Can we say something without saying everything? What determines the threshold of words to express our ideas? And what is elegance anyways?
Haven't we all faced that time where we could have said something in a better way? A witty repartee, a quick retort. A swan gliding on a stream; watching as the interlocutors' questions unravel on themselves.
Somewhat like an implosion, eating up its dust. How beautifully unrealistic. Do you remember the scene where an expression says it all? No words could have expressed whatever that gesture did, not so perfectly at least.
Why do we still cling to poetry and aphorisms to express and understand the world around us? Does a limiting structure guide and compress our expression into a powerful idiom? I believe it does. Words in an insipid sentence lose their rhythm and convey a meaning that is bland to clerical precision.
How many times has a legal paragraph stirred you? It makes perfect, technical sense and yet it conveys nothing. It just trots along mechanically, without breaking a sweat, while our fallible minds and hearts respond to that mystic rhythm of line and metre.
An elegance conjured out of words, their placements, their meanings and contradictions and the apparent dissonance between them. A harmony from the entropy of alphabets.
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem's room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author's name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
- Introduction to Poetry
by Billy Collins
