Meter In Literature Quotes

It's all embedded, the hours and minutes, words and numbers everywhere, he said, train stations, bus routes, taxi meters, surveillance cameras. It's all about time, dimwit time, inferior time, people checking watches and other devices, other reminders. This is time draining out of our lives. Cities were built to measure time, to remove time from nature. There's an endless counting down, he said. When you strip away all the surfaces, when you see into it, what's left is terror. This is the thing that literature was meant to cure. The epic poem, the bedtime story.

They sat a few meters apart, speaking very rarely, and there was really only the noise of turning pages (…) Where Hans Hubermann and Erik Vandenburg were ultimately united by music, Max and Liesel were held together by the quiet gathering of words. "Hi, Max." "Hi, Liesel." They would sit and read.

Thus, Symbolism and Decadence are not a separate new school which arose in France and spread throughout all of Europe: they represent the end and culmination of a certain other school whose links were very extensive and whose roots go back to the beginning of the modern age. Symbolism, easily deduced from Maupassant, can also be deduced from Zola, Flaubert, and Balzac, from Ultra-realism as the antithesis of the previous Ultra-idealism Romanticism and "renascent" Classicism. It is precisely this element of ultra - the result of ultra manifested in life itself, in its mores, ideas, proclivities, and aspirations - that has wormed into literature and remained there ever since, expressing itself, finally, in such a hideous phenomenon as Decadence and Symbolism. The ultra without its referent, exaggeration without the exaggerated object, preciosity of form conjoined with total disappearance of content, and "poetry" devoid of rhyme, meter, and sense - that is what constitutes Decadence.

All Good Bad Poetry is formal poetry because the reader is allowed to see exactly how the poem is failing to be good. Strained or unimaginative rhymes and awkward or inappropriately jaunty meters are easy to spot within an open grid of predictability. A formal poem risks bring indisputably bad, for any reader can recognize the ways in which it is bad, whereas free verse may offer a verbal camouflage where one's ineptitude has a fighting chance to remain undetected.