"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 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."

“The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.”

“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.”

“There is always a nasty surprise in store for the imperial mind. It is typical of the imperial point of view that it is ignorant of, or blind to, the other. The imperial mind keeps missing the point. It fails to appreciate, for all its benevolence, why it might come under attack, why it might, for instance, be worth a nation's while to rise up against it. The imperial mind has to be shocked out of its daydreams.”

“Poetry carries its history within it, and it is oral in its origins, its transmission was oral.”

“We are never such kleptomaniacs as in our juvenilia. We steal from our masters. We steal from our friends, from our enemies even. We try out tones of voice for which we are ill suited. We write as if we belong to some other period. We are suckers for gorgeous words such as nenuphar, asphodel, and pelf. And because we are not yet in command of our vehicle we get out of control. We reveal ourselves inadvertently and we inadvertently commit ourselves to some point of view that really isn't "us" at all.”

“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...are rare in English poetry. Few poets have written a villanelle worth reading, or indeed regret not having done so.”