iamb – one unstressed syllable followed by a stressed syllable (e.g. des- cribe, in- clude, re- tract) Hart Crane and Ernest Fenollosa (the latter discusses syntax in The Chinese Written Character). The criticism of Crane was later lodged by Olson against Robin Blaser as well—wit, “Id’ trust you anywhere with image, but you’re got no syntax.” See See Minutes of the Charles Olson Society, no. 8 (“A Special Issue for the Robin Blaser Conference”), p. 13. Base: Mindfulness is being aware of the present moment without judgment. It’s not always easy to do, especially when we are stressed out or anxious. We can practice mindfulness by taking time to focus on our breathing, noting what is around us, or simply having open awareness. Apparently in conversation. John Cech in Charles Olson and Edward Dahlberg: A Portrait of a Friendship (Victoria, B.C.: English Literary Studies, University of Victoria, 1982) quotes an unpublished loose manuscript note of Olson’s from 1945, “Go to the extreme of your imagination and go on from there: fail large, never succeed small. Again ED makes sense: one intuition must only lead to another farther place” (pp. 88-89). There are plenty of lives and whole towns destroyed or about to be. We are not wise, and not very often kind.

Yomi Ṣode’s language glimmers. His collection is a deep exploration of fatherhood and British Nigerian culture.’It comes to this, this whole aspect of the newer problems. (We now enter, actually, the large area of the whole poem, into the FIELD, if you like, where all the syllables and all the lines must be managed in their relations to each other.) It is a matter, finally of OBJECTS, what they are, what they are inside a poem, how they got there, and, once there, how they are to be used. This is something I want to get to in another way in Part II, but, for the moment, let me indicate this, that every element in an open poem (the syllable, the line, as well as the image, the sound, the sense) must be taken up as participants in the kinetic of the poem just as solidly as we are accustomed to take what we call the objects of reality; and that these elements are to be seen as creating the tensions of a poem just as totally as do those other objects create what we know as the world. Other ancient epics includes the Greek Iliad and the Odyssey; the Persian Avestan books (the Yasna); the Roman national epic, Virgil's Aeneid (written between 29 and 19 BCE); and the Indian epics, the Ramayana and the Mahabharata. Epic poetry appears to have been composed in poetic form as an aid to memorization and oral transmission in ancient societies. [11] [16] Sara Teasdale (1884-1933) was an American lyric poet whose work is often overlooked in discussions of twentieth-century American poetry. Yet at its best, Teasdale’s work has a lyricism and beauty which can rival that of many poets of her time. Here she meditates on the calm that a deep peace brings: It comes to this: the use of a man, by himself and thus by others, lies in how he conceives his relation to nature, that force to which he owes his somewhat small existence. If he sprawl, he shall find little to sing but himself, and shall sing, nature has such paradoxical ways, by way of artificial forms outside himself. But if he stays inside himself, if he is contained within his nature as he is participant in the larger force, he will be able to listen, and his hearing through himself will give him secrets objects share. And by an inverse law his shapes will make their own way. It is in this sense that the projective act, which is the artist’s act in the larger field of objects, leads to dimensions larger than the man. For a man’s problem, the moment he takes speed up in all its fullness, is to give his work his seriousness, a seriousness sufficient to cause the thing he makes to try to take its place alongside the things of nature. This is not easy. Nature works from reverence, even in her destruction (species go down with a crash). But breath is man’s special qualification as animal. Sound is a dimension he has extended. Language is one of his proudest acts. And when a poet rests in these as they are in himself (in his physiology, if you like, but the life in him, for all that) then he, if he chooses to speak from these roots, works in that area where nature has given him size, projective size. AG: Anonymous. Does anybody know that? Does anybody not know that? – or heard/not heard that? – Oh, I think…I thought I’d gone over that… [ Allen reads the poem in its entirety] – .”What is beauty but a breath?/Fancies twin at birth & death/The colour of a damask rose,/That fadeth when the north wind blowes:/’tis such thatthough all thoughts do crave it ,/they know not what it is to have it:/a thing that stoops sometimes not to a king/and yet most open to he commomst thing/For she that is most fair/ Is open to the aire”. So the poem has a nice beginning – “What is beauty but a breath?” – anyway – and “For she that is most fair/ Is open to the aire”

I want to do two things: first, try to show what projective or OPEN verse is, what it involves, in its act of composition, how, in distinction from the non-projective, it is accomplished; and II, suggest a few ideas about what stance toward reality brings such verse into being, what the stance does, both to the poet and to his reader. (The stance involves, for example, a change beyond, and larger than, the technical, and may, the way things look, lead to a new poetics and to new concepts from which some sort of drama, say, or of epic, perhaps, may emerge.) Until recently, the earliest examples of stressed poetry had been thought to be works composed by Romanos the Melodist ( fl. 6th century CE). However, Tim Whitmarsh writes that an inscribed Greek poem predated Romanos' stressed poetry. Try it for yourself, anywhere is a good start. Try by using a specific subject to guide you, like the ones we looked at before. You could begin with gratitude. Now, we know from our mindfulness and meditation practice, gratitude helps us see more clearly. Kate’s collection merges poetry with the fragile remains of nature — leaves, shells, plant stems — to speak about wilderness as a platform for reflection.’ Vuong thrusts readers into language that opens and reopens, ‘a cage/that widens’ to disparate meanings. This collection is full of doors, entrances, thresholds— liquidised boundaries— on which we are encouraged to linger, remaining both inside and out of our choices, our histories and our joys.’The methods for creating poetic rhythm vary across languages and between poetic traditions. Languages are often described as having timing set primarily by accents, syllables, or moras, depending on how rhythm is established, although a language can be influenced by multiple approaches. Japanese is a mora-timed language. Latin, Catalan, French, Leonese, Galician and Spanish are called syllable-timed languages. Stress-timed languages include English, Russian and, generally, German. [43] Varying intonation also affects how rhythm is perceived. Languages can rely on either pitch or tone. Some languages with a pitch accent are Vedic Sanskrit or Ancient Greek. Tonal languages include Chinese, Vietnamese and most Subsaharan languages. [44] Each of these types of feet has a certain "feel," whether alone or in combination with other feet. The iamb, for example, is the most natural form of rhythm in the English language, and generally produces a subtle but stable verse. [60] Scanning meter can often show the basic or fundamental pattern underlying a verse, but does not show the varying degrees of stress, as well as the differing pitches and lengths of syllables. [61] Journeys Across Breath charts the extraordinary and mercurial work of a poet who often remains outside the boundaries of UK poetry. His commitment to the community of world poets, his sensual and proliferating world deserve our attention. He is without doubt one of the remarkable writers of our time and Journeys Across Breath is testament to his miraculous eye and ear.’ In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading). Is” comes from the Aryan root,[11] as, to breathe. The English “not” equals the Sanscrit na, which may come from the root na, to be lost, to perish. “Be” is from bhu, to grow.

Verse now, 1950, if it is to go ahead, if it is to be of essential use, must, I take it, catch up and put into itself certain laws and possibilities of the breath, of the breathing of the man who writes as well as of his listenings. (The revolution of the ear, 1910,[4] the trochee’s heave,[5] asks it of the younger poets.) The poems, or poetic fragments, in Savage Tales seem to quiver with a strange, uncanny sense that something is always about to happen. Bergin’s third collection manages to be both compelling and disturbing and yet also, somehow, filled with joy too.’ Most rhyme schemes are described using letters that correspond to sets of rhymes, so if the first, second and fourth lines of a quatrain rhyme with each other and the third line do not rhyme, the quatrain is said to have an AA BA rhyme scheme. This rhyme scheme is the one used, for example, in the rubaiyat form. [81] Similarly, an A BB A quatrain (what is known as " enclosed rhyme") is used in such forms as the Petrarchan sonnet. [82] Some types of more complicated rhyming schemes have developed names of their own, separate from the "a-bc" convention, such as the ottava rima and terza rima. [83] The types and use of differing rhyming schemes are discussed further in the main article. During the 18th and 19th centuries, there was also substantially more interaction among the various poetic traditions, in part due to the spread of European colonialism and the attendant rise in global trade. [32] In addition to a boom in translation, during the Romantic period numerous ancient works were rediscovered. [33] 20th-century and 21st-century disputes [ edit ] Archibald MacLeishChristina Rossetti (1830-94) was one of the Victorian era’s greatest and most influential poets. She was the younger sister (by two years) of the Pre-Raphaelite artist and poet Dante Gabriel Rossetti. She composed her first poem while still a very young girl; she dictated it to her mother. It ran simply: ‘Cecilia never went to school / Without her gladiator.’ What we have suffered from, is manuscript, press, the removal of verse from its producer and its reproducer, the voice, a removal by one, by two removes from its place of origin and its destination. For the breath has a double meaning which latin had not yet lost.[15] Main articles: Rhyme, Alliterative verse, and Assonance The Old English epic poem Beowulf is in alliterative verse. The oldest surviving epic poem, the Epic of Gilgamesh, dates from the 3rd millennium BCE in Sumer (in Mesopotamia, present-day Iraq), and was written in cuneiform script on clay tablets and, later, on papyrus. [12] The Istanbul tablet#2461, dating to c. 2000 BCE, describes an annual rite in which the king symbolically married and mated with the goddess Inanna to ensure fertility and prosperity; some have labelled it the world's oldest love poem. [13] [14] An example of Egyptian epic poetry is The Story of Sinuhe (c. 1800 BCE). [15]

Jalāl ad-Dīn Mohammad Rūmī, simply known as “Rumi”, was a 13th-century Persian poet, Isamic scholar, Maturidi theologian, and Sufi mystic. The Guest House or what a French critic[2] calls “closed” verse, that verse which print bred and which is pretty much what we have had, in English & American, and have still got, despite the work of Pound & Williams:

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Alliteration is the repetition of letters or letter-sounds at the beginning of two or more words immediately succeeding each other, or at short intervals; or the recurrence of the same letter in accented parts of words. Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry. The alliterative patterns of early Germanic poetry interweave meter and alliteration as a key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur. This can be compared to an ornamental use of alliteration in most Modern European poetry, where alliterative patterns are not formal or carried through full stanzas. Alliteration is particularly useful in languages with less rich rhyming structures.