James Fenton
James Fenton
James Martin Fenton FRSL FRSAis an English poet, journalist and literary critic. He is a former Oxford Professor of Poetry...
NationalityBritish
ProfessionPoet
Date of Birth25 April 1949
advanced behind embarked left poetry reached
In the writing of poetry we never know anything for sure. We will never know if we have 'trained' or 'practised' enough. We will never be able to say that we have reached grade eight, or that we have left the grades behind and are now embarked on an advanced training.
applies arouse dramatic itself rule song time yield
In song the same rule applies as in dramatic verse: the meaning must yield itself, or yield itself sufficiently to arouse the attention and interest, in real time.
avoid easier numbers odd pattern using
In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.
baby poetry storks
Babies are not brought by storks and poets are not produced by workshops.
might common accusation
Free verse seemed democratic because it offered freedom of access to writers. And those who disdained free verse would always be open to accusations of elitism, mandarinism. Open form was like common ground on which all might graze their cattle - it was not to be closed in by usurping landlords.
art vanity hands
For poets today or in any age, the choice is not between freedom on the one hand and abstruse French forms on the other. The choice is between the nullity and vanity of our first efforts, and the developing of a sense of idiom, form, structure, metre, rhythm, line - all the fundamental characteristics of this verbal art.
lines poetic relaxed
At somewhere around 10 syllables, the English poetic line is at its most relaxed and manageable.
dark long racism
The Mormon mission to Africa, as to other dark-skinned parts of the world, was for a long time hobbled by the racism of the movement's scripture.
latin age use
A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval 'Carmina Burana' - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.
rooms palaces odes
A poem with grandly conceived and executed stanzas, such as one of Keats's odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.
small-numbers ideas variation
An aria in an opera - Handel's 'Ombra mai fu,' for example - gets along with an incredibly small number of words and ideas and a large amount of variation and repetition. That's the beauty of it. It's not taxing to the listener's intelligence because if you haven't heard it the first time round, it'll come around again.
challenges lines firsts
Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
writing order years
I've not been a prolific poet, and it always seemed to me to be a bad idea to feel that you had to produce in order to get... credits. Production of a collection of poems every three years or every five years, or whatever, looks good, on paper. But it might not be good; it might be writing on a kind of automatic pilot.
moving love-is perfect
'Love' is so short of perfect rhymes that convention allows half-rhymes like 'move.' The alternative is a plague of doves, or a kind of poem in which the poet addresses his adored both as 'love' and as 'guv' - a perfectly decent solution once, but only once, in a while.