Sanctus, when I went to elementary school poetry formed the backbone of the English program. We used to copy a poem from the board daily and scan it. Then talk about it. And discuss the use of various literary devices the poet employed. Loved it. I ate up the early confederation poets and still have a lot of respect for Lampman. Very underrated and underread Canadian poet. But you're right: Shakespeare is the master of the sonnet. He will never be bested. But poets like Wordsworth, Keats, Arnold, Hopkins, Eliot, Thomas and a few others did create individual pieces equal to the very best Shakespeare ever produced. It's unfortunate that we have so many egregiously bad poets today. They've been encouraged to employ a craft they don't possess.
Poetry as an Art Form
- Thread starter sanctus
- Start date
I do a lot of poetry http://www.witchvox.com/xpoetry.html search under Tambalina (author) these are just a few.
Poetry in my opinnion is a gift from Goddess/ God. A glimpse of your truth through thinning veils. Its a gift thats blessed with Love. Back as far as first grade we were encouraged to be creative. But Massachussetts is one of the last states that encourage the arts. I was very lucky to have almost all of my teachers that where into the arts. I was reading and understanding Shakspeare in 4th and 5th grade but even better I was incouraged to read them. Not one teacher told me I was to young for anything I was picking up.
My God Sanctus!. Just been wandering through your site. You are one of the most gifted modern poets I have ever read!
Images are very concrete "word pictures" having to do with the five senses--touch, smell, taste, sound, movement, and especially sight. As Perrine points out, images make readers experience things vividly. To figure out the imagery in a poem, the reader should first make a list of every single mental picture, or visual image, that comes to mind as he reads the poem. He can then go back and find other kinds of ideas that have to do with physical sensations--sounds, tastes, smells and so on. Finally, he can go back and think about all the ideas these different images could imply--figure out their connotations, in other words.
For example, if a poet compares something to a ship, the reader might think about what ships look like, and then think about what it feels like to be on a ship. How do ships move? Where do they go? What sights, sounds, smells and sensations can we associate with ships and being on ships? After thinking about these questions, the reader can go back and attach these ideas that a ship implies to the thing to which the ship is compared, and finally try to fit these ideas into the overall meaning of the poem. See Emily Dickinson's poem "There is No Frigate Like a Book"
Importantly, poets often place images in opposition to each other. This creates what is known as "tension." Tension is often an important clue to the meaning of a poem; it also creates drama and interest and is a key to paradox. One should look out for strange contrasts in images in the process of analyzing poems, and think about the responses they arouse in a reader. Images can be part of similes and metaphors, though they are not always.
For example, if a poet compares something to a ship, the reader might think about what ships look like, and then think about what it feels like to be on a ship. How do ships move? Where do they go? What sights, sounds, smells and sensations can we associate with ships and being on ships? After thinking about these questions, the reader can go back and attach these ideas that a ship implies to the thing to which the ship is compared, and finally try to fit these ideas into the overall meaning of the poem. See Emily Dickinson's poem "There is No Frigate Like a Book"
Importantly, poets often place images in opposition to each other. This creates what is known as "tension." Tension is often an important clue to the meaning of a poem; it also creates drama and interest and is a key to paradox. One should look out for strange contrasts in images in the process of analyzing poems, and think about the responses they arouse in a reader. Images can be part of similes and metaphors, though they are not always.
Uh Huh in high school and a friend created a circle of poems and asked if she could use mine. I told her be my guest. In high school I had several published and also in our yearbook for all 4 years my poetry was chosen.
Canadarocks, metaphor is a potent tool and the ability to extend it is essential to the poet. The best do it very, very well. To be inventive, to be credibly and successfully inventive, in the use of language and imagery is also a necessity.
Wow! Robert Frost! My favorite poet.
I like poetry, and can make some pretty good poems. It's the best part about English. Poetic language is nice too. Making similes, metaphors, and other deep stuff. Now I want to write a poem.
Wow! Robert Frost! My favorite poet.
I like poetry, and can make some pretty good poems. It's the best part about English. Poetic language is nice too. Making similes, metaphors, and other deep stuff. Now I want to write a poem.
"Make a poem"? Interesting choice of words! For me, an artist just does. In other words, he creates or he does not. It is not a choice, it is not even necessarily a concrete decision. Instead, it is a compelling inner demand to push out the work.
It must also be a chore to avoid repeating cliched and tired words and lines. I like reading clever word play and metaphors that make me think.
i really admire good poets. most people write about the same things over and over using the same words..good poets seem to avoid this.
When people have to write poems for school, they are always using words like "deep", "soul", etc. And they always make them rhyme.
That's the problem though. Unartistic minded morons think that thymes are the key to poetry, whilst they ignore metre, flow and lines. Plus, traditional rhymed poetry is passe.
No, that may be true, but a poet who wishes to see his work published would do well to keep pace with current trends in the marketplace. Traditional, rhymed poetry has been out of fashion since at least the early 1950's. Can a poet write it, of course he can! I do at times, but would I submit it for publication? Never.
Sanctus, hopefully range and talent will overcome publishers' qualms. I love poetry but I must admit most I see today is embarrassing in quality. Free verse has done little to improve the medium's profile. As with art, you either have it or you don't. I look for power in poetry. The masterful delivery of mood, atmosphere and message. The potent use of literary devices. It's tough to do. I am tired of the mediocre. And the abstruse. The business of poetry, as with all writing, is communication.
I agree, but facts are facts. Trust me, as an artist i contend with it all the time> Rhymed, traditional verse is scorned in the modern poetry world. It is considered the medium of the amateur. This does not discount the masters from the past, but addresses those who write it now. I have a different experience with today's work, in my mind it is exciting, vibrant and challenging. I like to be challenged also when I read a piece of work.
I am more inclined, after reading a piece of modern work, to dash off a quick note: Stop publishing horsesh*t.
I am a very demanding reader. And I'm demanding of publishers. What is so difficult about getting it right?
The problem with rhyming poetry is the Hallmarkers. Lots of those around. Simple as pancakes. But free versers too inspire legions of the insipid, silly and stupid. With the audience for poetry so small we really do need some lions.
I am a very demanding reader. And I'm demanding of publishers. What is so difficult about getting it right?
The problem with rhyming poetry is the Hallmarkers. Lots of those around. Simple as pancakes. But free versers too inspire legions of the insipid, silly and stupid. With the audience for poetry so small we really do need some lions.
That is why modern poetry is not always published. Rhymed poetry is so cliched it holds no interest at all for me. It reads contrived and silly, in my opinion.