Quotes about prose
page 2

“If a writer of prose knows enough about what he is writing about he may omit things that he knows, and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things only because he does not know them only makes hollow places in his writing.”

Ernest Hemingway book Death in the Afternoon

Hemingway's famous iceberg theory of writing.
Source: Death in the Afternoon (1932), Ch. 16

Feeling, Water

“The struggle for existence in a universe we did not choose, and the burden of being a member of the only race which values objective, verifiable truth as an end in itself, makes us sometimes long for escape from reality -- in some cases through a literature of the fantastic, of marvelous dream worlds, of free-ranging fantasy. But we must not confuse that necessary escape with what is real. Permit me to suggest to the reader that it is a waste of his time and energy to play with fantasies that lack the literary and aesthetic charm of poetry and imaginative prose fiction.”

Revilo P. Oliver (1908–1994) American philologist

"Orage and New Age Consciousness", private letter, February 1977, published on National Vanguard http://www.nationalvanguard.org/story.php?id=6657 (October 25, 2005) 1970s

Truth, World, Dreams, Imagination

“My teacher, Ales Adamovich, whose name I mention today with gratitude, felt that writing prose about the nightmares of the 20th century was sacrilege. Nothing may be invented. You must give the truth as it is. A "super-literature" is required. The witness must speak. Nietzsche's words come to mind – no artist can live up to reality. He can't lift it. It always troubled me that the truth doesn't fit into one heart, into one mind, that truth is somehow splintered. There's a lot of it, it is varied, and it is strewn about the world.”

Svetlana Alexievich (1948) Belarusian investigative journalist and non-fiction prose writer

Quotes from Nobel Lecture

Truth, World, Literature, Reality

“Poetry must be as well written as prose.”

Ezra Pound (1885–1972) American Imagist poet and critic

Letter to Harriet Monroe (January 1915)

“The preface to the French edition of that work contains the following passage: "To me the French edition of my work is not a mere translation, but a transcription of ideas into a language in which it should have been written in the first place… I proudly acknowledge… my master. His words are among the most brilliant recollections of my youth; his piercing wisdom and potent prose have inspired my efforts of a riper age. To the memory of Henri Poincaré, the intellectual giant who was the first to recognize the role which the idiosyncrasies of the race play in the evolution of scientific ideas, I dedicate this book.”

Tobias Dantzig (1884–1956) American mathematician

Preface
Henri Poincaré, Critic of Crisis: Reflections on His Universe of Discourse (1954)

Wisdom, Books, Youth, Age

“… coincident with the explosive growth of research, the art of writing science suffered a grave setback, and the stultifying convention descended that the best scientific prose should sound like a non-human author addressing a mechanical reader. … We injure ourselves when we fail to make our discipline as clear and vibrant as we can to students - prospective scientists - and to the public who pay the taxes.”

David Mermin (1935) American physicist

Art, Suffering, Science

“I read all the movie reviews, especially those of Ebert, a graceful and witty prose stylist with profound erudition, whose reviews are worth reading just for themselves, whether or not I have any intention of viewing the movie … Ebert, the smart and handsome one, gave thumbs up to my first movie Garfield: The Movie], but [Richard] Roeper, the other one, gave thumbs down and was particularly unkind. He went on forever attacking Ebert for liking Garfield. This from a man with enough taste to praise Duma. How very disappointing. One of Roeper's complaints was that I was animated and all of the other characters in the movie were "real." Do you have any idea how a statement like that hurts an actor who has worked all of his life as a media cat? Yes, Richard Roeper, I was animated. Read my lips: I am a character in a comic strip.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/garfield-a-tail-of-two-kitties-2006 of Garfield: A Tail of Two Kitties, written in the first person as Garfield. (16 June 2006) Reviews, Three star reviews

Life, Disappointment, Cats, Idea

“At present I'm re-reading Traherne's Centuries of Meditations which I think almost the most beautiful book (in prose, I mean, excluding poets) in English.”

Thomas Traherne (1636–1674) English poet

C. S. Lewis, letter to Arthur Greeves in December 1941. http://www.discovery.org/scripts/viewDB/index.php?command=view&id=978 Criticism

Books, Beauty, Thinking, Reading

“Who needs poetry? All of us do. Poetry has always been the voice of the inner self, the carrier of revelations, dreams, and visions that often defy expression in ordinary prose.”

Jane Roberts (1929–1984) American Writer

Source: Dialogues of the Soul and Mortal Self in Time (1975), p. v

Dreams

“.. he brought a sanity of perception and appraisal to his criticism of our prose productions, our plays, our linguistics, and what ever in letters that touches vitally the life of his people. The country has lost a truly great man in the death of Epifanio de los Santos Cristobal. He wrought for himself a destiny of glory which is the glory of his native land.”

Epifanio de los Santos (1871–1928) Filipino politician

Zaide, Gregorio F. 1965. Epifanio de los Santos: Great among the great Filipino scholars. In Great Filipinos in history. 88 p. 581.
BALIW

Life, Death, People, Country

“I was born in the Realms of Etiquette;
In early years, unprotected and poor.
Alone, I learnt to distinguish between Evil and Good;
Untutored, I toiled at bitter tasks.
The World's Law honours Learning and Fame;
Scholars prize marriages and Caps.
With these fetters I gyved my own hands;
Truly I became a much-deceived man.
At ten years old I learnt to read books;
At fifteen, I knew how to write prose.
At twenty I was made a Bachelor of Arts;
At thirty I became a Censor at the Court.
Above, the duty I owe to Prince and parents;
Below, the ties that bind me to wife and child.
The support of my family, the service of my country—
For these tasks my nature is not apt.”

Bai Juyi (772–846) Chinese poet of the Tang Dynasty

"Chu Ch'ēn Village" (A.D. 811)
Arthur Waley's translations

Marriage, Books, World, Family

“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.”

James Stephens (1882–1950) Irish writer

"Finnegans Wake", in James, Seamas & Jacques: Unpublished Writings (London: Macmillan, 1964) p. 161.

Light, Speed, Perfection

“Philosophy, like speaking prose, is something have to do all our lives, well or badly, whether we notice it or not.”

Mary Midgley (1919–2018) British philosopher and ethicist

Introduction, Beast and Man: The Roots of Human Nature (1979).

“As it is generally seen, blank verse seems to be only a laborious and doubtful struggle to escape from the fangs of prose… if it ever ventures to relax into simple and natural phraseology, it instantly becomes tame and the prey of its pursuer.”

Charles Symmons (1749–1826) Welsh poet

Preface to the First Edition
The Æneis (1817)

Nature

“The author [Goya] is convinced that it is as proper for painting to criticize human error and vice as for poetry and prose to do so, although criticism is usually taken to be exclusively the business of literature.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

1790s, Goya's announcement about 'Los Caprichos', 6 Febr. 1799

Error, Literature, Business, Painting

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

Women, Men, People, Books

“Now that I can see it's the queen's new clothes
Now that I can hear all your poison prose
Now that I can talk with my tongue unfroze
I'm not so sure of Santa or the buck tooth fairy
There are no words for me inside your dictionary”

Andy Partridge (1953) British musician

"Your Dictionary".
Apple Venus Volume 1 (1999)

Clothes

“All old Poems, Homer's and the rest, are authentically Songs. I would say, in strictness, that all right Poems are; that whatsoever is not sung is properly no Poem, but a piece of Prose cramped into jingling lines,—to the great injury of the grammar, to the great grief of the reader, for most part! What we wants to get at is the thought the man had, if he had any: why should he twist it into jingle, if he could speak it out plainly? It is only when the heart of him is rapt into true passion of melody, and the very tones of him, according to Coleridge's remark, become musical by the greatness, depth and music of his thoughts, that we can give him right to rhyme and sing; that we call him a Poet, and listen to him as the Heroic of Speakers,—whose speech is Song.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

Music, Passion, Singing, Heart

“!-- I come from the Arts Lab. Most of the writing I used to do was used for performance, so consequently I learnt that when you are reading a poem it has to read properly, which is to do with syllables and stresses. What takes me the longest with my fine writing, like say Voice of the Fire, is reading it through and finding the bits where it clunks, where it’s one syllable too long, and once you find that rhythm – the reader probably won’t be aware of it, consciously, but there is a tidal wave embedded in the prose that the reader is responding to. In the last chapter of Voice in the Fire, where it is actually me talking in my own voice, I don’t use the word ‘I’ or ‘me’ or ‘mine’. I don’t know why – perhaps I had been reading that Private Eye column where it is all ‘I’ ‘I’ ‘I’ and started to feel a bit self-conscious about it – but --> I thought if I can still be the central voice but without having an ‘I’ there, and by not having it there, it makes it easier for the reader to slip into the consciousness of the narrator. If you remove the letter ‘I’ it becomes a universal I. Everybody is the author walking down those streets while they are in the prose.”

Alan Moore (1953) English writer primarily known for his work in comic books

De Abaitua interview (1998)

Art, Feeling, Universe, Reading

“We old bachelors smell like dogs, do we? So be it. But I must take issue with your claim that doctors who treat female illnesses are womanizers and cynics at heart. Gynecologists deal with savage prose the likes of which you have never dreamed of.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to E.M. Shavrova (September 16, 1891)
Letters

Dogs, Dreams, Heart

“A form of recreation not so accesible to many as games, but one which has in it a peculiar hold on that which is elemental in human nature, is hunting and fishing. These are true outdoor sports in the highest sense, and must be pursued in a way that develops energy, perseverance, skill, and courage of the individual. They call for personal direction, and can not be taken up vicariously. There is a great wealth of life and experience in this field which is never exhausted, and always fresh and new. It is accompanied by traits of character which make a universal appeal. A knowledge of these arts may well be cultivated and cherished like a knowledge of the humanities and the sciences. Around hunting and fishing is gathered a great wealth of prose and poetry, which testifies to the enduring interest which these sports have held all through the development of the race.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, The Democracy of Sports (1924)

Life, Art, Way, Game

“The link between Betty Mahmoody’s “Not Without My Daughter” and Azar Nafisi’s [Reading Lolita in Tehran] is the link between two phases and modes of labor migration, the moral salvation that “the West” provides, and imperial hubris. What is paramount in all of these is the denigration of local cultures as the site of actual or potential resistance to imperial domination. There cannot be any politics of resistance, aesthetics of emancipation, or prose and poetry of agential autonomy in history for people around the world—nothing except a Starbucks Coffee version of the so-called “Western classics” to go and save them.”

Hamid Dabashi (1951) American academic

http://www.zmag.org/content/showarticle.cfm?ItemID=10707 Interview with Znet

People, World, History, Coffee

“It is even in
prose, I am a real poet. My poem
is finished and I haven't mentioned
orange yet It's twelve poems, I call
it oranges.”

Frank O'Hara (1926–1966) American poet, art critic and writer

Why I Am Not a Painter (l. 24-28) (1976).

“Sandburg is unreadable today only because of the way he wrote. His prose was bad poetry, like his poetry.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'On American Movie Critics' (New York Times Book Review, June 4, 2006)
Essays and reviews

Way

“Those golden times
And those Arcadian scenes that Maro sings,
And Sidney, warbler of poetic prose.”

William Cowper The Task

Source: The Task (1785), Book IV, The Winter Evening, Line 514.

Singing, Time

“His name was William Saroyan. He was the first writer I fell in love with, boyishly in love. I was held by his unaffected voice, his sentimentality, his defiant individualism. I found myself in the stories he told… I learned from Saroyan that you do not have to live in some great city — in New York or Paris — in order to write… When I was a student at Stanford, a generation ago, the name of William Saroyan was never mentioned by any professor in the English Department. William Saroyan apparently was not considered a major American talent. Instead, we undergraduates set about the business of psychoanalyzing Hamlet and deconstructing Lolita. In my mind Saroyan belongs with John Steinbeck, a fellow small town Californian and of the same generation. He belongs with Thornton Wilder, with those writers whose aching love of America was formed by the Depression and the shadow of war. … Saroyan's prose is as plain as it is strong. He talks about the pleasure of drinking water from a hose on a summer afternoon in California's Central Valley, and he holds you with the pure line. My favorite is his novel The Human Comedy… In 1943, The Human Comedy became an MGM movie starring Mickey Rooney, but I always imagined Homer Macaulay as a darker, more soulful boy, someone who looked very much like a young William Saroyan…”

Richard Rodríguez (1944) American journalist and essayist

"Time Of Our Lives" (26 May 1997) http://www.cilicia.com/armo22_william_saroyan_6.html

Love, War, Pleasure, Soul

“When translating prose dialogue one ought to make the characters say things that people talking English could conceivably say. One ought to hear them talking, just as a novelist hears his characters talk.”

Arthur Waley (1889–1966) British academic

"Notes on Translation", in The Atlantic Monthly, Vol. 202, No. 5 (November 1958), p. 109

People

“Oratory is, after all, the prose literature of the savage.”

George Saintsbury (1845–1933) British literary critic

Vol. 1, p. 203
A History of Criticism and Literary Taste in Europe from the Earliest Texts to the Present Day

Literature

“He turned then to Job, again using the King James's version. The translation from the Hebrew was narrower than the Greek but seemed more essential. It was the simple strong prose of men who believed and who were unafraid to name things.”

Alan Judd (1946) British writer

Page 197.
The Noonday Devil (1987)

Men, Strong

“Poetry is I say essentially a vocabulary just as prose is essentially not. And what is the vocabulary of which poetry absolutely is. It is a vocabulary based on the noun as prose is essentially and determinately and vigorously not based on the noun. Poetry is concerned with using with abusing, with losing with wanting with denying with avoiding with adoring with replacing the noun. It is doing that always doing that, doing that doing nothing but that. Poetry is doing nothing but using losing refusing and pleasing and betraying and caressing nouns. That is what poetry does, that is what poetry has to do no matter what kind of poetry it is. And there are a great many kinds of poetry. So that is poetry really loving the name of anything and that is not prose.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

"Poetry and Grammar"
Lectures in America (1935)

Love

“Time spent in labouring to perfect one’s style, or to make of it an instrument for the production of imaginative effects, is, Mr. Read tells us, just so much time wasted. Indeed Mr. Middleton Murry says it is worse than this, for nothing could be more dangerous than the notion that the more poetic is prose, the finer it is; this is a heresy that cannot be too much deplored and combated. ‘The terrible attraction of words, the impulse to use them for anything more than exact symbols of the things they stand for, is another danger; any sacrifice of sense to euphony being, these critics tell us, the beginning of decadence: ‘it is a step on the downward path.’ The histories and associations of words, are, Mr. Read says, entirely irrelevant to prose-style, their face-value in current usage being their only value. The young writer is also warned against rhythmical effects and the use of images, and is told that any conscious care for such devices, any playing, like Stevenson, of the sedulous ape to the masters of this technique, must be carefully eschewed.”

Logan Pearsall Smith (1865–1946) British American-born writer

“Fine Writing,” p. 304
Reperusals and Recollections (1936)

Imagination, History, Sense, Time

“"O brother," said he, "He who is singled by
My finger (he pointed to a spirit in front)
Wrought better in the mother-tongue than I.
Whether in verses of love or prose romaunt
He surpassed all; and let the fools contend
Who make him of Limoges of more account.”

Arnaut Daniel (1150–1210) Occitan troubadour

"O frate," disse, "chesti qu'io ti cerno
col ditto," e additò un spirto innanzi,
"fu miglior fabbro del parlar materno.
Versi d'amore e prose di romanzi
soverchiò tutti; e lascia dir li stolti
che quel di Lemosì credon ch'avanzi.
Dante Purgatorio, canto 26, line 115; translation by Laurence Binyon, in Dante's Purgatorio (1938) p. 309.
Criticism

Love, Fools

“Inventor of a new mythology and weaver of surprising folklore, Lord Dunsany stands dedicated to a strange world of fantastic beauty... unexcelled in the sorcery of crystalline singing prose, and supreme in the creation of a gorgeous and languorous world of incandescently exotic vision. No amount of mere description can convey more than a fraction of Lord Dunsany's pervasive charm.”

Lord Dunsany (1878–1957) Irish writer and dramatist

H. P. Lovecraft, quoted in the Del Rey edition of The Charwoman's Shadow
About

World, Beauty, Singing

“Gertrude Stein, in her work, has always been possessed by the intellectual passion for exactitude in the description of the inner and outer reality. She has reproduced simplification by this concentration, and as a result the destruction of associational emotion in poetry and prose. She knows that beauty, music, decoration, the result of emotion should never be the cause, even events should never be the cause of emotion nor should they be the material of poetry or prose. Nor should emotion itself be the cause of poetry and prose. They should consist of an exact reproduction of either an outer or inner reality.”

Gertrude Stein book The Autobiography of Alice B. Toklas

Source: The Autobiography of Alice B. Toklas (1933), p. 259

Beauty, Music, Reality, Passion

“Schumann’s Kreisleriana: No other cycle among Schumann’s great works so perfectly expresses the sensation of dark nocturnal things, of chaos, lurking in the background. The last piece of this collection shows this particularly well. Like skeletons on horseback, shadowy figures flit before us in a soft, sustained rhythm; in the middle section horn-calls enliven the scene with visions of knightly strength and nobility, but at the end the figures vanish ghost - like into night and mystery. Looking into the first volume of Schumann’s diaries we find ‘Midnight Piece,’ a prose passage which provides moving, indeed alarming evidence of his perilously depressive mental state. It contains elements of a highly personal kind which memorably convey the particular quality of his imagination, mortally cold and never far from visions of death. It could have served perfectly as a model for the final, disturbing piece in the Kreisleriana set.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Death, Imagination, Personality, Night

“The point is that any piece of Impressionism, whether it be prose, verse or painting, or sculpture, is the record of the impression.”

F. S. Flint (1885–1960) English Imagist poet

German Chronicle, Poetry & Drama, vol. II, 1914

Painting

“The trouble with us in America isn't that the poetry of life has turned to prose, but that it has turned to advertising copy.”

Louis Kronenberger (1904–1980) American critic and writer

"The Spirit of the Age", p. 18.
Company Manners: A Cultural Inquiry into American Life (1954)

Life

“Jargon or gobbledygook, or what people who live in Washington or Ottawa call "federal prose," [is] the gabble of abstractions and vague words which avoids any simple or direct statement…. Direct and simple language always has some force behind it, and the writers of gobbledygook don't want to be forceful; they want to be soothing and reassuring.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence

People

“It is in this matter that I fall foul of so many American writers on writing; they seem to think that writing is a confidence game by means of which the author cajoles a restless, dull-witted, shallow audience into hearing his point of view. Such an attitude is base, and can only beget base prose.”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Elements of Style (1959).

Confidence, Game, Thinking

“Poetry, as nearly as I can understand it, is a statement in words about a human experience, whether the experience be real or hypothetical, major or minor; but it is a statement of a particular kind. Words are symbols for concepts, and the philosopher or scientist endeavors as far as may be to use them with reference to nothing save their conceptual content. Most words, however, connote feelings and perceptions, and the poet, like the writer of imaginative prose, endeavors to use them with reference not only to their denotations but to their connotations as well. Such writers endeavor to communicate not only concepts, arranged, presumably, either in rational order or in an order of apprehensible by the rational mind, but the feeling or emotion which the rational content ought properly to arouse.”

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

The Audible Reading of Poetry (1951)

Feeling, Imagination, Communication, Understanding

“I don't suppose a writing man ever really gets rid of his old crocus-yellow neckties. Sooner or later, I think, they show up in his prose, and there isn't a hell of a lot he can do about it.”

Jerome David Salinger book Raise High the Roof Beam, Carpenters and Seymour: An Introduction

Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963), Seymour: An Introduction (1959)

Hell, Thinking

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Life, Truth, Way, Idea

“The disposition to consider intelligence a peril is an old Anglo-Saxon inheritance. Our ancestors have celebrated this disposition in verse and prose. Splendid as our literature is, it has not voiced all the aspirations of humanity, nor could it be expected to voice an aspiration that has not characteristically belonged to the English race; the praise of intelligence is not one of its characteristic glories. “Be good, sweet maid, and let who will he clever.” [Charles Kingsley, “A Farewell”] Here is the startling alternative which to the English, alone among great nations, has been not startling but a matter of course. Here is the casual assumption that a choice must be made between goodness and intelligence; that stupidity is first cousin to moral conduct, and cleverness the first step into mischief; that reason and God are not on good terms with each other; that the mind and the heart are rival buckets in the well of truth, inexorably balanced—full mind, starved heart—stout heart, weak head.”

John Erskine (1879–1951) American educator

Source: The Moral Obligation to be Intelligent (1915), p. 5

God, Truth, Stupidity, Intelligence

“He was the great prose satirist of the Elizabethan period and may rightly be considered as the forerunner of that much greater satirist whose Tale of a Tub was a brilliant attack upon all forms of religious controversy.”

Martin Marprelate (1588–1589)

Sir Adolphus William Ward and Alfred Rayney Waller (eds.) The Cambridge History of English and American Literature (1907-21), vol. 3, ch. 17, sect. 16. http://www.bartleby.com/213/1716.html Criticism

“This myth filter was necessary. The ship logs could not tell it rightly nor could any flatfooted prose. And the deeds were too bright to be viewed direct. They could only be sung by a bard gone blind from viewing suns that were suns.”

R. A. Lafferty (1914–2002) American writer

Source: Space Chantey (1968), Ch. 1

Sun

“The "medium is the message" is one of the world's silliest remarks. The message is the message, and it doesn't matter whether you send it by e-mail, a note in a bottle or on a picture postcard. The book, or the poem, or the play is what counts and it doesn't matter if it's written with a pen on a long sheet of ruled paper, as I am writing now, or on the most highly developed word processor. No machine can help with the rhythms of your prose, even if it can spell better than you can.”

John Mortimer (1923–2009) English barrister, dramatist, screenwriter and author

Source: Where There's a Will: Thoughts on the Good Life (2003), Ch. 28 : Inventions and the Decline of Language

Books, World, Help

“You campaign in poetry. You govern in prose.”

Mario Cuomo (1932–2015) American politician, Governor of New York

The New Republic (4 April 1985)

“There is only one art of writing, and that is the art of poetry.. whether it is in the form of prose or in rhyme and meter or in rhymed cadence.”

F. S. Flint (1885–1960) English Imagist poet

Otherworld Cadences (1920)

Art

“Our poetry in the eighteenth century was prose; our prose in the seventeenth, poetry.”

David Hare (1947) British writer

Augustus William Hare and Julius Charles Hare Guesses at Truth (London: Macmillan, ([1827-48] 1867) p. 143.
Misattributed

“My favourite memories involve the actual process of writing sketches - just a few guys lounging around in a room talking nonsense, until suddenly an idea would start to coalesce, and you'd start nudging it toward fruition. I've never laughed so much before or since. Also, there were those very, very few nights where you'd be on a stage and some strange contract developed between performers and audience, and everything you did was funny. That was magical - and a direct visceral experience that you never really get from writing prose.”

Michael Marshall Smith (1965) British novelist, screenwriter and short story writer

On his time with the Cambridge Footlights
Associated Content Interview (October 23, 2006)

Guy, Idea, Memory, Night

“You only have to wade through a metric measure or two of European prose, culled from its directives, circulars, reports, communiqués or what pass as debates in its 'parliament', and you will quickly understand that Europe is, in truth, synonymous with bureaucracy – to which one might add 'to', 'from' and 'with' bureaucracy if one were so minded.”

Margaret Thatcher book Statecraft: Strategies for a Changing World

Source: Statecraft: Strategies for a Changing World, p. 324

Truth, Understanding

“Polyphonic prose is a kind of free verse, except that it is still freer. Polyphonic makes full use of cadence, rime, alliteration, assonance.”

Amy Lowell (1874–1925) US writer

Can Grande's Castle (1921), preface.

“For something like forty years I've been getting various sorts of narratives off my chest without being able to hit upon a classification for them. There's something dreary to me about the publisher's arbitrary division of every word written for publication into fiction and nonfiction. My writing has a most irritating way of being difficult to classify in either category. At times I would find it hard to tell you whether the stuff is prose or verse. Gradually I've come up with the tag: contemporary chronicle.”

John Dos Passos (1896–1970) novelist, playwright, poet, journalist, painter

Presentation at Carleton College, Nov 30 1960

Way, Time

“Monckton Milnes was a social power in London, and of course he himself affected social eccentricity, challenging ridicule with the indifference of one who knew himself to be the first wit in London, and a maker of men — of a great many men. A word from him went far. An invitation to his breakfast-table went farther. Behind his almost Falstaffian mask and laugh of Silenus, he carried a fine, broad, and high intelligence which no one questioned. As a young man he had written verses, which some readers thought poetry, and which were certainly not altogether prose. Later, in Parliament he made speeches, chiefly criticised as too good for the place and too high for the audience. Socially, he was one of two or three men who went everywhere, knew everybody, talked of everything.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Men, Intelligence, Question, Indifference

“I have to say from the outset that not all prose can be transferred to the screen.”

Andrei Tarkovsky book Sculpting in Time

Sculpting in Time (1986)

“Exercises are like prose, whereas yoga is the poetry of movements. Once you understand the grammar of yoga; you can write your poetry of movements.”

Amit Ray (1960) Indian author

Yoga and Vipassana: An Integrated Lifestyle (2012) https://books.google.co.in/books?id=sBsG9V1oVdMC,

Exercises, Understanding

“But it is not alone the harmony of music which has such a power over the mind. The harmony of colors, every art and science, has the same power. Even the most common craft, and the most prosaic of all prose, the chase after the dollar, may take possession of a man’s soul and prostrate him in adoration before its idol.”

Joseph Dietzgen (1828–1888) german philosopher

Letter 3
Letters on Logic: Especially Democratic-Proletarian Logic (1906)

Art, Music, Color, Soul

“I could never have believed that such kindness existed: to receive my wretched drawings and then thank me into the bargain. And you need not be so scrupulous about my drawings. Just use those you like.... But, I am madly, crazily happy at the thought that your prose [Devismes novel 'Cocotte'], like so many fireworks, will frame my daubs, that you should have offered me a helping hand on the arduous road towards getting known…”

Henri de Toulouse-Lautrec (1864–1901) French painter

Quote from Lautrec's letter, after he received Devismes' letter full of praise for the 23 illustrations he had sent
Source: 1879-1884, T-Lautrec, by Henri Perruchot, p. 61 - in a letter to his friend Etienne Devismes, Summer of 1881

Happiness, Help, Drawing

“Both in verse and in prose [Karl] Shapiro loves, partly out of indignation and partly out of sheer mischievousness, to tell the naked truths or half-truths or quarter-truths that will make anybody’s hair stand on end; he is always crying: “But he hasn’t any clothes on!” about an emperor who is half the time surprisingly well-dressed.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Fifty Years of American Poetry”, p. 331
The Third Book of Criticism (1969)

Love, Truth, Time, Cry

“While clearly an impregnable masterpiece, Don Quixote suffers from one fairly serious flaw - that of outright unreadability. This reviewer should know, because he has just read it. The book bristles with beauties, charm, sublime comedy; it is also, for long stretches (approaching about 75 per cent of the whole), inhumanly dull…. Reading Don Quixote can be compared to an indefinite visit from your most impossible senior relative, with all his pranks, dirty habits, unstoppable reminiscences, and terrible cronies. When the experience is over, and the old boy checks out at last (on page 846 - the prose wedged tight, with no breaks for dialogue), you will shed tears all right: not tears of relief but tears of pride. You made it, despite all that Don Quixote could do.”

Martin Amis (1949) Welsh novelist

Opening paragraph of his review of The Adventures of Don Quixote de la Mancha by Miguel de Cervantes, translated by Tobias Smollett
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

Books, Beauty, Boy, Tear

“The results of Socrates' martyrdom and Plato's unexcelled prose that followed are nothing less than the whole world of Western man as we know it. If the idea of truth had been allowed to perish unrediscovered by the Renaissance it's unlikely that we would be much beyond the level of prehistoric man today. The ideas of science and technology and other systematically organized efforts of man are dead-centered on it. It is the nucleus of it all.”

Robert M. Pirsig book Zen and the Art of Motorcycle Maintenance

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 29

Truth, World, Idea, Effort

“When Humphries writes in propria persona his prose can scarcely contain its freight of cultivated allusions. He writes the most nutritiously rococo English in Australia today, but nobody will be able to inherit it. To know him would not be enough. You would have to know what he knows.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Approximately in the Vicinity of Barry Humphries'
Essays and reviews, Snakecharmers in Texas (1988)

“As a writer, I must keep writing, poems can never be forced, the muses will not be raped, so I feel this kind of prose (autobiography), however inadequate, share some of the exploratory features of the poetic use of language.”

Vernon Scannell (1922–2007) British boxer and poet

Tiger and the Rose, 1971

Feeling

“Only a religion addressed to life's prose, a religion of the dull routine of daily activity, is worthy of the name.”

Yeshayahu Leibowitz (1903–1994) israeli intellectual

"Judaism, Human Values and the Jewish State" (1995)

Life, Religion

“I do not trust any advice which is given in bad prose.”

Robertson Davies book A Voice from the Attic

A Voice from the Attic (1960)

“At bottom, it is the Poet's first gift, as it is all men's, that he have intellect enough. He will be a Poet if he have: a Poet in word; or failing that, perhaps still better, a Poet in act. Whether he write at all; and if so, whether in prose or in verse, will depend on accidents: who knows on what extremely trivial accidents, — perhaps on his having had a singing-master, on his being taught to sing in his boyhood! But the faculty which enables him to discern the inner heart of things, and the harmony that dwells there (for whatsoever exists has a harmony in the heart of it, or it would not hold together and exist), is not the result of habits or accidents, but the gift of Nature herself; the primary outfit for a Heroic Man in what sort soever. To the Poet, as to every other, we say first of all, See. If you cannot do that, it is of no use to keep stringing rhymes together, jingling sensibilities against each other, and name yourself a Poet; there is no hope for you. If you can, there is, in prose or verse, in action or speculation, all manner of hope. The crabbed old Schoolmaster used to ask, when they brought him a new pupil, 'But are ye sure he's not a dunce?”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Why, really one might ask the same thing, in regard to every man proposed for whatsoever function; and consider it as the one inquiry needful: Are ye sure he's.
1840s, Heroes and Hero-Worship (1840), The Hero as Poet

Men, Hope, Nature, Singing

“Money, which represents the prose of life, and which is hardly spoken of in parlors without an apology, is, in its effects and laws, as beautiful as roses.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: Second Series (1844), Nominalist and Realist

Life, Money, Law, Beauty

“Prose must be written in language that is well understood by its readers. The world would hardly miss those literary works that are mastered by only half-a-dozen pundits.”

Bankim Chandra Chattopadhyay (1838–1894) Bengali writer

Peary Chand Mitra's Place in Bengali Literature (as quoted in Bengal Online http://bengalonline.sitemarvel.com/bankimchandra.asp)

World

“…a novel is a prose narrative of some length that has something wrong with it…”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 50
The Third Book of Criticism (1969)

“Sir John Mandeville [was] an encyclopedist whose mostly invented stories still ring true, thanks to his gift for writing the first realistic Western fiction since Petronius. We do not know who this man was or even what language he wrote in, but modern textual analysis suggests that he rarely left his study. Rather than travel, he scavenged and plagiarized the works of others, improving their prose as he claimed their discoveries. In a period of continental isolation, Mandeville satisfied Europe's appetite for news by making up an East that sounded real. In expanding editions and translations, his Voyages and Travels became the most popular prose book of the Middle Ages.”

John Mandeville (1300–1372) writer

Michael Wolfe One Thousand Roads to Mecca (New York: Grove Press, 1999) p. 75.
Criticism

Books, Age, Travel, Study

“Continuous prose suggests complete identification with the representing, observing, immersing-in-object self. Aphorisms suggest a richer & varied personality made up more of internal conflicts and decisions. An epiphanic sequence suggests the highest mystery of personality.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

33.47
"Quotes", Notebooks

Decision, Personality

“You may not believe it,
But I don't believe in miracles anymore.
And when I think about it,
I don't believe I ever did for sure.
All the things I've said in songs,
All the purple prose you bought from me.
Reality's just black and white.
The sentimental things I'd write
Never meant that much to me.”

Elton John (1947) English rock singer-songwriter, composer and pianist

This Train Don't Stop There Anymore
Song lyrics, Songs from the West Coast (2001)

Thinking, Reality

“Read Homer once, and you can read no more;
For all books else appear so mean, so poor,
Verse will seem prose; but still persist to read,
And Homer will be all the books you need.”

John Sheffield, 1st Duke of Buckingham and Normanby (1648–1721) English poet and notable Tory politician of the late Stuart period

Essay on Poetry (published 1723).

Books, Appearance, Reading

“Muse who in the past inspired me to sing of the throes of love:
Go and repose.
What I need is a sword, rivers of gold,
and acrid prose.”

José Rizal (1861–1896) Filipino writer, ophthalmologist, polyglot and nationalist

"To My__" (December 1890)- translated by Nick Joaquin

Love, Singing, Past

“Neither in prose nor verse we aught can say,
But some one said it long before our day.”

Francesco Berni (1497–1535) Italian poet

LIX, 1
Rifacimento of Orlando Innamorato

“Music and Poetry have ever been acknowledged Sisters, which walking hand in hand support each other; As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry. Both of them may excel apart, but sure they are most excellent when they are oined, because nothing is then wanting to either of their perfections.”

Henry Purcell

Henry Purcell, ‎Edward Taylor (1843) in "Introduction" to, King Arthur: an opera in 5 acts, written by John Dryden. p. 3; Introduction; Cited in: James Anthony Froude, ‎John Tulloch (1852), Fraser's Magazine, Vol. 45, p. 198

Music, Support, Sister, Perfection

“It is no longer possible for lyric poetry to express the immensity of our experience. Life has grown too cumbersome, too complicated. We have acquired values which are best expressed in prose.”

Borís Pasternak (1890–1960) Russian writer

Interview in Writers at Work, Second Series (1963) edited by George Plimpton.

Life

“"Sunlight's a thing that needs a window
Before it enter a dark room.
Windows don't happen."
So two old poets,
Hunched at their beer in the low haze
Of an inn parlour, while the talk ran
Noisily by them, glib with prose.”

R.S. Thomas (1913–2000) Welsh poet

"Poetry For Supper"
Poetry For Supper (1958)

Beer

“And the second thing fiction does is to build empathy. When you watch TV or see a film, you are looking at things happening to other people. Prose fiction is something you build up from 26 letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world and people it and look out through other eyes. You get to feel things, visit places and worlds you would never otherwise know. You learn that everyone else out there is a me, as well. You're being someone else, and when you return to your own world, you're going to be slightly changed. Empathy is a tool for building people into groups, for allowing us to function as more than self-obsessed individuals.”

Neil Gaiman (1960) English fantasy writer

Why our future depends on libraries, reading and daydreaming (2013)

People, World, Feeling, Imagination

“Which one of us has not dreamed, on ambitious days, of the miracle of a poetic prose: musical, without rhythm or rhyme; adaptable enough and discordant enough to conform to the lyrical movements of the soul, the waves of revery, the jolts of consciousness?Above all else, it is residence in the teeming cities, it is the crossroads of numberless relations that gives birth to this obsessional ideal.”

Charles Baudelaire (1821–1867) French poet

Quel est celui de nous qui n'a pas, dans ses jours d'ambition, rêvé le miracle d'une prose poétique, musicale sans rythme et sans rime, assez souple et assez heurtée pour s'adapter aux mouvements lyriques de l'âme, aux ondulations de la rêverie, aux soubresauts de la conscience?C'est surtout de la fréquentation des villes énormes, c'est du croisement de leurs innombrables rapports que naît cet idéal obsédant. "Dédicace, À Arsène Houssaye" http://fr.wikisource.org/wiki/Petits_Po%C3%A8mes_en_prose Le spleen de Paris (1862)

Dreams, Music, Soul, Birth

“The writer of prose can only step aside when the poet passes…”

W. Somerset Maugham (1874–1965) British playwright, novelist, short story writer

Source: Cakes and Ale: Or, The Skeleton in the Cupboard (1930), p. 184

“Who is this Pope that I hear so much about? I cannot discover what is his merit. Why will not my subjects write in prose?”

George II of Great Britain (1683–1760) British monarch

As quoted in Sir James Prior's Life of Edmond Malone (1860), p. 369.
Attributed

“Maybe knowledge doesn't accrue, maybe it doesn't happen sequentially. Maybe I need to go back and read Hunger of Memory again. Maybe there's a wisdom that I had in those years that I need to learn from now. And maybe there will be a year when I will have the courage to read that book. When I think about it or when I hear other people talk about it, it strikes me as very naked prose, and I'm embarrassed by it. I'm embarrassed by how much I told you. And people say, "Well you didn't tell us you were gay." Or "You didn't tell us you had all these friends or that you were student body president. You never said that."”

Richard Rodríguez (1944) American journalist and essayist

I think to myself, "My God, but what I told you I've never told anybody. And I'll never tell anybody again."
Violating the Boundaries: An Interview with Richard Rodriguez (1999)

Wisdom, Hunger, God, People

“She sat there, the white of saliva at the ends of her mouth, her teeth gritted, her hands pulling at her long hair, her face fighting off a scream, but it didn't matter; she could scream if she liked, for Arturo Bandini wasn't queer, there was nothing at all wrong with Arturo Bandini; why, he had a passion like six men, that boy, he had felt it coming to the surface: some guy, mighty writer, mighty lover; right with the world, right with his prose.”

John Fante book Ask the Dust

Ask the Dust (1939)

Men, World, Guy, Boy

“Faults in English prose derive not so much from lack of knowledge, intelligence or art as from lack of thought, patience or goodwill.”

Robert Graves (1895–1985) English poet and novelist

Source: The Reader Over Your Shoulder (1943), Ch. 3: "Where Is Good English to Be Found?"

Art, Intelligence, Knowledge, Patience

“Don Quixote, The Tale of Genji, The Dream of the Red Chamber, the Satyricon, these are the world's major works of prose fiction.”

Kenneth Rexroth (1905–1982) American poet, writer, anarchist, academic and conscientious objector

"Moll Flanders", in With Eye and Ear (1970), p. 13

World, Dreams

“By definition, if prose is a river, poetry is a fountain.”

Michael Longley (1939) poet

'Poetry Ireland Review' Summer 1999

“It seems as though he…has more of an interest, and more of a cultural capacity to reach out across the aisle in America, and to the world as a whole. As a wise man said once, you campaign in poetry and govern in prose…let's now see if he can deliver. Though I think he will soon find out that the vested interests of Washington are too stubborn for a relatively inexperienced politician such as himself to navigate.”

Munir Butt (1940–2015) British diplomat

Speaking about new U.S. President Barack Obama
Source: Diplomat Magazine profile, 2009.

World, Thinking

“You can teach the writing of verse.. like prose.. an instrument.. and the recognition of true poetry. The rest, writers must teach them selves.”

John Hollander (1929–2013) American poet

Interview with J D McCarthy 'The Art of Poetry' no 35 Fall 1985

“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.”

Michael Schmidt (poet) (1947) American poet

The Great Modern Poets, London, 2006

Lie, Imagination, Reading

“I've seen a lot of patriots and they all died just like anybody else if it hurt bad enough and once they were dead their patriotism was only good for legends; it was bad for their prose and made them write bad poetry. If you are going to be a great patriot, i. e., loyal to any existing order of government (not one who wishes to destroy the existing for something better), you want to be killed early if your life and works won't stink.”

Ernest Hemingway (1899–1961) American author and journalist

Letter (12 January 1936); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

Life, Hurt, Dead

“the correct statement would be, not that I disliked poetry, but that I was theoretically indifferent to it. I disliked any sentiments in poetry which I should have disliked in prose; and that included a great deal. And I was wholly blind to its place in human culture, as a means of educating the feelings. But I was always personally very susceptible to some kinds of it.
Long before I had enlarged in any considerable degree, the basis of my intellectual creed, I had obtained in the natural course of my mental progress, poetic culture of the most valuable kind, by means of reverential admiration for the lives and characters of heroic persons; especially the heroes of philosophy.

Condorcet's Life of Turgot; a book well calculated to rouse the best sort of enthusiasm, since it contains one of the wisest and noblest of lives, delineated by one of the wisest and noblest of men.”

John Stuart Mill book Autobiography

Autobiography (1873)

Life, Men, Books, Education

“His opinion of verses.
That he wrote all his first in prose, for so his master Camden had learned him.

That verses stood by sense without either colours or accent; which yet other times he denied.”

Ben Jonson (1572–1637) English writer

Conversations with William Drummond of Hawthornden (1711)

Sense, Learning, Time

“Prose will be used for the more objective branches of writing- novels, plays, essays.. Cadence will be used for personal, emotional, lyrical utterances in which the phrasing goes with a stronger beat and the words live together with an intense flame.”

F. S. Flint (1885–1960) English Imagist poet

Otherworld Cadences (1920)

Personality

“I spent my nights reading Proust’s A Remembrance of Things Past, admiring the lucid, subtle but strong prose, stupefied by its dazzling magic, awed by the vast, delicate, intricate, and psychological structure of the Frenchman’s epic of death and decadence. But it crushed me with hopelessness, for I wanted to write of the people in my environment with an equal thoroughness, and the burning example before my eyes made me feel that I never could.”

Richard Wright book Black Boy

Black Boy (1945)

Death, People, Feeling, Strong

“Prose — it might be speculated — is discourse; poetry ellipsis.”

Joyce Carol Oates (1938) American author

"'Soul at the White Heat': The Romance of Emily Dickinson’s Poetry," (Woman) Writer: Occasions and Opportunities (1988)
Context: 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.

“It is very strange indeed that Poetry should be elder Brother to Prose… but it is very probable… precepts… were shap'd into measured lines, that they might be the more easily remembred”

Bernard Le Bovier de Fontenelle (1657–1757) French writer, satirist and philosopher of enlightenment

The History of Oracles, and the Cheats of the Pagan Priests (1688)
Context: But why then did the Ancient Priestesses always answer in Verse?... To this Plutarch replies... That even the Ancient Priestesses did now and then speak in Prose. And besides this, in Old times all People were born Poets.... [T]hey had no sooner drank a little freely, but they made Verses; they had no sooner cast their eyes on a Handsom Woman, but they were all Poesy, and their very common discourse fell naturally into Feet and Rhime: So that their Feasts and their Courtships were the most delectable things in the World. But now this Poetick Genius has deserted Mankind: and tho' our passions be as ardent... yet Love at present creeps in humble prose.... Plutarch gives us another reason... that the Ancients wrote always in Verse, whether they treated of Religion, Morality, Natural Philosophy or Astrology. Orpheus and Hesiod, whom every body acknowledges for Poets, were Philosophers also: and Parmenides, Xenophanes, Empedocles, Eudoxus, and Thales... [the] Philosophers, were Poets too. It is very strange indeed that Poetry should be elder Brother to Prose... but it is very probable... precepts... were shap'd into measured lines, that they might be the more easily remembred: and therefore all their Laws and their rules of Morality were in Verse. By this we may see that Poetry had a much more serious beginning than is usually imagin'd, and that the Muses have of late days mightily deviated from their original Gravity.<!--pp. 207-209

“Men could not be contented to take the Oracle just as it came piping hot from the Mouth of their God. But perhaps, when they had come a great way for it, they thought it would look silly to carry home an Oracle in Prose.”

Bernard Le Bovier de Fontenelle (1657–1757) French writer, satirist and philosopher of enlightenment

The History of Oracles, and the Cheats of the Pagan Priests (1688)
Context: So that at length the Priests of Delphos being quite baffled with the railleries of those learned Wits, renounced all Verses, at least as to the speaking them from the Tripos; for there were still some Poets maintain'd in the Temple, who at leisure turned into Verse, what the Divine fury had inspired the Pythian Priestess withal in Prose. It was very pretty, that Men could not be contented to take the Oracle just as it came piping hot from the Mouth of their God. But perhaps, when they had come a great way for it, they thought it would look silly to carry home an Oracle in Prose.<!--pp. 221-222

Men, God, Way, Home

“The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write.”

Ernest Hemingway (1899–1961) American author and journalist

A Letter from Cuba (1934)
Context: The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn, and anybody is cheating who takes politics as a way out. All the outs are too easy, and the thing itself is too hard to do.

“I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say.”

Bernard Malamud (1914–1986) American author

Address at Bennington College (30 October 1984) as published in "Reflections of a Writer: Long Work, Short Life" in The New York Times (20 March 1988)
Context: I have written almost all my life. My writing has drawn, out of a reluctant soul, a measure of astonishment at the nature of life. And the more I wrote well, the better I felt I had to write.
In writing I had to say what had happened to me, yet present it as though it had been magically revealed. I began to write seriously when I had taught myself the discipline necessary to achieve what I wanted. When I touched that time, my words announced themselves to me. I have given my life to writing without regret, except when I consider what in my work I might have done better. I wanted my writing to be as good as it must be, and on the whole I think it is. I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say.
Somewhere I put it this way: first drafts are for learning what one's fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to re-form it. Revision is one of the exquisite pleasures of writing: The men and things of today are wont to lie fairer and truer in tomorrow's meadow, Henry Thoreau said.
I don't regret the years I put into my work. Perhaps I regret the fact that I was not two men, one who could live a full life apart from writing; and one who lived in art, exploring all he had to experience and know how to make his work right; yet not regretting that he had put his life into the art of perfecting the work.

Books, Understanding, Time

Quotes about prose page 2

Quotes about prose
page 2