The Poems Have Spoken!

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Here are some spoken word poems from our Power Poets. Skip to main content. It relies on a heavy use of rhythm, improvisation, rhymes, word play, and slang. Choose a subject and have attitude. No attitude, no poem! The key here is to build confidence. We must acknowledge ourselves as writers and understand what we have to say is important. Pick your poetic devices. Poems that get attention are ones that incorporate simple, but powerful poetic elements. Repetition is a device that can help a writer generate exciting poems with just repeating a key phrase or image.

Rhyming can enrich your diction and performance. This refrain may be of one or several syllables and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity. As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well.

His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author. In addition to specific forms of poems, poetry is often thought of in terms of different genres and subgenres. A poetic genre is generally a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics.

Others view the study of genres as the study of how different works relate and refer to other works. Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry , but the term "narrative poetry" is often reserved for smaller works, generally with more appeal to human interest.

Narrative poetry may be the oldest type of poetry. Many scholars of Homer have concluded that his Iliad and Odyssey were composed of compilations of shorter narrative poems that related individual episodes. Much narrative poetry—such as Scottish and English ballads , and Baltic and Slavic heroic poems—is performance poetry with roots in a preliterate oral tradition. It has been speculated that some features that distinguish poetry from prose, such as meter, alliteration and kennings , once served as memory aids for bards who recited traditional tales.

Lyric poetry is a genre that, unlike epic and dramatic poetry, does not attempt to tell a story but instead is of a more personal nature. Poems in this genre tend to be shorter, melodic, and contemplative. Rather than depicting characters and actions, it portrays the poet's own feelings , states of mind , and perceptions. Vincent Millay. Epic poetry is a genre of poetry, and a major form of narrative literature. This genre is often defined as lengthy poems concerning events of a heroic or important nature to the culture of the time.

It recounts, in a continuous narrative, the life and works of a heroic or mythological person or group of persons. While the composition of epic poetry, and of long poems generally, became less common in the west after the early 20th century, some notable epics have continued to be written. Derek Walcott won a Nobel prize to a great extent on the basis of his epic, Omeros. Poetry can be a powerful vehicle for satire. The Romans had a strong tradition of satirical poetry, often written for political purposes. A notable example is the Roman poet Juvenal 's satires.

The same is true of the English satirical tradition. An elegy is a mournful, melancholy or plaintive poem, especially a lament for the dead or a funeral song. The term "elegy," which originally denoted a type of poetic meter elegiac meter , commonly describes a poem of mourning. An elegy may also reflect something that seems to the author to be strange or mysterious.

The elegy, as a reflection on a death, on a sorrow more generally, or on something mysterious, may be classified as a form of lyric poetry. The fable is an ancient literary genre , often though not invariably set in verse. It is a succinct story that features anthropomorphized animals, plants, inanimate objects, or forces of nature that illustrate a moral lesson a " moral ". Verse fables have used a variety of meter and rhyme patterns.

Dramatic poetry is drama written in verse to be spoken or sung, and appears in varying, sometimes related forms in many cultures. Greek tragedy in verse dates to the 6th century B. Speculative poetry, also known as fantastic poetry of which weird or macabre poetry is a major sub-classification , is a poetic genre which deals thematically with subjects which are "beyond reality", whether via extrapolation as in science fiction or via weird and horrific themes as in horror fiction. Such poetry appears regularly in modern science fiction and horror fiction magazines.

Edgar Allan Poe is sometimes seen as the "father of speculative poetry". Prose poetry is a hybrid genre that shows attributes of both prose and poetry. It may be indistinguishable from the micro-story a. Latin American poets of the 20th century who wrote prose poems include Octavio Paz and Giannina Braschi [] [].

Light poetry, or light verse, is poetry that attempts to be humorous. Poems considered "light" are usually brief, and can be on a frivolous or serious subject, and often feature word play , including puns , adventurous rhyme and heavy alliteration. Although a few free verse poets have excelled at light verse outside the formal verse tradition, light verse in English usually obeys at least some formal conventions. Common forms include the limerick , the clerihew , and the double dactyl. While light poetry is sometimes condemned as doggerel , or thought of as poetry composed casually, humor often makes a serious point in a subtle or subversive way.

Many of the most renowned "serious" poets have also excelled at light verse. Kennedy , Willard R. Espy , and Wendy Cope.

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Slam poetry is a genre, that originated in in Chicago , Illinois , when Marc Kelly Smith organized the first slam. Slam performers comment emotively, aloud before an audience, on personal, social, or other matters. It focuses on the aesthetics of word play, intonation, and voice inflection. Slam poetry is often competitive, at dedicated " poetry slam " contests. From Wikipedia, the free encyclopedia.

Examples of Slam Poetry & Spoken Word Poems - Digital Poet

This is the latest accepted revision , reviewed on 23 June This article is about the art form. For other uses, see Poetry disambiguation. For other uses, see Poem disambiguation , Poems disambiguation , and Poetic disambiguation. Main articles: History of poetry and Literary theory. The examples and perspective in this section may not represent a worldwide view of the subject.

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You may improve this section , discuss the issue on the talk page , or create a new article , as appropriate. September Learn how and when to remove this template message. Main article: Meter poetry. Main articles: Timing linguistics , tone linguistics , and Pitch accent. Main article: Scansion. Main articles: Rhyme , Alliterative verse , and Assonance. Main article: Rhyme scheme. Main article: Line poetry. Main article: Visual poetry. Main article: Poetic diction.

See also: Category: Poetic form. Main article: Sonnet. Main article: Shi poetry. Main article: Villanelle. Main article: Limerick poetry. Main article: Tanka. Main article: Haiku. Main article: Thai poetry. Main article: Ode. Main article: Ghazal. Main article: Narrative poetry. Main article: Lyric poetry. Main article: Epic poetry. Main article: Elegy.

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Main article: Fable. Main article: Speculative poetry. Main article: Prose poetry. Main article: Light poetry. Main article: Poetry slam. Poetry portal. However, in some forms, the unit is more equivalent to wak. To avoid confusion, this article will refer to wak and bat instead of line , which may refer to either. Oxford Dictionaries. Oxford University Press. Merriam-Webster, Inc.

Poetry: an introduction. Edinburgh University Press. Selected Essays. Modern Poetry After Modernism. Harvill Press. International Communication Gazette. The Interface Between the Written and the Oral. Cambridge University Press. The Epic of Gilgamesh Revised ed. Penguin Books. New York Times. Retrieved 1 May A small tablet in a special display this month in the Istanbul Museum of the Ancient Orient is thought to be the oldest love poem ever found, the words of a lover from more than 4, years ago. The Odyssey Re-Formed. Cornell University Press. Chinese Civilisation: A Sourcebook 2nd ed.

The Free Press. A poetics handbook: verbal art in the European tradition. In Kern, Martin ed. Text and Ritual in Early China. University of Washington Press. A history of literary criticism. Aristotle's Poetics. Genre Reprint ed. Journal of the American Oriental Society. Burnett, Charles Brill Academic Publishers. The Universities of the Italian Renaissance. Johns Hopkins University Press. Critique of Judgment. CS1 maint: Multiple names: authors list link Kant argues that the nature of poetry as a self-consciously abstract and beautiful form raises it to the highest level among the verbal arts, with tone or music following it, and only after that the more logical and narrative prose.

Keats and negative capability. The constructivist moment: from material text to cultural poetics. Wesleyan University Press. Journal of Translation. Archived from the original PDF on 9 March The classical tradition: Greek and Roman influences on western literature Reissued ed. Literary Criticism: A Short History.

Vintage Books. Why write poetry? Fairleigh Dickinson University Press. The Cambridge companion to modernist poetry. Postmodernist culture: an introduction to theories of the contemporary 2nd ed. Princeton Encyclopaedia of Poetry and Poetics enlarged edition. London and Basingstoke: Macmillan Press. In Bloom, Harold ed. Contemporary Poets. Bloom's modern critical views revised ed. New York: Infobase Publishing. Retrieved 7 May The generation of poets who stand together now, mature and ready to write the major American verse of the twenty-first century, may yet be seen as what Stevens called 'a great shadow's last embellishment,' the shadow being Emerson's.

Rhythmic Grammar. Walter de Gruyter. Cambridge textbooks in linguistics. University of Minnesota Press. Hebrew for biblical interpretation. Society of Biblical Literature. Tamil Internet : — Free Verse An Essay on Prosody. Northwestern University Press. Fondazione Universitaria in provincia di Belluno. Scott, Other poetry filmmakers, like Alastair Cook, adapt poetry that inspires them visually. Cook, A current approach towards spoken word poets, when combining their work to film, is to create a film of them reading or performing the poem.

Spoken word films, like music videos, rely on the physical presence of the performer. In the recent Nationwide Voice of the People campaign the poet sits or stands and addresses the camera. Nationwide, The poems, although much shorter than the artists usual spoken word pieces, have been personal and confessional.

I felt that such an approach was limiting. I needed to investigate the original Books of Hours, discover what they offered their readers, and how I could translate this into the writing of the poetry. A medieval Book of Hours was a collection of religious readings and accompanying images.

Fay-Sallois, By the fourteenth century these had become highly decorative works of art and many were produced by craftsmen for wealthy patrons. The book began with a calendar illustrated by images of activities connected to each month, such as sowing crops, harvest and feasting. The subsequent texts were divided into sections that replicated the religious activities of the monastic life. The purpose of a Book of Hours was for lay people to follow this religious structure. In our secular times we can underestimate the importance of the Christian calendar in medieval times. The Christian calendar represented an unwavering structure in an uncertain world and the progression from Christmas to Easter to Ascension would be imbedded in the minds and habits of everyone.

The monastic life was seen as the epitome of behaviour and direct connection with God was desirable. For an ordinary person to posses access to the religious life, in book form, was also highly desirable. It was common in medieval art, and also in the pages of the books of hours, for the patrons to be depicted in religious scenes, such as witnessing the birth of Christ or worshipping at the feet of the Virgin, thus placing themselves directly into the holy narrative.

They were created in a portable size so they could be carried by the owner and referred to on a daily basis. In The Morville Hours , a contemporary re-working of a Books of Hours, Katherine Swift acknowledged the desirability and extent of the medieval texts.

A Book of Hours can also be seen as an interactive text as these books were not intended to be read chronologically.

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The reader chose which readings to refer to according to time of day, season and spiritual mood. The most noted example of a Book of Hours created for a wealthy patron is the Tres Riches Heures commissioned by John the Duke of Berry between and illustrated by the brothers Limbourg. This is currently held in the Musee Conde in Chantilly, France. Limbourg, n. The Duke of Berry was a passionate collector of books and his library contained more then fifteen Books of Hours.

The Tres Riches Heures is a supreme example. The illuminated pages are exquisitely illustrated; they depict a calendar of the month, the signs of the Zodiac and scenes from life, according to the seasons. What I gained from my understanding of the medieval Books of Hours and what I felt I could translate into my project were the following aspects: The text, and in my case the films would be an embarking point for reflection. This reflection would not be a religious one but a contemplative one, offering responses to modern life and situations.

It would be presented in a calendar format, following the months of the year, times of day and the seasons. I now needed to find other writers who had attempted to create a modern version of a Book of Hours. The first poet I investigated was Rilke. It is a philosophical as well as a religious text, for Rilke was not an orthodox Christian and the God he addresses is a human facing God rather than a remote entity.

His manner of addressing God is akin to Manley Hopkins, it is personal and direct. Rilke is looking for answers, for meaning in life, but he is also conflicted about what he sees as the visceral link between man and deity. Rilke challenges not that a God exists but that God needs mankind in order to exist. The link between man and God is inescapable. I was particularly interested in his use of questions, sometimes rhetorical or sometimes as an opening gambit for further dialogue. When I your broken pitcher lie? The first addressed to my dying brother as he contemplates a death with no belief in an afterlife and the second reflects how one memory can link one event into another, but the overall feeling is still of loneliness.

His fields, clouds and seas are generalised rather than particular. This was unintentional. However, the surrounding landscape, the apparent remoteness of the location, the lushness of the hedgerows and a pervading sense of history crept into the poetry and on subsequent writing breaks I have chosen to be near or in The Golden Valley in Herefordshire, Radnorshire, or on the slopes of Sugar Loaf mountain. I do not live here but it feels like this stretch of country is my spiritual heartland. To convey this sense of connectedness I looked to the prose of nature writers.

There has been resurgence recently in writing about the British Countryside, not writing it as a history or as a reference guide but writing about the experience of it, akin to Richard Jefferies; the emotional connection to place. Most well known is Robert MacFarlane who seems to have trampled to every single remote place in the UK and reflected on his experience of being there. Emmanuel College, This type of writing contains detailed and knowledgeable observations about wildlife and flora, descriptions of weather patterns, and plenty of historical and biographical reflection.

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Other types of writers have contributed to this body of work such as poet Kathleen Jamie who writes about the Scottish coast, and Anna Pavord, the garden writer. Writing in this vein is Katherine Swift whose The Morville Hours , is the story of the creation of a garden. Swift, Swift acknowledges the influence of the early Books of Hours on her initial plans for her garden and also in the structure of her account. Her previous work as keeper of early manuscripts at Trinity College, Dublin gave her an intimate knowledge of these manuscripts and she, like myself, is fascinated by the detail.

The Morville Hours is an attempt to draw our attention back to the wonder and beauty of the growing world as seen through the eyes of a passionate gardener. At the heart of the narrative is the construction of her garden and her emotional progress as she develops it, but the book contain a history of the occupants of Morville Hall, reflections on our changing attitude towards nature and society, and the story of her relationship with her family.

It is also a contemplation on the nature of time. Gardens, she realises only exist because somebody gardens them, and her time on earth is limited.

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A garden is a process, not a product. She connects to her reader by placing her descriptions of her garden in the present tense, even through we learn that she started working on it in We are drawn into her sense of wonder as she addresses us directly. Beneath the wall the bearded irises are in bloom, the tall uppermost petals so gauzy, so delicate, that each bloom, once opened, lasts hardly longer than a day. Look, you can almost see through them. This is a clever strategy and is probably one of the reasons why so many people, including myself, love this book. Her prose is intoxicating and her use of detailed descriptions and sense of timelessness do indeed create for me a similar response to reading an illuminated manuscript.

I am a critical reader though, and although I enjoy the way she writes about irises, or roses, or lavender I am aware that her account has airbrushed out much of her life. She does not write about the difficulties of driving to the supermarket up country lanes in January, or trying to earn a living in the countryside. We only learn via a few sentences that she took on work for the National Trust and David Austin roses, that she became ill with ME, that she possibly is bi polar and is certainly an obsessive.

Swift, , p. In my Book of Hours I want more light shone onto the complicated areas of human experience. I am aware that my relationship with the natural world is not straightforward. I love being in a stone cottage, and writing about landscape, but I live in a city. I am far too used to the trapping of urban living, coffee shops, fast internet, circle of friends, to give these up and live in a remote location. I can recognise some wildflowers and birds but I do not have the deep knowledge of a nature writer, such as Stephen Moss.

Eight species of warblers! I am not sure I can identify two! I am aware when I am in the countryside how dumb I am. I want to explore the tension between appreciating landscape but not knowing how to interpret it. There are city dwellers who find the British Countryside inexplicable. Cottages are dark and dingy and cold. A day of rain can make walking impossible and more rain can interrupt driving. Roads get blocked by fallen trees, strayed cattle and slurries of mud.

And the wifi is slow. Our countryside is not benign. In nine people died in the British countryside due to being trampled on by cattle. BBC, There are also those who drown.

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I can smell the water now. Many of the viewers of The Book of Hours will be city dwellers as more people live in cities than in towns, and many of the viewers will not be British at all. People who visit the UK often expect to find something like a Jane Austen novel, with a pastoral landscape of pretty villages, ancient churches and grand houses.

It is a common mistake for visitors to look at a map of the UK and think that one can visit London, Bath, Edinburgh, Cambridge and Oxford in two days because they seem so close together in terms of distance. I want to explore something of the reality of modern Britain. I fear nuclear power. A concrete landscape and buried trees. What I learned from my reading of The Morville Hours is how to bring my readers into the writing and create a sense of contemplation by using specific descriptions, direct speech and the present tense.

I like the feel of empty quiet. I have too often chosen this instead of company. I wonder how much I have missed?

The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!
The Poems Have Spoken! The Poems Have Spoken!

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