Frases de Ted Hughes

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Ted Hughes

Data de nascimento: 17. Agosto 1930
Data de falecimento: 28. Outubro 1998
Outros nomes:ਟੈੱਡ ਹਿਊਜ਼, ტედ ჰიუზი, تێد ھیووز, টেড হিউজ

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Edward James Hughes, mais conhecido como Ted Hughes foi um poeta e escritor de livros infantis britânico, comummente considerado pela crítica como um dos melhores poetas de sua geração. Foi casado e teve dois filhos com a romancista e poetisa Sylvia Plath.

Citações Ted Hughes

„The Iron Man came to the top of the cliff. How far had he walked? Nobody knows. Where did he come from? Nobody knows. How was he made? Nobody knows.“

—  Ted Hughes
Context: The Iron Man came to the top of the cliff. How far had he walked? Nobody knows. Where did he come from? Nobody knows. How was he made? Nobody knows. Taller than a house the Iron Man stood at the top of the cliff, at the very brink, in the darkness. Ch. 1 : The Coming of the Iron Man

„Many writers write a great deal, but very few write more than a very little of the real thing. So most writing must be displaced activity.“

—  Ted Hughes
Context: Many writers write a great deal, but very few write more than a very little of the real thing. So most writing must be displaced activity. When cockerels confront each other and daren’t fight, they busily start pecking imaginary grains off to the side. That’s displaced activity. Much of what we do at any level is a bit like that, I fancy. But hard to know which is which. On the other hand, the machinery has to be kept running. The big problem for those who write verse is keeping the machine running without simply exercising evasion of the real confrontation. If Ulanova, the ballerina, missed one day of practice, she couldn’t get back to peak fitness without a week of hard work. Dickens said the same about his writing—if he missed a day he needed a week of hard slog to get back into the flow.

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„However it comes out — whether a design in a carpet, a painting on a wall, the shaping of a doorway — we recognize that medicinal element because of the instant healing effect, and we call it art. It consoles and heals something in us.“

—  Ted Hughes
Context: The idea occurred to me that art was perhaps this—the psychological component of the autoimmune system. It works on the artist as a healing. But it works on others too, as a medicine. Hence our great, insatiable thirst for it. However it comes out — whether a design in a carpet, a painting on a wall, the shaping of a doorway — we recognize that medicinal element because of the instant healing effect, and we call it art. It consoles and heals something in us. That’s why that aspect of things is so important, and why what we want to preserve in civilizations and societies is their art — because it’s a living medicine that we can still use. It still works. We feel it working. Prose, narratives, etcetera, can carry this healing. Poetry does it more intensely. Music, maybe, most intensely of all.

„I see now that when we met, my writing, like hers, left its old path and started to circle and search.“

—  Ted Hughes
Context: I see now that when we met, my writing, like hers, left its old path and started to circle and search. To me, of course, she was not only herself — she was America and American literature in person. I don’t know what I was to her. Apart from the more monumental classics — Tolstoy, Dostoyevsky, and so on — my background reading was utterly different from hers. But our minds soon became two parts of one operation. We dreamed a lot of shared or complementary dreams. Our telepathy was intrusive. I don’t know whether our verse exchanged much, if we influenced one another that way — not in the early days. Maybe others see that differently. Our methods were not the same. Hers was to collect a heap of vivid objects and good words and make a pattern; the pattern would be projected from somewhere deep inside, from her very distinctly evolved myth. It appears distinctly evolved to a reader now — despite having been totally unconscious to her then. My method was to find a thread end and draw the rest out of a hidden tangle. Her method was more painterly, mine more narrative, perhaps.

„Much of what we do at any level is a bit like that, I fancy. But hard to know which is which.“

—  Ted Hughes
Context: Many writers write a great deal, but very few write more than a very little of the real thing. So most writing must be displaced activity. When cockerels confront each other and daren’t fight, they busily start pecking imaginary grains off to the side. That’s displaced activity. Much of what we do at any level is a bit like that, I fancy. But hard to know which is which. On the other hand, the machinery has to be kept running. The big problem for those who write verse is keeping the machine running without simply exercising evasion of the real confrontation. If Ulanova, the ballerina, missed one day of practice, she couldn’t get back to peak fitness without a week of hard work. Dickens said the same about his writing—if he missed a day he needed a week of hard slog to get back into the flow.

„Every poem that works is like a metaphor of the whole mind writing, the solution of all the oppositions and imbalances going on at that time.“

—  Ted Hughes
Context: Every poem that works is like a metaphor of the whole mind writing, the solution of all the oppositions and imbalances going on at that time. When the mind finds the balance of all those things and projects it, that’s a poem. It’s a kind of hologram of the mental condition at that moment, which then immediately changes and moves on to some other sort of balance and rearrangement. What counts is that it be a symbol of that momentary wholeness. That’s how I see it.

„I’ve sometimes wondered if it wouldn’t be a good idea to write under a few pseudonyms. Keep several quite different lines of writing going. Like Fernando Pessoa, the Portuguese poet who tried four different poetic personalities.“

—  Ted Hughes
Context: I’ve sometimes wondered if it wouldn’t be a good idea to write under a few pseudonyms. Keep several quite different lines of writing going. Like Fernando Pessoa, the Portuguese poet who tried four different poetic personalities. They all worked simultaneously. He simply lived with the four. What does Eliot say? “Dance, dance, / Like a dancing bear, / Cry like a parrot, chatter like an ape, / To find expression.” It’s certainly limiting to confine your writing to one public persona, because the moment you publish your own name you lose freedom.

„However rootedly national it may be, poetry is less and less the prisoner of its own language.“

—  Ted Hughes
Context: However rootedly national it may be, poetry is less and less the prisoner of its own language. It is beginning to represent as an ambassador, something far greater than itself. Or perhaps, it is only now being heard for what, among other thngs, it is — a universal language of understanding, coherent behind the many languages in which we can all hope to meet. … We now give more serious weight to the words of a country's poets than to the words of its politicians — though we know the latter may interfere more drastically with our lives. Religions, ideologies, mercantile competition divide us. The essential solidarity of the very diverse poets of the world, besides being mysterious fact is one we can be thankful for, since its terms are exclusively those of love, understanding and patience. It is one of the few spontaneous guarantees of possible unity that mankind can show, and the revival of an appetite for poetry is like a revival of an appetite for all man's saner possibilities, and a revulsion from the materialist cataclysms of recent years and the worse ones which the difference of nations threatens for the years ahead. The idea of global unity is not new, but the absolute necessity of it has only just arrived, like a sudden radical alteration of the sun, and we shall have to adapt or disappear. If the nations are ever to make a working synthesis of their ferocious contradictions, the plan will be created in spirit before it can be formulated or accepted in political fact. And it is in poetry that we can refresh our hope that such a unity is occupying people's imaginations everywhere, since poetry is the voice of spirit and imagination and all that is potential, as well as of the healing benevolence that used to be the privilege of the gods. Poetry International Programme note (1967); also in Selected Translations (2006), edited by Daniel Weissbort, p. 10

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„We now give more serious weight to the words of a country's poets than to the words of its politicians — though we know the latter may interfere more drastically with our lives.“

—  Ted Hughes
Context: However rootedly national it may be, poetry is less and less the prisoner of its own language. It is beginning to represent as an ambassador, something far greater than itself. Or perhaps, it is only now being heard for what, among other thngs, it is — a universal language of understanding, coherent behind the many languages in which we can all hope to meet. … We now give more serious weight to the words of a country's poets than to the words of its politicians — though we know the latter may interfere more drastically with our lives. Religions, ideologies, mercantile competition divide us. The essential solidarity of the very diverse poets of the world, besides being mysterious fact is one we can be thankful for, since its terms are exclusively those of love, understanding and patience. It is one of the few spontaneous guarantees of possible unity that mankind can show, and the revival of an appetite for poetry is like a revival of an appetite for all man's saner possibilities, and a revulsion from the materialist cataclysms of recent years and the worse ones which the difference of nations threatens for the years ahead. The idea of global unity is not new, but the absolute necessity of it has only just arrived, like a sudden radical alteration of the sun, and we shall have to adapt or disappear. If the nations are ever to make a working synthesis of their ferocious contradictions, the plan will be created in spirit before it can be formulated or accepted in political fact. And it is in poetry that we can refresh our hope that such a unity is occupying people's imaginations everywhere, since poetry is the voice of spirit and imagination and all that is potential, as well as of the healing benevolence that used to be the privilege of the gods. Poetry International Programme note (1967); also in Selected Translations (2006), edited by Daniel Weissbort, p. 10

„The great Sufi master Ibn el-Arabi described the essential method of spiritual advancement as an inner conversation with the personalities that seem to exist beyond what you regard as your own limits . . . getting those personalities to tell you what you did not know, or what you could not easily conceive of within your habitual limits.“

—  Ted Hughes
Context: The danger, I suppose, of using pseudonyms is that it interferes with that desirable process—the unification of the personality. Goethe said that even the writing of plays, dividing the imagination up among different fictional personalities, damaged what he valued — the mind’s wholeness. I wonder what he meant exactly, since he also described his mode of thinking as imagined conversations with various people. Maybe the pseudonyms, like other personalities conjured up in a dramatic work, can be a preliminary stage of identifying and exploring new parts of yourself. Then the next stage would be to incorporate them in the unifying process. Accept responsibility for them. Maybe that’s what Yeats meant by seeking his opposite. The great Sufi master Ibn el-Arabi described the essential method of spiritual advancement as an inner conversation with the personalities that seem to exist beyond what you regard as your own limits... getting those personalities to tell you what you did not know, or what you could not easily conceive of within your habitual limits. This is commonplace in some therapies, of course.

„Poems get to the point where they are stronger than you are. They come up from some other depth and they find a place on the page.“

—  Ted Hughes
Context: Poems get to the point where they are stronger than you are. They come up from some other depth and they find a place on the page. You can never find that depth again, that same kind of authority and voice. I might feel I would like to change something about them, but they’re still stronger than I am and I cannot.

„The idea of global unity is not new, but the absolute necessity of it has only just arrived, like a sudden radical alteration of the sun, and we shall have to adapt or disappear.“

—  Ted Hughes
Context: However rootedly national it may be, poetry is less and less the prisoner of its own language. It is beginning to represent as an ambassador, something far greater than itself. Or perhaps, it is only now being heard for what, among other thngs, it is — a universal language of understanding, coherent behind the many languages in which we can all hope to meet. … We now give more serious weight to the words of a country's poets than to the words of its politicians — though we know the latter may interfere more drastically with our lives. Religions, ideologies, mercantile competition divide us. The essential solidarity of the very diverse poets of the world, besides being mysterious fact is one we can be thankful for, since its terms are exclusively those of love, understanding and patience. It is one of the few spontaneous guarantees of possible unity that mankind can show, and the revival of an appetite for poetry is like a revival of an appetite for all man's saner possibilities, and a revulsion from the materialist cataclysms of recent years and the worse ones which the difference of nations threatens for the years ahead. The idea of global unity is not new, but the absolute necessity of it has only just arrived, like a sudden radical alteration of the sun, and we shall have to adapt or disappear. If the nations are ever to make a working synthesis of their ferocious contradictions, the plan will be created in spirit before it can be formulated or accepted in political fact. And it is in poetry that we can refresh our hope that such a unity is occupying people's imaginations everywhere, since poetry is the voice of spirit and imagination and all that is potential, as well as of the healing benevolence that used to be the privilege of the gods. Poetry International Programme note (1967); also in Selected Translations (2006), edited by Daniel Weissbort, p. 10

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„From the age of about eight or nine I read just about every comic book available in England.“

—  Ted Hughes
Context: From the age of about eight or nine I read just about every comic book available in England. At that time my parents owned a newsagent’s shop. I took the comics from the shop, read them, and put them back. That went on until I was twelve or thirteen. Then my mother brought in a sort of children’s encyclopedia that included sections of folklore. Little folktales. I remember the shock of reading those stories. I could not believe that such wonderful things existed. … throughout your life you have certain literary shocks, and the folktales were my first. From then on I began to collect folklore, folk stories, and mythology. That became my craze.

„Why do human beings need to confess? Maybe if you don’t have that secret confession, you don’t have a poem — don’t even have a story. Don’t have a writer.“

—  Ted Hughes
Context: Why do human beings need to confess? Maybe if you don’t have that secret confession, you don’t have a poem — don’t even have a story. Don’t have a writer. If most poetry doesn’t seem to be in any sense confessional, it’s because the strategy of concealment, of obliquity, can be so compulsive that it’s almost entirely successful.

„I think it’s the shock of every writer’s life when their first book is published. The shock of their lives. One has somehow to adjust from being anonymous, a figure in ambush, working from concealment, to being and working in full public view.“

—  Ted Hughes
Context: I think it’s the shock of every writer’s life when their first book is published. The shock of their lives. One has somehow to adjust from being anonymous, a figure in ambush, working from concealment, to being and working in full public view. It had an enormous effect on me. My impression was that I had suddenly walked into a wall of heavy hostile fire. <!-- That first year I wrote verses with three magical assonances to the line with the intention of abolishing certain critics! Now I read those reviews and they seem quite good. So it was writer’s paranoia. The shock to a person who’s never been named in public of being mentioned in newspapers can be absolutely traumatic. To everybody else it looks fairly harmless, even enviable. What I can see was that it enormously accelerated my determination to bring my whole operation into my own terms, to make my own form of writing and to abandon a lot of more casual paths that I might have followed. If I’d remained completely unknown, a writer not commented on, I think I might have gone off in all kinds of other directions. One can never be sure, of course.

„No, until the revelation’s actually published, the poet feels no release.“

—  Ted Hughes
Context: Sylvia went furthest in the sense that her secret was most dangerous to her. She desperately needed to reveal it. You can’t overestimate her compulsion to write like that. She had to write those things — even against her most vital interests. She died before she knew what The Bell Jar and the Ariel poems were going to do to her life, but she had to get them out. She had to tell everybody... like those Native American groups who periodically told everything that was wrong and painful in their lives in the presence of the whole tribe. It was no good doing it in secret; it had to be done in front of everybody else. Maybe that’s why poets go to such lengths to get their poems published. It’s no good whispering them to a priest or a confessional. And it’s not for fame, because they go on doing it after they’ve learned what fame amounts to. No, until the revelation’s actually published, the poet feels no release. In all that, Sylvia was an extreme case, I think.

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