The satyagrahi general has to obey his inner voice, for over and above the situation outside he examines himself constantly and listens to the dictates of the inner self.
I shall set forth for somewhere, I shall make the reckless choice Some say when they are in voice And tossing so as to scare The white clouds over them on, I shall have less to say, But I shall be none.
I am utterly against any kind of guilt. Remember it always: if you start feeling guilty about something around me, then you are doing it on your own, then you are still carrying the voices of your parents, the priests within you; you have not yet heard me, you have not yet listened to me. I want you to be totally free of all guilt.
What has praise and fame to do with poetry? Was not writing poetry a secret transaction, a voice answering a voice? So that all this chatter and praise, and blame and meeting people who admired one and meeting people who did not admire one was as ill suited as could be to the thing itself- a voice answering a voice.
Loafe with me on the grass—loose the stop from your throat; Not words, not music or rhyme I want—not custom or lecture, not even the best; Only the lull I like, the hum of your valved voice.
Increasingly I think of poetry as a theatre of voices, not as coming from a single "I" or from any one position. I want to imagine voices different from my own.
He whom the sages have been seeking in all these places is in our own hearts; the voice that you heard was right, says Vedanta, but the direction you gave to the voice was wrong.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.