(7/31/2013 4:07:00 AM)
i would like to consecrate a poem to the forum written by me, critics are solemnly welcomed! ! !
IF YOU FEEL I AM THE ONE FOR YOU! ! !
Feelings are so obvious though it’s unvoiced,
and are affrighted by a deep whisht.
She comes in blue and makes me astonished
with her Hellenes beauty, leaving a sigh,
and stole my heart under various pretexts.
My love, my love, who aint be no cared of
winning your tending reckons is a fool.
I am not; it’s a deep pain inside somewhere,
the pain of an ill-destined ardent lover.
And her thoughtless words would drought me ever.
Makes her so impressive, I draw a bead on.
What is right and what not is not in my castle?
Everything I do, I do everything for her.
A kiss on her nape turns me immortal,
live with her for long lasted years.
Let me, if you feel I am the one for you,
in this or the next, or else I give-up the ghost.
Though, feelings are so obvious, unvoiced
and made of silence in dark, so rendered.
Oh! ! ! Please love me my Helen with your soul
And I want to die in your arms, so heavenly.
(7/30/2013 4:41:00 AM)
PLEASE READ MY COLLECTION! I am a young, aspiring poet so rate and comment as you see fit. http://www.poemhunter.com/jack-growden-2
A Michaelle Yarbrough
(7/27/2013 5:35:00 PM)
I have been on the site a couple of days now. I hope that you read my poems and enjoy them. Thank you
(7/27/2013 11:22:00 AM)
Poetry is all about a dealing one's feelings and emotions. It cann't be effectiive until one reconciles. All other aspects like grammar, symbolism, imagery etc. are secondary until and unless these are wooven by a unseen dream.
(7/27/2013 5:15:00 AM)
Please read my collection. Rate and comment as you wish! ! Kindest of regards :) http://www.poemhunter.com/jack-growden-2
(7/18/2013 3:31:00 AM)
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Breaking Grammar Rules in " Poetry Writing"
(by Melissa Donovan)
Accomplished writers respect the rules of grammar the way an Acrobat respects the tightrope — grammar might be intimidating and complicated, but we need it in order to perform.
Grammar rules lend structure and clarity to our writing and gives us common ground rules that we can use to communicate clearly and effectively, just like the tightrope gives the acrobat a foundation upon which to walk.
Many poets demonstrate grammatical expertise, neatly parking periods and commas in their designated spaces and paying homage to proper capitalization.
Writing Poetry Without Grammar Rules
Poets don’t always follow the rules, which is why poetry is attractive to writers who are especially creative, rebellious, and enjoy coloring outside the lines.
Grammar rules, particularly spelling and punctuation, are nothing more than a creative tool for many poets who choose to dismiss these rules altogether or use the them to decorate and add aesthetic elements to a poem.
Many poets have skirted grammar with great success. Many more have failed.
Poetry Writing – Where Rules and Creativity Cooperate or Collide
As the poetry canon grows beyond measure, poets increasingly reach for creative devices to make their work stand out.
Toying with grammar rules is one such device, but it is not something that can be approached carelessly. If you choose to forgo the rules because you don’t know them rather than as a creative technique, your lack of knowledge will show and the poem will present as amateurish. Of course, that’s true for all types of writing: learn the rules, and only after you have learned them, go ahead and break them.
I salute anyone who breaks the rules in the interest of art and great poetry writing just as much as I admire poets who craft meter and verse within the confines of grammar. So for this language-loving poet, either way is the right way. Walk the tight rope or jump from it and see if you can fly.
Adam M. Snow
(7/18/2013 1:49:00 AM)
I have seen Maelstroms Eternal
By: Adam M. Snow
I write with flowers of ink,
thou love poured out on page,
in a slumbering alder away in endless flight;
swaying with the stars, so white 'gainst the black night sky.
Facing the horizons, on the calm black waters called -ink.
-I write for thee that thou heart be free.
I have seen maelstroms eternal,
mount in my soul but endless;
-An abyss without thee, I dare thee not.
By starlight the rushes lean over thee wide:
-The ink on the page is erased,
-The text is long forgotten.
(7/8/2013 5:43:00 AM)
A must read contents.....from UWC
Here are some elements and corresponding poetic devices you can focus on. Note: Many of these divisions are arbitrary. Poetic elements frequently overlap. For definitions of the underlined terms see the UWC Definitions of Poetic Devices handout.
How does the tone of the speaker and the context of the work change your understanding of the poem?
Is the speaker the poet or a specific persona?How is the speaker involved in the poem?Is the speaker an omniscient narrator or casual observer?Does the speaker refer to himself/ herself in the 1st person?Is the speaker from an identifiable time period?How does knowing the historical context of the poem change your understanding of the speaker’s attitude?
How is the tone of the poem developed through the language used to create imagery?How does diction influence the understanding of the tone?Does the tone change as the poem progresses?Is it consistent at the beginning and ending of the poem?
What is the conflict or point of tension in the poem?Is there an external or internal conflict?Physical, spiritual, moral, philosophical, social, etc?How is the tension in that conflict developed with poetic elements?Is it resolved?
When was the poem written?What were the historical, political, philosophical, and social issues of that time?Does that change your understanding of the poem’s theme?Did poets during that time period follow particular style?Is the poem consistent with the literary conventions of that era?How is it inconsistent?
How does the language and rhythm contribute to the meaning, purpose or emotional force?
1) Word Choice: How would you characterize the poet’s word choice?Is it formal, conversational?Does the poet use a specific dialect for the speaker?
2) Meaning: What are the connotations and denotations of particular words?Are certain words repeated?Are they abstract or concrete, literal or metaphorical?
Does the poem have an identifiable rhythm arranged in the meter (iambs, spondees, trochees, dactyls, etc) ?How many syllables are in each line?Does it follow a pattern?What syllables are stressed and unstressed?How does alliteration, assonance, or consonance enhance the rhythm and musicality of the poem?
How does the imagery construct the poem’s theme, tone, and purpose?
1) Visuals and Sensory:
Are the images literal or figurative, abstract or concrete?What sensory experiences are evoked?Are certain images repeated?
Does the poet use metaphors to make comparisons and express images or abstract ideas?Is there an extended metaphor?What is the effect of the metaphors on the tone and theme of the poem?
Are certain objects or actions developed in the imagery symbolic of an abstract idea?Do these symbols reoccur?Do they help to create an allegory?
How does the form of the poem correspond to theme and main idea of the work?
Does the poem follow a formal poetic structure such as a sonnet, haiku, sestina, ode, blues poem, etc.?If so, what are the characteristics of that form?How does it deviate from that form?
2) Stanza and Lines:
Are stanzas and lines consistently the same length?Do they follow a particular pattern?Are there any stanzas, lines, words, or that diverge from the pattern?
3) Rhyme Scheme:
Does the poem follow an identifiable rhyme scheme corresponding to a specific poetic form?What kind of rhyme is used internal or end rhyme, slant or true rhyme, etc.?Is it consistent or scattered throughout?If not, where does the rhyme change or appear and why?What is the overall purpose or effect of the rhyme scheme?
How do the poet’s syntactical choices change or expand the ideas in the poem?
1) Enjambment: How are lines broken?Are they broken before a grammatical or logical completion of a thought to create an enjambment?Or are they end-stopped, breaking after the completion of a sentence or other grammatical pauses?How does the use of enjambment create a duality of meaning in the lines?
Are verbs active or passive?What tense does the poet use?Is it consistent?How does tense consistency (inconsistency) affect the passage of time within the poem?
3) Sentence Structure:
Does the poet use complete sentences, fragments, or a combination of both?Is there a pattern?How does the poet’s sentence choices contribute to the understanding of the poem?Within the sentence, is the word order natural or grammatically irregular?
How is punctuation used or not used?Is it consistent with grammatical conventions?What effect does the punctuation create on how the poem is read?How does it affect the speed?Where are the pauses?Does the poet use italics, bold fonts, dashes, or any other uncommon fonts or punctuation devices?If so, why?
(7/6/2013 7:12:00 PM)
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An open letter to ALL ESL poets on Poemhunter:
I don't want to prejudge a poet on this site by his/her foreign name. However, when asked to read one of these poems, I'm sorely tempted to respond with the following form letters:
" Dear ________, a question and a suggestion: why write poetry in English, your second or third language?Forget the prejudices against your own culture's literature promoted by your ESL teachers. It's hard enough to write decent poetry in your FIRST language, much less your second! Stop composing in English; write in your first language and then, if you feel the need, ask a good EFL poet to help you translate the poem into strong, colloquial English."
" Dear _______: '_______' really is an awful poem. It's stiff, sing-songy, clumsy and trite. STOP writing! Start reading good contemporary poets writing in any language you understand. You'll improve if that's your goal. If it isn't, posting here may be fun for you but it's hell for readers like me.
(7/6/2013 1:16:00 AM)
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It’s not my fault that you hate the world. I can’t change what your eyes have seen or what your heart has felt. It’s not my fault that you can’t handle the life that was given to you. It’s not my fault that you dwell in the hardest parts of your life. I can’t change the sad things that swell your eyes. I can’t brighten those dark moments that has changed who you are. I can’t release the piercing pain of the life that was given to you. I can’t take it all back. I can’t make your mind make sense of all the wonder whys of all the neglect you sustained. It is not my fault that you are the way you are. It is not my fault that you can’t control how you see things
Blame it on someone else. Blame it on the people that have scorned you. Blame it on the sadness of the words that have been spoken to you. Blame it on the ignorance of other people’s carelessness and selfish tendencies. Blame it on others upbringings. Blame it on foolishness, guilt and shame through the eyes of others
Don’t blame it on me. Don’t blame it on yourself. It was others who shaped you into the person that you have become. Blame it on the people that have really hurt you and have affected you. Don’t blame it on those who have nothing to do with the shaping of your mind.