Best Interpretative Poems
ART
never
merely a self-expressive spring
ever
an interpretative
of another's
ego experience
always
a changing
two-way thing
"say Brian"
what is your poetry creed?"
POETRY IS AN ORAL ART AT ITS BEST WHEN RECITED
it then becomes a two-way unique one-off.experience .
ok then...to the detail-
"So is traditional line capitalisation ok with you?"
In RHYME ..YES..
but NOT otherwise as it creates a natural pause (ie it stilts) & thus disrupts the flow
"presumably thats why wrap-around lines are also a no-no for you? "
YES but mainly they are not visually conducive to read digitally or otherwise!
"Ok,I see that but what have
you got against those five forms
and the like,you know
acrostic,
kyrielle
terzanelle
villanelle
&pantoum etc? "
NOT against them per se
they can be good for a learning exercise,
a bit like scales are important when learning the piano
but are too contrived & mechanical IMHO for our art form
"Yet you like shape,visuals,emagi & ekphrasis verse! "
Indeed,they reveal my weakness for art in poetry!
"So why do you appear to dislike prose poetry!"
I don't dislike them as such, the two arts just don't mix for my taste.
"Are there particular forms that appeal?"
Rhyme,alliteration,clerihew,footle&hiku*(both in the singular especially)
tanka& American cinquain-will always ring my bell.
& of course
poetry in the OPEN VERSE style
which is what Brian?
**OPEN VERSE uses spaces&breaks without grammatical symbols relies upon 'the one breath limitation' this intuitive cadence pemits the 'reader' (reciter) to respond in an interpretative - interplay unique to the ' happening
Put away childish things
yet keep the childlike wonder.
Though dreams be rent asunder
our wishes still have wings.
Put away childish speech
but not the constant queries
that question rooted theories
which reason cannot reach.
Put away childish ken,
though artless ways of seeing
in any age of being
will find a poet’s pen.
Put away childish thought
yet not imagination
which sparks our inspiration
beyond what we are taught.
Put away childish things
but follow deepest desires.
Those secret innermost fires
burn brighter as hope sings.
Put away childish whim
yet not delight in playing,
then when the world’s dismaying,
our days won’t seem so grim.
Put away childish fears.
Nonetheless, through thick and thin
hang on to the child within,
the laughter and the tears,
all the livelong years…
Put away childish things.
While our dusty death is nigh,
the utter self shall not die,
and karmic kismet clings.
Put away childish things,
though then in mirror darkly
we face our image starkly,
plus suffer destined slings.
Put away childish pain
yet not sensations tender
for sunset’s golden splendor
or soothing thrum of rain,
therein the simple joys remain…
Nor questing spirit ever lose,
while on the pathway that we choose,
neither from love refrain
which makes a heaven of earth’s domain.
Still, throughout, with faith unshaken,
seek enlightenment to waken,
thus the bliss supreme to gain,
plus not to live and die in vain…
Put away childish things
but hold to yearning youthful
to grasp the learning truthful
which timeless wisdom brings.
Put away childish things,
and embrace the peerless state
of illumined grace innate
wherefrom great fortune springs!
~ Harley White
* * * * * * * * *
The following well-known quotation provided the initial literary inspiration for the poem…
“When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things. For now we see in a mirror, darkly, but then face to face.”
1 Corinthians 13 ~ The New King James Version (NKJV) translation of the Bible
Further inspiration derived from the teachings and writings of Nichiren Daishonin, as well as Martin Bradley’s interpretative writings about them…
10/4/19
"A Better Person"
Long ago I learned it
Nobody on this Earth is
Perfect
That's for certain
I'm determined
To be a better person
As I continue workin'
Ready to handle any burden
Not yet affirmative
We're still not so sure of it
If elsewhere life stirs and exists
A solar system full of curses and gifts
All these strange occurences
In a world that can be merciless
Below and above all surfaces
People being wasteful and others conservative
Food sold with and without preservatives
The first to quit
Far too often people see no way out, instead of the alternative
Stop doing yourself disservices
And making foolish purchases
Focus on virtousness
Considering that nothing remains in a state of permanence
Do you know who Tyler Durden is?
Are you familiar with Copernicus?
Sometimes disasters could've been averted if
People came together instead of trying to worship myths
Anything against the church, king or queen got discouragement
A sudden current shift
During a storm, waves continued to turn and flip
Nearby a ship was about to swerve and tip
So many serpents
Others being impertinent
And then there's those that want to put you in the dirt quick
Yet another work shift
Involving vertebrates
At times, limbs in dire need of a tourniquet
Planes in mid flight, occasionally hit with turbulence
Violent crimes causing mass hysteria and disturbances
Ever occuring festivals and tournaments
Homes with or without trees and ornaments
The greedy take it all, while others get nothing
Even though they earned a bit
At least a third of it
Some of which is interpretative
All these true stories and even more myths
Shout out to a select few herbalists
And journalists
I haven't yet discovered what my purpose is
But, it's all good, I'm still looking with earnestness
Prosper
Appreciate what this globe has to offer
Goodbye, I'm now six feet under where the surface is
Now you know, if you haven't yet heard of it
By: Dalton Ogletree
Imagination's
interpretative dance,
a demanding
motivation amid
all-inclusive
reasoning,
satisfying like
burnt ashes
draggin' on puffs
of surreal
vapors,
as
mythological
dragons
exhaling
rhymes' escape
amidst poetically
chaotic ether
CREDO-POETRY IS AN ORAL ART AT ITS BEST WHEN RECITED
it then becomes a two-way unique one-off.experience .
TRADITIONAL LINE CAPITALISATION RHYME ..in tetrameter (ABBA).YES..
but NOT otherwise as it creates a natural pause (ie it stilts) & thus disrupts the flow
WRAP AROUND LINES are a no-no
they are not visually conducive to read digitally or otherwise!
POETIC NO NO s -acrostic,kyrielle terzanelle villanelle ,pantoum & the 'syllablics'
they can be good for a learning exercise,a bit like scales are important when learning the piano but are too contrived & mechanical IMHO for our art form
PROSE POETRY ok if visually shaped in open form style*
FORMS THAT ALWAYS RING MY BELL shape,emagi & ekphrasis ,imagist Rhyme,alliteration,clerihew,footle&hiku*(both in the singular especially)
*OPEN VERSE uses spaces&breaks without grammatical symbols relies upon 'the one breath limitation' this intuitive cadence pemits the 'reader' (reciter) to respond in an interpretative - interplay unique to the ' happening
There is a circle in the square
Artistic statements writers dare
Dress the maidens in a costume
Have an outdoor performance under the moon
They will be the main attraction
Please no distraction
Sending a message
Societal ills addressing
Hoping a confession
Using silent guilt
Wearing a kilt
Bagpipes strapped tight
Entertaining right
An interpretative dance
Could put audience into a trance
People applaud
Acknowledged talent in the community mall
When the show takes a final bow
Screaming shouting is allowed
In a way
Heard what they say
Retreating back to home
Something to talk about in a civil tone
Job was complete
Singing lyrics to a good beat
And telling a story looking ever so sweet
When the ability to write manifested itself among the many learned minds, accounting, and recordkeeping too, had manifested as what has become known to be called, history.
The routine breakdown, and the frequency in some reflective properties via some periodic order post-prehistory, as the assorted is gathered and assembled for review and interpretative insights, thus creating the effects and all that is belonging to that particular portion of history.
Remembering and placing events, people, and places, all of that, sorted out history.
The discoveries that were established, explorations of findings, investigating quests, and figuring out enigmas, such became part of history.
A miscellany of items and artifacts of life during any given period is a form of physical purpose to history.
A common source becomes noticeable and formidable as an organization, a religious order, a political party, a civil association, an action group, or a school recital, whether they be big or small, they are all part of history.
When events present themselves, as to how it is articulated and expressed, the wherefores and whereof, are indicators given to history.
How we treat some exceptional thing, our rendition of it, and our particular point of view, like understanding its artistic values, are intricate matters for the basis of history.
The changing of the nexus, fads, styles, precepts, and concepts; specifically, for this writing, nowadays interpretation concerning one's gender, meaning, 'Herstory' too, makes history.
OFFERINGS
appearance
entering
a
space
with
evasive
gestures
triggered
changes
interventions verge
on the
infinitesimal
ideas fully
experiential
participating
again
in another
interpretative
process
of
enlargement
to encourage
to promulgate
interpretation
so fundamental
is allowed
to escape
to dissolve
into
belief
NOTE:THIS IS AN OPEN(organic) FORM VERSE using spaces&breaks without grammatical symbols ,the ' open' relies upon 'the one breath limitation' & so inherently requires the 'reader' (reciter) to input and responds thus making this enigmatic form a two way interplay & interpretatIon unique to the moment& changing according to mood is inherently variable.
Copyright © Brian Strand
OPEN VERSE
using
spaces&breaks
without grammatical symbols
relies upon 'the one breath limitation'
this intuitive cadence
pemits the 'reader' (reciter)
to respond
in an interpretative - interplay
unique
to the ' happening
moment'
my
abstractions
rainbow
my perspective
with
left - field
&
avant-garde
unpredictable
& unknowable
always provocative
instinctive
& interpretative
is this
enigmatic
inspiration
OPEN one breath
phonetic aspects
primarily
for performance
bridging
literary
& musical
rhythm
slack or strong
high or low
taut or loose
in
one-breath
length
verse
sans
visual
stanzas
coalesce
in
openness
on
the
page
field
of
spaces&breaks
sans grammatical
symbols
in
intuitive
cadence
an interpretative
interplay
unique
to the happening
IMAGININGS *
a mischievous
appearance
& disconcerting
expressions
undress the night
unconscious smiles
for
every dream
in
uprooted shadows
the day
does not
sleep
in great
weariness
where we
lock ourselves
hidden
softly
in its virtues
upon
in
a
field
of reflections
a
hand
to caresse
&
playful eyes
to
share
their clarity
lids
cast down
trace
temptations
lost
in
the dull
shadowed
skies
of leisure
whede innocence
facez
crippled
torment
in
laughter
wrinkles
OPEN VERSE using spaces&breaks/no grammatical symbols /relying on 'the one breath limitation'/this intuitive cadence permits the 'reader' (reciter)to respond in an interpretative-interplay unique** to the ' happening moment'
ARTISTA
prosaic
reality
in footnotes
to history
aspirations
flowering
experience
expressed
as emotions
flourish
&expound
in potent
awareness
particularised
addressed
articulated
literally
in
conscious
concepts
made credible
the improbable
contextualized
filling
space
visited
viewed
revered
or
reviled
relevant
& irrelevant
vacuous
ostentatious
left - field
avant-garde
conventional
traditional
yet
unpredictable
&
unknowable
always
personal
&individual
ever
provocative
objective
instinctive
& interpretative
the enigma
made
manifestto
to
taste or touch
see
&feel
absorb
in
a unique
moment
R-ead
Y-early
A-crostic
N-ote
B-y
U-sing
E-yes
N-icely
D-eepening
I-nterpretative
A-bility
Topic: Birthday of Ryan Buendia (October 19)
Form: Vertical Monocrostic