New Posting (Weather Report)
|
RE: RE: New Posting (Weather Report)Quote: Originally Posted by gogant Don't be so hard on yourself, Kab. You know yourself that you can't teach someone to write poetry...you can teach them the rules...but, if they don't have the stuff, well then, they will just write words that rhyme... kabbalistic posted: Field Marshal von Studly, that heel clicking, ‘’Heil” saluting, goose stepping, intolerant Word Nazi who ‘’forces’’ others to conform to his criticisms. LOL (Also known as ‘’the arrogant clown’’ with no intelligence who can’t spell.) Gogant, The truth in your statement carries the force of creation: which came first, the poet or the rules? Poetry comes from soul not rules. Rules come from brain not soul. Bravo to you and your masterful comment. Now, where is my graphite and pulp, I hear my soul calling. Aw gee, looks like we're gonna' skip class...lol lol lol lol... 
|
|
RE: New Posting (Weather Report)I don't think anybody has bucked and farted more than I when rules point to mediocre writings, pffft like who needs rules! Yeah yeah go ahead beat up slim but as I read fine works and absorb lessons from fine teachers willing to take their time to share I feel my writings growing to more than I! I know knowledge can taken as arrogance but it is not! I thank all of you who desire to share, I don't need to name names because you know who you are by spoken truths and shared feelings and when I want to know more you can bet I will seek you out! |
|
RE: On the Other Hand...Quote: Originally Posted by kabbalistic Gogant does have a point however, and I would be remiss if I didn’t address those folks on the other side of the coin-those that belong to that dreaded genus poetis ridiculous, also commonly known as pedantic dipshits! These are the folks who go into spasmodic convulsions if a poem doesn’t flow in perfect iambic pentameter; in short, utterly obsessed with form and usually quite willing to impose (and judge), other poets by rules that they themselves are generally unable to abide by. Suffice it to say, I have run into pedantic dipshits and have actually learned from them; however, their pride and grandiosity make them totally unfit to write poetry from the heart. Their only place is to join the swelling queue applying for the position of curator at the Poetry Museum! They can also join the force of the “Poetry Secret Police’’ or the “Poetry Gestapo’’, otherwise, they are about as useful as a bull’s ass with windshield wipers, It’s funny that I have been repeatedly accused of being a ‘’Word Nazi’’. I have news for you, I’m an orgy in a nudist colony compared with these folks, so, count your blessings! (That’s an order! LOL) Always remember, YOU DO NOT NEED WHAT YOU CANNOT USE, so, ‘’go on wit’ yo bad self, Gogant’’! Insufferably Yours, Field Marshal von Studly, that heel clicking, ‘’Heil” saluting, goose stepping, intolerant Word Nazi who ‘’forces’’ others to conform to his criticisms. LOL (Also known as ‘’the arrogant clown’’ with no intelligence who can’t spell.)    Hey, ,Marshall. Good morning, sir! Truth on parade! Gospel truth!  
|
|
RE: On the Other Hand...Quote: Originally Posted by kabbalistic Gogant does have a point however, and I would be remiss if I didn’t address those folks on the other side of the coin-those that belong to that dreaded genus poetis ridiculous, also commonly known as pedantic dipshits! These are the folks who go into spasmodic convulsions if a poem doesn’t flow in perfect iambic pentameter; in short, utterly obsessed with form and usually quite willing to impose (and judge), other poets by rules that they themselves are generally unable to abide by. Suffice it to say, I have run into pedantic dipshits and have actually learned from them; however, their pride and grandiosity make them totally unfit to write poetry from the heart. Their only place is to join the swelling queue applying for the position of curator at the Poetry Museum! They can also join the force of the “Poetry Secret Police’’ or the “Poetry Gestapo’’, otherwise, they are about as useful as a bull’s ass with windshield wipers, It’s funny that I have been repeatedly accused of being a ‘’Word Nazi’’. I have news for you, I’m an orgy in a nudist colony compared with these folks, so, count your blessings! (That’s an order! LOL) Always remember, YOU DO NOT NEED WHAT YOU CANNOT USE, so, ‘’go on wit’ yo bad self, Gogant’’! Insufferably Yours, Field Marshal von Studly, that heel clicking, ‘’Heil” saluting, goose stepping, intolerant Word Nazi who ‘’forces’’ others to conform to his criticisms. LOL (Also known as ‘’the arrogant clown’’ with no intelligence who can’t spell.) Hey, ,Marshall. Good morning, sir! Truth on parade! Gospel truth!
|
|
RE: New Posting (Weather Report)Hey I'm reading everything! Anyone willing to pass on their knowledge, opinions, work, lessons, etc - I'm listening to! |
|
RE: Tomorrow (April 11, 2010) on Blog Radio at 2 pm PSTHey Kab! I won't be able to tune in live - so thanks for the info on the archives! Have fun reading - I love reading my stuff outloud to others - Quote: Originally Posted by kabbalistic I will probably be on Poetry Super Highway Live tomorrow on Blog Radio, which is heard around the world. I read my pieces live on this wonderful monthly program, hosted by Rick Lupert. I have pasted the information below; Our Live events are hosted through BlogTalk Radio and can be accessed during the event by visitinghttp://blogtalkradio.com/psh and clicking on the "Click to Listen" button. You can listen to the shows through your web browser as well as call in and ask questions live through by dialing (646) 716-7362 during the live broadcast. Can't or don't want to call in? You can ask questions live during the show's broadcast time by sending an instant message to RickPoet on AIM. If you can't make the live time, you can also listen to any past show by visiting http://blogtalkradio.com/psh and clicking on the show's title. (As well as subscribe to all of our shows through iTunes or any other software you use to listen to podcasts. I want all of my OP brothers and sisters to read their fine pieces on Rick's show!  
|
|
RE: New Posting (Weather Report)Ok, I have alot to catch up on! I need to make time to study and do my homework |
|
RE: Take Your Literary Enema Like A Mensch! LOLQuote: Originally Posted by kabbalistic The next step in the natural progression of the poet's cycle of growth and development, would have to be the rather large step of exposing your poetry to the world; through posting on web sites such as this, submitting your work for publication, entering poetry contests, and of course, performing your work at open mic's and poetry slams. This is what seperates the chaff from the wheat! Exposing one's poetry to the public-at-large can be a harrowing experience, to be sure. In 2000, I submitted my best 15 poems to a poetry contest in NY, to a "distinguished panel" of 4 poets. The response I received six weeks later, discouraged me to the point that I was not able to craft poetry for another 10 years. Those sub amoebic troglodytes had gotten into my head so much that I doubted my ability to wipe my own ass without an instruction manual, let alone write literature! I clearly was NOT ready to face criticism from the world-at-large; however, that is what is required whenever you decide to share your poetry with the world. Next posting, let us examine valid, technical, positive criticism, as opposed to biased, personal, bullshit critism that is purely based on the critic's opinion of the poet and not on his/her poetry. Remember, poetry is HELL, and literary enemas are NOT PLEASANT!  When you put something in print you have to expect commentary. There is no way around it. You read the news and you make commentary to all your friends and fellow workers. Many even send letters to the editor. Poetry in print is under scrutiny and greater observation. Poetry is no different than any other form of the printed word when it comes to the reader. However poetry is written in a much higher level of concentration and it is a highly condensed form language more so than the newspaper. Poetry reaches for places that are un-describable within our emotions and experiences but once in print for the public it is open for commentary. That's reality. So many want to take the commentary personal. This is wrong because it is just the view-point of the person that is offering the commentary. And they are allowed their opinion as much as the writer is allowed their opinion. Besides if someone isn't understanding the depth of the poem, maybe there is something wrong with the presentation of the poem. My personal view-point is: It is far better to find it out in an open forum before you send it to a publisher. Than to send it to a publisher and have it trashed and never know why at all. This what happens to much of what is sent to major poetry publishers. They get so much to choose from they don't waste their time with the poorly written works at all. The competition is rough if you want a poem to be published it has to meet the best and then some. You have to know the craft inside out and backward. You have to cut the hell out of the poem. No extra words or redundancy is allow or it goes in the round file. It the title isn't enough to get the editor into the poem it's trashed. That's reality, that's the way it is. Even a misspelling can get you into the round file and the great memory of the dumpster. So expect and cherish a little criticism about your poetry, Be thankful that someone has offer the time an energy to read your work all the way through and offer you some pittance of constructive criticism. a poet friend// RH Peat |
|
RE: Something You DO Or Something You ARE? A PoetQuote: Originally Posted by WordSlinger I just wanted to add this, and not disrupt to much of class, but I feel it needs to be talked about, and since I love Poets and Poetry, I wanted to add this... Maybe some would define "poet" as a profession, a job that you do, in the same way you might call yourself an Aircraft Engineer, a Landscape Gardener or Roofer. But I believe being a poet is more than that. It's a way of seeing, hearing, feeling, and experiencing the world and translating that in a way that communicates to others the emotion and humanity behind the superficial, the purely physical and matter-of-fact. I also think being a poet is really a part of one's nature. I think a poet sees and feels things perhaps a bit deeper than others, and he/she wants to get those strong feelings into words and down on paper. I think they're both good and bad feelings. I think "word play" is an integral part of being a poet. You have to truly love playing with words and discovering new ones. A poet loves the sound of a beautiful sentence. Poetry can be as deep and as affecting as any art, and a few words in a certain combination can bring a whole world of emotion, hopes and memories. I think this works on two levels, the actual sound of word combinations, and the images and feelings they evoke. What are thoughts on being a poet? What does it mean to you? Simply a day job or something that's a core part of your identity? Kabbal, are you a Snowflake, or are we Snow? Get your butt over there, and roll, lol, ty WS http://community.history.com/topic/363 John/ I'm not sure it's any different than being an aircraft Mechanic. Both take the knowing of the craft to heart. And that's the bigger point. Would you want to fly in a plane that had a mechanic working on the engine that just said he was a mechanic and never had any training at all.That's more to the point. Would you what you guts opened up by someone that just called themselves a surgeon or would you want someone with some real know how leaning over the table cutting you open. It's not a matter of just calling yourself a poet and then being one.. It's a whole life style of ongoing training and observations day in and day out that creates the eyes, craft and art as well as individual voice and skill of a poet. The mechanic that has 30 years experience I'm ready to fly with. But the guy that calls himself a aircraft mechanic and has twenty minutes of training isn't for me at all. I want the real thing, I want to read the poet that will put me on the edge of my chair and really look into the depth of his poem for a good time. And yes some poems fly better than others as well. Wordsworth's Rainbow poem has haunted me for years as well as Rilke's "Panther" poem has done the same. They are just remarkable poems to me that keep flying higher and higher over my head the more I read them. So with such aircraft examples in hand that's the kind of aircraft mechanic I want to work on my plane. That's the kind of poet I emulate in my own craft and art. Which brings me to "my craft and Sullen Art" by Dylan Thomas. There you'll find the understanding of the poem in the hands of the readers And realize that he is giving far more than he will ever receive with very little wages for the time he spends mastering is craft like an aircraft mechanic that has spent 30 years training himself to be the best on the job. a poet friend RH Peat |
|
RE: Find the AssonanceIn response to writing something with alliteration and/or assonance! Here's my homework, though I wrote it a while ago! Hope it counts! Quote:
Originally Posted by kabbalistic Here is one of my pieces where I use assonance.  Can you find it? Can you write a short piece using assonance and alliteration? Can you see how sound reinforces meaning in poetry?  Alone With Me Alone with me- the polished wall The mocking throng that roams the hall; As alone with me in grief self made, Will join that bitter pity parade. In one direction, as evermore Through the perpetual EXIT door; As though condemned to a shallow grave Which is this life that someone gave- To pose one last riddle without a clue, To the mocking throng and pathetic few, Who lose the game that cannot be played, And backstep in the pity parade; In that waiting hall with the frantic throng- While the worthless hours only speed along; With the virgin eye never more to see How it really is to be alone with me!   Last edited by kah 04-18-2010 at 02:09:28 PM |
|
RE: Find the AlliterationQuote: Originally Posted by kabbalistic Here is one of my pieces where I use alliteration. Can you find it? Lunchtime Lunchtime-where the flame is fanned and the fire is fed, the stomach's hole dwarfed by the cavernous heart as the collection of tar, the accumulation of sludge- the coy, suave nicotine fairy in repulsive finery; with stolen puffs replete with greasy belches, swirling around and around and around as the unforgiving clock annihilates the vanishing moment to the last great frontier of final accounting at a hurried pace, the frenetic rush, in a half hour's time; even if so far removed as the following day of the selfsame hour as the roaring stomachs of those addicted to grease and salt and artificial No. 1, 2, 3, 4 coloring to the nth power washing down special sanguine sauces on seeded devouring buns which are consumer and NOT consumed, the beefed up patties which are the garbage cans with hairy lids whose smoke billows from the vacuum- the abyss forever disappearing as fast approaches, fast approaches the following day of the selfsame hour. Yes, on the signal, yes, that very signal; OH that fatal, final signal heralding the deadly, certain reprise of LUNCHTIME. 1 - Lunchtime-where the flame is fanned and the fire is fed, 2 - special sanguine sauces on seeded |
|
RE: Find the AssonanceQuote: Originally Posted by kabbalistic Here is one of my pieces where I use assonance. Can you find it? Can you write a short piece using assonance and alliteration? Can you see how sound reinforces meaning in poetry?Alone With Me Alone with me- the polished wall The mocking throng that roams the hall; As alone with me in grief self made, Will join that bitter pity parade. In one direction, as evermore Through the perpetual EXIT door; As though condemned to a shallow grave Which is this life that someone gave- To pose one last riddle without a clue, To the mocking throng and pathetic few, Who lose the game that cannot be played, And backstep in the pity parade; In that waiting hall with the frantic throng- While the worthless hours only speed along; With the virgin eye never more to see How it really is to be alone with me! 1 - The mocking throng (assonance) 2 - bitter pity parade. (both alliteration and assonance) 3 - Which is this life (assonance) Great poem! Well paced - kah |
|
RE: Find the Assonance - KahQuote:
Originally Posted by kah Originally Posted by kabbalistic Here is one of my pieces where I use assonance. Can you find it? 1 - The mocking throng (assonance) 2 - bitter pity parade. (both alliteration and assonance) 3 - Which is this life (assonance) Great poem! Well paced - kah wow kah... this class is learning different words than the poetry class next door I think our class is for beginners... good analyzing that you're doing here. !!! |
|
RE: Does It Count???? You Bet Your Sarah Palin It Does!!! LOLQuote: Originally Posted by kabbalistic Originally Posted by kah In response to writing something with alliteration and/or assonance! Here's my homework, though I wrote it a while ago! Hope it counts! kah Thougthless Wet wooden fences with crows pacing on top - (alliteration) Occasionally taking wing through the onslaught. Silently watched from warm enclosed homes Giving ruminations carelessly to clones. There’s a wavering going down internal-wise A spilling of epiphany tickling me, opened eyes. - (assonance) Rainy day palette inspires thoughts to moving Like wet windy gusts, all emptiness exhuming. The lank, easily bored seem to fill all visual space That belongs to something else entirely; deflates Natural order of things, frustratingly past time Knowing born-in memories, their lessons are mine! Now gazing out glazed dirty windows in a wall - (both in this line, I think!) Watching movement happen, yet separate from all. Inbred, made stupid by the world’s evil twins - You know them, Tech and Prog, intellect’s sins. In spite of time’s passing and distancing of life Gray skies still spill water, wetting all, blowing mite. I’m fighting dementia; jumping the rising mind Becoming anything but a thought-less clone, defined. My hat's off to ya, kah, you really brought home the bacon! What a marvelous example of alliteration, assonance, and consonance. Actually, in one particular line, you got all three!!! A veritable "hole in one" Your example was way better than mine! Here are a few that you missed:S1, L4 "Giving ruminations carelessly to clones". (That falls on the ear as alliteration.) S2, L3 ''Rainy day palette inspires thoughts to moving'' (assonance). S2, L4 "Like wet windy (alliteration) gusts, all emptiness exhuming." (assonance) OK. here comes the ''hole in one''! S5, L2 "Grey skies still spill water (you've got all three here, alliteration, assonance AND consonance!), wetting all, blowing mite." Brilliant!!! You can have my apple!Thank you, Teacher!!!
|
|
RE: OK Gang, Let's SCAN!!!Quote: Originally Posted by kabbalistic OK, now a little scanning! Let’s scan the Tennyson: LIVE| thy LIFE|, YOUNG| and OLD|. LIKE| yon OAK|, BRIGHT in SPRING, LIV|ing GOLD|. SUM|mer-RICH| THEN|; and THEN| AU|tumn- CHANGED|, SO|berer HUED|, GOLD| a GAIN|. ALL| his LEAVES| FALL N at |LENGTH, LOOK|, he STANDS|, TRUNK| and BOUGH|, NA|ked STRENGTH|. So, what kind of meter is this; trimeter, tetrameter, or dimeter? How is this piece scanned differently in S3 as opposed to S1 and S2? Does it make any difference? What kind of feet are in this piece? Are there any spondees? Actually each line is one foot. It can be called ether of two names: Amphimacer monometer or Cretic monometer. The syllabic animal is (accented, unaccented, accented)( ' u ') as one foot. It's opposite is called a (amphibrach) = (unaccented, accented, unaccented)(u'u) as one foot. In L3 if you pronounced the word as (fall-en) the foot would be a Choriambus. But my guess is that someone has left an accent mark out of the contraction. which would mean the word should be pronounced as one syllable, (falln), [like the word (don't) opposed to (do not) which is 2 syllables]. The contraction would maintain the foot and the oral rhythm. The contraction can also add a syllable. Like (combed hair) could be written (comb'd hair) which would then be pronounced (comb-ed hair) You will find this in Shakespeare's sonnets a lot to make the syllable count right within the iambic feet. A poet friend// RH Peat Last edited by RHPeat 04-24-2010 at 01:17:43 AM |
|
RE: Thank YouQuote: Originally Posted by kabbalistic [ b]Thank you for the information, but I had never seen two accents in a foot; that is not the way I was taught, but I will look it up. However, it is still instructive to count the accents per line. What you are showing here are exceptions to the general, basic rules of scansion, and for that, I owe you a debt of gratitude![/b] A spondee is a 2 accented foot (accent, accent), A molossus has three accents (accent, accent, accent), A bacchic has 2 as well. (unaccented, accent, accent), or the antibacchic (accent, accent, unaccented). Then there are a whole group of 4 syllable feet that vary with accented and unaccented syllables. The real beauty of all this is you can actually create any exact polyrhythm you want that might be out there in music as well. You can actually mix feet as well to create these polyrhythms. There are no 1-syllable feet at all in poetry. Or you might say syllabic meter is one-syllable meter. Just counting the number of syllables per line. But you can have feminine endings on the lines as well. So even pentameter doesn't have to be 10 syllables. It just means 5 beats to the line. And even iambic pentameter can have feminine endings, unaccented syllables at the end of the line. So you can have up to 14 syllables and still have pentameter with a feminine ending and an anapest or two. (unaccented syllables following the last accent in the line) or just 5 syllables for that matter. (help, help, help, help, help) is actually iambic pentameter if it is the second line or later in a poem. The caesuras in the line creates unaccented syllables in foot count. There aren't many out there that do this, but it is still done in mags like poetry magazine, which has really good writers. They have a lot of sonneteers and blank verse writers. Sometimes you'll see a free verse piece. A poet friend/./ RH Peat Last edited by RHPeat 04-24-2010 at 03:05:14 AM |
|
RE: Let's Scan Some ''Shmiambic Shmentampeter"!Quote: Originally Posted by kabbalistic A Mulish Education Aunt LU|cy underSTANDS| aBOUT| the PHIL|ly giving birth, I Actually in this line the scansion is a bit different that you have it shown. Aunt Lu/cy un/derstands/ about/ the phil/ly giv/ing birth, The line starts with a spondee, then it goes into 6 iambs. there is 8 accents in the line. It could be changed to be completely iambic by changing (Aunt) into (my Aunt/y lu/cy) then you would have iambic octameter. That would break up the spondee. Actually the upset in meter sometimes is quite good in a long poem. It keeps it from becoming boring musically. That's why you'll find an occasional anapest in the iambic lines for content. It also relieves the music a bit as well. Sometime it can actually accent the intent within the line as well. One in 14 lines isn't to bad and if it is really smooth it can even go unseen. But maybe it's not so good in a Shakespearian or Patrarchan sonnet It is also interesting to note that different kinds of music is constructed from a metric foot opposed to the cadence of free verse. Which is more like a marching for the rhythmic effect; that cadence can make turns and obliques and maintain a continuous rhythm with little skips in the line. Where the metric foot is a set rhythm that doesn't change; its music is predetermined. This why many don't want to take the like to learn how to write in meter. The thing to note here is It is the difference between writing the music to the word (free verse) or writing the words to the set music (metric foot). A good lyrical poet will want to learn both very well. So that when the poem first comes they can take advantage of how the poem is coming to them. It might be in a metric foot and it might be a stronger poem if all the lines continued in the same manner. Or you might find you've written 5 lines in 7 syllables. Why not continue the pattern for the complete poem. Whatever is done, you should be having fun doing it. Least that's my way of thinking. A poet friend RH Peat Last edited by RHPeat 04-24-2010 at 06:15:26 PM |
|
RE: New Posting (Weather Report)Interesting how lines can be read in different ways. It is up to the poet to make them read it the was intended by the way they fashion the poem. In the sentence given I would read it as perfect iambic. |
|
RE: New Posting (Weather Report)Well, Sir Kabbalistic, I have finally has a peaceful Sunday morning to go through this thread and I have to say I'm completely impressed with all of the information and instructions you have packed into it...an amazing wealth of knowledge here. Last edited by Balladeer 04-25-2010 at 09:05:53 AM |
|
RE: The Burning Question: Does My Poetry SUCK??? LOLQuote: Originally Posted by kabbalistic Now that your Field Marshall has been publicly ‘’humiliated’’ LOL, and finally shown to be the ‘’arrogant clown’’ with ‘’no intelligence’’ that some ‘’spiritual’’ people have already opined him to be, it has come time to grudgingly admit that perhaps these very same people have a valid point (‘’Humble Pie’’ is now being served!) LOL. When I wrote back in the post entitled On Poetry 10 certain remarks such as “I suppose that poetry appeals to those wannabes who desire a fast, easy way to achieve ‘writer’ status;”, and again: ‘’ Being able to write the language well is basic to all literature, so why do I have ‘poets’ lambasting me for criticizing their poor grammar and shitty word choices, not to mention their atrocious spelling? I am accused of stifling their ‘creativity’ and ‘poetic voice’ as they maintain that grammar school command of English is their ‘style’, and that I don't understand their poorly crafted ‘poetry’.” There was at least one poet (and I suspect more), who was offended by these remarks; even though no names were mentioned, the offended poet misconstrued my remarks as being directed at ‘’up and coming poets’’. Apparently, I did not make myself sufficiently clear, therefore I must accept blame for this misunderstanding and am committed towards preventing all such harmful diversions in the future. I must reiterate that my remarks were directed at all of those poets whose ego far exceeds their talent, and who are of the opinion that my ‘’elitism’’ and ‘’book lernin’’ interfere with their ‘’freedom’’. Fair enough! I am therefore, adopting a new approach. Recently, I had the misfortune of reading poetry that was so dreadful that the perpetrator should be brought up on charges of assault!!! (LOL). When I read this unfortunate doggerel, I was reminded of the words of the late Wolfman Jack; “You brought me DOWN!!!” LOL I happen to own a copy of the wonderful anthology, The World’s Worst Poetry, and can honestly say that what I had read "outsmelled" any of those poetic travesties! LOL I proceeded to read some of the Comments from other well meaning poets, who extolled the wonderful, moving ‘’message’’ of the poetic ‘’turkey’’, giving it the highest of ratings! The moral of the story? If you wish to grow as a poet, do NOT depend on your friends and on those that think that you are ‘’nice’’! Don’t rely on your clique, church group, or on anyone else who may not want to offend you. Rely instead on those who dislike you; if they are silent about the quality of your poetry, than that is better than the highest praise from a friend. They may even grudgingly admit that your stuff is actually good! LOL Moral number two: Whenever anyone lauds the ‘’message’’ of your poem, you must immediately ask; ‘’yeah, but does it SUCK???” Whenever anyone extols your wonderful "message", believe me, that is the kiss of death! LOL You should IMMEDIATELY smell a rat should they fail to address the merits of the poem itself I always address the merits of the poem, and THAT HAS GOTTEN ME INTO DEEP S**T!!! LOL So, from now on, I am NOT going to offend anyone with my ‘’elitism’’ or ‘’book lernin’ “, Judging by whatever is written on the poet’s ‘’bio’’, it is fairly easy for me to ascertain that the perpetrator of the smelly poetry is under the impression that they are greatest wordsmith since Buck Owens! LOL This malady afflicts many of those so called ‘’nature”, 'cowboy", ‘’wholesome’’ ‘’American as apple pie’’ or ‘’Tea Party’’ poets, that seem to be under the impression that they are Frost's successor!. After all, they have no reason whatsoever to think that their poetry smells since their so called ‘’friends’’ are writing the most glowing praises and giving them the highest ratings!!! Therefore, my new policy is that I will simply write that “…your poetry is so outstanding, that you should seek to have it published! Send it to a lot of publishers!” (Of course, what I am NOT saying is exactly WHY their poetry "stands out"! LOL Also, let somebody else tell you how bad it is!) LOL Does this not make sense? If you’re going to come in this thread and mess with MY right to teach poetry by accusing me of being elitist (would it make you feel better if I stopped teaching?), vex me with your ‘’homemade’’ definitions of poetry, give me lectures on respect, freedom of expression and all of the rest of that happy horse manure, then you must think that you’re God’s gift to the literary world! You’re NOT going to value MY opinion since you are so superior to me, therefore, let someone else MORE QUALIFIED tell you THEIR OPINION. I could, after all, be wrong! This is where the rubber meets the road; we should always write AS IF WE SHOULD BE PUBLISHED! Our readers deserve out best-they deserve the truth! My point is; how can we be expected to give them the truth, if we are unwilling to face it ourselves? Meanwhile, if my poetry sucks, will somebody please tell me!!! I leave you with this… ”Faithful are the wounds of a friend, but the kisses of an enemy are deceitful.” Proverbs 26:7 Next, we will put the new information into practice by doing some more scans! kabbalistic I love much of what you have said here, in a slightly humorous tongue & cheek manner. It is so important to become the master of one's own work. To take the personal responsibility for what's there on the page for other's to read. You stress it well here. But more importantly being the master of your own work opens you to take the criticism as acceptable or unacceptable at the same time. For if you have constructed your poem well, you will have your reasons for the presentation of that presented thought. Then when someone misreads your intent you have to reexamine from the point of view, WHY? This might actually cause the reexamining of the complete poem for its own benefit. It might remain the same or even change. But in the end you will still be master of your own work. Take pride in getting commentary and criticism, not as something demeaning, but something of a greater adventure for your own benefit. Everyone has something to offer. Knowing how to accept the gift is just as important as being able to give the gift. Always remember that accepting and forgiving does not mean condoning. This is what makes someone the master of their own work: the openness to be inclusive and not exclusive. Beside it never hurts to reexamine your work from someone else's point of view. I always consider that a real gift to get a real critique. If it just causes me to rethink my poem; I've still benefited from the critique. Just adding my two bits to yours kabbalistic a very informative write. A poet friend RH Peat Last edited by RHPeat 04-25-2010 at 02:16:08 PM |
|
RE: New Posting (Weather Report)A kazoo kowboy....now THAT should get some poetic juices flowing! |
|
RE: Prosody? Types of feet & foot per verse
Last edited by RHPeat 04-30-2010 at 05:34:42 PM |
|
RE: New Posting (Weather Report)A tribrach is a metrical foot used in formal poetry. It consists of three short syllables. |
|
RE: RE: New Posting (Weather Report)Balladeer Last edited by RHPeat 04-30-2010 at 05:37:04 PM |
|
RE: New Posting (Weather Report)Could be...in poetry, as in other things, it's always best to never say never. |
Poetry is when an emotion has found its thought and the thought has found words.
Robert Frost (1875-1963) American Poet.