A Japanese writer of the late fourteenth and early fifteenth centuries, also known as Motekiyo. In 1961, after reading a version of Seami’s Yashima in Origin, Olson wrote Cid Corman, “If you find anyone who has translated Seami’s Autobiography literally & entirely I shd be obliged to hear of it. I remain convinced of its importance (reading his new play you published emphasizes again what a flawless poet he is” ( O/CC 2 : 173). Let’s start from the smallest particle of all, the syllable. It is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem. I would suggest that verse here and in England dropped this secret from the late Elizabethans to Ezra Pound, lost it, in the sweetness of meter and rime, in a honey-head. (The syllable is one way to distinguish the original success of blank verse, and its falling off, with Milton.) 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.

Emily Berry’s Unexhausted Time is an extraordinary book-length, yet fragmentary, meditation which meanders through dreamscapes, psychic terrains, ‘incorrigible’ language and luminous symbols, asking with a seer-like voice, ‘Why then are we not healed?’’ I’ve long admired the topical intelligence of André Naffis-Sahely not only as poetry editor but especially in his recent High Desert for its counter to dominant narratives, its elastic sensibility (that encircles the globe) and firm sense of a politics that shapes poetry’s aesthetics.’ 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.In times of confusion, stress and fear, mindfulness poetry can help us act with clarity and loving-kindness. The refuge of mindfulness poetry can provide a place of solace, where we can restore energy when we feel drained. People who practice mindful activities like poetry think about how to get rid of these negative emotions by doing something that explores all emotions, even the difficult ones like misery, despair and fear. These people believe that if you do something practical, you’ll be able to overcome your negative emotions. The poem, with its recurring refrain to ‘sleep safe till tomorrow’, might be thought of as a lullaby. Different traditions and genres of poetry tend to use different meters, ranging from the Shakespearean iambic pentameter and the Homeric dactylic hexameter to the anapestic tetrameter used in many nursery rhymes. However, a number of variations to the established meter are common, both to provide emphasis or attention to a given foot or line and to avoid boring repetition. For example, the stress in a foot may be inverted, a caesura (or pause) may be added (sometimes in place of a foot or stress), or the final foot in a line may be given a feminine ending to soften it or be replaced by a spondee to emphasize it and create a hard stop. Some patterns (such as iambic pentameter) tend to be fairly regular, while other patterns, such as dactylic hexameter, tend to be highly irregular. [64] Regularity can vary between language. In addition, different patterns often develop distinctively in different languages, so that, for example, iambic tetrameter in Russian will generally reflect a regularity in the use of accents to reinforce the meter, which does not occur, or occurs to a much lesser extent, in English. [65] Alexander Pushkin

Now (3) the process of the thing, how the principle can be made so to shape the energies that the form is accomplished. And I think it can be boiled down to one statement (first pounded into my head by Edward Dahlberg[9]): ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION. It means exactly what it says, is a matter of, at all points (even, I should say, of our management of daily reality as of the daily work) get on with it, keep moving, keep in, speed, the nerves, their speed, the perceptions, theirs, the acts, the split second acts, the whole business, keep it moving as fast as you can, citizen. And if you also set up as a poet, USE USE USE the process at all points, in any given poem always, always one perception must must must MOVE, INSTANTER, ON ANOTHER!Hannah Lavery’s Saltire-shortlisted debut, Blood, Salt and Spring, is a must-read collection. As you’d hope from Edinburgh’s Makar, here are sharp, tender, poignant, hopeful and often funny poems about Scotland today, beautifully crafted yet demanding the country holds itself to account for many sorts of belonging, always with a keen eye for nuance and double-think around nationhood and racism. ‘

Which gets us to what I promised, the degree to which the projective involves a stance toward reality outside a poem as well as a new stance towards the reality of a poem itself. It is a matter of content, the content of Homer or of Euripides or of Seami[18] as distinct from that which I might call the more “literary” masters. From the moment the projective purpose of the act of verse is recognized, the content does—it will—change. If the beginning and the end is breath, voice in its largest sense, then the material of verse shifts. It has to. It starts with the composer. The dimension of his line itself changes, not to speak of the change in his conceiving, of the matter he will turn to, of the scale in which he imagines that matter’s use. I myself would pose the difference by a physical image. It is no accident that Pound and Williams both were involved variously in a movement which got called “objectivism.”[19] But that word was then used in some sort of a necessary quarrel, I take it, with “subjectivism.” It is now too late to be bothered with the latter. It has excellently done itself to death, even though we are all caught in its dying. What seems to me a more valid formulation for present use is “objectism,” a word to be taken to stand for the kind of relation of man to experience which a poet might state as the necessity of a line or a work to be as wood is, to be as clean as wood is as it issues from the hand of nature, to be as shaped as wood can be when a man has had his hand to it. Objectism is the getting ride of the lyrical interference of the individual as ego, of the “subject” and his soul, that peculiar presumption by which western man has interposed himself between what he is as a creature of nature (with certain instructions to carry out) and those other creations of nature which we may, with no derogation, call objects. For a man is himself an object, whatever he may take to be his advantages, the more likely to recognize himself as such the greater his advantages, particularly at that moment that he achieves an humilitas sufficient to make him of use. Wendell Berry is an American novelist, poet, essayist, environmental activist, and farmer. In his opinion, his works are an expression of the meaning to life he has found and what he values within it. He explores many aspects of his rural agricultural life such as; healthy rural community, connection to place, the simple pleasures of simple, good food, good work but also ignorance, greed violence against ourselves and the natural world.

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Poetry (a term derived from the Greek word poiesis, "making"), also called verse, [note 1] is a form of literature that uses aesthetic and often rhythmic [1] [2] [3] qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in addition to, or in place of, a prosaic ostensible meaning. A poem is a literary composition, written by a poet, using this principle.