New Posting (Weather Report)
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RE: RE: PoetryQuote: Originally Posted by kah Kabbalistic, This grateful student is reading all your posts. If I have questions, should I PM you, or put them up here? Student kah  THIS LECTURE EARNS KUDOS , Teacher,All students ought to be satisfied and be motivated tand eager ask you questions, |
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RE: RE: PoetryQuote: Originally Posted by kah Kabbalistic, This grateful student is reading all your posts. If I have questions, should I PM you, or put them up here? Student kah THIS LECTURE EARNS KUDOS , Teacher,All students ought to be satisfied and be motivated and eager to ask you questions, I asked you a question about unpunctuated poetry.. I await an answer. Last edited by cousinsoren 03-29-2010 at 09:03:26 PM |
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RE: New Posting (Weather Report) I should enlist, but have divided time and attention: I have no doubt as to my need for discipline in the art of writing, whether prose or journalistic. I am probably too proud to endure the reality of my dire need for correction. And education, in the many forms of what is deemed poetry, would be an affront on my ill-conceived notions of what I have presented as being poetic. In a nutshell: I'm afeared!! Last edited by Marsink 03-29-2010 at 02:48:14 PM |
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RE: Great Poetry: Jerusalem by William BlakeQuote: Originally Posted by kabbalistic One of my favorite poems, perhaps the greatest poem ever written, don't you agree? Jerusalem And did those feet in ancient time Walk upon England's mountain green? And was the Holy Lamb of God On England's pleasant pasture's seen? And did the Countenance Divine Shine forth upon our clouded hills? And was Jerusalem builded here Among these dark satanic mills. Bring me my bow of burning gold, Bring me my arrows of desire; Bring me my spear-O cloud's unfold, Bring me my Chariot of Fire! I will not cease from mental fight. Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green and pleasant land! -William Blake For Beryl Rea  I am a diciple of Blake. I once knew some lines of his from memory. TO WINTER, THE CLOD AND THE PEBBLE, LINES FROM AUGURIES AND INNOCENCE There is one about a Cat and a Goldfish, I can't recall the title. Chau! |
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RE: New Posting (Weather Report)Nicely said, Marsink - I second your thoughts (If I may |
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RE: Donating Blood`(Weather Report)Quote: HATS OFF TO LEROY AND HIS CHAINSAW. HE NOT ONLY SCAMPERS THE MONGRELS. , HE ALSO TRIMS TREES, BRUSHES COBWEBS ASIDE, AND FIXES LEAKY ROOFS.........................LOL.
Originally Posted by WordSlinger Happy Poets make better OP citizens, and are vital to a strong. healthy website. Kabbal by using your passion, and knowledge here to help other Poets is the key to our success, and happiness. I appreciate what you do, but you may want to lay off the 8's since you dont 4 a Spinger contestant. I also think there are 2 other great teachers here besides you, that I correspond with, and I do, because I admire them, and their work, The three of you, have something to offer to us younger Word Slayers. Lets see, you three have 20 years, or more on most of us, and what you hand down, in 20 years we will, hand down to the next batch of Poets. So in other words watch out, because in 20 years, most of us, if we pay attention, we shall kick your butts. Here are the other 2 great Poet/Teachers. http://www.originalpoetry.com/poet/RHpeat http://www.originalpoetry.com/poet/NevillePark It Would Be Beneficial if they too, had a thread, Peat did, but I think he gave up, maybe you could bump these 2, and become the Three Poeteers of OP.. There are probably more here but the have other agendas. Me I am all self taught, never read a book at all of poetry, until three years ago. I'm a learning.. P.S. I have another Teacher, but he has no poetry posted, he is hidden in the dust of life, but he is live and well, and I can't keep up with him, it takes me a week to figure out his teachings, and then Im still lost , lol. His name is Leroy Last edited by cousinsoren 03-29-2010 at 09:10:13 PM |
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RE: On Poetry 9Quote: Originally Posted by kabbalistic I digress, but I feel that the following background information would be helpful. At the risk of being overly technical, I feel that it would be very beneficial to examine the genesis of language in a bit more detail. Language consists of words and the typical word is comprised of three components: sound, denotation and connotation. (1). You know the spiel with sound; originating from the diaphragm, harnessed through the throat, then a little tongue action LOL, then come those pearly whites, and finally, out of those "rosebud" lips! The full fledged word differs from noise and musical notes in that there is meaning attached to it, with that meaning being represented by its corresponding notation; thus we have the written word. (2) Denotation is the actual literal, dictionary meaning of the word. It is the province of the scientist and otherwise practical writer dealing in basic, "black and white". This is meaning in monochrome. (3) Connotation is whatever is suggested beyond the actual literal meaning of the word. It is the word's overtone. It is almost always the acquired meaning through previous history, associations, circumstances and special usage. For example, the word "gay" with its "new" connotation. There are so many; "web", "net", "mouse", among many others. This is meaning in true, living color! In short, the scientist or pragmatist seeks precision in concise, unambiguous language, seeking to confine his/her wordage to one meaning at a time. The scientist is largely indifferent to sound or rhythm in his wordage;he/she simply has no use for it. The poet, on the other hand, revels in the possibilities created by a multiplicity of meanings and a plethora of overtones in a word. The poet uses both sound and rhythm as his/her "stock in trade". The poet seeks richness, depth and dimension in his/her evocative wordage. Like the lobster tail, the scientist takes the choicest part of the word (to him/her), and throws the rest of the lobster away. On the other hand, the poet takes the rest of the word; shell, husk, bones, pits, skin, you name it, and harnesses it to produce higher level poetic expression. For example, the scientist would see the word sulphurous and would ascribe to it only one meaning; sulphurous acid. In the wily pen of a poet, such a word evokes scenes of a storm of unquenchable fire and unending smoke of tartaric proportions; conjuring up images of death, judgement and eternal damnation. Therefore, we can safely maintain that words are the foundation of all literature and their correct application is crucial in effective and compelling writing. I leave you with this: "Do not answer a fool according to his folly, or you will become like him. Answer a fool according to his folly, or he will be wise in his own eyes." Proverbs 26:5-6 GOOD LECTURE. KUDOS! i I TOOK NOTES. SLEEPY STUDENTS OUGHT TO HAVE KEPT AWAKE BY PUTTING MATCH-STICKS UNDER THEIR EYE-LIDS. |
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RE: On Poetry 9Quote: Originally Posted by kabbalistic I digress, but I feel that the following background information would be helpful. At the risk of being overly technical, I feel that it would be very beneficial to examine the genesis of language in a bit more detail. Language consists of words and the typical word is comprised of three components: sound, denotation and connotation. (1). You know the spiel with sound; originating from the diaphragm, harnessed through the throat, then a little tongue action LOL, then come those pearly whites, and finally, out of those "rosebud" lips! The full fledged word differs from noise and musical notes in that there is meaning attached to it, with that meaning being represented by its corresponding notation; thus we have the written word. (2) Denotation is the actual literal, dictionary meaning of the word. It is the province of the scientist and otherwise practical writer dealing in basic, "black and white". This is meaning in monochrome. (3) Connotation is whatever is suggested beyond the actual literal meaning of the word. It is the word's overtone. It is almost always the acquired meaning through previous history, associations, circumstances and special usage. For example, the word "gay" with its "new" connotation. There are so many; "web", "net", "mouse", among many others. This is meaning in true, living color! In short, the scientist or pragmatist seeks precision in concise, unambiguous language, seeking to confine his/her wordage to one meaning at a time. The scientist is largely indifferent to sound or rhythm in his wordage;he/she simply has no use for it. The poet, on the other hand, revels in the possibilities created by a multiplicity of meanings and a plethora of overtones in a word. The poet uses both sound and rhythm as his/her "stock in trade". The poet seeks richness, depth and dimension in his/her evocative wordage. Like the lobster tail, the scientist takes the choicest part of the word (to him/her), and throws the rest of the lobster away. On the other hand, the poet takes the rest of the word; shell, husk, bones, pits, skin, you name it, and harnesses it to produce higher level poetic expression. For example, the scientist would see the word sulphurous and would ascribe to it only one meaning; sulphurous acid. In the wily pen of a poet, such a word evokes scenes of a storm of unquenchable fire and unending smoke of tartaric proportions; conjuring up images of death, judgement and eternal damnation. Therefore, we can safely maintain that words are the foundation of all literature and their correct application is crucial in effective and compelling writing. I leave you with this: "Do not answer a fool according to his folly, or you will become like him. Answer a fool according to his folly, or he will be wise in his own eyes." Proverbs 26:5-6 Teacher, please add to your reading list: A Glossary Of Literary Terms by M. H, Adams, ( Holt, RhinehartandWinston, New York, Chicago, San Francisco, London, Toronto) Last edited by cousinsoren 03-29-2010 at 07:41:45 PM |
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RE: On Poetry 8Quote: KUDOS, Teacher!
Originally Posted by kabbalistic Before leaving the subject of metaphor, we need to put shoeleather on this concept so that we can begin to apply it in a practical manner to our poetry. Here is where I offer counsel; it would be very beneficial for you to practice metaphor by concocting your own metaphor and then incorporating it into your own speech. For example, I refer to my own impending demise as going to "those piney woods!" An impossible situation has a "penis on a cow's chance" of coming to fruition. Whenever I run into a younger person who questions my writing ability, I sometimes quip; "I was writing in iambic tetrameter before you were even a dirty thought in your Daddy's mind!" LOL You get the idea! Furthermore, STAY AWAY FROM CLICHES, STAY AWAY FROM IDIOM, (like "true love" or "quiet as a mouse") STAY AWAY FROM "FADDISMS" (like "stimulus", "terror", etc) and STAY AWAY FROM JARGON. This can be found in The Dentologia, (perhaps I could be persuaded to share a few nuggets from this "epic") which undoubtably was a huge hit with dentists and orthodontists everywhere; however, how would you like your root canal set to verse? How about a refrain for each filling? How about a "mandibular sonnet", or even "ode to a cavity"? I shudder at the prospect of "poetic dentistry"! LOL You get the picture! OK, now for some devices! Personification, where the poet bestows human attributes on either inanimate objects or non-human life forms. This is an effective technique that opens the floodgates to the absurd and ridiculous. I will cite two examples from my own work, Bazaar (Conversations With My Cat), and the aforementioned Verdict (The Moral Question). Next, we have the device known as apostrophe, which is when the poet addresses a person or thing that could not possibly be expected to respond, such as a deceased individual. I have used this technique often. however, the most striking example that I can provide would be found in my piece In Memoriam. The application of these two devices opens up good possiblities of interjecting the absurd and ridiculous into your work. For example, it is entirely possible to take a well worn figure of speech and transform it into effective and compelling metaphor by "taking the wraps" off of the imagination and thus putting our own "spin" in order to make it both fresh abd original; ie, "when pigs fly"-we could have the pig actually flying a Lear jet or an F22 fighter plane, complete with "bomber" jacket, headwear and aviator googles. We could have the cow using a pogo stick to jump over the moon, or maybe even flying in a helicopter doing a traffic report for a major news station! THE ABSURD IS GOOD!!! It is sure to animate your poetry! It is both your secret weapon and your ticket out of the quagmire of "touchy-feely", self centered, self indulgent, "me and you" poetry! I realize that their are many other approaches to poetry that are every bit as valid as my own; however, I can only tell you what I do and why I do what I do. Since I have had success (at least so far, to the best of my knowledge), I thought that I could bring 43 years of experience as a lyricist to bear on explaining these rather dull concepts in an attempt to put a handle on them so that you could use them as the need arises. I leave you with these golden words of wisdom: "Rommel, you magnificent bastard, I READ YOUR BOOK!"-General George S. Patton http://www.originalpoetry.com/bazaar-conversations-with-my-cat http://www.youtube.com/watch?v=VCstVNmj9p8. http://www.originalpoetry.com/in-memoriam http://www.youtube.com/watch?v=vuS3GahlRto |
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RE: On Poetry 8Quote: KUDOS, Teacher!
Originally Posted by kabbalistic Before leaving the subject of metaphor, we need to put shoeleather on this concept so that we can begin to apply it in a practical manner to our poetry. Here is where I offer counsel; it would be very beneficial for you to practice metaphor by concocting your own metaphor and then incorporating it into your own speech. For example, I refer to my own impending demise as going to "those piney woods!" An impossible situation has a "penis on a cow's chance" of coming to fruition. Whenever I run into a younger person who questions my writing ability, I sometimes quip; "I was writing in iambic tetrameter before you were even a dirty thought in your Daddy's mind!" LOL You get the idea! Furthermore, STAY AWAY FROM CLICHES, STAY AWAY FROM IDIOM, (like "true love" or "quiet as a mouse") STAY AWAY FROM "FADDISMS" (like "stimulus", "terror", etc) and STAY AWAY FROM JARGON. This can be found in The Dentologia, (perhaps I could be persuaded to share a few nuggets from this "epic") which undoubtably was a huge hit with dentists and orthodontists everywhere; however, how would you like your root canal set to verse? How about a refrain for each filling? How about a "mandibular sonnet", or even "ode to a cavity"? I shudder at the prospect of "poetic dentistry"! LOL You get the picture! OK, now for some devices! Personification, where the poet bestows human attributes on either inanimate objects or non-human life forms. This is an effective technique that opens the floodgates to the absurd and ridiculous. I will cite two examples from my own work, Bazaar (Conversations With My Cat), and the aforementioned Verdict (The Moral Question). Next, we have the device known as apostrophe, which is when the poet addresses a person or thing that could not possibly be expected to respond, such as a deceased individual. I have used this technique often. however, the most striking example that I can provide would be found in my piece In Memoriam. The application of these two devices opens up good possiblities of interjecting the absurd and ridiculous into your work. For example, it is entirely possible to take a well worn figure of speech and transform it into effective and compelling metaphor by "taking the wraps" off of the imagination and thus putting our own "spin" in order to make it both fresh abd original; ie, "when pigs fly"-we could have the pig actually flying a Lear jet or an F22 fighter plane, complete with "bomber" jacket, headwear and aviator googles. We could have the cow using a pogo stick to jump over the moon, or maybe even flying in a helicopter doing a traffic report for a major news station! THE ABSURD IS GOOD!!! It is sure to animate your poetry! It is both your secret weapon and your ticket out of the quagmire of "touchy-feely", self centered, self indulgent, "me and you" poetry! I realize that their are many other approaches to poetry that are every bit as valid as my own; however, I can only tell you what I do and why I do what I do. Since I have had success (at least so far, to the best of my knowledge), I thought that I could bring 43 years of experience as a lyricist to bear on explaining these rather dull concepts in an attempt to put a handle on them so that you could use them as the need arises. I leave you with these golden words of wisdom: "Rommel, you magnificent bastard, I READ YOUR BOOK!"-General George S. Patton http://www.originalpoetry.com/bazaar-conversations-with-my-cat http://www.youtube.com/watch?v=VCstVNmj9p8. http://www.originalpoetry.com/in-memoriam http://www.youtube.com/watch?v=vuS3GahlRto |
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RE: New Posting (Weather Report)sigh ... lots of good info here ... all that stuck was "comprised" should be "composed" in this context ... saying "comprised of" is like saying "included of" ... |
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RE: RE: RE: New Posting (Weather Report)Quote:
Originally Posted by kabbalistic Originally Posted by kah Yes, this is good; you've got it! However, allow me to make a suggestion; you are asking the reader to make a specific inference based upon your synecdoche. My question to you would be, perhaps you might be able to "steer'' the reader by supplying an additional modifier. Also, you want the reader to infer "nature's cycle", which is singular; thus, shouldn't "seeds" really be "seed"? And perhaps with the modifier, it could be "human seed'', or "mortal seed''. Does this make sense? I am only suggesting this in order to give you ideas. It is only my opinion, but I will be honored and thrilled to read your piece in its entirety this evening! Teacher, I believe I understand the word/concept of synecdoche, I have below a stanza from a poem I wrote called Forgive Me. I believe I used synecdoche - "Forgive me if I choose To educate my self with seeds. Their lessons never fail; Never become obsolete." In referring to seeds, I am speaking of nature's cycle (seed, birth, maturity death), not simply the seeds. There is a certain hope that readers will draw the same idea the writer is trying to express. Have I got it? Thanks Kah "Seeds" is appropriate. Should the poet change to :"seed" he would run into trouble ((drop into a pothole) in the third line. He would need to change the composition of that line, as well, thus distorting whatever idea he originally intended to convey.[/b ]*************************************************************************************************   Last edited by cousinsoren 03-29-2010 at 09:44:23 PM |
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RE: RE: RE: RE: New Posting (Weather Report)Thanks for your appreciated input, cousinsoren!! Quote:
Originally Posted by cousinsoren Originally Posted by kabbalistic Originally Posted by kah Yes, this is good; you've got it! However, allow me to make a suggestion; you are asking the reader to make a specific inference based upon your synecdoche. My question to you would be, perhaps you might be able to "steer'' the reader by supplying an additional modifier. Also, you want the reader to infer "nature's cycle", which is singular; thus, shouldn't "seeds" really be "seed"? And perhaps with the modifier, it could be "human seed'', or "mortal seed''. Does this make sense? I am only suggesting this in order to give you ideas. It is only my opinion, but I will be honored and thrilled to read your piece in its entirety this evening! Teacher, I believe I understand the word/concept of synecdoche, I have below a stanza from a poem I wrote called Forgive Me. I believe I used synecdoche - "Forgive me if I choose To educate my self with seeds. Their lessons never fail; Never become obsolete." In referring to seeds, I am speaking of nature's cycle (seed, birth, maturity death), not simply the seeds. There is a certain hope that readers will draw the same idea the writer is trying to express. Have I got it? Thanks Kah "Seeds" is appropriate. Should the poet change to :"seed" he would run into trouble ((drop into a pothole) in the third line. He would need to change the composition of that line, as well, thus distorting whatever idea he originally intended to convey.[/b ]************************************************************************************************* |
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RE: RE: New Posting (Weather Report)Quote: Originally Posted by WordSlinger I believe Oren had way to much Moonpalachia last night, I told him it was some good stuff, Ok, lol, WS You are probably guessing right, John!..................................LOL |
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RE: On Poetry 17Quote: Originally Posted by kabbalistic And now on to one of my very favorite devices, paradox! THIS IS WHERE WE KICK SOME ASS AND TAKE NAMES!!! LOL This can be a veritable hell raiser! Paradox is a contradiction (or an apparent contradiction) that is either true or “works” as far as the poem is concerned. This is where the poet writes with “forked tongue”, out of “both sides of the mouth” and is generally serving notice to the reader of the intent to wage a full scale assault on his/her tender sensibilities! Here, we catch the unsuspecting reader drifting off for his/her little mindnumbing “fuzzout”, grab our literary megaphones, aim it at the readers ear and lovingly shout at the top of our lungs; WAKE THE F__K UP!!! Maybe I’m being just a tad harsh! Maybe I’m just engaging in a little hyperbole; maybe I’m just “sharpening Pinocchio”! Seriously, paradox may be represented in a situation or statement. Here is the situational illustration; on a very cold day when you find yourself blowing on your hands in order to “warm them up”, and then blowing on a piping hot bowl of soup in order to “cool it down”. Here is the paradoxical statement as a figure of speech; when the great British poet, Alexander Pope once wrote of a certain literally critic of his era who would “damn with faint praise”. So I ask you, how is it possible to damn with praise? All things considered, a strange statement or situation like the one above may seem incongruous and impossible at first, but based upon further examination, we will find that it is not strange at all. How? When we come to realize that the use of the word “damn” is wholly figurative in this case and that what the poet is cleverly saying is that lukewarm, condescending approval and acquiescence from this very critic can be even more damaging to a writer’s reputation than an excoriating, entirely negative review. So you see, paradox offers the poet the possibility to rock the readers world; very valuable in terms of shock value; with the resulting seemingly absurd and/or impossible situation or statement convincingly underscoring the truth of the underlying message. Now, for some examples from my own work. From my Finnish Love Song: I am the man in the mirror Who burns in your river- enflamed in your ocean, as we melt in the twilight. I am the man in the mirror who drowns in your fire- deep in your volcano, as we reach across the waters Burning in your river? Enflamed in your ocean? What are you, snorting detergent? LOL Obviously we are talking about distance separating the protagonists in this piece as symbolized by bodies of water. Here the italicized words are being used figuratively. Again, L6 where we find the paradox of “drowns in your fire”, easily resolved by considering a word substitution of “overwhelmed by your fire” for the italicized text. So we see how dependent paradox is on figurative language, and especially metaphor. I leave you with these words to live by. I PITY THE FOOL!!!!Mr. “T”.   KUDOS ! GREAT LECTURE! CLEAR AS CRYSTAL! |
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RE: New Posting (Weather Report)HI,My Friend, Kabbalist, Last edited by cousinsoren 03-30-2010 at 01:52:16 PM |
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RE: New Posting (Weather Report)Quote: Originally Posted by kabbalistic I have posted a new piece, a sort of reaction to an experience that I had a while back. I take a dim view of poets who completely forego poetic craft in order to "sound off" in posting editorials and indoctrination, especially whenever they try to force their spirituality down my throat. Make no mistake about it, the earth is cursed and has been so since creation. I have attempted to convey this message within the realm of poetic art, not only as a poet but as a Christian Kabbalist. You are free to disagree, of course, since I am not invoking papal "ex cathedra", ie. the supreme authority of the Pope in determining doctrine. You can also watch me recite this live on youtube. www.originalpoetry.com/weather-report I personaly feel to each their own. You and others have the right to express their true feelings. If anyone doesn't like it ,it is ok.That is what expressing your opinion on any poem or peice is all about. It is just an opinion, (that is all). Any poet should not take it personaly or think that you are being cohursed into believing something you do not. Stand up all for what you believe in. If you dislike the comments, then please leave a note on the top of the page to not comment on the subject please in that manner.I believe no one would take it personal. To each their own.We are poet friends and should remember to try and get along.The people on tis site are very talented and remarkable with their work. Someday many will go far. I personaly would not be afended.Keep up the good work, your great. http://www.youtube.com/watch?v=4yaEyBEner0 
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RE: For My Brother and Sister Poets-Top Priority!Quote: Originally Posted by kabbalistic I hate to sound like an obnoxious propogandist for the "teabaggers", but the best poetry "master class" that the ambitious poet could take, is to READ THE GREAT WORDSMITHS OF YORE! I don't care if they are Elizabethan, modern, English, American-hybrid, ""beat" poets-it does not matter; the best thing that the aspiring poet could do would be to READ, READ, READ!!! Poetry is a CRAFT (not merely "self expression") best learned through ABSORPTION. /////////////////////////////////////////Comment by Betty /////////// Yes it would be nice too for some to be able to write wonderful poems like some of you, (are gifted to do.) It is just as important that the person with not as much talent to grow from your work. Good poets set an examble for others. Sometimes it is a beginning step in poetry to write about what you know first.. That is ok because they grow to be good poets like you.Most of the things they write are from the heart and very meaningful. I encourage them to do so.I would not want to discourage them. You must start somewhere.Yes I enjoy reading ,reading, reading, It is a pleasure to read others work.You have a great day.I'm off to read your work. PS.You does not mean that it is about you.It could mean in general. Don't take it to heart. www.poemhunter.com/ebooks
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RE: RE: New Posting (Weather Report)Quote: Originally Posted by WordSlinger I am here for class, because I want to`````become a better poet, so I need to stop writing poems like this, I am wide awake, thank you much.......Not only are you a good poet but wise with your words. PSALMS IN CALM PALMS King David was like a white raven For a while I’ve been a logophile A lexicologist if you wish Words are like venom or an antidote, I’ am like their vendor, it’s a facto’ I sling words for the masses Shaking all of our poetic asses Creating product out of environments I’ m one little word slinging giant with a calm palm winging my aplomb I express myself well I do like to time travel I have hands of the air I ‘am slightly out of the ordinar’ Interesting, as you can tell You can find out more about me on how my hands are held Feeling the energies living inside of me The emotional, mental, and physical My senses for being successful All points of view, and oppositions made I have a complex splitting heart line Crosses, breaks, islands, and braids I imagine, and make them happen I have a writers fork, of course, I ‘am a poet, that’s what it indicates I have a clear and well marked head line I’m always put to the test, I stay the same all of the traveling time No indications of an unutilized brain Me yes, I have lots and lots of interests I have a enthusiastic life line Vital, energizing, and surely passionate I do not have a destiny line Not at this day and time Maybe because I don’t make bets This is where I veer Positively I turn here in the yet Intuition, a constant profession Ever since now and then, I learn many, many lessons With a built in light, and a magnifying glass I use my psychometric intuitive flash A time will come, a small period of a break Until then, my poetic family chain remains I sail on relationship, I represent a major trip Intuition enlarged, my telepathy charged I shall last with many tasks I know your question before you ask Tomorrow brings a noticeable gap But I’ am like a flint I have an Apollo finger I’m John E. WordSlinger With a little squint You can see my calm palm in print (c) John E WordSlinger
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RE: RE: New Posting (Weather Report)Quote: Originally Posted by WordSlinger You have a cool sence of humor.LOL Love the apple.This is from us, me and my three class mates, thank you. 
In The Poets Hood Keep the Poets Eye For a Good Poet Shall Never Die!!! P.S. I have a new one to be graded, on the poems page, lol Entitled, entitled to what, lol, Flag of Many Colors http://www.originalpoetry.com/flag-of-many-colors Ironiclly it's about school, go figure........ 
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RE: Furthermore...Quote: -------------You are a book of information. I have been reading page after page about what you are teaching in your classes. Some of your classes are really interesting. Thank you for letting me join in.Originally Posted by kabbalistic Now, here comes the flip side of the "broken record"! Always be prepared to revise your work. Ideally, our poetry becomes a part of us as it takes on a life of its own. There is an old adage: "Age is mandatory, but growth is optional". Hopefully, as the poet grows (matures) as a person, his/her art will follow suit and thus the need for revision, since our poetry is a part of us. The more we know, the more we grow (ideally) and our pieces should reflect this, hence the need for revision. READ AND REVISE, READ AND REVISE!!! Set some time aside in order to critically examine your work, to see if it still says whatever you want it to say in the way you want to say it. You may also catch grammar, syntax and spelling errors in the bargain. READ AND REVISE, READ AND REVISE!!!
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RE: New Posting (Weather Report)The hand that reaches is a hand that that fears! A note about the first person I: A message can and will come in many forms such as; Man, I really screwed the pooch back in the day when I reached for that bottle of hooch but of late I had an experiance that changed my ways and yeah that was the day, when I gave my live away! Note first person with message and nope I'm not afraid of a dis from one or another for the life to live is for another brother! Pee n my cherrios and slap my face but to stand with hands in pocket is a damned disgrace! hehehe sorry I blurt in a white box! Last edited by ccslim 03-31-2010 at 04:09:58 PM |
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RE: New Posting (Weather Report)Glad to see studley back. |
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RE: On Poetry 25Quote: This certainly says a lot.This subject would be good for all poets to know but if you had an example to show, it would be even better. Thank you for inlighting us.Originally Posted by kabbalistic We’re pretty much familiar with the concept of tone right? After all, is isn’t the inflection of the voice that can pretty much give away whether the speaker is serious, joking, angry or sympathetic? Yes, but that is in everyday verbal speech which we take for granted. What about the realm poetic? Ah, a slightly different plate of linguini! LOL (Pass the cheese!). Let’s put a ‘handle’ on this, shall we? Tone, in the poetic sense, may be defined as the attitude of the author toward his subject and also toward his readership. If I may be so bold, it is the emotional “inflection”, or coloring of the piece and would have to be considered as an integral part of the whole meaning of the work. It will most likely not be possible to ascertain the true meaning, unless we are able to determine whether the author was serious, sarcastic, playful, reverent, mocking, didactic, or anyone of a myriad of possible choices. Herein lies the rub! Without the speaker’s voice to guide us, the matter of determining the tone of a piece becomes a much more complicated affair, which will inevitably hearken back to other elements of the poem-devices which we have previously discussed. connotation, Imagery, metaphor etc, will comprise the sum total of the tone of the poem at hand. For example, in The Master’s Cat, the speaker gradually demonstrates disdain for the announcer (through metaphor), who, in turn, has demonstrated contempt for “the master’s cat”-so you have a “double-whammy”, in terms of tone. Another way of controlling tone is in the metric pattern of a piece, especially useful with dramatic monologue and narratives. How, you say? Consider this: the shorter the line length, the more frantic the pace! So, the fewer feet to a line, the more tension is infused into the piece, ranging from serpentine, all the way to a monometric foot, which would be like poetry on LSD. LOL We’ll get into all of that fun stuff in due time! Suffice it to say that the poet may assume the role of “puppetmaster” in controlling his “marionettes”, all through the use of tone. Learning how to manage tone will enable the poet to exert far more control over the meaning, message and idea of the poem. By the same token, learning how to VARY the tone will enable the poet to become much more versatile in his/her poetic expression. 
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RE: Recommended ReadingQuote: This is a lot of helpful imformation. Thank you.Originally Posted by kabbalistic Allow me at this time to recommend good material for the ambitious poet: A Poetry Handbook by Mary Oliver, Rules For the Dance by Mary Oliver The Idiot's Book of Poetry by Nikki Moustaki The Complete Rhyming Dictionary by Clement Wood The World's Worst Poetry: An Anthology by Stephen Robins Cliff's Quick Review, Writing: Grammar, Usage and Style by Eggenschwiler and Biggs. Webster's New World Dictionary and Thesaurus This is just a start, as I strongly recommend that these fine texts and references find their way into the serious poets library, as they will be of immense aid in the crafting of verse and in the growth of the poet in the craft of poetry. http://www.amazon.com should have very cheap prices on these texts, especially used copies, which are available for a song. www.bn.com Barnes and Noble will also have good used prices, but not quite as cheap as www.amazon.com
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Poetry is when an emotion has found its thought and the thought has found words.
Robert Frost (1875-1963) American Poet.