BREATH - Poetry

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Now (3) the process of the thing, how the principle can be made so to shape the energies that the form is accomplished. And I think it can be boiled down to one statement (first pounded into my head by Edward Dahlberg[9]): ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION. It means exactly what it says, is a matter of, at all points (even, I should say, of our management of daily reality as of the daily work) get on with it, keep moving, keep in, speed, the nerves, their speed, the perceptions, theirs, the acts, the split second acts, the whole business, keep it moving as fast as you can, citizen. And if you also set up as a poet, USE USE USE the process at all points, in any given poem always, always one perception must must must MOVE, INSTANTER, ON ANOTHER! But the syllable is only the first child of the incest of verse (always, that Egyptian thing, it produces twins!). The other child is the LINE. And together, these two, the syllable and the line, they make a poem, they make that thing, the—what shall we call it, the Boss of all, the “Single Intelligence.” And the line comes (I swear it) from the breath, from the breathing of the man who writes, at the moment that he writes, and thus is, it is here that, the daily work, the WORK, gets in, for only he, the man who writes, can declare, at every moment, the line its metric and its ending—where its breathing, shall come to, termination.

To read a mindful poem with full attention is to be in the present moment without judgement, simply aware of the music of the words. Mindfulness poems ask, even demand, of us attention that excludes the outside world, the mundane and complex worries of living in this moment and time. They invite us into a world of raw beauty or emotions, challenging us to improve ourselves through their carefully chosen language. Poetry (a term derived from the Greek word poiesis, "making"), also called verse, [note 1] is a form of literature that uses aesthetic and often rhythmic [1] [2] [3] qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in addition to, or in place of, a prosaic ostensible meaning. A poem is a literary composition, written by a poet, using this principle.Daring, deft and deeply affecting. Flamingo bops and shimmies with beauty, soars with all that we are.’ There are plenty of lives and whole towns destroyed or about to be. We are not wise, and not very often kind. Other ancient epics includes the Greek Iliad and the Odyssey; the Persian Avestan books (the Yasna); the Roman national epic, Virgil's Aeneid (written between 29 and 19 BCE); and the Indian epics, the Ramayana and the Mahabharata. Epic poetry appears to have been composed in poetic form as an aid to memorization and oral transmission in ancient societies. [11] [16] In a letter dated 5 June 1950, by way of distinguishing “from” from “technical wonder,” the latter of which he describes as In the third of three principles given in “A Retrospect,” e.g., “As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome ( The Literary Essays of Ezra Pound, ed. T.S. Eliot [New York: New Directions, 1968], p. 3).

When you are reading a poem that touches you, you are immersed in the images, the musicality and beauty of the language, the felt sense that the words create – you are nowhere else. Not all poems have this effect of course but those that do are a tool for you to deepen your understanding of youself and explore the benefits of mindfulness practice. Reading mindfulness poetry can deepen your practice in ways you can not imagine. And writing it can help you explore worlds of awareness you never thought possible. Writing Robert Creeley on 22 June 1950, Olson has: “THE TROCHEE: with it, a new language, for USE, made USA (where’d he get it, the trochee? Hunch: out of Miss Sappho by Seafarer” ( O/RC 1: 140). The “he” here is Pound, who has in Canto 81, “To break the pentameter, that was the first heave.” Mary Oliver was an American poet. Rather than the human, mundane world, her work is inspired by nature, as a result of her lifelong passion for solitary walks in the wild. Iambic tetrameter ( Andrew Marvell, " To His Coy Mistress"; Alexander Pushkin, Eugene Onegin; Robert Frost, Stopping by Woods on a Snowy Evening) [68] Mindfulness poetry is a powerful way to connect with the heart of the experience of mindfulness. Whether or not we have a formal mindfulness practice, mindfulness poetry can help us keep, or regain, our footing in a world of upheaval. They can inspire you and bring you closer to the wonder of living a mindful and compassionate life.Poets – as, from the Greek, "makers" of language – have contributed to the evolution of the linguistic, expressive, and utilitarian qualities of their languages. In an increasingly globalized world, poets often adapt forms, styles, and techniques from diverse cultures and languages. Alliteration is the repetition of letters or letter-sounds at the beginning of two or more words immediately succeeding each other, or at short intervals; or the recurrence of the same letter in accented parts of words. Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry. The alliterative patterns of early Germanic poetry interweave meter and alliteration as a key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur. This can be compared to an ornamental use of alliteration in most Modern European poetry, where alliterative patterns are not formal or carried through full stanzas. Alliteration is particularly useful in languages with less rich rhyming structures. The irony is, from the machine has come one gain not yet sufficiently observed or used, but which leads directly on toward projective verse and its consequences. It is the advantage of the typewriter that, due to its rigidity and its space precisions, it can, for a poet, indicate exactly the breath, the pauses, the suspensions even of syllables, the juxtapositions even of parts of phrases, which he intends. For the first time the poet has the stave and the bar a musician has had. For the first time he can, without the convention of rime and meter, record the listening he has done to his own speech and by that one act indicate how he would want any reader, silently or otherwise, to voice his work. Notwithstanding his essay’s predominately literary focus, Olson’s ultimate interest in the concept of “Projective Verse” is phenomenological, something that becomes especially clear in an unpublished prose piece from 1965, “The Projective, in Poetry and in Thought; and the Paratactic.” Here Olson develops a notion of “practice” that far outstrips the emphasis on verse-making of the 1950 essay: In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading).

Among major structural elements used in poetry are the line, the stanza or verse paragraph, and larger combinations of stanzas or lines such as cantos. Also sometimes used are broader visual presentations of words and calligraphy. These basic units of poetic form are often combined into larger structures, called poetic forms or poetic modes (see the following section), as in the sonnet.First, some simplicities that a man learns, if he works in OPEN, or what can also be called COMPOSITION BY FIELD, as opposed to inherited line, stanza, over-all form, what is the “old” base of the non-projective. Translated by May-Brit Akerholt. Poem of the Week. 52 poems throughout the year Take part in a weekly journey through 52 poems by authors from Norway throughout 2019 – Norway’s year as Guest of Honour at the Frankfurt Book Fair. From the time when the earliest texts were recorded in runic inscriptions, poetry has had a strong position in Norway. By introducing a new poem each week throughout 2019, we aim to highlight the quality and breadth of Norwegian poetry. «Poem of the Week» presents 52 poems, inspired by the changing seasons and the passing of the year. The selection has been made by Tone Carlsen and Annette Vonberg, and consists of poems from the earliest handwritten manuscripts up until today, with a special emphasis on contemporary poetry. it is close, another way: the mind is brother to this sister and is, because it is so close, is the drying force, the incest, the sharpener . . . the kinetics of the thing.[6] A poem is energy transferred from where the poet got it (he will have some several causations), by way of the poem itself to, all the way over to, the reader. Okay. Then the poem itself must, at all points, be a high-energy construct and, at all points, an energy-discharge. So: how is the poet to accomplish same energy, how is he, what is the process by which a poet gets in, at all points energy at least the equivalent of the energy which propelled him in the first place, yet an energy which is peculiar to verse alone and which will be, obviously, also different from the energy which the reader, because he is the third term, will take away? A Gloucester fisherman named also in “Letter 20” of the Maximus poems ( MAX 89, 91), in “The Morning News” ( CP 122), and in Olson’s 1936 “Journal of Swordfishing Cruise on the Doris M. Hawes” ( OJ 7:10, 19).