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Showing results for tags 'dickinson'.
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Poetry Prompt 3 – Lyrics Let's Write some Lyrics! I'm not talking about writing a song, at least not yet. But now that we have begun to think in terms of structure, and have been introduced to the concept of lines of poetry being made up of a set number of syllables, it's time to look at the most popular form in the western world. 'Lyrics' for my intents and purposes refers to a set of alternating lines of syllables - a discernible beat created through a repeating of line length. Like the rhythm we have seen from Japanese verse of 5 and 7 syllables playing back and forth, the most common equivalent in lyrical Western verse is an 8 and 6 pattern. A little birdie has told me Irritable1 has a fantastic prompt coming up talking about the internal rhythm within a line, but for now let's just look at how lines can form lyrics by using two different syllable lengths. Emily Dickinson had an innate way to construct poems. They are often very lyrical, as in this example: Nature and God—I neither knew Yet Both so well knew me They startled, like Executors Of My identity. Yet Neither told—that I could learn— My Secret as secure As Herschel's private interest Or Mercury's affair—[1] This is a perfect example for us to look at. For one, 835 (as it's known) is flawless as it alternates back and forth between 6 and 8 syllable lines. These lyrics also not no bother with rhyme, which we will get to in later prompts. For now, we can just read it and feel the connection to Tanka and Haiku, and we can build on it to write our own lyrics. And speaking of connection, I personally never feel I can understand Dickenson's poetry except in a queer context, and this poem once again reconfirms that for me as she speaks of feeling like Nature and God have never known her; that seems a very familiar doubt that every LGBT person has ever felt. Here's another Dickinson example (known as 551): There is a Shame of Nobleness— Confronting Sudden Pelf— A finer Shame of Ecstasy— Convicted of Itself— A best Disgrace—a Brave Man feels— Acknowledged—of the Brave— One More—"Ye Blessèd"—to be told— But that's—Behind the Grave— The prompt: write two stanzas of lyrics. Follow the 8-syllable/6-syllable pattern as you go. Base it on the first emotions you remember having when you woke up this morning. This is practice, so it is up to you if you wish to incorporate rhymes, and feel free to make the poem humorous if you like. [1] The analogy in the second stanza is an interesting one. Hershel was a chemist who published multiple papers on his experiments with mercury. The play of that science (i.e. Nature) with the mention of the god Mercury's not-so secret (and same-sex loving) love life brings in the element of spirit (or of God) to contrast it.
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Poetry Prompt 5 – Rhymes and Couplets Let's Write some Rhymed Couplets! Why use rhyme at all..? There are a few different reasons; one is to enhance rhythm. We have studied the way in which a poet like Emily Dickinson used alternating rhythms of metre to accent her lines, and she could also choose to punctuate her meanings with rhyme if she wanted to. So that leads us to the second reason, emphasis. You can draw attention to the concept you are presenting in the poem by putting a literary exclamation point on it through use of a Couplet (a matched rhyme in two consecutive lines). The third reason is for humor, for let's face it, the Couplet is difficult to do in English because it can come off sounding hokey. Shakespeare made fun of poor poets in As You Like It. The love-stricken Orlando nails heartfelt verse to the local trees in honor of Rosalind. When found, the jealous Touchstone makes up his own Couplets to knock the young lovers: Sweetest nut from sourest rind, Such a nut is Rosalind. Early English poets loved the rhyming Couplet, as it was foreign to ancient Latin and Greek poetry, and was thus considered something new. It first appeared in Italian or French lyric verse, and then became very popular, even though it's far more challenging to rhyme in this language than in the Romance tongues. Nevertheless, some beautiful and powerful Couplets have come down to us through the ages. Many people know them by heart, like Helen Hunt Jackson's lines: Bee to the blossom, moth to the flame; Each to his passion, what's in a name?[1] In her lines one can feel the power of the imagery, for although the same sentiments can be said in a simpler way, the poetics of the way she presents the basic idea makes it unforgettable. Couplets are also excellent for lightheartedness and sexual innuendo. Witness this gem from John Donne: Licence my roving hands, and let them go Behind, before, above, between, below. Or sometimes, out and out silliness and humor. W. H. Auden wrote a performance translation of a Goldoni opera libretto named Arcifanfano, King of Fools, as set by the composer Karl Ditters.[2] In his production, Auden chose to stick with Couplets throughout because they lead to some hilarious moments. Like these: But who's this modest maiden, Not with brains overladen? Such as she seems to be frigid, With principles too rigid. They blush and retreat and say no, And when you touch them, erupt like a volcano! So how can we build a complex piece in a more serious mode using Couplets? By using the tools we have already learned about – that poetic lines are constructed considering syllable length (either plain or marched into a pattern of metre); that lyrical verse arises when the patterns are rhythmically matched (all lines are the same length) or alternated (lines follow a back and forth use of two different lengths); and that form is there to offer freedom of expression. Any poetical form takes time to master, but once mastery is gained, you can do anything you want with it. Here is an example of what I mean. A couple of years ago I wanted to provide a translation for a particular piece of music in one of my stories. Although the original German lyrics make use of a single rhyme throughout, I knew that in English that would sound forced and bizarre. Answer? Couplets! Here is the result. You can find the music here; open it in a separate window and listen along as you read the lyrics. My aim was not to provide a slavish reiteration of the original words, but to create a beautiful performance poem that can both carry the meaning of the poet and the weight of the music. Sleeping softly, or so it seems, Heaven enters us in our dreams; Angels hover round about, Showing they comfort doubt; Two are singing sweetly, Two with blossoms neatly Spread a bed of roses, And there my heart reposes, For heaven will not forsake We who at dawn must awake. The prompt: write your own set of five Couplets using the music provided here. You have a choice of being serious or silly, it's up to you. If serious, write about how you hope to meet your goals and ambitions for the coming new year. If you are feeling silly and irrelevant, write about how lame this challenge is, or anything else you like. The point is, practice, practice, practice! Get a feel for letting rhyme come to you as you construct Couplets. ------------------------------------------------ [1] Jackson was a school friend of Emily Dickinson, and apparently their relationship was one that started off romantically. The surviving letters between them hint at this very strongly. See Rebecca Patterson's book, The Riddle of Emily Dickinson, Boston 1951. [2] You can buy the Auden-directed production recording of the work here: https://itunes.apple.com/us/album/dittersdorf-arcifanfano-king/id162471301
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