Rem tene, verba sequentur: grasp the subject, and the words will follow. This, I believe, is the opposite of what happens with poetry, which is more a case of verba tene, res sequenter: grasp the words, and the subject will follow.

I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.

Colorless green ideas sleep furiouslythree old owls on a chest of drawerswere screwingthe daughter of the doctor.But then the mother called them,colorless green ideas slepp furiously.

Poetry… it consumed Sappho’s young years, it nourished Goethe’s old age. Drug, the Greeks called it, both poison and medicine.

For Mallarmé naming an object meant suppressing three-quarters of its poetic pleasure (which consists in the joy of guessing bit by bit - "le suggérer, voilà le rêve!").

Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position ... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.