Sequence Poetry Quotes

I felt a Cleaving in my Mind— As if my Brain had split— I tried to match it—Seam by Seam— But could not make it fit. The thought behind, I strove to join Unto the thought before— But Sequence ravelled out of Sound Like Balls—upon a Floor.

Books were a way to escape reality, in pages of characters and worlds that didn’t exist. Characters that you understand, friends that aren’t physically there but make your day better. Somehow you feel like your on an adventure, going through a sequence of events and the most powerful thing about books is that the message books hold means something to anyone who has read the pages of them.

Long ago, there was a dream within a dream that allowed joy to reign, but that youthful breath drifted away as swiftly as a summer rain. There was nothing left after the dawn, except for a world darkened by a King’s broken heart. Now only Morpheus induced silhouettes dance in these lightless plains. They dance in sequence to the sound of time – unmoved by existence – trapped in a single thought I hope lies within you.

Our actions write out our life's sequence...Poetry is life!

T.S. Eliot said to me 'There’s only one way a poet can develop his actual writing – apart from self-criticism & continual practice. And that is by reading other poetry aloud – and it doesn’t matter whether he understands it or not (i.e. even if it’s in another language.) What matters above all, is educating the ear.' What matters, is to connect your own voice with an infinite range of verbal cadences & sequences – and only endless actual experience of your ear can store all that in your nervous system. The rest can be left to your life & your character.

Here’s the thing: I’m ridiculously smart, and I’m pretty sure I have a photographic memory. It’s like I have a camera in my head, and if I see or hear something, I click it, and it stays. I saw a special on PBS once on children who were geniuses. These kids could remember complicated strands of numbers and recall words and pictures in correct sequence and quote long passages of poetry. So can I.

I felt a clearing in my mind As if my brain had split ; I tried to match it, seam by seam, But could not make them fit. The thought behind I strove to join Unto the thought before, But sequence ravelled out of reach Like balls upon a floor.

As the leader of the international Human Genome Project, which had labored mightily over more than a decade to reveal this DNA sequence, I stood beside President Bill Clinton in the East Room of the White House... Clinton's speech began by comparing this human sequence map to the map that Meriwether Lewis had unfolded in front of President Thomas Jefferson in that very room nearly two hundred years earlier. Clinton said, "Without a doubt, this is the most important, most wondrous map ever produced by humankind." But the part of his speech that most attracted public attention jumped from the scientific perspective to the spiritual. "Today," he said, "we are learning the language in which God created life. We are gaining ever more awe for the complexity, the beauty, and the wonder of God's most divine and sacred gift." Was I, a rigorously trained scientist, taken aback at such a blatantly religious reference by the leader of the free world at a moment such as this? Was I tempted to scowl or look at the floor in embarrassment? No, not at all. In fact I had worked closely with the president's speechwriter in the frantic days just prior to this announcement, and had strongly endorsed the inclusion of this paragraph. When it came time for me to add a few words of my own, I echoed this sentiment: "It's a happy day for the world. It is humbling for me, and awe-inspiring, to realize that we have caught the first glimpse of our own instruction book, previously known only to God." What was going on here? Why would a president and a scientist, charged with announcing a milestone in biology and medicine, feel compelled to invoke a connection with God? Aren't the scientific and spiritual worldviews antithetical, or shouldn't they at least avoid appearing in the East Room together? What were the reasons for invoking God in these two speeches? Was this poetry? Hypocrisy? A cynical attempt to curry favor from believers, or to disarm those who might criticize this study of the human genome as reducing humankind to machinery? No. Not for me. Quite the contrary, for me the experience of sequencing the human genome, and uncovering this most remarkable of all texts, was both a stunning scientific achievement and an occasion of worship.

In my generation, most of the poets I admire are interested in length they want to write long lines, long stanzas, long poems, poems which cover an extended sequence of events. To all this I feel an instant objection, whose sources I'm not confident I know.

There’s only one way a poet can develop his actual writing – apart from self-criticism & continual practice. And that is by reading other poetry aloud – and it doesn’t matter whether he understands it or not (i.e. even if it’s in another language.) What matters above all, is educating the ear. What matters, is to connect your own voice with an infinite range of verbal cadences & sequences – and only endless actual experience of your ear can store all that in your nervous system.

screen filled with symbols, only this time it was Arabic letters that meant nothing to him. He assumed they meant nothing to Raj as well, and was therefore surprised when Raj pointed out a short sequence. “This is the word for ‘person’ or ‘human being’.” Daniel stared at Raj. “You know Arabic?” “No, not really. I have read Nizar Qabbani in translation, and this word is a particularly beautiful shape, is it not?” “Still waters run deep, Raj. So you read Arabic love poetry. I wouldn’t have ever guessed.” Raj blushed. “Sushma is more woman than I can handle without help,” he admitted. “Qabbani writes more than just love poetry. It is quite erotic.

From the perspective of my old laptop, I am a numbers man, something like that every instruction he gives me is a one or a zero I remember well I have information about him before he left for his new toy thinner, younger, able to keep up with him, I have information about him may 15th 2008, he listened to a song five times in succession it was titled Everybody, open parenthesis, Backstreet's Back, close parenthesis it included the lyric 'Am I sexual, yeaaaaah' He said once, computers like a sense of finality to them when I write something I don't want to be able to run from it this was a lie he was addicted to my ability to keep his secrets I am a numbers man, every instruction he gives me is a one, or a zero I remember well January, 7th 2007 I was young just two week awake he gave me, a new series of one's and zeros the most sublime sequence I have ever seen it had curves, and shadow, it was him he gave his face in numbers and trusted me to be the artist, and I was do not laugh I have read about your God you kill each other over your grand fathers memory of him I still remember the fingertips of my God dancing across my body After I learnt to draw him he trusted with more art rubric jpeg 1063 was his favourite Him, and that woman, resting her head in the curve of his nick I read his correspondence she hasn't written him back in years but he asks for it, constantly, jpeg 1063, jpeg 1063, jpeg 1063 it was my master piece it looked so, .., life like I wanted to tell him That's not her that is me that is not her face those are my ones and zeros waltzing in space for you she is nothing more than my shadow puppet you do not miss her, you miss me, I am a numbers man, every instruction he gives is a one or a zero I remember well but he taught me to be a Da Vinci and I sit here, with his portraits waiting for him to return I do not think he will Is that what it means to be human to be all powerful, to build a temple to yourself and leave only the walls to pray

Code for Humanity (The Sonnet) There is no such thing as ethical hacking, If it were ethical they wouldn't be teaching it. Because like it or not ethics is bad for business, They teach hacking so they could use it for profit. With the right sequence of zeros and ones we could, Equalize all bank accounts of planet earth tomorrow. Forget about what glass house gargoyles do with tech, How will you the human use tech to eliminate sorrow? In a world full of greedy edisons, be a humble Tesla, Time remembers no oligarch kindly no matter the status. Only innovators who get engraved in people's heart, Are the ones who innovate with a humane purpose. Innovate to bridge the gap, not exploit and cater to disparities. In a world run by algorithms of greed write a code that helps 'n heals.

That the result is far less a triumph for the human spirit than the work of the group of Dante, that the result is suspect in its nature and dangerous, that it is a substitution of human feelings rather than an extension of them, is another matter. In Dante, as I have said again and again, you get a system of thought and feeling; every part of the system felt and thought in its place, and the whole system felt and thought; and you cannot say that it is primarily “intellectual” or primarily “emotional”, for the thought and the emotion are reverse sides of the same thing. In Donne you get a sequence of thoughts which are felt; in Crashaw you might say, by slightly straining an antithesis, that you have a sequence of feelings which are thought. In neither do you find a perfect balance.

The poetry of music composes each generation of Americans’ autobiographical memories. Language and music represent two rotaries of the revolving and evolving wheels that we employ to internalize the axis of identification. Music plays a profound role in the definitive stages of most people’s lives. Reminiscent of the sounds and smells that flavored our youth, musical intonations organize our personal memories into temporal time sequence. Modulation of musical memories comprises an important quotient in people’s autographical memory system. If we listen to enough music, its pitch, tone, timbre, and cadence eventually seeps into our unconsciousness. The lilt of music becomes a portal through which we perceive, feel, and experience worldly inflections and how we synthesize swirling emotions.

The trends speak to an unavoidable truth. Society's future will be challenged by zoonotic viruses, a quite natural prediction, not least because humanity is a potent agent of change, which is the essential fuel of evolution. Notwithstanding these assertions, I began with the intention of leaving the reader with a broader appreciation of viruses: they are not simply life's pathogens. They are life's obligate partners and a formidable force in nature on our planet. As you contemplate the ocean under a setting sun, consider the multitude of virus particles in each milliliter of seawater: flying over wilderness forestry, consider the collective viromes of its living inhabitants. The stunnig number and diversity of viruses in our environment should engender in us greater awe that we are safe among these multitudes than fear that they will harm us. Personalized medicine will soon become a reality and medical practice will routinely catalogue and weigh a patient's genome sequence. Not long thereafter one might expect this data to be joined by the patient's viral and bacterial metagenomes: the patient's collective genetic identity will be recorded in one printout. We will doubtless discover some of our viral passengers are harmful to our health, while others are protective. But the appreciation of viruses that I hope you have gained from these pages is not about an exercise in accounting. The balancing of benefit versus threat to humanity is a fruitless task. The viral metagenome will contain new and useful gene functionalities for biomedicine: viruses may become essential biomedical tools and phages will continue to optimize may also accelerate the development of antibiotic drug resistance in the post-antibiotic era and emerging viruses may threaten our complacency and challenge our society economically and socially. Simply comparing these pros and cons, however, does not do justice to viruses and acknowledge their rightful place in nature. Life and viruses are inseparable. Viruses are life's complement, sometimes dangerous but always beautiful in design. All autonomous self-sustaining replicating systems that generate their own energy will foster parasites. Viruses are the inescapable by-products of life's success on the planet. We owe our own evolution to them; the fossils of many are recognizable in ERVs and EVEs that were certainly powerful influences in the evolution of our ancestors. Like viruses and prokaryotes, we are also a patchwork of genes, acquired by inheritance and horizontal gene transfer during our evolution from the primitive RNA-based world. It is a common saying that 'beauty is in the eye of the beholder.' It is a natural response to a visual queue: a sunset, the drape of a designer dress, or the pattern of a silk tie, but it can also be found in a line of poetry, a particularly effective kitchen implement, or even the ruthless efficiency of a firearm. The latter are uniquely human acknowledgments of beauty in design. It is humanity that allows us to recognize the beauty in the evolutionary design of viruses. They are unique products of evolution, the inevitable consequence of life, infectious egotistical genetic information that taps into life and the laws of nature to fuel evolutionary invention.

Circles Circles, small, large and many circles, That is what our lives are like, Always moving and pacing in circles, Circles of love, circles of desire, circles of passion , too many circles, but none alike. Situations, circumstances presenting themselves in circles, With infinite loops, where we always end up where we began, With the only difference that we change circles, but never can we leave these circles, Even if we tried hard and we desperately ran. We always end up in a circle within many circles, But be assured these loops have been created on purpose by someone, Who enjoys watching us going in circles because for him/her life is a circus of circles, There is no regard for emotions, sentiments and human sensitivities, because this entity seems to care for no one. And casts us mercilessly and relentlessly in these vicious circles, Where the race begins never to end, because in a circle the end is unmarked, And ah the agony of living in ceaseless pain and its ever extending circles, Who shall we accuse, our fate or our destiny that we always get marked. To be a part of circles, in relentless motion and desperation, only to create new circles, And be cast in them remorselessly by this unknown entity, It has nothing to offer us, no joys, no celebrations, just the ceaseless circles, Where we always lie in the centre like a loathed deity! And if ever our circle intersects with a cluster of happy circles, We are cast away and shunned like a managed dog, Till there are no more happy circles left in our constellation of endless circles, And we get recast by fate once again , in the infinite circle of life where we belong. We, our circle, our lives, our pain, a little blend of joy, and our live’s moments going in circles, Often question us in our wakeful state, “What are we and who are we without these circles?” And the answer, “ a motion within a circle seeking its eternal kinetic state !” To love in a circle, to feel joy in a circle, to confront life within circles, And tread in a state of constantly moving inertia, Where the quantum of everything is defined by these ceaselessly evolving circles, With the purpose to attain panacea! And I have loved you even in these circles, Where the feelings of my mind and heart are these constantly geminating circles, Your circles, my circles, our circles, life’s circles, circles within circles, To be a part of that final circle, we call “life’s circles!” So, I have plucked this rose with infinite red petals, For when we enter the circle of life together, I shall shower these scented petals, In all our circles to create that quintessential and romantic weather. where we shall enjoy our life in these circles, without feeling their drag, For being with you in the life’s endless sequence of circles, Will be a moment of joy, where I would wish that time developed a perpetual lag, So that you and I , could feel the symphony of our rhythmically moving circles!

I must be a writer of words, and nothing else. … I do not like writing about words, because then I often use bad and wrong and stale and woolly words. What I like to do is to treat words as a craftsman does his wood or stone or what-have-you, to hew, carve, mould, coil, polish and plane them into patterns, sequences, sculptures, fugues of sound expressing some lyrical impulse, some spiritual doubt or conviction, some dimly-realised truth I must try to reach and realise. … I am a painstaking, conscientious, involved and devious craftsman in words, however unsuccessful the result so often appears, and to whatever wrong uses I may apply my technical paraphernalia, I use everything and anything to make my poems work and move them in the directions I want to… … I, myself do not read poetry for anything but pleasure. I read only the poems I like. This means, of course, that I have to read a lot of poems I don't before I find the ones I do, but, when I do find the ones I do, then all I can say is, 'Here they are', and read them to myself for pleasure. Read the poems you like reading. Don't bother whether they're 'important', or if they'll live. What does it matter what poetry is, after all? If you want a definition of poetry, say: 'Poetry is what makes me laugh or cry or yawn, what makes my toenails twinkle, what makes me want to do this or that or nothing', and let it go at that. All that matters about poetry is the enjoyment of it, however tragic it may be. All that matters is the eternal movement behind it, the vast undercurrents of human grief, folly, pretension, exaltation, or ignorance, however unlofty the intention of the poem. You can tear a poem apart to see what makes it technically tick, and say to yourself, when the works are laid out before you, the vowels, the consonants, the rhymes or rhythms, 'Yes, this is it. This is why the poems moves me so. It is because of the craftsmanship.' But you're back again where you began. You're back with the mystery of having been moved by words. The best craftsmanship always leaves holes and gaps in the works of the poem so that something that is not in the poem can creep, crawl, flash or thunder in.

To a highly literate and mechanized culture the movie appeared as a world of triumphant illusions and dreams that money could buy. It was at this moment of the movie that cubism occurred, and it has been described by E. H. Gombrich (Art and Illusion) as “the most radical attempt to stamp out ambiguity and to enforce one reading of the picture — that of a man-made construction, a colored canvas.” For cubism substitutes all facets of an object simultaneously for the “point of view” or facet of perspective illusion. Instead of the specialized illusion of the third dimension on canvas, cubism sets up an interplay of planes and contradiction or dramatic conflict of patterns, lights, textures that “drives home the message” by involvement. This is held by many to be an exercise in painting, not in illusion. In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message. Is it not evident that the moment that the sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.

A good many proverbs prove to be narrative vignettes in which ... the moral calculus of reward for the good and retribution for the wicked is turned into a seesaw of miniature narrative: “The righteous is rescued from straits, / and the wicked man comes in his stead” (11:8).... The two sequenced images, then, that the line evokes are of the good man, first seemingly pinned down and then popped out of the tight squeeze into which he has fallen, and the wicked man slipped into his place. This is very neat, but, we may ask, is that the way the world is? Obviously not—obvious, I think, not only to us but also to the poet in Proverbs, who has chosen these emblematic images to represent an underlying principle of moral causation that he believes to be present in reality but that he knows would never be so perspicuous in the untidiness of experience outside literature. This for him is precisely the advantage of literary expression, the possibility of understanding made available through “proverb and adage.

A good many proverbs prove to be narrative vignettes in which ... the moral calculus of reward for the good and retribution for the wicked is turned into a seesaw of miniature narrative: “The righteous is rescued from straits, / and the wicked man comes in his stead” (11:8).... The two sequenced images, then, that the line evokes are of the good man, first seemingly pinned down and then popped out of the tight squeeze into which he has fallen, and the wicked man slipped into his place. This is very neat, but, we may ask, is that the world is? Obviously not—obvious, I think, not only to us but also to the poet in Proverbs, who has chosen these emblematic images to represent an underlying principle of moral causation that he believes to be present in reality but that he knows would never be so perspicuous in the untidiness of experience outside literature. This for him is precisely the advantage of literary expression, the possibility of understanding made available through “proverb and adage.

Young people need looking after,” she said. “Think of that beautiful boy Galois. People felt there was something secret in his character. They were right. The secret was mathematics. His father a suicide. His own death a horrible farce. Dawn in the fields. Caped and whiskered seconds. Sinister marksman poised to fire.” I need all my courage to die at twenty. “Then there was Abel, not much older, desperately poor, Abel in delirium, hemorrhaging. So often mathematical experience consists of time segments too massive to be contained in the usual frame. Lives overstated. Themes pursued to extreme points. Adventure, romance and tragedy.” I will fight for my life. “Look at Pascal, who rid himself of physical pain by dwelling on mathematics. He was just a bit older than you when he constructed his mystic hexagram. The loveliest aspect of the mystic hexagram is that it is mystic. That’s what’s so lovely about it. It’s able to become its own shadow.” Keep believing it. “The tricky thing about mathematical genius,” she said, “is that its sources are so often buried. Galois for one. Ramanujan for another. No indication anywhere in their backgrounds that these boys would one day display such natural powers. Figures jumping out of sequence. Or completely misplaced.” (...) “Numbers have supernatural harmonies, according to Hermite. They exist beyond human thought. Divine order through number. Number as absolute reality. Someone said of Hermite: ‘The most abstract entities are for him like living creatures.’ That’s what someone said.” “People invented numbers,” he said. “You don’t have numbers without people.” “Good, let’s argue.” “I don’t want to argue.” “Secret lives,” she said. “Dedekind listed as dead twelve years before the fact. Poncelet scratching calculations on the walls of his cell. Lobachevski mopping the floors of an old museum. Sophie Germain using a man’s name. Do I have the order right? Sometimes I get it mixed up or completely backwards. (...) “Tell me about your mathematical dreams.” “Never had one.” “Cardano did, born half dead, his inner life a neon web of treachery and magic. Gambler, astrologer, heretic, court physician. Schemed his way through the algebra wars.” “Can I see the baby?” “Ramanujan had algebraic dreams. Wrote down the results after getting out of bed. Vast intuitive powers but poor education. Taken to Cambridge like a jungle boy. Sonja Kowalewski wasn’t allowed to attend university lectures. We both know why. When her husband died she spent days and days without food, coming out of her room only after she’d restored herself by working on her mathematics. Tell me, was it Kronecker who thought mathematics similar to poetry? I know Hamilton and many others tried their hands at verse. Our superduper Sonja preferred the novel.

Heart’s deviation Let us travel from now to then, from today to tomorrow, Let us fulfill our desires and wishes in a row, Because they lie sequenced in the order only you and I know, And you can see them all over my face while I see them appearing on your beautiful brow, Let me take you into the clouds and get wet, Let me take you there where I first saw you and then our hearts met, Because in that place everything is still wet, Although there are no clouds and the sky is clear, I wonder from where it could such a cover of wetness get, Let me take you there and together discover its secret, Let us know what no one else knows about it, Because the place is mysteriously always wet and it is beyond my wit, Or it could be it is just my false impression of it, Let me then make a confession, that since you left nothing has returned, Let me reveal to you the world that appears deceptively wet as it is actually the world that has endlessly burned, Because when from the distance you see fields of burned desires and wishes turned to ash, they look like wet surfaces where everything is frozen in stillness and unturned, And it is from ash covered places like these life has all its ploys learned, Let me take you away from here too, somewhere far, very far, where burning is not required, Let us travel there where heart’s find whatever they have wished for and desired, Because they say utopia is somewhere where human feelings are never by desperate moments mired, And in this outlandish possibility let us seek each other and never feel tired, Let me love you behind the clouds and beyond the blue sky, Let us go there where everything burns: the sun, the stars, the universe, and everything that flies by, Because there, maybe when you see them burning in the fire of eternity and cry, You might realise why few places appear to be always wet long after their fires die, Let me look at your face, your eyes; and understand you a bit more, Let me see you in reality’s dress and then let me your every sentiment explore, Because when we realise what burning feels like it is then your true soul peeps from your skin’s every pore, Then let me kiss you and see if you too ever felt wet, and feel the corner of your heart where all your feelings you store, Let me let you explore me in the same ways, Let me let you experience the wetness of my soul, that has burned endlessly for nights and days, Because only then you might be able to see what you could never feel because you knew not how to deal with heart’s ways, As it is with all of us, in the beginning we let our minds dictate the darkness of our nights and the brightness of our days, Let me cover you with my desires and their fires and everything that you wish to feel, Let me show you how human lives turn and spin on the fate’s wheel, Because sometimes what appears to be the reality is actually not real, Maybe it will be the misadventure of our hearts but then if you look at the world and the universe even real sometimes seems unreal, Let me introduce you to the world where everything is real because there is no fake dimension, Let us then live in this romantic moment this romantic sensation, Because in the miscellany of my feelings, desires, and endless wishes, your feelings appear to be my heart’s only native creation, So let me, my love Irma, make you feel what true impenitence feels like when you do not obey your mind but you follow your heart’s every selfless deviation!

The people here are different. They walk differently. Talk differently. They are more considerable. In the sequence of their steps, their countenances, their gestures, their words. The people, the mood, and life itself ... walks at a slower pace. But not the sea – it's rough, vivacious, tempestuous as it has always been. Just like me, in the depths of my soul. We are the living contradiction, the commotion, in a sea full of truth.

Why do certain words pop out of the poem and stare you in the face? Is it because the rhythm marks them? Or the rhyme? Or are the words repeated? Do several stanzas seem to be about the same ideas; if so, do these ideas form any kind of sequence? [How to Read a Book (1972), P. 225]

Now, analysis, the breaking of the wholes into parts, is fundamental to science, but for judging works of art, the procedure is more uncertain: what are the natural parts of a story, a sonnet, a painting? The maker's aim is to project his vision by creating not a machine made up of parts but the impression of seamless unity that belongs to a living thing. Looking at an early example of systematic criticism by analysis -- say, Dante's comments on his sonnet sequence La Vita Nuova -- one sees that the best he can do is to tell again in prose what the first two lines mean, then the next three, and so on in little chunks through the entire work. We may understand somewhat better his intention here and there, but at the same time we vaguely feel that the exercise was superfluous and inappropriate. Reflection tells us why: those notations taken together do not add up to the meaning of the several poems. In three words: analysis is reductive. Since its patent success in natural sciences, analysis has become a universal mode of dealing not merely with what is unknown or difficult, but also with all interesting things as if they were difficult. Accordingly, analysis is a theme. Depending on the particulars of its effect, it can also be designated reductivism.

the history of literature, so full of Fate's exquisite ironies, has nothing more poignantly ironic, and nothing at the same time more beautifully appropriate, than the publication of Rupert Brooke's noble sonnet-sequence, '1914', a few swift weeks before the death they had imagined, and had already made lovely. Each one of these five sonnets faces, in a quiet exultation, the thought of death, of death for England; and understands, as seldom even English poetry has understood, the unspeakable beauty of the thought