Tyr-Ziu Saxnot
06-30-2018, 04:59 PM
Dark And Tragic, When Fate Sets Its Black Hand To Decide
Icy cold had invaded, her heart became a hard frozen tomb
Never again would she allow love to penetrate its new armored shells
That night she had seen one of death's many tragic and ugly faces
Its ancient mask, the one that crushes love's fever and kindness in a mere blink
Now she flows through a vacated life, on wings of sorrow's eternal flight
Awaiting a doom that her crushed soul welcomes in its dark and sunken state.
His death had been tragic, yet made for some of the most interesting news
All the clever twists and turns of an old Hollywood mystery movie script
So ghastly, his head found in the graveyard, atop her lover's white tombstone
His bullet riddled body found miles away in a cheap and tawdry motel room
Perhaps now he knows, how it feels to find Fate's eternal and deadly hand
In his well deserved doom, devil that had sent her into her dark and sunken state.
Robert J. Lindley, 6-30-2018
Prose, ( Tragedy In One Of Life's Screams)
Copyright © Robert Lindley | Year Posted 2018
Tyr-Ziu Saxnot
07-01-2018, 10:57 AM
Dark.....
What are the rules for prose?
https://www.poets.org/poetsorg/text/prose-poem-poetic-form
Prose Poem: Poetic Form
Posted
September 21, 2004
Type
Poetic Terms/Forms
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Though the name of the form may appear to be a contradiction, the prose poem essentially appears as prose, but reads like poetry. In the first issue of The Prose Poem: An International Journal, editor Peter Johnson explained, “Just as black humor straddles the fine line between comedy and tragedy, so the prose poem plants one foot in prose, the other in poetry, both heels resting precariously on banana peels.”
While it lacks the line breaks associated with poetry, the prose poem maintains a poetic quality, often utilizing techniques common to poetry, such as fragmentation, compression, repetition, and rhyme. The prose poem can range in length from a few lines to several pages long, and it may explore a limitless array of styles and subjects.
Though examples of prose passages in poetic texts can be found in early Bible translations and the Lyrical Ballads of William Wordsworth, the form is most often traced to nineteenth-century French symbolists writers. The advent of the form in the work of Aloysius Bertrand and Charles Baudelaire marked a significant departure from the strict separation between the genres of prose and poetry at the time. A fine example of the form is Baudelaire’s “Be Drunk," which concludes:
And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking. . .ask what time it is and wind, wave, star, bird, clock will answer you: “It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish.”
The form quickly spread to innovative literary circles in other coutries: Rainer Maria Rilke and Franz Kafka in Germany; Jorge Luis Borges, Pablo Neruda, and Octavio Paz in Latin America; and William Carlos Williams and Gertrude Stein in the United States. Each group of writers adapted the form and developed their own rules and restrictions, ultimately expanding the definitions of the prose poem.
Among contemporary American writers, the form is widely popular and can be found in work by poets from a diverse range of movements and styles, including James Wright, Russell Edson, and Charles Simic. Campbell McGrath’s winding and descriptive “The Prose Poem” is a recent example of the form; it begins:
On the map it is precise and rectilinear as a chessboard, though driving past you would hardly notice it, this boundary line or ragged margin, a shallow swale that cups a simple trickle of water, less rill than rivulet, more gully than dell, a tangled ditch grown up throughout with a fearsome assortment of wildflowers and bracken. There is no fence, though here and there a weathered post asserts a former claim, strands of fallen wire taken by the dust. To the left a cornfield carries into the distance, dips and rises to the blue sky, a rolling plain of green and healthy plants aligned in close order, row upon row upon row.
There are several anthologies devoted to the prose poem, including Traffic: New and Selected Prose Poems and Great American Prose Poems: From Poe to the Present, as well as the study of the form in The American Prose Poem: Poetic Form and the Boundries of Genre.
read more prose poems
Edward Hirsch also writes about the prose poem in his book A Poet’s Glossary (Harcourt, 2014):
prose poem: A composition printed as prose that names itself poetry. The prose poem takes advantage of its hybrid nature — it avails itself of the elements of prose (what Dryden called “the other harmony of prose”) while foregrounding the devices of poetry. The French writer Aloysius Bertrand established the prose poem as a minor genre in Gaspard de la nuit (1842), a book that influenced Baudelaire’s Petits poèmes en prose (1869). Baudelaire used prose poems to rebel against the straitjacket of classical French versification. He dreamed of creating “a poetic prose, musical without rhyme or rhythm, supple and jerky enough to adapt to the lyric movements of the soul, to the undulations of reverie, to the somersaults of conscience.” Baudelaire’s prose poems — along with Rimbaud’s Les Illuminations (1886) and Mallarmé’s Divagations (1897) — created a mixed musical form (part social, part transcendental) that has been widely and internationally practiced in the twentieth century. “There is no such thing as prose,” Mallarmé insisted in 1891. “There is the alphabet, and then there are verses which are more or less closely knit, more or less diffuse. So long as there is a straining toward style, there is versification.”
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https://en.wikipedia.org/wiki/Prose_poetry#Contemporary_writers
Prose poetry
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This article is about a poetic form. For the competitive speech event, see Prose & Poetry.
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Prose poetry is poetry written in prose instead of using verse but preserving poetic qualities such as heightened imagery, parataxis and emotional effects.
Contents
1 Characteristics
2 History
3 Contemporary writers
4 See also
5 References
6 Sources
7 External links
Characteristics
"The simplest definition is that a prose poem is a poem written in prose....But, not unlike "free verse," the oxymoronic name captures the complex nature of a beast bred to challenge conventional assumptions about what poetry is and what it can do."[1] 'The prose poem is a composition printed out as prose that names itself as poetry, availing itself of the elements of prose, while foregrounding the devices of poetry.'[2]
Technically a prose poem appears as prose, reads as poetry, yet lacks line breaks associated with poetry but uses the latter's fragmentation, compression, repetition and rhyme.[3] and in common with poetry symbols, metaphor, and figures of speech.[4]
Prose poetry should be considered as neither primarily poetry nor prose but is essentially a hybrid or fusion of the two, and accounted a separate genre altogether. On the other hand, the argument for prose poetry belonging to the genre of poetry emphasizes its heightened attention to language and prominent use of metaphor. Yet prose poetry often can be identified as prose for its reliance on prose's association with narrative and on the expectation of an objective presentation of truth.[citation needed].
History
In 17th-century Japan, Matsuo Bashō originated haibun, a form of prose poetry combining haiku with prose. It is best exemplified by Matsuo Bashō's book, Oku no Hosomichi,[5] in which he used a literary genre of prose-and-poetry composition of multidimensional writing.[6]
In the West, prose poetry originated in early-19th-century France and Germany as a reaction against traditional line in verse.
Earlier examples can be found in Western literature, e.g., James Macpherson's "translation" of Ossian. German Romanticism (Jean Paul, Novalis, Hoelderlin, Heine) may be seen as forerunners of the prose poem as it evolved in Europe. At the time of the prose poem's establishment as a form, French poetry was dominated by the Alexandrine, a strict and demanding form that poets starting with Aloysius Bertrand and later Charles Baudelaire, Arthur Rimbaud and Stéphane Mallarmé rebelled against in works such as Gaspard de la nuit, Paris Spleen and Les Illuminations.[7][8] Germany and Austria throughout the nineteenth century produced a large body of examples of prose poetry without using the designation.
The prose poem continued to be written in France into the 20th century by such writers as Max Jacob, Henri Michaux, Gertrude Stein and Francis Ponge. At the end of the 19th century, British Decadent movement poets such as Oscar Wilde picked up the form.
Writers of prose poetry outside France include Fenton Johnson, Amy Lowell, Friedrich Hölderlin, Novalis, Hans Christian Andersen, Rainer Maria Rilke, Stefan George, Edgar Allan Poe, Walt Whitman, Maeterlinck, Turgenev, Kafka, Georg Trakl, H.P. Lovecraft, Clark Ashton Smith and Clarice Lispector.
Notable Modernist poet T. S. Eliot wrote vehemently against prose poems. He added to the debate about what defines the genre, saying in his introduction to Djuna Barnes' highly poeticized 1936 novel Nightwood that this work may not be classed as "poetic prose" as it did not have the rhythm or "musical pattern" of verse. In contrast, a couple of other Modernist authors wrote prose poetry consistently, including Gertrude Stein and Sherwood Anderson. By Grand Central Station I Sat Down and Wept by Canadian author Elizabeth Smart, written in 1945, is a relatively isolated example of English-language poetic prose in the mid-20th century.
Prose poems gained a resurgence in the early 1950s and '60s when American poets such as Allen Ginsberg, Bob Dylan, Jack Kerouac, William S. Burroughs, Russell Edson, Charles Simic, Robert Bly, John Ashbery and James Wright experimented with the form. Edson worked principally in this form, and helped give the prose poem its current reputation for surrealist wit. Simic won the Pulitzer Prize for Poetry for his 1989 collection, The World Doesn't End.
At the time, poets elsewhere were exploring the form in Spanish, Japanese and Russian. Octavio Paz worked in this form in Spanish in his Aguila o Sol? (Eagle or Sun?). Spanish poet Ángel Crespo did his most notable work in the genre. Giannina Braschi, postmodern Spanish-language poet, wrote a trilogy of prose poems, El imperio de los sueños (Empire of Dreams, 1988). Translator Dennis Keene presents the work of six Japanese prose poets in The Modern Japanese Prose Poem: an Anthology of Six Poets. Similarly, Adrian Wanner and Caryl Emerson describe the form's growth in Russia in their critical work, Russian Minimalism: from the Prose Poem to the Anti-story.
The writings of Syrian poet and writer Francis Marrash (1836–73) featured the first examples of prose poetry in modern Arabic literature.[9] From the mid-20th century, the great Arab exponent of prose poetry was the Syrian poet Adunis (Ali Ahmad Said Esber, born 1930), a perennial contender for the Nobel Prize in literature.[10]
In Poland, Bolesław Prus (1847–1912), influenced by the French prose poets, had written a number of poetic micro-stories, including "Mold of the Earth" (1884), "The Living Telegraph" (1884) and "Shades" (1885).[11] His somewhat longer story, "A Legend of Old Egypt" (1888), likewise shows many features of prose poetry.[12]
Since the late 1980s, prose poetry has gained popularity. Journals have begun specializing in the publication solely of prose poems or microfiction (external links, below). In the UK, in 1993, Stride Books published an anthology of prose poetry, "A Curious Architecture".[13]
Contemporary writers
These include: Cassandra Atherton, Alan Baker, Giannina Braschi, Charles Bukowski, Brendan Connell, Paul Dickey, Stephen Dunn, Russell Edson, Kimiko Hahn, Carla Harryman, Lyn Hejinian, Louis Jenkins, Tom Mandel (poet) Campbell McGrath, Sheila Murphy, Naomi Shihab Nye, Mary Oliver, John Olson, Marge Piercy, Claudia Rankine, Bruce Holland Rogers, Mary Ruefle, Ron Silliman, Robin Spriggs, James Tate, Thomas Wiloch, and Gary Young.
Tyr-Ziu Saxnot
07-01-2018, 11:05 AM
My friend, Prose poetry has a fairly broad and vague definition.
I that do not edit or force my poetry to always conform to the strictest of rules given in poetry forms, see prose poetry as not much different than is --""free verse"".
Each artist/poet should be as original as they like in their writings, IMHO.
If you take this foundation as the start- prose poetry does not rhyme, does not obey most of the rules given in most known and well recognized poetry forms, such as meter, rhyme, etc, etc.
Hope this helps and I know with your immense and natural poetry talent and your keen intellect you could write superb prose poetry, if you chose to do so.
Myself, its never much interested me, thus I have rarely ever chosen to write in that form..-Tyr
Tyr-Ziu Saxnot
05-06-2020, 10:49 AM
my friend, prose poetry has a fairly broad and vague definition.
I that do not edit or force my poetry to always conform to the strictest of rules given in poetry forms, see prose poetry as not much different than is --""free verse"".
Each artist/poet should be as original as they like in their writings, imho.
If you take this foundation as the start- prose poetry does not rhyme, does not obey most of the rules given in most known and well recognized poetry forms, such as meter, rhyme, etc, etc.
Hope this helps and i know with your immense and natural poetry talent and your keen intellect you could write superb prose poetry, if you chose to do so.
Myself, its never much interested me, thus i have rarely ever chosen to write in that form..-tyr
in turmoil heart denies sad echoes heard as hard flung stone into space silently flies. Gone dreams and glories of achings oft brought. As universe in its cold shadows has taught. Vain is the heartless and cold soul of mankind. For the free ia a darkness in all mortal minds. A chasm cold deep and wide.. A convenient fortress for evil to hide.
edited, complete revised and finished version of the jotted down fragment..
************************************************** **********
We Must Endure Time, Life's Brevity Oft Under Dying Skies
In turmoil heart denies sad echoes far too oft heard
rumblings of despair, jealousies and despicable words
So hard this flung stone into space silently flies
we must endure Time, Life's brevity oft under dying skies
Gone are those failed glories of achings oft brought
as vast universe in its long, cold shadows has taught
Vain are those heartless and blackened souls of mankind
for lonely cold is darkness resting within mortal minds
An immense chasm bitter cold, deep and abhorrently wide
A convenient fortress in which evil so cleverly hides
Massive walls that hold within, pain and sufferings cast
self-inflicted from uncovering graves of a dark past!
From within such destruction is nurtured and thus wrought.
As penalties of dark treasures that we so foolishly bought!
Robert J. Lindley, 5-06-2020
Sonnet, ( Those Mysteries Colliding Within Span Of A Life )
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