All I did was ask for rights. I didn’t attack anyone. I didn’t harass anyone. I didn’t oppose the system or the country or the authority. All I said is, ‘Why can’t I drive?’
Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work.
In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.
The urge to dominion is God-given and is basic to the nature of man. An aspect of this dominion is property.
We won’t stop until the first Saudi license is issued to a woman.
Women want to drive and they are taking actual steps towards that.
Women tell me they are different since 21 May – the day I was arrested – it’s a positive change, they believe now.
Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it’s a question of typography, why not? Poets have done beautiful things with typography – Apollinaire’s ‘Calligrammes,’ that sort of thing.
The term ‘epitaph’ itself means ‘something to be spoken at a burial or engraved upon a tomb.’ When an epitaph is a poem written for a tomb, and appears in a book, we are aware that we are not reading it in its proper form: we are reading a reproduction. The original of the epitaph is the tomb itself, with its words cut into the stone.
When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed – from song lyric to tragic speech – must make its point, as it were, without reference back.