My kind of poetry I must confess (sans capitalisation punctuation & visual recitable.. a ' unique happening every reading)... from a very creative readable poet.Savour the moment
A forty- nine line poem (which is rated no 19 in PS top 100 love poems listing) that is visually improved in those versions thereof that drop the stanza breaks & leave off the quirky numerical side numbering ( in this version presented here by PS) which merely disrupts both reading & reciting ..as does the traditional first word line capitalisation of what otherwise is a valiant poetic attempt to capture the fundamentals of the key human life aspiration
Emily's poetry (unusually for its era )was untitled so this poem is in reality posthumously known as 822,also its four quatrain length form is very untypical of Dickinson's delightful(still popular) famous short form style .The great majority of her prolific output (for 19th century times) remained unpublished in her lifetime.No 822 has her typical 'occasional capitalisation' of nouns which does not help either visually to read & inhibits the cadence when reading aloud this somewhat morose content albeit so atypical of Emily poetics
WILL S Sonnet 71
A typical Shakespearean (quatorze 12+2) sonnet form- with no title (preferring the verse to speak for itself:traditional first word capitalisation: in three abab quatrains for the body (meat of its content) :with the couplet (goto it)summary.In this case in an negative (selfish?) epitaph like ' voice from the grave ' advice to his once loved one to 'let your love even with my life decay' a half empty ' sentiment perhaps to a lost love rather than 'widowed' one.
LINE CAPITALISATION scansion simply scuppered
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
BREAKING FREE
Do verses have to sound medieval
From several centuries long past
Quoting Shakespeare now and then
Some lines used again and again
The gulf from then to now is vast
Yet modern language is not evil
An image emerges with older style
Whether knights or Kings, lovers too
Stories become a well-rounded tale
Always popular at Court without fail
Yet it matters very little if it is true
A retreat from reality just for a while
There’s strict rhythm and meter
Free verse without capitalisation
Structure is all at least for some
But words unspoken is just dumb
It must always cause perturbation
Avoiding bland is all the sweeter
But after all, it’s about emotion
What you feel from what is read
At times, maybe hear it spoken
At least layout constraint is broken
Better perhaps to compose instead
But writing verse demands devotion
Date=17 Aug 2022, Contest=2022 Poetry Marathon Mile 12, Sponsor=Mark Toney
PURPLE SHADOWS
amethyst moonlight
farewell to warm summer nights
bathed in crystal aura
PULSE OF LIFE
hawthorn root grows deep
anchored to Mother Earth's heart
silent pulse of life
THAT'S LIFE
high expectations
a catastrophic nose dive
getting used to this
To be absolutely correct haiku and tanka need no capitalisation or full stop.
Am altering my submissions accordingly.
Being afraid for something you do not know
Is like honouring a promise that was never made
Being excited for someone else good fortune
Is like cheering, sitting on the bench
Start, stop and smell the roses
Introspection is not for the faint hearted
Moving on is a continuous , unbearable journey
Capitalisation is for the one
Being who you are
Is like licking an ice cream in winter
Being perspective
Is like undressing someone with the clothes on
re-poest inspired by Constance contest
Poems
in shapely form,
displaying syllables
or stresses in a versatile
refrain.
an exampl of mine of this form created by American poet Adelaid Crapsey with its capitalisation features and caesura
MISTAKES
Hurry
Takes its toll as
In our daily stroll,we
From deepest ruts of blind alleys
Quicken.
Looking for the formal definition, structure, and history of this poetry form? Visit the Poetry Dictionary entry below. Then return to explore how PoetrySoup members bring the form to life through their own poems.