(6/3/2012 10:36:00 AM)
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LOVE IS A STRONG WORD......
Love is a strong word and it sticks inside the heart
Hate is a easy word to say,
cause it juss makes things fall apart...
Loving sumbody soo much feels so good and happy...
but when the hate feelings come around,
its juss gonna feel soo crappy...
when life goes on, ....
Never say Never...
Because LOVE will always stick in the heart
FOREVER....Replies for this message:
(6/3/2012 10:42:00 AM)
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this is a poem i wrote...and it came from my heart... i've been writing some poems through pen and paper... and this one i'd like to share...someday i'll type down abit more.... thank you for enjoy ... more
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- Judith Missewace (6/3/2012 10:42:00 AM) Post reply | Read 2 replies
(6/3/2012 3:53:00 AM)
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I'm new in here. Nice to meet you all.
I've written a poem about study. Please enjoy and tell me about your comments. I want to improve my writing.
Keep Studying in Life
Homework is a lullaby.
I am hypnotized.
Where is my paradise?
Exam is poisonous.
Knowledge is various!
Oh! My time is less…
I’ve lost consciousness!
Homework is strategical
to succeed in your appraisal.
Study is a cycle in life.
How can we still survive?
(6/2/2012 11:46:00 AM)
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Structure vs Substance
‘Does structure has any importance in the making of a poem?’
In other words, it means like this: -
‘Can a poem stand alone in terms of its contents without depending on the structural framework?’
Poets can have different views. That is their liberty. Let me present my views regarding the structure of a poem and the contents of it.
In simple terms, any structure is a design that has a definite purpose. The design of an office is different from the design of a house or cattle shed. Any design should serve the purpose within a given space; within a given surrounding; within a given environment. The structure should accommodate all the necessities of an office or a house plus it should be aesthetically appealing by the design, the lay out.
Again, within a given space, one can have more than one kind of design possible. In other words, multiple designs are possible for the same office or a house within a given field. A good architect can draw many plans for a given office or a shopping complex or a house within the same site without cutting short of the plinth area or leaving the design to encroach the neighboring lands.
Thus, the structure and design in the hands of a good designer or architect take care of the strength, space, aesthetic appeal, durability and purpose of the given building. Every element mentioned herein has a role and place in holding the contents of it.
Can an office serve the purpose of a house? This is the question. Functional wise, both are definitely different. Structurally, the elements are the same brick and mortar. Now, coming to prose and poetry, what is equivalent to this brick and mortar? Words. Functionally, poetry and prose have different angles. Both are play of words but the edifices are certainly different. The spaces are different. The triggering mechanisms are different.
In prose, we can elaborate a theme to any length. So long as the theme doesn’t get out of the bounds of the writer, he can safely play with words and phrases. A story has a different format. A novel has a different canvas. One can have so many definitions for this format and canvas. To define is not my purpose at the moment. The idea is that every form of literature has got a different canvas and space.
Likewise, poetry also has a space. It is different from other forms. Let me present my ideas about this. One is free to analyze it.
Poetry is the music of heart. This is one of the most primitive forms of literature as we can see. Our epics were all born in the form of verses. All the Vedic literature comprise of verses in the form of Chandas (meter) . This is the case with any language and body of her literature. Sage Vatmiki is considered to be the “Aadi Kavi” or the primitive poet in the traditional count of our Indian literature.
Another notable thing is that most of the writers have or had begun their writing career as a poet and not as otherwise.
What can be conclusion? Music is natural to our heart and the purest form of language is naturally linked to that flow of inner rhythm. What is this purest form of language?
This is nothing but the sound of music. This is nothing but the flow of words. Man developed language by listening to the rhythm of Nature, by listening to the voice of Nature. I would ask the reader to go back to the times of those primitive men who lived in those caves and forests having had no language to communicate, having had only the sound of Nature all around them to trigger their thoughts. They had only voices around them and their thoughts were not woven by any known language. They listened to the voices of Nature and associated these voices to various objects and activities of Nature. They linked these voices to their own inner space. Words were born out of these voices. Thoughts were born in the form of a language. Verses were born in tune to the hues of seasons.
Seasons are the feelings, the moods of Nature. Every mood has music, a tone, a rhythm embedded in it. Human mind can pick up every note of these moods and has the capacity to express in the same resonance. The result is an elegant flow of verse. When the mind of Sage Vatmiki resonated to the painful heart of that lone lover bird, intense feelings flowed out of his heart and verses were naturally born. He was actually not creating any verse on his own but it happened as a natural response to an inner call. He even did not know whether his verses contained any rhythm or conventional meter. It was just a spontaneous outflow of his heart.
All great works of poetry are born only like this. All great works of any form of art are born from the in-depth of silence when the mind was not there; when thoughts did not invade the intellectual parameters. This is the truth.
The flow is just automatic. Who taught these mighty rivers to flow this way or that way? It was just an elegant flow from the mountain peaks. The spring came in the first place, and then came the flow, then only the river banks and other edifices on these river banks. In the case of poetry, I consider that structure should be a natural process, an integral part of the theme. In the case of music, Ragas form the basis and a wrong note can mar the mood of the Sahitya (lyrics) . Actually speaking, one need not strive to create a particular meter or a structure to create a particular theme. The truth is that, it is the very part of the theme itself. When a theme is stricken, it can only fall within certain parameters for an experienced poet. Yet, the canvas is big and has a variety. This variety is part of the various possibilities of human mind within a given striking area.
My idea is that the theme strikes our mind first and then the structure. Any theme requires deliverance. It requires a built in frame work. The choice is with the poet. How far can he move within the framework? It depends on the level of his vocabulary and power of expression. It depends on the knowledge of the elements with which he is trying to construct his theme. As I can see, the opening lines can decide the course of a poem.
It may be borne in our mind that mere brick and mortar will not give us a mansion of our dreams. It requires a design of our appeal. So, any theme requires a design before its final deliverance. The design actually gives more impact and compactness to the theme if one knows the craftwork. Let us, for a moment forget that the poet has no grasp of the conventional meters and other structural nuances. Yet, he has an idea about his deliverance if he is careful about this aspect. He may create his own pattern and rhythm in his own fashion. He may have his own musical scale about the poem. He will toss up with the overall structure of the poem in his mind before it is finally given the full life. He may re-write the poem umpteen times before he is satisfied with the structure and presentation of the theme.
It is at this point of creation that his previous experience of designing a poem comes of great help. If he is already very familiar with various meters and rhythmic patterns by reading great works, he may have an idea as to how to proceed with the structural nuances of his present work. In other words, this prior knowledge would make his task of presentation very easy and simple. Given a design, he knows how to use his words in a calculated manner to fit the framework in the most impactful manner. While designing a house, our aim is maximum convenience within minimum space. The same applies to poetry as well. We have the theme on hand and our strife is to present it within a minimum space creating maximum impact. Elaborate presentation doesn’t fit into the definition of poetry according to my view. That canvas could be different from poetry in every sense.
Today’s poet is under the general impression that if a sentence is cut into many parts to form disoriented lines, it can supplement the body of a poem! Then, what is the difference between a poem and a paragraph? If such a haphazard cutting can finally decide the structure of your poem, well, I have nothing to say about it. All you must need is more acquaintance with poetry of various periods.
All those who carry pens in their pockets are not poets just like all those who carry a screw driver are not good at repairing a switch board. One must realize this truth in the proper perspective. Let us always remind ourselves that we are all students in the art of learning poetry and in the acquisition of presenting our themes. We are often struck somewhere with our preconceived notions. This is our difficulty.
As poets, it would help us a lot if we are familiar with various structural patterns. A good architect can produce his own unique design but before that, he may have to gain a fair knowledge of various architectural designs of various countries spreading over various periods. This acquisition of knowledge has got its own place and importance. It helps the architect to have his own design culled out of this knowledge. But do we care about this aspect when it comes to the composition of our poems? Do we take care of the design, the overall structure of our creation in a serious way?
Let us answer ourselves in silence. Let us review our individual stand point. For most of us, the design of a poem is only a passing thought. For us, the design is an aspect that is taken for granted. I won’t say that we should have a prior knowledge of various meters and structural patterns before we decided to pen down a poem. Out of our experience, out of our spontaneity, we would naturally give our poem a pattern, a framework, a design, a structure in our mind. How far can we go with our present design is the only question. If our experience is rich enough, the design also would be an impressive, elegant and a captivating one. This is the craftwork of a poet. In other words, a gardener can do a lot in keeping the garden look very beautiful and impressive by means of a lawn mover, by watering the plants, by removing the weeds, by a good spade work and by fencing the garden.
One striking aspect is that even if we might say that we don’t wish to write in meters or in certain patterns, that we are the followers of free verse, yet, can we honestly follow or like all patterns and all kind of free verse? This is the clue. The truth is that we are all unconsciously following our own patterns. It can have various tags and labels. It can come in various scales. Everybody has a natural taste for certain designs and patterns. Everybody has a view about poetry from his individual angle. So, all of us are following our own patterns in poetry. So, structure has a sense of importance from our individual poetic angle. Even while we may vote for free verse, we won’t wish to see it being designed in a haphazard manner.
So, all of us have a notion about the structure of a poem. Let us agree with this truth. The only difference is that we won’t generally accept a poem if it falls beyond the bounds of our notions. The theme can really be good. The dish can be very delicious but if it is served not according to your ways, can you accept it whole heartedly? So, a poet who believes either in the classical structural patterns of poetry or votes for the post modern views of poetry does have one thing in common – the belief in a particular pattern. This point is important. All birds are flying only within the bounds of the sky.
So, without visualizing a pattern, a poet cannot frame his poem. This is my central idea. To follow patterns, there can be general rules but no universal rules as far as I can see. I usually come across with poems dealing with good themes, having good sentimental value, but poorly constructed. Expression too is part of structure as I can see. A very good design can also speak volumes from its own angle. Words are part of expression and words also form part of the structure of a poem. Thus, words serve more than one purpose in the field of poetry. If we are careful of this aspect, we may also pay more attention in the area of designing a poem in better ways. I don’t think that this is a disputable point.
Can anybody teach a poet about the structure of a poem? Practically not. The world can only give certain clues, certain guidelines but the spark has to come from inside. Only our experience can teach us this art of designing our poetry on better levels and degrees. Are we reading enough poetry? This is one basic question. Are we getting conversant with various forms of poetry? Are we aware of the fact that a poem has after all a body of its own? Our natural inclinations and instincts would tell us to follow certain designs and structural patterns. My view is that let us try to follow this inner voice, these inner instincts rather than trying follow other patterns in a copy book style. The idea is that our compositions should not be a forced writing. We need not keep the idea that if our poetry is lacking from structural completeness from classical point of view, our poetry is gone. So long as we have our natural patterns on hand, so long as we have belief in that the body of a poem has its structural importance, we can definitely keep growing as a poet, that we can definitely survive in the field, that we can definitely improve our skills in the area of better designing our poetry. The struggle should be there. This is the important message.
The struggle for attaining perfection is an ongoing process. As poets, are we serious about this ongoing process? No poet was born overnight. Structure for the sake of structure – we need not emphasize on the point. It should come as a natural part of our production. Out of raw materials like words, images and symbols, we can create our own patterns to fit the theme. If we are creating an elephant, it may require a big compound for shelter and easy movements. If we are creating a cat, the space for it could be different. Space is equivalent to design.
If we look at the meters and the various patterns, we can see that there are umpteen structural ideas possible for the creation of good poetry. Great masters had used the meters to enhance the impact of the subject matter. One striking example is a chapter of ‘Narayaneeyam” wherein the description of rain is given a stunning punch and effect by framing it in particular meter. Bhattathiripad has used various meters to describe various situations. Rasaleela is another telling example.
The point is this. Our great masters had discovered various meters and patterns that could enhance the beauty and impact of the theme or subject matter, out of their sheer experience. Certain moods are created out of patterns. The economical usage of words is done if one is familiar with structural patterns. He knows how best it is to use a particular word in a particular line. He has an idea whether a word takes away the rhyming effect or not.
After all, rhyme has a place in poetry. It gives certain musical effect that makes the reader easily byheart it. This makes the poem easily quotable during a discussion or speech. This can have stunning effects on the listener. If a poem is void of such musical and rhyming effects, if a poem is just like an essay or a broken sentence, how many of us will be able to recollect it and reproduce it at a later period on demanding situations? We have to think on these lines too if we are serious about poetry. Don’t we expect our poems to be easily remembered and quotable by others?
At this point, I wish to take the reader to the primitive days of man when knowledge could not be stored by any means and that lip to lip transfer was only the possible way. Here, the musical scales of language came in handy for him and knowledge was preserved and transmitted in the form of poetry, in musical scales, in meters or in ‘Chandas’ so that the themes could be easily remembered and effectively reproduced than prose or any other literary forms. This is how we may find that all the Vedic literature is in the form of ‘Chandas’ or in the form of poetry, so to say. For example, Gayathri is one Chandas or meter. The discoverer of this Chandas is attributed to Sage Vishwamitra. As time went on, knowledge could be preserved in various forms and lip to lip transfer no long gained its importance. This is one of the reasons why we do not feel for musical scales, rhyming effect or for the import of meters in today’s poetry. Poetry no longer serves the purpose of transfer of knowledge from lip to lip because we have got other means. Suppose the modern man has still no means of preservation of knowledge other than lip to lip transfer, he would have very much gone in for the well structured poetry as in the olden days. Have we thought of this point so far?
I also wish to draw the kind attention of the reader to the following aspect about which we may not have thought much. Poems that were learnt in our school are better remembered than essays and other prose lessons. We are able to reproduce many of those poems in verbatim and style than other lessons. Why? Just because that those poems had a scale of music, had a rhyming effect, had something about its structure that gave rise to a pattern which could go into our memory. And don’t we still remember that our poetry classes were different from prose classes? The teacher would be singing out every poem in his own way and by the time the poetry period was over, students would have certainly got byheart some of the lines of the poem. If that memory gets through decades, if that memory practically lasts forever, can we simply say that a poem doesn’t require any structure or pattern? Just for example, a capsule of idea given in the form of Haiku is better remembered than an essay of George Orwell or the hard nut of Sir Walter Scott.
In short, the methods are different in poetry. One must pay due attention to this aspect. As poets, if we can master some of these methods, it would only enhance the beauty and deliverance of our poetry. At least, one must be conversant with certain structural ideas about poetry. Again, I would say that one must not sweat to fit a poem into a particular meter. The point is that our experience should automatically tell about it. Read and read, write and write, draft and re-draft – this is the only way. One would soon discover that this is an on going process forever. We must read what our great poets have said about the importance of having a structure in a poem. We are free to absorb it or discard it but the thing is that we must feel for certain that every statement contains some truth about it. We must have the mind to admire this element of truth. Are we doing it right now?
Having described thus, let me explain my mode of poem composition. Honestly speaking, I have no idea about meters and patterns. If you asked me to name a few of them, I will easily fumble. My idea about framing a poem is as follows: -
I cannot much reason out meters and patterns. I am very much ignorant of the rules governing this. Even during my school days, this was the case. Hard and fast rules won’t generally catch my thoughts. I am mostly guided by my intuitive levels. As a poet, I very much depend on these levels. This doesn’t mean the poet in me was born overnight and that the sojourn with my pen was not without sweat, any battle and any homework.
Actually, it was a long summer walk. During my college days, I was driven to the world of Victorian Poets like Wordsworth and Keats. I happened to stumble upon a few books like “Immortal Poems” (A compilation by Oscar Williams) , “Palgrave’s Golden Treasury” (A compilation by Francis Turner Palgrave) and two volumes of American anthologies. These books opened the doors of good poetry before me. These books served me the launching pad. They gave me the real pearls. I enjoyed reading many of the poems. I became conversant with various ideas of poets and their views about poetry. The reader in me was wide awake than the composer and writer in me. This was a phase. I just listened to various voices and streams. I was more or less silent in my own judgments. I could see that every voice, every stream, every method had a place and value.
And only after a few years I did take my pen. Inner compulsions were enough. That was an experimental phase, my formative years. That was indeed a battle. Firstly, I tried a hand at Malayalam poetry and now and then drifted to English. I was often missing the right angle but nevertheless, it gave me a stage for later development. I was throwing seeds upon the sands of time. Soon I discovered that English was my natural medium for the expression of my poetic abilities than my own mother tongue. During this period, the writer in me was gaining a strong foot hold and I drifted away quite often from the world of poetry to other areas of literature. Thus, the poet in me woke up only occasionally. It was a discontinuous flow. I drifted from science to philosophy to literature to poetry in a random manner. I kept my writings mainly to discover the depth of themes. While writing, I am able to get to the heart of a theme in a better way than while reading the same subject matter. So, in my case, writing meant a sort of self-discovery.
A time reached during the early 90’s when I looked at the pile of my writings. I took up the task of a compilation work. No easy reference was possible to locate a particular poem from among my 53 diaries! I had no idea about the volume of my poetry written so far. This compelled me to do the compilation work. It was not an easy task but I happily spent long hours doing that work. It was not just copying down those older poems like a Photostat machine. While I did the compilation work, I edited each and every poem. I did the proof reading. I drafted and re-drafted every poem to my level of language and satisfaction. I actually enjoyed an editor’s work. Even now I do the same task before a poem is posted for the public view.
That compilation work was really an experience. I could know more about the aspects of poetry. I discovered that I had some basic inclination to follow certain patterns. Certain forms seemed to be quite natural for me. Yet, I was not after following any meters or other structural discipline. Such ideas always eluded me. I just tried to follow a rhyming pattern of lines plus the form of quatrain. Even now I would honestly admit that I am totally ignorant of the structural patterns – meters etc - that I have used in my poetry.
There is an interesting episode in this context that I wish to share with my readers. During the early 80’s I had given one of my poems to my cousin for publication in her college magazine. I also gave her the freedom to publish it in her name. Naturally, the poem reached the desk of her English lecturers. They scrutinized the poem and stunningly asked her whether it was her own creation. They further went on to analyze the poem for the structure and meter and I still remember my cousin’s feedback in this regard.
What were the findings of those lecturers? It is reported that they had happened to remark that a complex meter ran throughout the poem and that such a meter had become an extinct one like the lion tailed monkey of the Silent Valley! Only a few could write in that meter! I was naturally stunned to get this remarkable analysis. I have still no idea of the meter which I had used in that particular poem. In my case, it was only a natural happening. What was the complexity that involved in that meter? I am unable to decipher this as well.
The note worthy point is this. If our themes are well expressed and that if we know how to deal our ideas within the canvas of poetry from our experience both as a reader of poetry and composer of poems, the structure could be a self emerging one. Experience is the only teacher in this context. Openness is the only requirement.
Does a person who is well versed with meters and patterns be able to compose a poem? Practically not. One of my friends can still remember all the definitions of meters of Malayalam poetry as he had studied at school but so far he hasn't composed even a single poem! This also can happen.
The next stage in my career as a poet was when a computer arrived at home in 2004. I began working with “Word” extensively which led me to a second compilation of my poems. I did further scissor cutting of my previous work and brought out a work comprising of more than 130 poems. This compilation became very handy and helpful when I began exploring various poetry websites. My first encounter was with Poetry.com wherein there was restriction to every poem regarding the number of lines. This led me to further format my poems to fit to the requirement. I became very conscious about re-structuring my older poems and in the composition of new ones. To tell a theme within a framework of twenty or twenty four lines taught me a lot. My own view is that a poem need not go beyond this length for one particular reason – who has got the patience to read a lengthy poem that stretches from Kerala to Assam? Secondly, this length is just enough for a seasoned poet to describe his theme. One may even note that a poem doesn’t require even this much length for the right deliverance of the theme. Such challenges would compel a poet to frame his poems in a precise manner, in a well structured sense.
Today, I have some idea about the structure of a poem. Yet, I do not know how far I have progressed in this direction. Real masters may find an imbalanced structure in my poems.
Any poem should ring in our mind. This is my view. If a poem should ring in, then, it should have it’s own structure. Continuous experience would tell any poet of the design that he should adopt in order to give his poetry this ringing effect. It is a self discovery rather than a class room lesson. It is a ground work rather than claiming to have crossed the summit. It should be an approach with open mind rather than being partial to only certain forms of poetry. Stagnant pools would only collect dirt in the end. Running streams would leave a fertile land along their banks for all seasons. This truth cannot be forgotten.
Let us look at the masters with all reverence for their elegant works. This should be our primary attitude as poets. Let us breathe in our own space in the midst of these masters by making our pens more purposeful with better themes and with better structural edifices and designs. Pyramids have their own beauty. Eiffel Tower has its own elegance. Do we quarrel on the ground of comparison? Do we get stuck with only one? It is often the comparison which mars our aesthetic appeal. If we can look at the meters and various patterns as a variety, as various possibilities, and not as differences, the battle could be over. The cease fire could be in sight.
(6/1/2012 6:48:00 PM)
Please read this poem and let me know what you think. I wanted to focus on alliteration... did I over do it??Any other comments/suggestions?
A poet’s plight
I have here my pen and pad
And now I plan to prove my genius
If I can only get this stupid pen to work
I will use mesmerizing metaphors
And beyond brilliant similes
I will compare things never compared before
I will give words new meanings
If I can only get this stupid pen to work
I will stitch my story one scene at a time
Decoratively divulging distinct memories
I will quaintly quilt what is on my mind
Even reluctantly memorializing past misery
If I can only get this stupid pen to work
I will tell tales never told before
In ways no one has ever heard before
I will leave my listener wanting more
Each stanza sending them through another door
If I can only get this stupid pen to work
I will cunningly construct a new poetic form
Into which rhythm and rhyme will swarm
Into which even prominent poets will storm
For it will transcend traditional norms
If I can only get this stupid pen to write!
Ugh! I give up! !
This is a despairing dilemma I have disdainfully endured
A wicked war waged against me without forewarning
Is another example
Of a Poet’s
(6/1/2012 8:24:00 AM)
Please read my poems and tell me your comments. I want to improve my writing. Thank you
(5/31/2012 5:39:00 AM)
I invite you guys to please read my poem and tell me how did you find it... thanks
(5/30/2012 9:49:00 AM)
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(5/27/2012 7:24:00 PM)
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Writing poetry is easy reading it is hard, especially if it isn't any good.
(5/22/2012 2:05:00 AM)
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When I write, I pour myself onto the page. I don't hold anything back. Once I feel I've come to the close of my thought and thoroughly delved into my conclusion, I read through my poem looking for errors and better ways to express the feeling I want to expose to the audience.
(5/19/2012 11:50:00 PM)
When your heart tells you some thoughts, some pains, some joy, something or anything, you are evoked to write...