Working toward the sonnet/starting as the novice poet
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RE: Working toward the sonnet/starting as the novice poetI am enjoying this thread and appreciate the deseminated information. Thank you! Das Feldmarschal |
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RE: RE: Critique ~ of Aria's Poem 1[/quote]What might help your confusion with anaphor is to read some poems by Walt Whitman. Uncle Walt will show you how to write an anaphora in a hurry. Look at all the lines that begin with the same phrase in one of his longer poems. You will get the idea of what the anaphora is, and how it is used. Last edited by thecross 04-01-2010 at 01:58:24 PM |
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RE: Working toward the sonnet/starting as the novice poetThis is a wonderful class, I highly recommend it. I am going to try to catch up on the assignments after having only now gone over the reading material. (My flimsy excuse being that I have been busy with my own thread. I think our classes complement one another in a wonderful way!) |
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RE: Working toward the sonnet/starting as the novice poetWe all need to appreciate your presence here RH. We most likely can't do that commensurate with the wealth of insight you bring to the table. Thank you for this thread.Thank you for your teacher skills ...and thank you also for the great gains I will have made personally, as I follow your lessons. |
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RE: Working toward the sonnet/starting as the novice poetI just found this very interesting and educational thread. |
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Assignment 2: Fellow TravelerHere is my entry for Assignment 2. I'm not sure that this piece fullfils the requirements since there doesn't seem to be a refrain. I will try again-please forgive me. It is hard to teach the tricks of a poodle to an old hound dog like me! |
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RE: RE: RE: Working toward the sonnet/starting as the novice poetQuote: Originally Posted by RHPeat Originally Posted by kabbalistic This is a wonderful class, I highly recommend it. I am going to try to catch up on the assignments after having only now gone over the reading material. (My flimsy excuse being that I have been busy with my own thread. I think our classes complement one another in a wonderful way!)   Oh, well feel free to refer to my class from yours. And I will read yours and see if I can use you as reference as well. A poet friend// RH Peat *************************************************************************************************** Yeah, These lessons are invaluable even to veteran poets. Veteran poets? Is there such a being? True poets are evergreen students.. They learn every moment of the day, in their sleeping and in their waking. I am pleased to see here recommended an excellent reference book: "A GLOSSARY OF LITERARY TERMS by M. H.Adams. I keep my copy next to my Bible. |
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RE: Working toward the sonnet/starting as the novice poetWOW........I am so glad I didn't major in poetry...........I don't know which is |
............and, 
..............................................gogant
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Assignment 1-A Holocaust Rememberance (Ha shaloakh)Here is my attempt at assignment Number 1, with two different anaphoras in two comparative stanzas. This is a Holocaust Rememberance Poem. Last edited by kabbalistic 04-14-2010 at 04:34:16 PM |
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RE: RE: Assignment 1-A Holocaust Rememberance (Ha shaloakh)Quote: well yes it's an anaphora and of course, perfectly written....but it doesn't make it any easier to read. "Judge not, that you be not judged. For with what judgment you judge, you will be judged; and with the measure you use, it will be measured back to you... Hypocrite (Pretender)! First remove the plank from your own eye, and then you will see clearly to remove the speck from your brother's eye." (Matt. 7:1-5) Yes, call me Boobilah...it's yiddish. My great-grandparents were Jews who immigrated to America to escape racial prejudice. Thank you for helping me to remember who I am. Was there not a yiddish word for "slutbitch?"....or perhaps that word is Boobilah. [/quote] No, Boobilah, I would NEVER call you that!!! The Yiddish word for ''slut'' is shiksa, and the Yiddish word for ''whore'' is kurva or tsatzkele (bimbo). OK, Boobilah?   
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RE: Critique of Poem 7 - Wings by AriaQuote: Originally Posted by Springsize Quote: Originally Posted by Aria Poem 7 (Pantoum) - Wings **************************************************************************************************** Aria, this poem is Just beautiful... You take flight with both imagination and your time, upon your trusted winged friend... your Poem is gentle, is also wild with leaving heavy material Earthen as a low gravity, and you're moving into the high realms where spiritual and universal welfare hold hands... a high realm you leave Reader and Earth behind in your travels with him; and it is Always a treasure to read your expressions of meaningful moments. I will make one Mechanical comment, in that the 1st and 3rd lines in the first stanza are to be used in the last stanza, and you did that.... and I noticed that you reversed them... This was not an easy assignment task, but you have mastered the Form, line count, the repetition (with continued meaning) and perfectly metered, each stanza count. Yeaaaa ************************************************************************************************* Competence in spades, I marvel at how lucid your work is. The stories you tell all seem to be mini movies and testify to your ability to juncture thoughts more seamlessly than most; And all within the physical constraints of an imposed structure. Marvelous! |
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RE: RE: RE: RE: the Critique comments of the poems by kahQuote: Originally Posted by RHPeat Originally Posted by kah Originally Posted by Springsize Hi kah - This is a very informative experience for me as well... and please remember, I am also a student and may provide less than complete or accurate critiques. RE: your Poem 1 - anaphora I did notice the repeats that you used, kah... but from the previous instructions, I think anaphora is supposed to be a profound experience, or repeated so many times, one might think the record stuck... ok, that's a phrase back from 1958, when there were records instead of discs... and for those younguns... sometimes the needle (that played the records) would get stuck and one would have a repetition that would make any anaphora proud. RE: your Poem 2 - I made the comment about "strange tercets"... because they are a different form of rhyme for me... Three lines in a stanza is a new concept, and I found it strange (not in a negative way) that of the 3 lines in each stanza, only two will rhyme. Thank you Springsize. I read what you wrote for anaphora - now I get it! The repetition was much more obvious - not so subtle. I liked you work! I'm reluctant to critique as I'm such a novice. I'm not certain I know enough to make a decent critique!! LOL. That's ok, I'm learning and intend to keep on going! kah  Kah just keep rereading poetry in a nutshell which is on the first page. All the basics are there. Feel free to comment on any of these types of presentations in anyone else's work. Then as we progressed through the other writing exercises feel free to comment on any of the given information there as well. Feel absolutely secure in making any statement about what's been covered thus far in the course of writing exercises and given information. Even the essays by others like Lorca or Lu Chi. It is all information that can be used in the critique. You are just sharing your understanding of the craft with another about how you see the exercises within the presented material. That is what any critique can offer. You can even tear the poem apart line by line if you wish. It will make you see what is in the depth of the poem and it will make you a better writer if you attempt to dig as deep as you can into another's work. They don't have to agree with you at all. A critique is not about agreement; it's about what you see on the page as a fellow writer. As well: the receiver can be in total disagreement. it doesn't matter at all. Why, because each critique makes you grow a bit more. And if they took the time to look at and to see what you were saying they grew a bit more as well wether they made changes or not in their work. That's the point. The openness to give and receive a critique to the best of your ability makes you a better writer. Much can be perceived learned, and envisioned by tearing apart a poem and reconstructing it in your own head. That's the point of the exercises and to be interactive with outer writers and to share each other's writing skills. And this is why I'm trying to stay out of the interactive part. Because if I were to critique someone's poem they'd know they would have been hit by a landslide. That's too much for someone just beginning. So the exercises are for those that want to take part in this learning process in this part of poetry school. So feel open and unafraid in a the critiqueing process. It doesn't matter whether someone agrees or disagrees with what you have to say. Just say it and give your reason's why you see it that way you do. Then you have offered a good critique. That's a gift to the other writer even if they are in total disagreement. Learning to write commentary on your craft make you a better craftsman. And that is the whole gist to the complete course toward the "Sonnet", because the English sonnet is considered the highest form of poetic presentation. That's our goal here. So writing the commentary to the best of your ability is just as important as the writing the exercises to the best of your ability. Go get 'em and don't look back. You have everything to gain and nothing to lose. A poet friend RH Peat Thank you,RHPeat - I will start. You are right, it's a good way to learn - the critiquing process...both getting and giving. kah |
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RE: Working toward the sonnet/starting as the novice poetRHPeat wrote: I would like every one to think on these statements; feel free to make comments on these thoughts between one another. Write what you feel these 2 things do or mean within a poem. |
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RE: Working toward the sonnet/starting as the novice poetRHPeat wrote: Some things to consider within these thoughts |
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RE: Working toward the sonnet/starting as the novice poetRHPeat wrote: Ask yourself what these questions mean to you |
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RE: RE: RE: Working toward the sonnet/starting as the novice poet[quote="RHPeat"][quote="kabbalistic"]This is a wonderful class, I highly recommend it. I am going to try to catch up on the assignments after having only now gone over the reading material. (My flimsy excuse being that I have been busy with my own thread. I think our classes complement one another in a wonderful way!) Last edited by cousinsoren 04-29-2010 at 08:22:26 PM |
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kah's assignmentsPoem 1 Last edited by kah 01-20-2011 at 02:02:43 PM |
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Reading about Duende - comments and thoughts by kahI have just finished reading the post concerning Lorca Duende. I found the information fascinating! I enjoyed learning and reading about Muses, Angels, and Duende. In theory and emotion, I have had no trouble understanding Muses and Angels. Their concepts and influence are comfortable and well known to me. I understand how their concept may influence a writer's words and intent within their poem. |
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RE: RE: Reading about Duende - comments and thoughts by kahQuote: Originally Posted by RHPeat Originally Posted by kah I have just finished reading the post concerning Lorca Duende. I found the information fascinating! I enjoyed learning and reading about Muses, Angels, and Duende. In theory and emotion, I have had no trouble understanding Muses and Angels. Their concepts and influence are comfortable and well known to me. I understand how their concept may influence a writer's words and intent within their poem. Duende was a word and concept I had never formally been introduced to. I say formally, because once I read the concept and examples of duende, I realized that is the vaporous "thing" I try to connect to and capture within my writing. Because duende seems to have connection with blackness and death, it serves as a window between what-is-known and what-is-felt, between the concrete world and the difficult-to-explain world. When I read a poem or creative piece that really resonates or stays with me, I'm thinking that may be due do to duende...that difficult to describe power or sensation in writing. The post was lengthy, and I've taken in alot of information! It's sure to settle - I just wanted to post my thoughts on the reading. Oh, I also looked up duende in wikipedia - the concept is present in most cultures. kah Yes, the three doorways to the metaphor into the poem. 1. The art/ or muses speaking for creation, a desire to be born we might say; that an expression inside us wants to be conceived. A need to express and to be expressed. 2. The angel/ the spiritual or metaphysical presentation of metaphor because of it's inclusive nature. All the condensed implications of the metaphor. And 3. Dunede/ the ghoul, But not so much in the sense of darkness and death, but in the actual struggle in life for understanding the moment. For it is a celebration for life and death in the sense that birth implies death. We all will die. Duende is the release of the compacting within the heart. That in reality things don't always fit into right and wrong but more in the sense of shades of gray in the middle ground. That we need to express what isn't always thought of in an established or current way. That there is another point of view beyond the traditional as the un-traditional opposed to just the anti-traditional or traditional. That duende accepts all sources as part of the obtained timeless journey. Or what Joseph Campbell might call the "Heroic Journey" revealed in spontaneity. That duende reaches for the full expression of that struggle to be live and dying as a human. it reaches into the unclear realms of understanding that are extremely complex. Yet if it is there; you feel it with a power that is unmistakable when it arrives. Within the art form it changes life experience into a new life that is the living presence of the moment. Duende is timeless in that sense of presence for it is the culmination of the complete presentation. It is very similar to what I have been saying about epiphany. That due to the presentation of the art form epiphany is reached by the writer and the reader. That it is not a description or explanation or even a telling of the event, for it is the event itself that is felt beyond the mere understanding of the presentation. It's not speaking about an experience so much as offering an experience as a journey to be taken. That the writer needs to know the experience before he can put it into a form that will allow the reader to experience the experience. Here is a prose poem which could be called a fine example of Duende, yet it was written long before Lorca gave his speech on Duende. And it speaks of an experience every poem should have touched upon at the same time. From—THE NOTEBOOKS OF MAUTE LAURIDS BRIGGE by Rainer Maria Rilke [FOR THE SAKE OF A SINGLE POEM] ... Ah, poems amount to so little when you write them too early in your life. You ought to wait and gather sense and sweetness for a whole lifetime, and a long one if possible, and then, at the very end, you might perhaps be able to write ten good lines. For poems are not, as people think, simply emotions (one has emotions early enough) they are experiences. For the sake of a single poem, you must see many cities, many people and things, you must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. You must be able to think back to streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming; to days of childhood whose mystery is still unexplained, to parents whom you had to hurt when they brought in a joy and you didn't pick it up (it was a joy meant for somebody else—); to childhood illnesses that began so strangely with so many profound and difficult transformations, to days in quiet, restrained rooms and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along high overhead and went flying with all the stars,—and it is still not enough to be able to think of all that. You must have memories of many nights of love, each one different from all the others, memories of women screaming in labor, and of light, pale, sleeping girls who have just given birth and are closing again. But you must also have been beside the dying, must have sat beside the dead in the room with the open window and the scattered noises. And it is not yet enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves—only then can it happen that in some very rare hour the first word of a poem arises in their midst and goes forth from them. A poet friend RH Peat Yes, yes - that is exactly it - when I think back to how I thought/felt/viewed the world as a person in my teens and twenties, I realize now how slight my experiences were - how much more rich my aging has made my experiences. I can draw from a much deeper well of perspectives when I write. And yes, I see how epiphany is very close to duende - very cool Thanks, RHPeat - Truly you have posted a vast amount of information and knowledge here. I'm very grateful!! Kah |
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Poem 10 - 18 by la
Last edited by leslieAlexis 06-25-2010 at 03:03:45 PM |
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RE: Working toward the sonnet/starting as the novice poet[/b Last edited by cousinsoren 05-12-2010 at 12:43:35 AM |
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RE: a question on iambs...Hi RHPeat, |
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RE: marking the scansionOk, here's my attempt at marking scansion and recognizing iambs... |
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RE: Working toward the sonnet/starting as the novice poetRHPeat wrote: |
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RE: Working toward the sonnet/starting as the novice poet
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Poetry is what gets lost in translation.
Robert Frost (1875-1963) American Poet.