I've been very lazy with this page so far, it still has a long way to go. The object is to compile a selection of philosophical and literary extracts drawn from every part of the world. I'd welcome your own contributions. Feel free to send them via the guestbook below and I'll try include them. .

Samuel Taylor Coleridge's definition of the distinction between prose and poetry has always impressed me (I quote it often): "Prose; the right words in the right order. Poetry; the best words in the best order."

Wordsworth's definition of poetry: '...Poetry is the spontaneous overflow of powerful feelings: it takes its origins from emotion recollected in tranquillity: the emotion is contemplated till - by a species of reaction - the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually [re]produced, and does itself actually exist in the mind. In this mood, successful composition generally begins... and is carried on; but the emotion ... is qualified by various pleasures, so that in describing any passions ... the mind will ... be in a state of enjoyment....'

For myself, I'm incapable of being as succinct as Coleridge, as demonstrated in following advice sent to a student in response to a request to know how a novice should approach the writing of poetry:

First, read, read, and re-read, as much poetry from every age, and from as many countries as you can, and continue long after you think you're making headway as a poet. Having acquired a basic understanding of both formal and free styles, begin to devise and experiment with forms, rhythms, ideas and themes of your own. Try both formal schemes and free verse (i.e. free style). At this stage think of these only as exercises; expect nothing (though, hopefully, and surprisingly, some good, or reasonable, poetry may still emerge ).

Second, ignore those who say the days of rhyming are over; they are usually simply repeating some ignoramous they once heard spouting off in a moment of self-agrandisement. Thankfully, in the world of poetry there are no dictators - though some editors can give a good impression. All are free to experiment and use whatever style or form pleases them for the moment. Moreover, in certain poems, rhyming can be an essentail element that binds everything together. And it's perfectly acceptable to use it sparingly in a particular poem, or to let them fall where they may, just so long as every rhyme has integrity, i.e., is never forced with a word you wouldn't normally have chosen to use.

Third, attempt to relate both subjective and objective thoughts to the external world of objects around you through metaphor and simile. This can be a fascinating process for those in pursuit of an 'inspired poetic expression', a classic means by which poets invent new metaphors which are then expressed in those 'special' words and phrases which we all instantly recognise as poetic, i.e., rather than the mundane rhetoric of everyday language (a fault all too common in some modern poetry).

Fourth, pay attention to the natural rythms of spoken English. It is a dee-dum, dee-dum, dee-dum sound (i.e. iambic). However, no matter how pleasing this may be to our ears, it can nevertheless become boring when sustained for too long. This is where one's own judgement in changing the pace or rhythm in a verse or line is critical; even crucial. The rythms in a poem should be as important to us as the words themselves. It is one of the ways we instinctively distinguish poetry from prose; remembering that, originally, all poetry was sung to the accompaniment of a lyre. I personally feel that, if it doesn't reflect this, it isn't poetry but prose.

Lastly, and most importantly, adopt responsibility for poetry itself; i.e. the art in itself. We can do this by thinking like a farmer. We should strive to leave the language we've inherited in better heart than we found it, just as the farmer thinks about the condition of the soil he will leave to the next generation. We all welcome new and novel forms of expression. However, we just as soon tire of them. The soil of the poet is words and vocal sounds, and the particular form in which they are manipulated and used for maximum effect. It will be given to few to emulate Shakespeare - reputed to have added some hundreds of new words to the language, in addition to several thousand similes and metaphors - but at least we can avoid wearing OUT the language by the over-use of cliches and common, everyday expressions (unless done facetiously for effect perhaps). From all this we can easily see why our pursuit of poetry, although the least remunerative, is bound to remain everlasting!

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