Long Appeal Poems
Long Appeal Poems. Below are the most popular long Appeal by PoetrySoup Members. You can search for long Appeal poems by poem length and keyword.
It was the Halloween Ball
In the season of the fall
A mysterious bachelor called
To the attention of us all
The biggest mansion party
The cooks food is hearty
The host is definitely tardy
For most of his own party
The musicians play the last dance
The men try to romance
But don't stand a chance
For the host is here! They glance
To a man dressed in black wear
In Old Spanish attire bare
The women began to stare
For he was a young stallion, a Mare
From a top the stairs he walks
The ladies gather to stalk
The man who doesn't talk
Like birds they came in flocks
He wore black clothes and a red sash
White trim and a black mask
To find a dancer is his task
But who will he ask?
The only girl not drawn to attention
Is sitting alone no words to mention
He takes her hand There is no tention
Soft as a doves wings a cool sensation
The proceed to the middle of the floor
She doesn't know what's in store
A lot of musicians come in..there is more!
Some of them rich, some are poor
He takes his tunic off then starts
The music is written from the heart
The stand at attention far apart
Then the solo with the silver harp
The drum beat starts going
They come together emotions flowing
His risque' dance he is showing
To her mind he is boasting
They move and dance like magic
For five minutes the song's romantic
The crowd watching in motionless static
The songs end was very tragic
The last beats were hard to miss
They drew close and started to kiss
For her it was a mystical bliss
His every movement caressed her lips
The awkward silence he starts to leave
The young lady can hardly breathe
She starts to faint...she can't see
The wings appeare and she falls asleep
The girl awakes in her bed it seems
In her school clothes it was only a dream
The sound of water foils the scene
Her eyes still blurry it's hard to see
She wanted this for real
Her heart is sealed
Then fate will have to deal
Her new loves appeal
She notices something on the ground
It's the wings and mask she found
And a CD blank is bound
She puts it in and the sound...
Is the unforgettable song
It was to her so long
But there was something wrong
Where did this come from?
In the CD case is an Old Engligh letter
It said "Undoubtedly for the better
I am gone with the weather
Your kiss I will always remember forever and ever
Form:
May it not be uttered and may my lips be sealed. I don't like how it makes me feel. It gives no thrill. It has no appeal. So often, it does not heal and seldom closes the deal. Early this morning, I took the time to record a few lines of muse about a word I don't like to use.
I have often thought about the people I have met and the places I have roamed and made my home over the last 50 years. Many are the things, people, and places that have proven to be most disappointing and have wearied, worn me out, and caused me doubts. There've Been dejections, rejections, and questions, but as I look back, I see no regrets.
I have used a 7-letter word so often that it has become a dreadful thing to consider its usefulness. I should think that heaven is the only place such a word is forever forbidden. Presently, that word is NOT WHAT I'M SAYING to you, you, or anyone else and hope to never find it necessary. But if by chance or providence it should be used relative to anyon9 Ie, it would be among the hardest words I ever uttered to living mortals. I've been as far east as the Big Apple but not to stay; and forty years ago, I came with my wife and kids to live in the City by the Bay. I hasten to say that I've never lived longer nor loved stronger than here in the River City where I only want to say the the 2 lettered word 'Hi' but never the 7 lettered
woord, "Goodbye". I can say "Hi" with a smile, but "Goodbye" only makes me cry.
People say that home is where your story begins, but I've never been one to be bound by what others might say. I only know that the place where I was born was never home to me. I tell you, I did not have to look long and far nor think Hard and deep to figure out whom I might blame for the calm, peace, and poise that I am feeling where I live today. Yes, there is something very special about the people and this place where I'm living today that feels like home to me, and I suspect that The Lord has everything to do with it.
042620PS
This Christmas, I am moved by the names in the genealogy of Jesus. I find the Biblical genealogy of Israel and Jesus to be a very fascinating study. There are four named women in the genealogy of Jesus and one name referenced. They are TAMAR, Rahab, Ruth, and Mary: Bathsheba is referenced to as Urias' wife.
When one reads TAMAR's story*, there is the feeling that what she did about her situation was over the top, out of culture, way out of line, and out of the realm of Godliness. By the same token, if we put our feet in her shoes, during her time, we might feel the same as she did regarding her plight and how to remedy the situation. Her patience ran completely out, and she felt that her father-in-law Judah was not living up to his responsibility. However, she did not bother to appeal to a greater earthly authority, nor did she bother to consult with The Lord. She took matters into her own hands, and although her approach was deceitful, her outcome was acceptable to her.
Judah's verdict against her, by current human standards, seemed judgmental and harsh. But Tamar forced him to face the truth and to commute her sentence of death. TAMAR proved to be a force to be reckoned with.
Judah speaks to all of us who spend our lives seeking self-gratification and running rampantly in our reckless self-righteousness. TAMAR speaks volumes about taking matters into our own hands, seeking desperately to find a fix for what ails us. More often than not, such fantasy fixes end in failures, and we live with the consequences. Self-righteousness is often very subtle and is capable of wrapping itself around the best of us. It's the type that says, "If I was writing a Holy Book, there would not be space on my Holy pages for the likes of Judah and Tamar". As a human filled with flaws, flops, and failures of my own, I am most grateful for the grace of God that has been extended to me. Both Judah and TAMAR, by no goodness of their own, found themselves in the genealogy of 'The Christ" who presents Himself as the Savior of the whole world. That includes Judah, TAMAR, you, and me.
12042017PoSoupContest, Favourite Poem From December 2017, Julia Ward
*Genesis 38
Page 7
We’ll build a wooden structure
With planks torn from our ships
And place it by their gates
Then we wait for the eclipse
Now I know you all have questions
About how I know these things
But I’ve studied all religions
Foreign Nations, Queens and Kings
Some kingdoms honor Bears
Some worship cats and eagles
Some lions, tigers, bears, “Oh My”
Foxes, wolfs and beagles
Now, these Trojans have one fondness
It stands upon four feet
It feeds upon the grassy plains
And they ride it down their streets
We will build it long and sleek
With a tail tacked to its end
And ears, upon its oblong head
But, with one thing more to send
There, concealed inside its belly
Are those who lie in wait
For the beast to be drawn inside
The Trojan’s massive gates
Page 8
So until the sun starts rising
You men must now embark
And assemble the device
While working in the dark
The others on the beach
A distraction will devise
To keep your labor secret
From those Trojan’s prying eyes
Now off with you, behind that mound
I have a party to attend
It’s not often I can have some fun
At the same time to offend
( Troy 1184 BC, The Beach Party )
The Flames of passion darted up
Into the evening air
It made the glittering of sand
Seamed like stars were everywhere
The drums had reached a beat
That made the young men, have to dance
And I’m sure it made The Trojans
Lose control and wet their pants
Page 9
While young men danced on burning sands
Displaying sex appeal
The Greeks would pause and strike a pose
And flex their buns of steel
The Trojans on the wall
Filled with heighten passion soon
Turned their backs and dropped the drawers
Displaying many moons
It seemed as if, we played all night
Now its time to take our chances
Bring forth the horse, and by due course
We all took second glances
The carpenters that worked all night
Had never seen the beast
It was a horrible interpretation
That is to say the least
I should have choose an artist
Much more suited for the task
For instead of building a mighty horse
There stood a giant ass.
No time to make corrections for
The dawn was growing near
We must move without detection
And crawl in through its rear
To be continued...................
?
John Keats - I continue to adore Keats's lush, sensuous language and his odes to beauty, nature, and love, which can deeply resonate with some of my own poetry's yearning and delicacy.
Emily Dickinson - Dickinson's quiet intensity and exploration of death, eternity, and inner life has appeal to my introspective side.
She and I share a fierce independence of spirit and a love for solitude.
Edna St. Vincent Millay - I admire Millay's bold, feminist voice and her exploration of desire and independence.
Millay's mastery of sonnet form and ability to capture the fleetingness of passion has after multiple readings come to resonate with me.
Pablo Neruda - Known for his passionate love poems and deep connection to nature, Neruda has come to enchant me with his visceral imagery and emotional honesty.
His poems about the natural world might feel like kin ship to me, my own.
Mary Oliver - I feel at home in Oliver's reflective, nature-based poetry.
I have come to love Oliver's reverence for the world, finding in it a continuation of her own themes of beauty and spiritual communion with nature.
Sylvia Plath - I would definitely appreciate Plath's courage in delving into the complexities of self, identity, and mental struggle.
While my tone of poetry has now through evolution grown more gentler, I feel a kinship in Plath's exploration of one's inner life.
Rainer Maria Rilke - With his mystical tone and contemplative exploration of love and solitude, Rilke would be a poet that I have come to admire.
His 'Letters to a Young Poet' would also resonate as advice one might give to aspiring poets.
Louise Glück - Known for her somber tone and introspective lyricism, Glück would fascinate me with her exploration of loss, longing, and family dynamics.
I admire Glück's precision and haunting imagery.
Langston Hughes - I would appreciate Hughes's musicality, social consciousness, and exploration of personal and collective identity.
His poems on love, hope, and perseverance would feel to me like hymns of survival and resilience.
Ada Limón - I would likely be drawn to Limón's modern voice and her intimate, conversational style that draws readers into an emotional landscape. Limón's poems of self-acceptance, connection to nature, and resilience would feel like a refreshing evolution of the lyricism that I have come to cherish.
KITH
I have told you who l am numerous times. But you just took me for a regular creature, all of you have failed the test of recognition; I am not all human, yet it is just the human side of me catching up to my lost soul;
My Spirit has preceded me in space, time and perception.
My daughter left me because she was my Mother:
My Kith no longer recognizes me because my
thought patterns were antagonized by the misplacement of its pattern.
My Original Kith has fallen into the depths of the human experience.
This time I came to sort out those things that held us back -
Those things that prevented you from knowing me.
I am not yet with the universal creator; Nor am I yet with total God mind -
I am only privileged to be as an interpreter of what I've experienced.
Those foul and unclean thoughts and deeds that kept me defiled will serve to enlighten so that you do not have to experience them, I have been made pure and wise, now able to rise.
I have been exalted to the Mother-Dome.
I come seeking those who want to know my reason for being, to let them experience life through my eyes.
Realization of my extraordinary existence came during a bout with celibacy when a zephyr came through my window and seductively filled me with awesome bliss.
It was then I understood the magnitude of my sex appeal that somehow,
I had always rejected.
Wanted only to be loved for merely being born.
People trying to get inside of me or as close as they could get infringingly,
they wanted to be a power over me or sup from my body or somehow.
Impregnate me with their own will.
Though as an Eagle, or a Sphinx, Oft' times I must cluck,
for they certainly do not understand my language -
"I am not just by happenstance" –
"I have happened to you" !.
I ‘vied lived to pay my debt to you. Yet, if you do not make it … in this sphere
I will call to you, and you will arise from the cinders in stages.
All who experience me as their "Mother" will hear my call - And while the earth burns and the Water dwindles; As the oxygen becomes toxic; I cannot develop gills again …
Yet, instill, I’m here for you, and all who follow my mind leaps shall come with me to new heights, and a new beginning… I cannot keep clucking around on the ground, it’s time for conscious spirits to rise and soar while speaking the language of our kith.
(In a 19th-century legal judgment studied by all who
learn the English common law, Sturges v. Bridgeman,
the court found in favour of a "nice" doctor over a
"common" manufacturer, for reasons of pure snobbery.)
The Candyman Can’t
Some legal battles have the power to thrill,
while others never have, and never will.
Some touch on human themes which really matter,
and some do not. We’re dealing with the latter.
This present case is hardly OJ Simpson:
it lacks dramatic shape, and simply limps on
listlessly, with abstruse reasoning,
no sex or violence to give it seasoning.
One Mister Bridgman manufactures sweets,
in premises where Wigmore crosses/meets
its neighbour, Wimpole. Eighteen seventy-nine
of our salvation, two lives intertwine
when Doctor Sturges takes consulting rooms
around the corner. Disagreement looms,
for Bridgman’s grinding, pounding candy line’s
destroying Sturges’ peace, fragging his mind.
The law of nuisance really is quite funny.
It says, “he did you harm? Well, here’s some money”.
What if you’d rather dodge the damage, and
defer the dollars? How to countermand
the duty-breach-then-damages regime?
Suppose we interpose a better scheme?
Instead of “you must suffer, he must pay”,
we stop the harm? The problem goes away!
This ruse is known as “equity”. It functions
by granting prior relief (they’re called injunctions).
So Sturges stemmed stentorian sweetie sounds
by order of the court, and Bridgman found
his business gagged and bound by hoops of steel,
for no good reason. What to do? Appeal!
(For thus advise the lawyers. Such affairs
drag on for years. The lawyers? They get theirs!)
Said Bridgman: “I’ve been cranking out jujubes
for decades now. It’s all gone down the tubes
because some quack dislikes the earnest hum
of my devices. Why, then, did he come
to Wimpole Street? He wants tranquility?
Go hang his shingle in Highgate Cemetery!
I have a remedy for Doctor Sturges:
it’s swallowing his antimony purges!”
But Bridgman lost. One cannot help but feel
that making toffee wasn’t quite genteel
enough. Their Lordships said behaviour
that’s unacceptable around Belgravia
can find a home in Bermondsey. The latter
has lots of lowly types. It doesn’t matter
if they have noisome noise, and have to live
in filthy fumes – for they’re not sensitive.
A hiding place, a warm and darkened room,
A lit doorway, bright against the dark,
Cold against the warmth, a frame for odd
Assorted stranger-forms whose faces loom
As quarrels over (what?) convulse and rend them,
Leering laughter giving in to vicious
Sneers, bared fangs, silent snarls
Of wretched, clutching, atavistic mayhem,
A terror once removed. Inside that hole
Distant from the proximal horrid window
Where twisted evil shadow-puppets fight
Peculiar faint amusement seems to roll
Like waves around the cave, detached and born
Of safety via distance, of certainty
That out would never be in, that warmth was safe,
That war above, so far away, forlorn,
Could be watched as from a languid seat
Far recessed in a darkened empty theater,
Nestled snugly, listening to the voice
Which comments on the raging battle heat.
From somewhere up, behind, not left nor right,
But from the center, voice and fight both
Directly sensed, as if they each occurred
In a vacuum, touch and smell, sound and sight
Being interchangeable and void.
The fighters jab and poke, madly gouge,
And neither gains advantage, being justly
Matched, as both are faceless, the man
At left pitted fair against the shrewish
Plot of his opponent, evil woman.
Both in turn appeal for judgment, turning
Away from fighting to glare and wave and hiss
Silently for a verdict on the ghastly driven
Feud which now has stopped, as it began,
Abruptly, and receiving none, for in
The silence no answer can be given
(Besides which, being taken by surprise
And overcome by sudden fear, aware
Of change in circumstance) the watcher is mute,
The murderous woman lunges at his very eyes
In deadly assault, bent on maiming, killing,
Groping fiercely at his open throat
For no apparent reason; and the comfort
Of the soothing voice utterly halts.
Words without sound fly like spears between them
Accusatory fingers gesture madly
And spittle from their half-crazed livid mouths
Wings through air in visual acid anthem
To this grisly deadly tandem fight
That seems the worse being set in relief
By the rectangular hole that serves as both
Window and door, divider of dark and light,
No protection, as threshold battle threatens
Him within, as blind hatred rages
In deft slashes of lengthy fingernails
While foe from foe extracts macabre debt.
Within our minds we strive to achieve
We are taught to go for the gold
So we focus and we practice
We even cut people from our lives as a sacrifice
Then we justify those sacrifices by convincing ourselves it’s ok
we continue on trying to accumulating glory and wealth
but every step we take and every breath we breathe
the dream we inspire to become seems to always fall between our knees
the years go by and we get a little older each time
You begin to realize that certain things you cant do anymore
So you bare down and sacrifice a little more
You cut the cords with friends and you stop talking to those that seem to love you
And without blinking an eye you convince yourself it will be different the next time
But the fame doesn’t show and the gratitude doesn’t flow
Then you lift your head up for moment only to realize no one is there
The girl you once knew left you because you didn’t show her how much you cared
So back to the grind you turn off your heart so you can try just one more time
So you write another story knock on another door
but the phone calls and letters you hope for never come
then for a moment you think about the one that once loved you
and you remember how that used to feel before the chase for gold had an appeal
so you do a google search to find her name thinking maybe life’s the same
but then you discover she took on another name
and suddenly your heart flicks on and you begin to feel all the pain
there she is with children and a husband
and you suddenly find yourself falling to the ground clenching your chest
you feel the pounding of your heart and the dizziness of your mind
glancing up at a calendar you then realize you let twenty years slip by
and suddenly a numbness that you feel deep inside as your body slowly goes cold
Then a faint memory slips through and you remember her saying how she loves you
But you were so caught up in yourself and you never gave her a sign
And you begin to realize that lost treasure that you’ve been seeking all your life
That gold, that silver, that trophy, that medal, that acknowledgement and idolization
Came in the shape of a heart, a heart of love, compassion, adoration,
When a simple I love you too would have brought you the riches you so desired
Instead you now have a lost treasure and the agony of emptiness deep inside.
Cultural and Social Terms
Idol: In Persian poetry, often refers to the beloved, particularly one who is non-Muslim. The term carries complex connotations of forbidden desire and spiritual challenge.
Veil: Refers both to the physical head covering and the metaphysical veil between the material and spiritual worlds in Sufi thought.
Fate's Wheel: The wheel of fortune or destiny (charkh-e falak), a common motif in Persian literature representing the unpredictable nature of fate.
Character Names
Giti: A Persian name meaning "world" or "universe," suggesting the beloved encompasses all existence for the lover.
Saeed: An Arabic name meaning "happy" or "blessed," ironic given the character's suffering in love.
Poetic Devices and Concepts
Ghazal tradition: Though this is a masnavi, it draws heavily from the ghazal (lyric poem) tradition of Persian literature, with its emphasis on unrequited love and spiritual longing.
Tavern: In Sufi poetry, the tavern represents the place of spiritual gathering and divine intoxication, not literal alcohol consumption.
Cup and Wine: The cup represents the heart or soul, while wine represents divine love or spiritual knowledge.
Dawn: Often symbolizes spiritual awakening, hope, or the appearance of the beloved.
Mystical Concepts
Fana: The Sufi concept of self-annihilation or dissolution of the ego in divine love, reflected in the lovers' ultimate union where individual identity dissolves.
Ishq: Divine or passionate love that transcends ordinary human affection, central to Sufi thought and Persian poetry.
Longing (Hijr): The pain of separation from the beloved, considered a necessary stage in spiritual development.
Historical Context
Persian Literary Tradition: This work draws from the rich tradition of Persian mystical poetry, including works by Rumi, Hafez, Saadi, and others who used love poetry as a vehicle for spiritual expression.
Courtly Love: The formal, ritualized expression of love that characterized medieval Persian court culture, with its emphasis on patience, suffering, and devotion.
____________________________________
Note: Many terms in Persian mystical poetry carry multiple layers of meaning - literal, romantic, and spiritual - simultaneously. This ambiguity is intentional and central to the tradition's power and enduring appeal.