An aria in an opera – Handel’s ‘Ombra mai fu,’ for example – gets along with an incredibly small number of words and ideas and a large amount of variation and repetition. That’s the beauty of it. It’s not taxing to the listener’s intelligence because if you haven’t heard it the first time round, it’ll come around again.
Politics is repetition. It is not change. Change is something beyond what we call politics. Change is the essence politics is supposed to be the means to bring into being.
Like the practice of breath control, meditation on the forms of God, repetition of mantras, food restrictions, etc., are but aids for rendering the mind quiescent.
I believe that these devices like repetition and rhyme are not artificial, that they’re not imposed, somehow, on the language.
Meditation is not following any system; it is not constant repetition and imitation. Meditation is not concentration.
The element of truth in the concept of genius is to be sought in the object, in what is open, not confined by repetition.
Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression – these elements of my poetry are also elements of my prose.
The ear tends to be lazy, craves the familiar and is shocked by the unexpected; the eye, on the other hand, tends to be impatient, craves the novel and is bored by repetition.
The history of man is the history of crimes, and history can repeat. So information is a defence. Through this we can build, we must build, a defence against repetition.