and rhythm. Poetry compellingly communicates feelings that lie beyond or beneath rational discourse. The physicality of poetic speech separates it from the conceptual language of philosophy”

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“It is not the word that is the original material of poetry, rather the letter.
Word is:
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2. Sounds
3. Description (meaning)
4. Vehicle for idea associations
Art is uninterpretable, unending; material must be unequivocal in a consistent formation.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.

“I've got mixed feelings about poetry cause done well poetry is fantastic. But not many people are capable of doing it well. I think you should have some kind of license to perform poetry. A poetic license perhaps.”

Craig Ferguson (1962) Scottish-born American television host, stand-up comedian, writer, actor, director, author, producer and voice a…

“To say that a poet is justified in employing a disintegrating form in order to express a feeling of disintegration, is merely a sophistical justification for bad poetry, akin to the Whitmanian notion that one must write loose and sprawling poetry to 'express' the loose and sprawling American continent. In fact, all feeling, if one gives oneself (that is, one's form) up to it, is a way of disintegration; poetic form is by definition a means to arrest the disintegration and order the feeling; and in so far as any poetry tends toward the formless, it fails to be expressive of anything.”

Yvor Winters (1900–1968) American poet and literary critic

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“… the fact is, they are sculptures, since they show the relationship of object to object and that is the idea and purpose of a sculpture. I’ve got nothing against ‘poetry,’ but it’s only resonance and tempo. Each of my works is perhaps also indeed a poetic sculpture. It’s not that I think it’s a bad word, poetry, but I’m not a poet, since a poet is concerned with the relationship of human beings to human beings.”

Lawrence Weiner (1942) American artist

Gerti Fietzek, Gregor Stemmrich. Having been said: writings & interviews of Lawrence Weiner, 1968-2003, Hatje Cantz, 2004. p. 158

“Good poetry is not contained in words that are difficult to understand and interpret. Good poetry is based on its ability to touch and move feelings.”

Titon Rahmawan

“Good poetry is not contained in words that are difficult to understand and interpret. Good poetry is based on its ability to touch and move feelings.”

Titon Rahmawan

“Poetry is, above all, an approach to the truth of feeling, and what is the use of truth!”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), Chapter One : The Fear of Poetry
Context: Poetry is, above all, an approach to the truth of feeling, and what is the use of truth!
How do we use feeling?
How do we use truth! However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.
If we use the resources we now have, we and the world itself may move in one fullness. Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives.

“I fancy all distinctively poetical language ought to be banned and the poetry come out of the quality of the idea and the intensity or passion with which it is expressed.”

Roger Fry (1866–1934) English artist and art critic

Letter to R. C. Trevelyan , September 7, 1932
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