58 Form Quotes

If a fish is the movement of water embodied, given shape, then cat is a diagram and pattern of subtle air.

Never has any one been less a priest than Jesus, never a greater enemy of forms, which stifle religion under the pretext of protecting it. By this we are all his disciples and his successors; by this he has laid the eternal foundation-stone of true religion; and if religion is essential to humanity, he has by this deserved the Divine rank the world has accorded him.

Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived.

It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing.

The chief function of the city is to convert power into form, energy into culture, dead matter into the living symbols of art, biological reproduction into social creativity.

My work is not about 'form follows function,' but 'form follows beauty' or, even better, 'form follows feminine.'

Creativity is the result of a struggle between vitality and form. As anyone who has tried to write a sonnet or scan poetry, is aware, the form ideally do not take away from the creativity but may add to it.

I can't work without a model. I won't say I turn my back on nature ruthlessly in order to turn a study into a picture, arranging the colors, enlarging and simplifying; but in the matter of form I am too afraid of departing from the possible and the true.

'Form follows function' - that has been misunderstood. Form and function should be one, joined in a spiritual union.

Underneath all his writing there is the settled determination to use certain words, to take certain attitudes, to produce a certain atmosphere; what he is seeing or thinking or feeling has hardly any influence on the way he writes. The reader can reply, ironically, 'That's what it means to have a style'; but few people have so much of one, or one so obdurate that you can say of it, 'It is a style that no subject can change.'

[Artists] love to immerse themselves in chaos in order to put it into form, just as God created form out of chaos in Genesis. Forever unsatisfied with the mundane, the apathetic, the conventional, they always push on to newer worlds.

But metre itself implies a passion, i.e. a state of excitement, both in the Poet's mind, & is expected in that of the Reader.

There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces. The form of the work is a consequence of this interaction. Possible musical forms are as limitless as the exterior forms of crystals.

My major aim was to shape a book which would make its own comment, a wordless statement: to talk through the way it was shaped. As I have said, this was not noticed

In the latter part of the nineteenth century there was a craze for metrical experiments which introduced or reintroduced several old French and Italian forms to English and American practice. The intricacy of these fixed forms appealed to all kinds of people who like to fiddle with words. There were ballades, chants royal, kyrielles, pantoums, rondeaux, rondels, rondeaux redoubles, Sicilian octaves, roundels, sestinas, triolets, villanelles and virelais to play with, and poets of varying merit had a go. The fascination of Provencal poetry for Ezra Pound comes out of this mostly unpromising milieu, and it is interesting that Pound should have been in the end one of those most associated with the complete upheaval in poetic practice that constituted modernism. Among those today who believe that modern poetry must do without rhyme or metre, there is an assumption that the alternative to free verse is a crash course in villanelles, sestinas and other such fixed forms. But most of those mentioned in the previous paragraph are rare in English poetry. Few poets have written a villanelle worth reading, or indeed regret not having done so.

The fecundity and the importance of a literary form are often measured by the trash it contains.

Rhyme, the rack of finest wits, That expresseth but by fits, True conceit, Spoiling senses of their treasure, Cozening judgement with a measure, But false weight. Wresting words from their true calling; Propping verse, for fear of falling To the ground. Jointing syllables, drowning letters, Fastening vowels, as with fetters They were bound!

He cursed Petrarch for redacting verses to sonnets, which he said were like that tyrant's bed, where some who were too short were racked, others too long cut short.

Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.

I think the circle is very abstract. I could make up stories of what the circle means to men, but I don't know if it is that conscious. I think it was a form, a vehicle. I don't think I had a sexual anthropomorphic, or geometric meaning. It wasn't a breast and it wasn't a circle representing life and eternity....I remember always working with contradiction and contradictory forms which is my idea also in life. The whole absurdity of life, everything for me has always been opposite. Nothing has ever been in the middle. When I gave you my autobiography, my life never had anything normal or in the center. It was always extremes.

He exposes all the function on the top and puts the form below. It's as if you were to wear your entrails on top of your head.

You've already got a DVD. It lasts forever. It never wears out. In the digital world, we don't need back-ups, because a digital copy never wears out. It is timeless.

Tennyson follows his feelings in creating each line. He follows the music in his head. If you had asked him, at the end of the day, to describe the prosody of the poem to you, he would no doubt have had to think for a moment before he could answer you, not because he was ignorant of the terms, but because he had been writing a poem, not a metrical exercise. At every point, he was exerting his free will. And the outcome of that exertion was the form.

Can the ear hear a thirteen-syllable line as consisting of thirteen syllables? I don't think so, but I think that a series of thirteen-syllable lines (supposing that was the length chosen) would, after a while, begin to have a characteristic resemblance. For the most part, though, counting the syllables seems to be something that works, if it works, for the poet. It is a private method of organization.

Just don't make the '9' format pack/unpack numbers... :-)

The fatal facility of the octosyllabic verse.

Why Baroque? Because it is set in the Baroque, and it IS baroque. Why Cycle? Because I am trying to avoid the T-word ('trilogy'). In my mind this work is something like 7 or 8 connected novels. These have been lumped together into three volumes because it is more convenient from a publishing standpoint, but they could just as well have been put all together in a single immense volume or separated into 7 or 8 separate volumes. So to slap the word 'trilogy' on it would be to saddle it with a designation that is essentially bogus. Having said that, I know everyone's going to call it a trilogy anyway.

And for the greatest movie artists where there is a unity of technique and subject, one doesn't need to talk about technique much because it has been subsumed in the art. One doesn't want to talk about how Tolstoi got his effects but about the work itself. One doesn't want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn't need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made - which is more or less implicit.

When you write a poem, you discover that the very necessity of fitting your meaning into such and such a form requires you to search in your imagination for new meanings. You reject certain ways of saying it; you select others, always trying to form the poem again. In your forming, you arrive at new and more profound meanings than you had even dreamed of. Form is not a mere lopping off of meaning that you don't have room to put into your poem; it is an aid to finding new meaning, a stimulus to condensing your meaning, to simplifying and purifying it, and to discovering on a more universal dimension the essence you wish to express.

The human imagination leaps to form the whole, to complete the scene in order to make sense of it. The instantaneous way this is done shows how we are driven to construct the remainder of the scene. To fill the gaps is essential if the scene is to have meaning. That we may do this in misleading ways-at times in neurotic or paranoid ways-does not gainsay the central point. Our passion for form expresses our yearning to make the world adequate to our needs and desires, and, more important, to experience ourselves as having significance.

ESSAY - A loose sally of the mind; an irregular indigested piece; not a regular and orderly composition.

In the hexameter rises the fountain's silvery column; In the pentameter aye falling in melody back.

Meredith is a prose Browning, and so is Browning. He used poetry as a medium for writing in prose.

From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type.

Everything written is as good as it is dramatic. It need not declare itself in form, but it is drama or nothing.

Writing free verse is like playing tennis with the net down.

When I see young men doing so wonderfully well in athletics, I don't feel angry at them. I feel jealous of them. I wish that some of my boys in writing would do the same thing.... You must have form - performance. The thing itself is indescribable, but it is felt like athletic form. To have form, feel form in sports - and by analogy feel form in verse. One works and waits for form in both. As I said, the person who spends his time criticizing the play around him will never write poetry. He will write criticism.

Under Aristotle the 'Reader,' whose knowledge of Trojan arete seems conspicuously absent, forms and substances dominate all. The Good is a relatively minor branch of knowledge called ethics; reason, logic, knowledge are his primary concerns. Arete is dead and science, logic and the University as we know it today have been given their founding charter: to find and invent an endless proliferation of forms about the substantive elements of the world and call these forms knowledge, and transmit these forms to future generations. As 'the system.'

How does thought take shape?

Mozart creates music from a mysterious center, and so knows the limits to the right and the left, above and below. He maintains moderation.

Mozart's music is constantly escaping from its frame, because it cannot be contained in it.

Who has reached the extreme limits of scale with the same infallible precision, equally guarded against the false refinement of artificial elegance and the roughness of spurious force? Who has better known how to breathe anguish and dread into the purest and most exquisite forms?

The city closes in on him now, and in his strange perspective it becomes the antithesis of what he believes. The citadel not of Quality, the citadel of form and substance. Substance in the form of steel sheets and girders, substance in the form of concrete piers and roads, in the form of brick, of asphalt, of auto parts, old radios, and rails, dead carcasses of animals that once grazed the prairies. Form and substance without Quality. That is the soul of this place. Blind, huge, sinister and inhuman: seen by the light of fire flaring upward in the night from the blast furnaces in the south, through heavy coal smoke deeper and denser into the neon of BEER and PIZZA and LAUNDROMAT signs and unknown and meaningless signs along meaningless straight streets going off into other straight streets forever. If it was all bricks and concrete, pure forms of substance, clearly and openly, he might survive. It is the little, pathetic attempts at Quality that kill.

What gives Bach and Mozart a place apart is that these two great composers never sacrificed form to expression. As high as their expression may soar, their musical form remains supreme and all-efficient. ~ Camille Saint-Saens