Original Poetry Forums :: Original Poetry

05-01-2010 at 06:30:24 AM

ThoughtCaster
Posts: 54

Fishing in the Sea of Imagination

Let me introduce myself.
I am a fisherman of ideas, I fish in the waters of imagination. I need fishing buddies. I have pictures of my favorite Thought Masters on my profile.
Please join me in the Sport of Thought.
I ‘am an active poet on this site, I want to offer my skills with you,
and learn as well as mush as you do. I am not a master, but a jack of all trades.
I will be discussing language effects, how to use your imagination, how to read better and faster, breaking laws and getting away when them, word creating with modern definitions, harnessing the compulsions of writing, creating new tools, and sharpening old ones, problem solving/alternative thought casting
and most of all taking poetry in new dimensions.
I would advise you to leave some pancakes for two out on your deck on hump day,
You see, aliens love pancakes on Wednesdays, they will return the love by, re-tweaking your creative process by 1 knot.
I have no ego, I have fed it to the fish, so if you have one, to clue you in, it is the best bait
available for bottom feeding, so get rid of it in a creative way.
I will link you up to videos, interesting sites, and poetry.

Here is our first thought: language

'Entitled: the place where we cry "mother''

It's interesting on how language effects the world we live in today.
The human language is more than human minds interacting with each other.
People can make up their own secret languages with their friends and understand it like it is their second language. There are multiple uses for words today with the definitions constantly changing. "Language is about relationships".
Language is the key force in driving our relationships, and it is interesting to think about how dependent we are on it.
There are rules for language, but in the right circumstances we can change the rules for various reasons resulting in new rules.
Communication is very creative, and our language is always "catching up" to our mind..
Language doesn't dictate the concepts you're capable of having, it just dictates how you communicate your concepts.
The influence of language in shaping our worldviews, which is reality for each of us.

Lesson 1: Fishing For Ants In The Sea In Your Head;
You are at the vast sea of imagination, no one is here to help you.
Keep in mind this is 2010
,or you can travel back to whatever time you desire, but you are alone.
Alone like you, and there is no other like you.
------
How hungry are you???
The key to survival is ???

At Recess Go Here: to play with the obsession about the correct use of punctuation.
http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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Last edited by ThoughtCaster 05-01-2010 at 06:33:07 AM

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05-01-2010 at 06:32:18 AM

ThoughtCaster
Posts: 54

When Thoughts Shower The Fish Bite

When Thoughts Shower The Fish Bite
Here is our second thought: Brainstorming/Thought Showering

'Entitled: when the water level is changing, ("rising or falling"), cast

No matter what mood you are in write.
Idea spawning run congregate at inlets, and while some will start up whenever they feel like it, most tend to move up your river when water levels rise and your temperature drops. Also, especially at night or on a dark day can push an idea to move in with ideas that are already in the river - at least the ones that aren't already at their destination. They move fast and can cover you several times a day.
This is good, the fish are biting.
I recommend getting every idea out of your head and then go back to examine them afterwards. Journal them.
An idea that may have initially sounded off-the-wall may actually turn out to be a plausible idea with a little modification.
Any and all ideas are considered legitimate and often the most far-fetched are the most fertile. Structured Thought Showering produces numerous creative ideas about any given "central question". Done right, it taps the human brain's capacity for lateral thinking and free association.
Casting.
Some will be good, and some won't. But, if you try to analyze ideas in the brainstorming session, you will ruin the session. Wait. Later, you can analyze the results of a brainstorm with other quality improvement tools.

Lesson 2: The Ants Are Biting In The Sea In Your Head;
If you have a son or daughter that is poeticly inclined what can you do
to encourage his talent? Apply this to your talent as well.
Nourish your skill, try everything that comes to your mind.
------
Where do you keep your ideas???
Are you surviving???

At Recess Go Here: to play with the obsession about the correct use of punctuation.

http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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05-01-2010 at 06:34:46 AM

ThoughtCaster
Posts: 54

Fish Blindfolded for Arousal

Fish Blindfolded for Arousal
Here is our third thought: Automatic, Fishing

'Entitled: Fish Blindfolded for Arousal

Automatic writing is the most direct of techniques.
Sit at a table with pen and paper; put yourself in a 'receptive' frame of mind, and start writing. Continue writing without thinking of what is appearing beneath your pen. Write as fast as you can. If, for some reason, the flow stops, leave a space and immediately begin again by writing down the first letter of the next sentence. Choose this letter at random before you begin, for instance, a 't', and always begin this new sentence with a 't'.

Although in the purest version of automatism nothing is 'corrected' or re-written the unexpected material produced by this method can be used as the basis for further composition. What is crucial is the un-premeditated free-association that creates the basic text.

Lesson 3: The Ants Are Biting In The Sea In Your Head Like Crazy;

Keep Fishing Like This all Week
------
Where are you fishing/What is your environment???
Do you have a camp fire ready???

At Recess Go Here: to play with the obsession about the correct use of punctuation.

http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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05-01-2010 at 06:35:06 AM

ThoughtCaster
Posts: 54

Fish Blindfolded for Arousal

Fish Blindfolded for Arousal
Here is our third thought: Automatic, Fishing

'Entitled: Fish Blindfolded for Arousal

Automatic writing is the most direct of techniques.
Sit at a table with pen and paper; put yourself in a 'receptive' frame of mind, and start writing. Continue writing without thinking of what is appearing beneath your pen. Write as fast as you can. If, for some reason, the flow stops, leave a space and immediately begin again by writing down the first letter of the next sentence. Choose this letter at random before you begin, for instance, a 't', and always begin this new sentence with a 't'.

Although in the purest version of automatism nothing is 'corrected' or re-written the unexpected material produced by this method can be used as the basis for further composition. What is crucial is the un-premeditated free-association that creates the basic text.

Lesson 3: The Ants Are Biting In The Sea In Your Head Like Crazy;

Keep Fishing Like This all Week
------
Where are you fishing/What is your environment???
Do you have a camp fire ready???

At Recess Go Here: to play with the obsession about the correct use of punctuation.

http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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05-01-2010 at 06:36:07 AM

ThoughtCaster
Posts: 54

fishing for memory

Here is our fourth thought: memorizing poetry.

Entitled: fishing for memory

Start learning poetry by heart on a daily basis.
Recite them to yourself walking, working, cleaning the house, etc...
The key to memorizing a poem painlessly is to do it in tiny bits.
The process of memorizing a poem is fairly mechanical at first. You cling to the meter and rhyme scheme (if there is one), declaiming the lines in a sort of sing-songy way without worrying too much about what they mean. But then something organic starts to happen. Mere memorization gives way to performance. You begin to feel the tension between the abstract meter of the poem — the “duh DA duh DA duh DA duh DA duh DA” of iambic pentameter, say — and the rhythms arising from the actual sense of the words.
This is the beginning to the lessons to read better and faster.

Lesson 4: Have fun with the ants;

Keep Fishing Like This All Week
------
What is your favorite kind of fishing???
What fish are biting now and why???

At Recess Go Here: to play with the obsession about the correct use of punctuation.

http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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05-01-2010 at 06:37:18 AM

ThoughtCaster
Posts: 54

Fishing in the Dark

Here is our fifth thought: Fishing in the Dark

Entitled: what goes on when the sun goes down…"

So we have taken the name DUENDE in order to honor Lorca’s dark creative force. Duende is there to challenge us to keep our ears open to the ‘dark sounds,’ to keep our touch with the earth and with the ghosts of those who have come before, to never refuse the struggle which is needed to keep the spirits working on the side of truth.

"These dark sounds are the mystery, the roots thrusting into the fertile loam known to all of us, ignored by all of us, but from which we get what is real in art. . . .

http://www.angelfire.com/wa2/margin/LorcaDuende.html

Writing about phobias: Writing- Graph phobia

Being writers, we find ourselves doing research on things we never dreamed we'd need to learn. While it's fun... most our friends think we're crazy. If you're a writer, you're used to people shaking their heads. Am I right?

Writers are strange little creatures. We have habits, comforts, ticks and phobias (and I use this word loosely). They are no different than others really except a lot of our issues are work-related. We like a certain type of pen to use when we create poetry. We have a certain creature comfort like coffee, well-sharpened pencils, etc. We also have certain phobias that will sometimes keep us from working to our greatest potential.
Today I thought I’d open up the discussion on phobias and together we can come up with solutions to help each other get through and maybe be a little less weird.

One key to successful night fishing is to simplify your gear.

Make sure you have fresh batteries for your flashlight. Take a few extra safety precautions, and you're ready to launch.

Lesson 5: Have fun with the ants;

Keep Fishing Like This All Week At Night
------
Night Fishing Baits:
Sit patiently in the dark, think dark.
Select baits that help bass see the baits most clearly at night.

At Recess Go Here: to play with the obsession about the correct use of punctuation.

http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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05-01-2010 at 06:40:11 AM

ThoughtCaster
Posts: 54

Techniques in Reading and Reciting Poetry

Tools for Reading Poetry

A few simple tools can help to transform any poetry reading experience
from a bout with incomprehension to an
enjoyable study on the way words, lives, emotions, souls, and experiences
move through the eyes, minds, and
hearts of the women and men who wrote these works.

Read more about the source of the poet’s inspiration.
(They may have info in their commentary)
If you can discover what’s in the poet’s soul, heart, and mind,
you can unearth his or her motivation for putting pen to paper.

Try reading each line aloud. See if you can feel the
energy, and emotion as each word forms upon, and releases
from your lips. Pause accordingly at each punctuation mark.
Take another breath. Sense the musical rhythm. Imagine the
poet reading the work through your voice.

Study the movement. What is the meter? How are
punctuation marks used – if they’re used at all? How do
syllables and meter work together? This movement defines
the inner experience of the poem.

Consider a poet’s word choices.
Picture the nouns and try to envision yourself in that place or holding that thing.
Feel the verbs and look at how they move the poem forward.
Interpret how and why the poet matched nouns and verbs in
such a specific way.

Study the structure. Chances are, there’s a specific reason why
a poet chooses a particular form to write a particular poem. If
you can learn more about the form from this exhibit, the books
listed in in the school guide in the school forum, it may be easier
to interpret a poem written in that form. Then ask, Why did the
poet choose that form? How does that form bring out the subject
or mood of the poem? For example, a poem written in free verse
conveys a more open relationship between a poet’s voice and the
experience than a poem written in tightly rhyming quatrains.

Explore additional layers. Poems are the world’s greatest
extended metaphors. For countless centuries, poets were vital
information links to citizens in repressed societies. If a poet didn’t
write metaphorically, he or she faced the wrath of the ruling
regime. Since poems draw from the souls of their authors, they
usually transmit the experience at different physical, emotional,
intellectual, and spiritual levels, creating an exciting atmosphere
of discovery for the reader. When scanning a line of poetry, see
how it feels. Does the line relate to your core truths and beliefs? If
you feel happier or sadder – or any other emotion – after you’ve read it,
you’re probably uncovering the poem’s deeper layers.

Read from inside and outside the poet’s cultural context. One
of the best ways to gain perspective on the vastness and richness of
a poem, particularly a poem from yesteryear that still commands
attention today, is to read from within and outside the poet’s
cultural context. Learning more about a specific poet’s life, interests,
home, circles of friends, and his or her social and cultural setting gives
you hints so you can more clearly interpret the work.
Don’t worry if you don’t get it. Some poetry is very dense and
obscure. That’s why academics spend years analyzing poets and the
meaning of their work. If you can’t get through an 18th-century sonnet
without tearing your hair out, put it down and try another form. You
may even find that you enjoy writing poetry more than you enjoy reading it.
Why not give it a try?

Dialect

1. When a provincialism is heard in the middle of a tragic speech, it makes the most beautiful poetry ugly and offends the spectator’s ear. Therefore, the first and most essential task for the reader/actor entering into training is to free theirself from all faults of dialect and to seek to attain a completely pure speech.

2. They who are accustomed to struggling with dialect holds closely to general rules of speech and attempts to enunciate new acquisitions very clearly, indeed more clearly than is required. Even excesses are advisable in this case, without danger of any setback; for it is human nature to turn back readily to old habits and the exess will balance out automatically.

Enunciation

3. Just as in music the correct, exact and pure production of every individual sound is the basis of all artistic presentation, so in dramatic art the pure and distinct enunciation of every individual word is the basis of all forms of recitation and declamation.

4. Enunciation is complete when no syllable of a word is suppressed, but each given its proper value.

5. Enunciation is pure when all words are pronounced in such a way that the audience grasps the sense easily and precisely. Purity and completeness combined make enunciation perfect.

6. The actor should try to acquire perfect enunciation, bearing in mind that a swallowed syllable or an indistinctly pronounced word often makes the whole sentence ambigious, destroying the illusion and often provoking the audience to laughter even in the most serious scenes.

17. Faulty or incorrect memorization is the cause of faulty and incorrect enunciation for many readers/actors. Before committing something to memory, the reader/actor should read the text slowly and deliberately. In doing so, they should avoid all emotion, declamation and play of imagination. They should merely try to read correctly and memorize accurately. Later, many errors will be avoided regarding both accent and enunciation.

Recitation and Declamation

18. By recitation we mean a method of delivery that lies halfway between passionless, detached speech and speech that is highly emotional; it does not soar with feeling, yet it is not completely devoid of expression. The audience must always be aware that the actor is simply reciting a text.

19. To be sure, passages calling for recitation must be presented with the appropriate expression of the sensation and feelings which the poem inspires in the reader through its content. But this must be with moderation and without that complete surrender to the role of that is called for declamation. When the reader/actor recites, their voice is of course guided by the poet’s ideas and by the impressions made on them by various subjects, gentle or horrible, pleasant or unpleasant. They adopt a horrified tone for what is horrible, a tender tone for what is tender, and a solemn tone for what is solemn, but only to demonstrate the consequences and effects of the impression made on him by the subject. They doe not change their own character in the process, nor disown their nature or their individuality, and they may be compared to a piano which is played in the tone natural to the instrument. One is forced by the way a passage is composed to observe the forte or the piano, dolce or furioso; but one does this not by making use of the pedals, but only by the way a passage is composed to observe the forte or the piano, dolce or furioso; but one does this not by making use of the pedals, but only by the transmission of the soul into the fingers which, through their responsiveness –that is, through stronger or gentler pressure on the keys –transmit the spirit of the composition into the particular passage, arousing the sensation which can be produced by its content.

20. However, declamation, or hightened recitation, is quite a different matter. here you must relinquish your innate character, disown your nature and enter completely into the situation and the mood of the person whose part you are speaking. The words you say must be delivered with energy and the liveliest expression, so that it seems that you are actually experiencing every emotion.
Here the player uses the pedals and all modulations of sound that the instrument affords. If they use them with taste, and appropriately, and if beforehand they have studied their possible uses and effects with understanding and diligence, then they can be sure of the most beautiful and accomplished result.

21. One could call declamation a kind of music in prose, for it has in fact much in common with music. But we must make the distinction that music by its very nature has more freedom. The art o declamation is far more limited in the range of its sounds, and it serves ends other than its own. The reader/actor who declaims must always bear this basic fact in mind. If they change pitch too rapidly, if they speak either too low or too high, or uses too many halftones, they approache singing. On the other hand, falling into a monotone is also wrong even in simple recitation. Here we have two extremes, one as dangerous as the other, and between them a third one lies concealed, namely preaching. In trying to avoid the first two, one easily becomes a victim of the last.

30. It is of great advantage to the beginning reader/actor to speak as deeply as possible whenever they declaim. In this way they will develop great range and will consequently be able to produce other gradations of pitch with ease. But if they begin too high and grows accustomed to the upper register, they will lose thier tones, and with them the proper expression of the sublime and the spritual. And what success can they hope for with a shrill, piping voice? But if they have mastered declamation in a deep voice, they can be confident of being able to do complete justice to every possible modulation.
http://www.funtrivia.com/playquiz/quiz284239208aa10.html

Last edited by ThoughtCaster 05-01-2010 at 06:44:13 AM

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05-01-2010 at 06:47:48 AM

ThoughtCaster
Posts: 54

Under Water Swimming

Here is our sixth thought: Under Water Swimming

Entitled: tools, and exploring the seas floor for?

Poetry is about making a lasting impression with words.
The strength and effectiveness of a poem relies on the strength and effectiveness of its imagery – and the strength and effectiveness of that imagery relies on its concreteness. In fact, real imagery can’t help but be concrete.
Create a poem that remains in the reader’s imagination, and that appears before them like a still from a movie. Who said modern poetry is too obscure for us to understand?

Using imagery to:
1. Externalize thought.
2. Create mood and atmosphere.
3. Give continuity by recurring leitmotifs.
4. Develop plot or increase dramatic effect by abrupt changes in imagery.
5. Exploit the etymology of words to subtly revive their original meanings.

Recommendations:
1. Don't mix metaphors too wantonly. Shakespeare did, but fashions change.
2. Find images that are new-struck, resonant and apposite.
3. Avoid imagery altogether rather than employ cliché.
4. Imagery constructs a world: make sure that world is real and vibrant with contemporary issues.

Basics:

Easier - Figurative language or speech contains images. The writer or speaker describes something through the use of unusual comparisons, for effect, interest, and to make things clearer. The result of using this technique is the creation of interesting images.

Harder - Figurative language is not intended to be interpreted in a literal sense. Appealing to the imagination, figurative language provides new ways of looking at the world. It always makes use of a comparison between different things. Figurative language compares two things that are different in enough ways so that their similarities, when pointed out, are interesting, unique and/or surprising.

Figurative Language
Whenever you describe something by comparing it with something else, you are using figurative language. Any language that goes beyond the literal meaning of words in order to furnish new effects or fresh insights into an idea or a subject. The most common figures of speech are simile, metaphor, and alliteration.
Imagery
Language that appeals to the senses. Descriptions of people or objects stated in terms of our senses.
Simile
A figure of speech which involves a direct comparison between two unlike things, usually with the words like or as. Example: The muscles on his brawny arms are strong as iron bands.
Metaphor
A figure of speech which involves an implied comparison between two relatively unlike things using a form of be. The comparison is not announced by like or as. Example: The road was a ribbon of moonlight.
Alliteration
Repeated consonant sounds occurring at the beginning of words or within words. Alliteration is used to create melody, establish mood, call attention to important words, and point out similarities and contrasts. Example: wide-eyed and wondering while we wait for others to waken.
Personification
A figure of speech which gives the qualities of a person to an animal, an object, or an idea. It is a comparison which the author uses to show something in an entirely new light, to communicate a certain feeling or attitude towards it and to control the way a reader perceives it. Example: a brave handsome brute fell with a creaking rending cry--the author is giving a tree human qualities.
Onomatopoeia
The use of words that mimic sounds. They appeal to our sense of hearing and they help bring a description to life. A string of syllables the author has made up to represent the way a sound really sounds. Example: Caarackle!
Hyperbole
An exaggerated statement used to heighten effect. It is not used to mislead the reader, but to emphasize a point. Example: She’s said so on several million occasions
Idioms
Language specific expressions: http://idioms.thefreedictionary.com/
Symbol is a specific idea or object to represent ideas, values, or ways of life. A symbol is usually something more than what it seems. “The path not seen.”
A paradox is a contradiction, which in reality is true. “Where ignorance is joy, it is foolishness to be wise.”
Tone is the attitude of style or expression used to write
Mood is the emotion the writing delivers to the reader.
Alliteration is the repetition of the initial consonant consecutively or within a couple words of each other. “The tiny tot told two tales that totally twisted the truth.” “Two tales were told that spoke silently of the truth of the matter.”
Allusion is pointing to something from literature or history
to express your point. The word allusion is used to describe this figurative form of language because it is generally a brief, incidental or casual reference. Allusion is never a detailed lengthy description. Allusion is used in hopes of triggering an association to portray a meaning. “He’s a Nixon if I ever saw one.” “She is Freudian if anything.”

The Task: Overview of the assignment
Read the poem, "I Wandered Lonely as a Cloud" by William Wordsworth
Find the figures of speech: metaphors, similes, and personifications in the poem
Analyze the basic organizational structure of the poem
Write a poem using figurative language
put post it on your page,..

William Wordsworths’ - Poem

I WANDERED LONELY AS A CLOUD

I WANDERED lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed--and gazed--but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

Lesson 6: The boat tipped over and the gear has sunk to the bottom;
Swimming to the bottom
------
I hope you can swim. Doggie Paddling made easy..

At Recess Go Here: to play with the obsession about the correct use of punctuation.

http://www.funtrivia.com/playquiz/quiz284239208aa10.html

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05-12-2010 at 08:49:02 PM

ThoughtCaster
Posts: 54

Tutorial on Rhythm Analysis

I think you may find the following site very useful:

Interactive Tutorial on Rhythm Analysis
It has detailed explanations and interactive exercises for learning the fine art of scansion. Best of luck in your endeavors.

http://academic.reed.edu/english/intra/index.html#TOC

http://academic.reed.edu/english/intra/index.html#TOC

Here's a little more help for you: Poe wrote an essay about his own poem "The Raven" it is an easy read, with a lot of good explanations. Both when it comes to meters and scansions. but also as to why some words go well together and how to set the mood in a poem.
(He really thought that poem through!!!)

The title of Poe's essay is "The Philosophy of Composition" and I know it is available in a book called Classic Writings on Poetry edited by William Harmon, though I'm sure you can find it elsewhere too.

Last edited by ThoughtCaster 05-12-2010 at 08:53:18 PM

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05-19-2010 at 11:28:45 PM

Balladeer
Posts: 198

RE: Fishing in the Sea of Imagination

Poe wrote EVERY poem through. He was one of the greatest wordsmiths in history and was unequaled in his knowledge of construction.

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05-20-2010 at 08:18:18 AM

cousinsoren
Posts: 2031

RE: Fishing in the Sea of Imagination

THIS SERIES OF LECTURES BY BALLADEER, KABBALISTIC AND POETCASTER < ON DEVELOPING THE SKILL AND ART OF CREATING POETRY IS TRULY AND CONSIDERABLY HELPFUL TO BEGINNERS AND VETERANS.

I Love Poetcaster's instructional motif of "Fishing". Poets know too well that they patiently and pains-taking- ly, like a fisherman, have to go searching for ideas, words, strategies and techniques,
A word about punctuation. I have not get got an answer to a pertinent and troubling question of mine. Is it an accepted literary mode in America to write "un-punctuated" poetry with not even a period?
I venture to say that a writer is at liberty to punctuate just as how he thinks and talks, but he /she ought to be well conversant with the nature and functions of punctuation marks or symbols he ought to use to assist his readers to interpret correctly, how he would wish them to understand and appreciate and to approve or deplore whatever he/she wrote.
THANKS to Mr. Balladeer, Mr. Peat and Mr. Poetcaster for the tremendously valuable guidance they are giving to poets at THE POETRY SCHOOL. Obviously, they are doing this at great sacrifice of time and energy. Although, I am not able to do the assignments, because of unavoidable constraints, I have been catching a snapper or a couple of mullets, once in a while., by utilizing some of their ideas. ,

Last edited by cousinsoren 11-06-2010 at 07:01:23 AM

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11-05-2018 at 08:03:43 PM