"Poeticks: On Angst" 1 of 2
Angst. People admire and despise, protest and support, immerse in and shun, indifferently yawn, while holding very firm opinions as their respective buttons are pressed when they hear the word "angst." As a starting point of Poeticks, we have decided to take up the differing opinions from inside DeviantArt, to lay out those arguments for all of you to read. Please keep in mind that these are "your" thoughts, as they are, and you are completely free to agree or disagree. Our objective is not to push forth an ultimate commandment, but rather to present to you the many (and often times conflicting) opinions we have received from fellow DeviantArt writers, in hopes of perhaps enlightening, sublimating or organizing your perspectives on the matter; or even to entertain you. We would be extremely pleased if it would serve as a personal reference point, or if it would incite writers to question and re-debate in
"Poeticks: On Imagery" 2 of 3"Poeticks: On Imagery" 2 of 310 years ago in Academic Essays More Like This
Chapter 4: Quality of imagery
4-1: Figure of Speech
We have already heard from deviantArt writers about the importance of "figure of speech" within imagery.
To make out a clearer picture of "imagery" from the writer's point of view, let us take take a closer look. You may find futilitarian's Terms and Techniques a useful guide along the way, and other online resources to complement what we are about to explore. We will not go over the whole gamut of writing techniques here for that is not the main purpose, but here, let us look at how a variety of figure of speech may be used in a single piece of poetry.
We will dissect T.S. Eliot's "The Love Song for J. Alfred Prufrock" solely from a figure-of-speech point of view. For those who have not read it, we prefer that you peruse it once through before continuing this section. http://www.bartleby.com/198/1.html
What we would like readers to note is a) how figures of speech
"Poeticks: On Imagery" 3 of 3"Poeticks: On Imagery" 3 of 310 years ago in Academic Essays More Like This
Chapter 5: Imagery and its limitations
We have discussed in previous chapters, the nature and importance of imagery in poetry, and especially from the above experiment concerning originality, we are prone to being convinced of an infinite nature in one's creative possibilities, yet by common sense, we know that we all produce different imagery, differing in style, differing in quality, differing in the words we choose and the correlations we construct.
We will now look at the reasons and forces working behind the creation of imagery, and where the limits lie, and what constraints work against the writer's creative process.
5-1: Experience and Imagination
To begin our discussion, let us ponder what effect experience (or inexperience) of a subject matter has in our creative process.
First off, we will look at the opinions of deviantArt writers vis-a-vis the question, "is it possible to create imagery outside of one's physical and/or emotional experience?"
First there are those who
Tips For the NoviceTips For the Novice11 years ago in Academic Essays More Like This
Tips For The Novice
It's an all-too common occurrence on my periodic forays into the world of internet poetry - writing weakened by a lack of fundamental knowledge concerning the essence of poetry writing. There are no rules set in stone about creative writing. The writer that strikes new trails can make a lasting impact on the world of poetry, but the chances of a writer stumbling upon golden words without a solid knowledge base are slim to none. The following tips for novice writers are intended to help shore up those fundamentals, to help the young writer breathe the essence of life into their poems, and to better share that essence with the reader.
The most important element you can inject into your poetry is imagery. Imagery is made up of sense data: color, sound, smell, temperature, the feeling of physical contact. When we remember anything with any vividness, we remember in images. When we fantasize or hallucinate, it is i
AbstractionAbstractionAbstraction9 years ago in Academic Essays More Like This
Abstract, abstraction and so on are words thrown around all the time in poetry, and often without much solid – or at least congruent – meaning.
An abstraction is literally a 'taking-away' from something, a vaguer look at a solid concept. For example, we could say that 'animal' is an abstraction from 'cow', or that 'person' is an abstraction from 'telephone repairman'.
An abstraction may also be an abstract noun, though, such as 'love', 'peace', 'death', 'fortune', etc.
Or it may be an abstract verb, such as 'eat' or 'move' or 'take'. More concrete verbs might be 'chew', 'walk' and 'grab', or might entail phrases such as 'eat with cutlery', 'move on foot' or 'take in his hand'.
The logic is that the word is a non-specific generalisation based on an observed event or series of events. All you need to know is that an abstract word is like using a generic template. Saying 'it was love' calls upon well worked, common (trite) concepts of what 'love' means. It contains noth
Haiku exercise for beginnersThe haiku is about one moment, an instant in life captured. Where the poem is a painting, the haiku is a photograph showing the single comparison or eccentricity that makes nature so wonderful.Haiku exercise for beginners8 years ago in Scraps More Like This
The advantage the haijin has over the photographer is that he is not restricted to showing, but can also let the reader hear and feel the image. Some haiku make comparisons from different times of the day or year, combining this into a single image. Where the photographer has a myriad of colour to work with the haiku poet can draw from a palette of, at the last count 450,000 words.
The strict form of the haiku may cause some people to baulk at them. Many beginners and young poets may well think: OMG! 5-7-5! Haiku are so hard! Well, if you subtract the five-seven-five format, and add a vivid imagination things suddenly become easier. The 5-7-5 form is not necessary to produce a haiku in a true minimalist spririt.
Minimalism dictates that you focus on one single image and allows you to make
Showing, Part OneShowing, Part One11 years ago in Academic Essays More Like This
If you've ever taken a class in creative writing, you've no doubt heard the teacher repeat the phrase, "Show, don't tell" over and over again. While there are few hardest rules in creative writing, this persistent little mantra might be the ultimate. Teachers and writers who write about writing spout it out all the time, but what does it mean anyway? After, isn't all writing really "telling" on some level?
It's best to view "showing" not as a single technique, but a summation of the most effective writing techniques. If we know anything about poetry, it's that the best poetry usually conjures specific and concrete images. Beyond language itself, images are the meat and bones of poetry. So goes most of prose as well. The prose writer has the added duty of creating situations and characters that seem real and believable.
Showing invites the reader into the world of out poem and story. If the reader can see, smell, taste, and feel the world through our writing, the reader is more
Active and Passive VoiceActive and Passive Voice11 years ago in Academic Essays More Like This
Active voice occurs when the subject or agent in the sentence performs the action, often towards an object. For example, let's look at the following sentence written in active voice:
Katie spilled the milk.
In this sentence, Katie is the subject, and she performs the action (spilling) on the direct object (the milk.) The most obvious way to spot active voice is through the use of active verbs, which are simply verbs that express actions. In most cases, the sentence will take on the simple form of the tense it's in, whether past, present, or future.
In passive voice, the object being acted upon is emphasized over the agent. A passive version of the previous sentence would look like this:
The milk was spilled by Katie.
In this sentence, our object (the milk) appears before the action (was spilled) and the agent (Katie.) You will also notice that this sentence is in the progressive fo
How to Write Villanelles Villanelles can be quite discouraging; they look simple but are actually quite difficult. However, when mastered, it becomes technically easy according to Conrad Geller. Just like riding a bike, right? The name Villanelle is derived from the Italian villa, or country house, which is where aristocrats went to refresh themselves. Strangely enough, the form is originally French and only appeared in the English language in the lat 1800s (19th century). Out of the 19 lines in a Villanelle, only two rhymes are used. Furthermore, two lines repeat throughout the poem; usually the first and last lines of the first stanza are repeated interchangeably throughout the second, third, fourth, and fifth stanzas (starting with the first line of the first stanza) until the last stanza where both are repeated in the same stanza.How to Write Villanelles7 years ago in Other More Like This
PantoumsPantoums12 years ago in General Fiction More Like This
The pantoum, or pantun, is a form originating in Malaysia which was brought to the French language by Ernest Fouinet (not Victor Hugo, contrary to popular belief). It was popularized by Victor Hugo and later Charles Beaudlaire. In a pantoum, the lines are interlocking and the first line is identical to the last line, which gives the poem a static or a cyclical feeling.
A pantoum has no set meter, but many use iambic tetrameter in the style of a ballad. The poem is comprised of any number of quatrains rhyming ABAB. Personally, I enjoy those which rhyme ABAB-BABA-ABAB and so on with only two sets of rhymes, but that is not required of a pantoum. The main ingredient in this intriguing and haunting form is the repetition.
The main element of a pantoum is the fact that the second and fourth lines of a stanza become the first and third lines of the next stanza respectively. Illustrated with letters representing the line, the structure is ABCD/BEDF/EGFH and so on. In the last stanza, s
ClerihewThe Clerihew is a form of comic verse invented by Edmund Clerihew Bentley, and championed by his friend, the novelist Gilbert Keith Chesterton. It consists of four lines of irregular length, rhymed AABB, or two uneven couplets, if you prefer to think of it that way.Clerihew9 years ago in Academic Essays More Like This
Clerihews are almost always biographical, and the first line usually consists solely of the subject's name, perhaps the most famous example being:
Sir Christopher Wren
Said, "I am going to dine with some men.
If anyone calls,
Say I am designing St Paul's."
They may also be about a non-human subject:
The art of Biography
Is different from Geography,
Geography is about maps,
But Biography is about chaps.
Or, indeed, about a fictional ch
The TrioletThe Triolet12 years ago in General Fiction More Like This
The triolet (pronounced as tree-oh-lay) is one of the many fixed forms of verses we have today. It was invented in medieval France, and has been preserved through modern literature.
Back in the medieval ages, the triolets were short witty poems that had a ten-syllable meter to it. It was perhaps due to the lightness of this structure that the triolet was often used to express humour, although it has been said that some of the first English triolets were of spiritual content.
A triolet is a French verse of eight lines and two rhymes. Out of these eight lines, five of them are repeated or refrained lines. In the following illustration, these five lines are represented by the alphabet A/a:
A – first line of the poem
B – second line of the poem
a – rhymes with the first line
A – identical to the first line
a – rhymes with the first line
b – rhymes with the second line
A – identical to the first line
B – identical to the second line
Thus, it is
to the cigarette - revised 2to the cigarette - revised 212 years ago in Free Verse More Like This
and furnace coal
or pottery men
standing in graves.
i need to know
what monet saw
in the station steam,
what whistles he heard
forced through a bitter lung.
the machine's secret,
how he comes pumping
with boots free of
soot. spell new dreams
from your packaged mind
your manyarmed tongues
bound like shiva, spinning.
i've seen your flyers
hanging from jaws,
ads for your newest film,
maybe. you'll wear
a chaplin suit this time,
smirking with that
tiny, unforgettable moustache.
i'll stand behind
nick drake's shoulder,
trying to catch
i've been here
for years and you
keep getting closer,
signaling in handtalk.
you steam in from
fifteen miles away,
bawling past the beat poets
into my grandpa
out through a goddamn exhaust pipe
who am i?
i'm the hiding boy
in the shower where you
strip off your paper dress.
i heard the colloquium and
can't stand your priests.
your jealous breath
stinks like worn pennies,
like the manticores
No Train For YesterdayI spend two & a half smiles on strangers,No Train For Yesterday11 years ago in Free Verse More Like This
drink a bottle of casual words
& head down a silent street, accompanied
by muted endeavors of faceless clowns.
It's a tired, malnourished day, strained
over frail dusty bones of hours
& as I run my hand along a minute,
it feels like leather, worn from wear.
You still arise in idle thoughts:
the way you stopped to watch me at
an ambiguous train station up north.
You were the streetlight that blinked on
& off in futile attempt to murder wind
while snow raced horizontal lines
& hurried past large metal doors.
You seemed to revel in movement,
smoothed air with your skin
as I headed on. Gave shelter
to a misplaced thought & lost another
in muddy puddles behind my temples,
aching now, condensed for spare.
The smell of old liquor & masculinity
still lingers in my nostrils' memory.
You asked for clarity in all I said
out of spite & I couldn't find the words.
Shreds of sentence fragments tasted bitter
& I washed them down with another
Tips For Editing PoetryTips For Editing Poetry10 years ago in Academic Essays More Like This
***Tips For the Novice (and otherwise) - Editing***
The blanket statement, "Editing/revision harms poetry," is simply wrong. It's akin to a photographer claiming that focusing the lens ruins the emotion of the photograph. It is the details, and the appropriate attention paid to them, that separate a photograph from a snapshot. Imagine a film maker slapping every frame he shot up on the screen without editing for continuity, for pacing, for effect. What a disaster. That is not to say that editing can't be destructive - there is such a thing as poor editing, just as there is poor writing. But done correctly, done well, it is one of the most important tools in the poet's shed.
Never shy away from editing/revision. Some young writers feel that to revise is to kill the spirit of the poem. This notion serves to sacrifice the potential of a poem for an ideal that
Submitting to Lit JournalsRough Guide to Submitting Poetry to Literary Journals (by Email)Submitting to Lit Journals8 years ago in Academic Essays More Like This
First thing you need is your poems, naturally; these must be fully redrafted to your satisfaction to have much of a chance of getting anywhere in the world of self-respecting mags. Try out some workshops (there are a tonne on the internet, and plenty in the real world too), ask your friends, but most of all just mull them over for yourself until you're happy.
Do not pad your submission with bad poems, thinking the worse ones might get through thanks to your stronger work. This will just result in the whole bunch being rejected, in all probability.
Next we need to scope out a market. There are numerous ways of doing this. Duotrope is probably the most useful resource around. Check that your target accepts electronic submissions and are currently open to submissions at all. Read their guidelines thoroughly and follow every one. It's amazing how many people completely fail to follow the
The GhazalThe Ghazal12 years ago in General Fiction More Like This
The Ghazal is an adaptation of a Persian form of poetry used to honor emperors and noblemen. A part of this poem broke off and evolved into the Ghazal. It is not a very commonly used English form as it was introduced only recently.
The Ghazal is a string of 5-15 couplets, with each couplet being able to stand alone as a complete thought and/or poem. At the end of the second line of every couplet is a 1-3 word long refrain. The word before the refrain is a rhyme that carries through the entire poem. A rhyming scheme would look like that: AA, BA, CA, DA, and so on.
The first and last couplets are special. In the first couplet, called matla, the rhyme is used in both lines. Often in the last couplet, the author's penname is used. The last couplet is the most personal one of the poem, and expresses something from the author's point of view.
Here is a Ghazal by Erin A. Thomas.
Once bright homes in blossom, now dead fallen,
They lay by the spinning blade's head fallen.
PalindromesPalindromes11 years ago in General Non-Fiction More Like This
Sotades invented palindromes in Greek-ruled Egypt, back in the 3rd century BC. In fact, palindromes were once known as "Sotadic verses." He was thrown into the sea (wrapped in lead) by King Ptolemy II, for insulting the king in one of his verses.
They were quite popular in the 1800's, but have not shared much popularity since around the 1930's.
Palindrome comes from the Greek words "palin" (again or back) and "dramein" (to run). So if you read that backwards, it translates loosely into "to run back."
The palindrome simply reads the same forwards and backwards, usually with a central focal point from where it begins to read backwards. There are several ways to write palindrome poems, three are presented here, along with examples.
1. It can be read backwards, with the same words, such as the example below.
by Paula Brown
Passionate always, forging forward.
Unquiet rage screams
The GlosaThe Glosa11 years ago in General Non-Fiction More Like This
The glosa is an early Renaissance form that was developed by poets of the Spanish court in the 14th and 15th centuries. In a glosa, tribute is paid to another poet. The opening quatrain, called a cabeza, is by another poet, and each of their four lines are imbedded elsewhere in the glosa.
The opening quatrain is followed by four stanzas, each of which is generally ten lines long, that elaborate or "glosses" on the cabeza chosen. Each ending line (10th line) of the four following stanzas is taken from the cabeza.
The usual rhyme scheme of a glosa is final word rhyming of the 6th, 9th and the borrowed 10th lines.
Irish Pride and Prejudice
(Glosa verse by Darren Anderson)
In the deserts of the heart
Let the healing fountain start,
In the prison of his days
Teach the free man how to praise.
In memory of W.B. Yeats
A putrid scene of civil conflict
returns without regret,
festering in dead hearts,
lacking the fortitude to forgive.
Waiting, we long for
The Ballade and Chant RoyaleThe Ballade and Chant Royale12 years ago in General Fiction More Like This
The ballade is one of the fixed forms that became so popular in France in the 14th century. The name derives from the Old Provençal ballada, a song sung while dancing. One of the first poets given credit for perfecting the style and popularizing the form is Guillaume de Machaut.
The poem consists of three stanzas of eight lines each, followed by an envoy of four lines. Each stanza uses the same fourth, and last line, and these are also respectively, the second, and last line of the envoy. The form ends up looking like this.
One thing that makes this form a bit more challenging, is that the stanzas all share the same rhyme. By this I mean that throughout the poem, ALL of the a\'s rhyme, and All of the b\'s, and all of the C\'s. As for meter, ballades can come in any meter, as long as it\'s consistant throughout the poem.
Ballades are suited to a wide range of subjects. The repeated lines make it a good form for a
Terza RimaTerza Rima12 years ago in General Fiction More Like This
The terza rima is a traditional poetic form whose most renowned offspring is Dante's 'The Divine Comedy' (ca. 1300).
Obviously it wasn't first written in English, but it works just as well and is very pleasant in my opinion, especially when it's read aloud/performed.
The form is best written in iambic pentameter:
The sheep was killed by wings of fire and ice;
(the SHEEP | was KILLED | by WINGS | of FIRE | and ICE)
And yes, I know that example is horrible, but it gets the point across
The rhyming scheme is as follows:
a-b-a, b-c-b, c-d-c, d-e-d, e-e
Here is an example from Shelley's 'Ode to the West Wind':
O wild West Wing, thou breath of Autumn's being, (a)
Thou, from whose unseen presence the leaves dead (b)
Are driven, like ghosts from an enchanter fleeing, (a)
Yellow, and black, and pale, and hectic red, (b)
Pestilence stricken multitudes: O thou (c)
Who chariotest to their dark wintry bed (b)
The winged seeds, where they lie cold and low
The TetractysThe Tetractys11 years ago in Editorial More Like This
The tetractys, made famous by Pythagoras, has become a modern poetry form. Ten was thought to be a number of power, and by having the lines leading up to the last line equal ten, it seemed logical for the creator of the tetractys poetry form to name it such.
A tetractys has in total, five lines. The syllables are as follows:
First Line - 1 syllable
Second Line - 2 syllables
Third Line - 3 syllables
Fourth Line - 4 syllables
Fifth Line - 10 syllables
In any formatting, it gives a triangle shape. It can be reversed, starting with the ten lines, and moving downwards for a "reversed tetractys." There are also what is called "double tetractys" in which two you have a tetractys followed immediately by a second tetractys. A normal tetractys followed by a reversed tetractys would give you a diamond shape.
There is no set rhyme scheme for a tetractys, you can choose to rhyme or not. Here are two examples from Ray Stebbing, who credits himself with coming up with this form:
The Luc BatThe Luc Bat12 years ago in General Fiction More Like This
The Luc Bat
Many poets enjoy writing in Tri meter (six syllable lines) and Tetra meter (eight syllable lines), so this form should be fun to experiment with. Some of you who prefer lyrical poetry might find this form useful, as well as challenging, because it lends itself quite nicely to some styles of story telling as well.
The Luc Bat is a Vietnamese form of poetry, which simply means "six eight." You can see there was an influence by the French as it was The Colony of Indo China before it became Vietnam. It was introduced into Europe by the French, but for some reason never became popular.
The odd lines (1, 3, 5, etc.) are six syllables long, and the even lines (2, 4, 6 etc.) are eight syllables long, hence the title of the form. The rhyme scheme is simple as well. The last word (sixth syllable) of an odd line rhymes with the sixth syllable of the even line and the eighth syllable rhymes with the sixth syllable of the next odd line. The final even line rhymes back to the first line.
ODE TO PINEAPPLEODE TO PINEAPPLE11 years ago in Traditional Fixed Forms More Like This
Oh pineapple, you are so fine
with your spiky leaves
that are so sublime -
they are the bees knees.
Oh pineapple, nestled among
soldier straight spikes,
sharp across the tongue
and not unlike dykes.
Oh pineapple, with tessellated
patches adorning your skin,
how long I have waited
to act out my sin.
Oh pineapple, you truly are
the only thing that I lack
I wish you'd stayed in my car
but the health authorities took you back.