Consciousness of the poet is important in the construction of the poem, but does this lead to that poetry is just an industry or remains subject to the nature of the poet?
Saul Tchernychevsky opined, that only poetic consciousness can redeem the world. I have written poems in several languages, mostly for art contests, and do think that the constructive creation of a poem is strongly influencd by the topic and motif, e.g. I find it easier to write a harmonic religious (spiritual) poem than one about politics. Poetry cannot be industrialized, because it is based on (linguistic) probabilities; poetry is close to time-tested wisdom.
إن بناء أسس الإيقاع الشعري من وزن شعري وقافية وإيقاع داخلي للأبيات يعتمد على طبيعة التجارب والظروف ونوع البيئة التي يتفاعل معها الشاعر، وقد وضع النقاد أسساً حول الطبع والصنعة عند الشاعر ودورهما في توجيه وعي الشاعر
Saul Tchernychevsky opined, that only poetic consciousness can redeem the world. I have written poems in several languages, mostly for art contests, and do think that the constructive creation of a poem is strongly influencd by the topic and motif, e.g. I find it easier to write a harmonic religious (spiritual) poem than one about politics. Poetry cannot be industrialized, because it is based on (linguistic) probabilities; poetry is close to time-tested wisdom.
I would dispute that consciousness is important. The best poems arise unbidden from the subconscious.
هذه الأسئلة التي تطرحها سيدي المحترم كانت أسئلة التنظير الشعري وقد وقفت فيها الإجابة على جدل الذاتي والموضوعي
The problem has to be faced like this: rhyme, meter, assonance, repetition, ritme are all part of the poem as a unique system. Even when the poet gives up using one of these structure, he is doing it in order to construct the poem in the way he wants. Every part of the poem is planned and has its function to transmit the view of a reality the poet has. What needs to be stressed is that the strong poet (Bloom, 1973) most of the time is talking about a reality that is far from his observation and even farther from ordinary people. A very powerful metaphor. But I am talking about strong poets (Milton, Whitman, Shakespeare), not about weekend poets.
This depends on the psychological state of the poet. Sometimes, the poet is depressed or glad , etc. and such features vividly appear in the produced poetry especially in tone and rhythm too.
With the popularity of free style poetry since Walt Whitman, the only true necessity in writing an effective poem is in how well the poet projects their message, and how well the poem was received. Many poets will introduce their works to small reading groups consisting of their target audience to determine if they have hit the mark before publishing. Letting a work rest for 3-6 months then a rereading can help to determine if the poem is truly what the poet wanted to say and how the poet wanted the message to be represented.
Through my personal poetic experience I see that talent and industry share together in the industry of the poem.
The poet first employs his ideas in the framework of the poetic mold appropriate to her with his keenness to stay away from the difficult rhymes that narrow the screws on him and impede the moments of poetic flow.
Dears @Fadi, @Andrea and @Durait, we are deifinitely talking about different poets. You are talking about seasonal poets, or better: people who think they are poets, I am speaking of Poets. Meaning: either write or die, or more literally they can't continue their rotinary lives if they can't find just one word to make gran-finale of a verse. They use free verse if this is the form they think is the only form to transmit his metaphor. They don't do it for the fancy, not because they want. They do it because is the only possible way to depict a reality that has tormenting them conciously or not.
"A poem may be worked over once it is in being, but may not be worried into being"- Robert Frost said it aptly in his "The Figure a Poem Makes" which has many other interesting insights into the poetic process. To worry a poem into being makes the composition of a poem, a labour. The very conclusion of the poem comes as a surprise even to the poet who allows himself to be swept, not swept away, by the momentum of the poem.
That's true
I agree with you that the poem begins in a surprise, but soon subject to the consciousness of the poet and his desire to control It's limits and march.
The conciousness of the poet is necessary in the composure of the poem. Real heart felt lines are written from a very concious state of mind. Most a times the poem reflect the state of mind of the poet which leads to categories of poems. But fact still have it that some get their poetic lines and rythm from an unconscious state.
I have studied enough languages to know that the actual language in which you write something will affect how you answer this question. I write in English but have studied when I could and for as long as I could classical Greek, Latin, Hebrew, Russian, German, French, Italian and Czech. I have written free verse, blank verse and rhymed verse. My free verse was patterned (mixed meters usually). I enjoy writing blank verse plays but I prefer rhymed verse
I have written verse for over 60 years. I call it verse rather than poetry because the origin of the word poetry is the Greek poesis, or making. I believe "poetry" is a craft -- you have something to communicate and you wish to communicate it as best you can. I could also pay word games and remind people that art is the first three letters of artificial.
Inspiration can come from anywhere, but the problems of communication must be applied. Somethings I know I want to say something but I will not always write something down. I play with words until I hit upon one that fits what I wish to say, then I think about images. I also "hear" what I am thinking, speaking it aloud silently. I keep reading aloud what I write to ensure the words I use are in the right sequence of the though with the right rhythm. I always think about whether I can find a better word or if the rhythm needs to be varied. I can probably always revise something I have written.
I wrote a play one time, a fake murder mystery for the audience to realize that the mystery was not really a mystery. I chose blank verse because I learned as an actor that if the playwright was any good, how the playwright phrased sentences gave you the character the playwright wanted if you caught the rhythm of the thought. The blank verse I wrote was not strict iambic pentameter but used liberal substitution so that, although tightly structured, it sounded colloquial. It was performed in a class with actors reading it cold. No one but the actors and myself knew that the play was in blank verse. When the class discussed it, one of the actors said that it was an actor's dream because there was so much to work with. Then she dropped her bombshell "and it's in blank verse". The guy teaching the course grabbed the script from her hands and started counting the syllables. He asked me who I studied with and I looked him in the eye and said, "I have been writing verse since I was seven -- if I can't write blank verse by now, I should give up. I mention this because theory is bogus without being about to put it into practice and find out if it works. Most works I have read on scansion are based on ideas, not on sound. They are intellectual and not aural/oral. They abstract something that is visceral and yet must be crafted to work.
According to Wordsworth, "poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility". This includes rhyme and other figures of speech too. So if a poet is conscious of poetic weightage and its embellishments, then it reveals that he commercializes poetry. Moreover he does not write for his soul satisfaction.
Yes, Poet interferes consciousness when writing poetry because if he (poet) can not take any step of poem writing without interfering consciousness within poem and except use of poetic terms such as rhyme and rhythm why because consciousness is the soul of the poet in writing poetry.
I strongly believe he does. The poet is inspired by something to compose a poem. That inspiration produces specific or diverse feelings, sensations or emotions which provoke in him / her a poetic desire. This desire generates in his / her inner-person certain pictures and sense of beauty. These inform the form, diction and imagery associated with the aesthetics of the poem produced. In this respect, the poet's consciousness interferes in determining poetic weight and rhyme when writing a poem.
I don't know whether or not I can present this easily, so it may be all over the place. I would like to address some caveats, or rather go into some of the complexities involved in what various people have said.
Not every poem is successful for any number of reasons but primarily because the idea was not thought through, the word choice was poor and it did not communicate to reader or listener the message or its importance (even light verse or triffles have a message.)
Some of the acclaimed "poets" were not always successful. Read The Stuffed Owl.
Inspiration is not always mature, rewarding or capable of articulation. It has to be expressed in such a way that makes it worthwhile, so basically you have to learn how to explore your "inspirations" -- in other words, you have to train yourself to experience them to get their full meaning or that part of the meaning which interests you and then you must figure out a way to communicate it. Treating inspiration as a Delphic Oracle can be dangerous.
Training is usually experienced in a formal setting these days. What I learned was that my teachers and professors generally wanted me to follow certain theories which were au courant. Only a few actually were willing to let me follow my own path towards what I wanted to express. They never told me I was wrong; they were often interested in what I was saying and engaged me in dialogue so that I could think through for myself where my thoughts were leading me.. In this system, the chance for a wider audience is limited because publications are usually centered on specific agendas. I rarely was able to get published because everything was judged according to an inflexible standard or approach. I did enter a contest one time in London when I lived there for a year. I submitted a love poem and it was accepted for publication in their book. They also asked me to permit them to have a professional recite the sonnet for a recording they were making. I agreed and I eventually received an audiotape. I realized why they accepted it -- they probably did not understand it because I was using Shakespearean type of word choice. Actual I wasn't but that's another issue -- I wrote it to be said aloud to someone as a request albeit a playful one -- the person was my wife. The professional began the recitation as a professional and at some early point realized that she had misunderstood the narrative picture in the sonnet. The poem was a narrative about an invitation to lovemaking as it is happening and intimated both the playful aspect as well as the profound, as in telling myself, "know kneel you as at prayer". That realization on the reciter's part made the ending really work as its message was that what you think is a an incidental occasion can transcend to a higher plane.
Communication and the wish to communicate by honing your work is not necessarily commercialization. Sometimes when you sharpen a rhyme using one that differs from your original path to expression, it opens up another perspective that often gives you a better precision to your communication and allows you to strengthen other words by finding better combinations. I rarely send out my verse any longer because those who control the means of transmission have agendas and unless you say what they want and how they want it said, you have no chance. I write for myself and a few other people.
Here is a verse I wrote as a freshman in college in imitation of Catullus:
Lips often tremble when lovers kiss,
That each love is a new inexperience.
You look at it and say that it is incoherent, in the formalist school or whatever. Read it aloud and you find out that it is in the oral tradition which captures the shock and aware of the link between tremble and inexperience. Read it silently, and it probably seems stodgy and archaic.
Poetry writing is a spontaneous process , I believe. A poem is not consciously written . It is captured in a moment of inspiration.
A real poet does not really think about the rhyme, I guess . It simply haunts his mind.
The rhyme is an integral part in a poem . One cannot ( force) it on the text.
The poet is free when the poem begins, but he is soon forced to submit to the constraints of weights and rhymes.
Not all poets are born, some of them are made. A poet who is conscious in the characteristics of a good poem or a literary masterpiece, he/she consciously interferes to the structure, content and artistry of the craft.
There is a poet who writes poem just to express what is in the heart and soul. The expression flows without thinking of the rhythm and rhyme or the word structure of the poem.
dear duraid sharoot
in persian poems sometime poets choose a specific weight and rhyme of course not always.
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