I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.
Virginia WoolfRead
Yet, it is true, poetry is delicious; the best prose is that which is most full of poetry.
Interpretation
Poetry enriches writing, making prose more vibrant and enjoyable.
Virginia Woolf suggests that poetry brings a unique beauty and depth to writing, elevating prose to a higher level of appreciation. She emphasizes that the finest form of prose is infused with the qualities of poetry, making it more appealing and impactful to the reader.
In practice
During a book club discussion on the importance of literary styles.
I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.
Death is woven in with the violets,β said Louis. βDeath and again death.β)
He began to search among the infinite series of impressions which time had laid down, leaf upon leaf, fold upon fold softly, incessantly upon his brain; among scents, sounds; voices, harsh, hollow, sweet; and lights passing, and brooms tapping; and the wash and hush of the sea.
I want to think quietly, calmly, spaciously, never to be interrupted, never to have to rise from my chair, to slip easily from one thing to another, without any sense of hostility, or obstacle. I want to sink deeper and deeper, away from the surface, with its hard separate facts.
I do think all good and evil comes from words. I have to tune myself into a good temper with something musical, and I run to a book as a child to its mother.
London perpetually attracts, stimulates, gives me a play and a story and a poem, without any trouble, save that of moving my legs through the streets... To walk alone through London is the greatest rest.
I'm attracted to soccer's capacity for beauty. When well played, the game is a dance with a ball.
I feel that I want to use light as this wonderful and magic elixir that we drink as Vitamin D through the skin - and I mean, we are literally light-eaters - to then affect the way that we see.
Bored with obvious reality, I find my fascination in transforming it into a subjective point of view.
The Photograph is an extended, loaded evidence β as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.
Translation is not original creation - that is what one must remember. In translation, some loss is inevitable.
I try to remember that the job - as well as the plight, and the unexpected joy - of the artist is to embrace uncertainty, to be sharpened and honed by it.
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