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I want to prove that if you write in strict meter and rhyme about subjects people care about, they will buy poetry.

My father would tell me if I wasn't writing in meter verse, it wasn't poetry.

As a writer given to the old formalities of rhyme and meter, I sometimes feel endangered these days.

That metre itself forms an essential part of all true poetry is a principle which not even the assertions of an Aristotle or the pronouncements of a Plato can disestablish.

To me, a poem that's in rhyme and meter is the difference between watching a film in full color and watching a film in black and white. Not that a few black and white films aren't wonderful. So are certain successful pieces of free verse.

The monotony of a long heroic poem may often be pleasantly relieved by judicious interruptions in the perfect succession of rhymes, just as the metre may sometimes be adorned with occasional triplets and Alexandrines.

What is the poem, after it is written? That is the question. Not where it came from or why.

I work best in rhyme and meter. I was most confident of myself in that way.

My mother was always fascinated with the fact that I could rhyme so much stuff.

There's something so wonderful about writing in rhyme where it isn't just the meaning of the words, it's the music to the words and the shape and the sound.