The triolet

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https://www.poets.org/poetsorg/text/triolet-poetic-form

“Though some employed the triolet as a vehicle for light or humorous themes,Thomas Hardy recognized the possibilities for melancholy and seriousness, if the repetition could be skillfully employed to mark a shift in the meaning of repeated lines.

In “How Great My Grief,” Hardy displays both his mastery of the triolet and the potency of the form:

     How great my grief, my joys how few,
Since first it was my fate to know thee!
—Have the slow years not brought to view
How great my grief, my joys how few,
Not memory shaped old times anew,
Nor loving-kindness helped to show thee
How great my grief, my joys how few,
Since first it was my fate to know thee?

The first line, “How great my grief, my joys how few,” is, in its two subsequent appearances, modified by the movement of time in the poem. Initially, the line assumes a declarative position, indicating the subject and tone of the poem, one of grief and love lost. By its third iteration, after several queries to the person being addressed, the line takes on the added weight of the speaker’s astonished grief that the addressee has not, despite the years, recognized the speaker’s profound sense of loss.”

I miss the self

I miss the self that I became with you
I miss your gaze as  broad as any hawk’s
I miss   your words that were with love imbued

I miss  your heart  and all our loving new
I miss your humor and  your potent thought
I miss the self that I became with you

I miss the words we fashioned   from  our view
The new ideas by which truths were taught
I miss   your words that were with love imbued

I miss the imitations you could  do.
Politicians were with laughter caught
I miss the self that I became with you

So much more, the more our knowing grew
As the depths new understanding brought
I miss   your words that were with love imbued

Context,frame,perspective all made new
From   the  flesh a  tenderness   was lit.
I miss the self that I became with you
I miss   your words that  made our love   anew

In the heart of the man, there’s a gap

In the heart of a violin, there’s a flame
It was lit by the  ache of desire.
Electric  those gold stricken wires
Who plays loud the sound of your name?

In the heart of the  love, there’s a space
Where music’s  condemned by the moon
Where dancers will dance to their doom
In our   timelesss and freezing embrace.

In the heart of the man there’s a gap
Where the love cannot reach ,though  he try,
Near untouchable  bliss he might die
As photographers beam in their snaps

What we don’t know

 

Froimagesm reading the previous post and reflecting,it seems that we see people as separate and uniquely responsible for their state of being.Hence getting to be more aware of our unconscious mind is good for us
But what about all the facts we don’t know about the external world?How people can be destroyed by  war,riot,earthquake,flood and wild  animals.How we are injured by economic  theories and practices we do not understand or even know of.Politics,wars,loss of confidence in the economy
I accept that in some ways we can be our own worst enemy but even the most aware loving good person can be injured by fact ors quite beyond their control
I once asked two friends who are psychoanalysts whether they took people’s economic situation into account and was told it was not relevant.I realise now that unless you are quite well to do you can’t afford psychoanalysis.I read lately of a woman writer who was badly blocked.After 4 sessions a week for 8-9 years she was much better.I can’t understand how most people could afford that.And  it’s a long time to spend  before getting very far.Admittedly she did publish a book after 2 years but unless it was a best seller would that giver her a viable lifestyle
Or is it just that only rich people attend in such a full manner?The time factor too, if you had children or another job would be tough.Unless you live next door to the  analyst!

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Could it be that many people have  emotional problems but the wealthy or highly educated have more access to this kind of support.Poorer people may have good support  from family and friends emotionally  but sometimes it’s the family which is the problem.
Are there no methods of improvement which are available to the average person?
I suppose learning relaxation techniques,eating well,exercise,music ,poetry can help
I was very moved by an article which said that having even just one trustworthy friend is enough to keep us sane.

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Sometimes  keeping quiet about your problem  except to a very close friend is best if it is potentially very  distressing to others..lady admitted to hospital in the USA said she kept telling folk about the dead bodies she saw in the street.Her treatment was to stop telling people.It worked, she was able to live independently again.I suppose it is unfashionable now but maintaining your own privacy might be a very good thing.The same psychiatrist used to ask new patients,Whom have you annoyed to get sent in  here?
In other words, you might be seriously disturbed but have lots of support and loads of money  and then recover.But with no support, a mild disturbance might lead to being sent  into a  hospital.And it is not very good in England where little money is spent on such things.You might lose your job and in the current economic climate  that would be a major blow.So one might get the revolving door scenario.You might end up living rough as well.And if you live in certain parts of the world your horrible life might be totally out of your own control.Many children in Gaza  have lost the will to live.That mustbe so in many other places too.

Showgazae

Would you like to write humor?

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Humor Writing Basics (& a List of Funny Words)

FIND WORDS WITH MULTIPLE MEANINGS

The double entendre is a comedy staple, one that’s all about word choice. Country music song titles often use this device. Consider the songs “If I Said You Had a Beautiful Body, Would You Hold It Against Me?” and “Crystal, I Can See Through You.”

In the first example, “hold it against me” can refer to either “beautiful body” or the statement “you have a beautiful body.” The second example is more of a pun

 

Life is a film and love’s the bond.

I saw you look,I saw you stare
You liked the colour of my  hair.
I heard you speak,I felt  less bleak
Now I sit  near where you were.

I held your hand, on Southwold sands
Your hand was warm,who understands?
Your time was up,you won the lot.
I gave your grace to  those forgot.

I rode my bike,St Giles was dark
A car hit me  and I saw sparks.
You knew my name, we were the same
I saw real stars, when  shot by car.

I saw a hand turn in the sand
Life is a film and love’s the bond.
Your trust complete,I was your sweet
The end is here; it’s no defeat.

For life’s a tale we won’t bewail
You write along the  hidden trail.
Your narrative  can no more live
You  were yourself.,no more to give.

We knit the fabric  for the young
And with this gift our song is sung
The melody, sonorous be
For life is good and love is free

And yet I weep whilst I’m asleep
I wish to be with you so deep
Come back again,we’ll live the pain
We’ll weep till we  become the rain.

For fire burns and stomachs churn
We may not get what we have earned
Who is the judge,who keeps the ledge
Who will be when love’s  alleged?

There’s never a seed to mythologise.

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It’s coarse for the loose to give a source for the slander.
There’s many a slip fixed up by  some lip.
One bore  is a bitch and one is a whore.
Many  a man saves sites  to lurk.
He was struck in the  balls,grim.
There’s never a seed to mythologise.
When women creak, men should falter.
What a pity our  arms and legs don’t unscrew  when  unneeded.
There is never a need for a double negative,not ever.
Many cliches are useful when life becomes a cliche.

Inside the vestibule and chapel at Eastbridge Hospital (c) Jane Risdon 2015

Wild as a scream

chimera_4063It’s so hard being a real lady,I feel I have tried my best
I bought myself new makeup, lipstick and a thermal vest
But I feel there’s something lacking, my deodorant does not work
I used to love  that pink Innoxa, now it’s Dove which I can’t shirk
First, we  have to do our faces,with abrasive wash to  clean those pores
When I took another Selfie,I knew that it would take ten hours
Then we have to soak our bodies in a bath of perfumed silk
As we drowse in lovely reverie, someone shouts, drat where’s the milk?
Surely that can’t be my husband for he never shouts at all
If he does he will regret it, God  knows I shall not play ball
When  I’m really clean and  perfumed,I  put on a brand new dress
When he sees me in the doorway, he calls, what a bloody mess.
What do you mean my darling angel, to whom are you shouting that
He said,it’s your  nylon wig,my sweetheart,it is just like Trump’s doormat.
Well,I never did my hair yet,I took so long getting  clean
He said,I prefer you dirty, and your hair wild as a  scream.
Well,I should have asked him,before I spent 500 pounds
I bought all that Boots can offer, and some more around the town.
So I’ll never  be a lady and he’ll never be a lord
I’ll wear makeup in the kitchen and grime  for love in bed.
I can’t waste my money ,I’ll wear Dove during the day
Then I’ll sweat with dark emotion when  my husband wants to play

How to be a writer

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How to Be a Writer: 10 Tips from Rebecca Solnit

 

“Find a vocation. Talent is overrated, and it is usually conflated with nice style. Passion, vocation, vision, and dedication are rarer, and they will get you through the rough spots in your style when your style won’t give you a reason to get up in the morning and stare at the manuscript for the hundredth day in a row or even give you a compelling subject to write about. If you’re not passionate about writing and about the world and the things in it you’re writing about, then why are you writing? It starts with passion even before it starts with words. You want to read people who are wise, deep, wild, kind, committed, insightful, attentive; you want to be those people. I am all for style, but only in service of vision.”

My foundation’s cool vanilla

 

My foundation’s cool vanilla
And my lipstick is pink willow
I’ve been shopping autumn makeup in the store
I cannot wear mascara
In case it says,how are ye’ ?
In any case, I can’t see much any more.
So I have to get assistance
Despite my strong resistance
The assistant is examining all my pores.
Is your skin quite oily?
She questions me adroitly
Till my knees sag and I fall  down on the floor.
They shout,are you ok,dear?
I gather that the Lord’s here.
He has come to take me up to Heaven’s door.
I  won’t need Cool Vanilla
I’ll never look like Queen Camilla
But my  face will wear a smile from ear to  ear.
I shall die here in Cosmetics
I know I’m no ascetic
But with Sweet Jesus, I shall know no fear

What God endowed the owl with such excess

The owl can see with wide and narrow view
Focuses both poets and artists knew.
The broad sweep on the canvas makes a place
Where details and designs can have their space.

What God endowed the owl with such excess;
When all her progeny enjoy such bliss?
I think, where is the snake with frightening hiss?
What startling accident created this?

Eagles,hawks and owls must kill to eat.
No blandishments nor kindness make them sweet.
What God could make an Eden this deceit;
Where lambs are snatched up while their mothers bleat

So God himself destroys to fill his leisure;
Such fearsome revelations show his measure.
…

 

Who can say the heart’s a refugee?

Wholly here in   trust of the unknown
A trust   wholly impossible to  man
So Jesus  cried out  in his state forlorn
Unknowing and uncertain, he began.

Who can tell us what the cost may be?
Our open eyes may  let in bleak despair
Who can  say that  love’s a refugee?
Our open eyes may see the Light shine where?

How we  draw our lifelines   sharp and black
When watercolor may be nearer truth.
A puzzle, steel, mechanical, might crack
And leave us  helpless , buried in  our ruth.

Who has got the courage when alone?
Which of us will roll away the stone?

Wholly here

quote-the-purest-form-of-listening-is-to-listen-without-memory-or-desire-wilfred-bion-86-33-46This is interesting because Meister Eckhart used this phrase in discussing mysticism a long time before Bion used it.

http://www.iep.utm.edu/eckhart/
I like it because we are often so caught up in our desires we hardly notice the Other even when listening to them.

I’ll love you, by the way

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'Twas but a reptile passing by.
It flew across the deep blue sky
Why do reptiles fly so high?
I'll love you till I die.

"Twas but a cat under the moon.
Did you have a silver spoon?
Why can't cats all waul in tune?
I'll love you very soon

'Twas but a wooden legged man,
Carrying a large brass saucepan.
Why can't men do what women can?
I'll love you better than.

Why are adverbs?
What are nouns?
why do circuses have clowns?
I'll love you lying down.

Where do dreams go in the day?
What game can we adults play?
Can you or can you not say?
I'll love you,in my way.

'Twas but a verse that seemed so free.
It floated over my oak tree.
I have eyes but cannot see.
I'll love you when I be

What Is Poetry by John Ashbery

What Is Poetry

John Ashbery

The medieval town, with frieze
Of boy scouts from Nagoya? The snow

That came when we wanted it to snow?
Beautiful images? Trying to avoid

Ideas, as in this poem? But we
Go back to them as to a wife, leaving

The mistress we desire? Now they
Will have to believe it

As we believed it. In school
All the thought got combed out:

What was left was like a field.
Shut your eyes, and you can feel it for miles around.

Now open them on a thin vertical path.
It might give us–what?–some flowers soon?

In time to the music of the words

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http://www.poetryarchive.org/glossary/metre

“Like the rhythm in a piece of music, the metre is an underlying structure. Poets often slip in extra feet, or remove them, or change stress patterns around to prevent monotony, like playing rubato. (Sometimes a poem seems to be exploring how far a line can be pushed without losing all connection with the underlying metre.) This means that the discovery of a foot other than an iamb in the middle of what is otherwise iambic, say, does not stop the poem from being iambic; rather the attention ends up lingering at that point, so the word on the different foot ends up more powerful as it has the attention longer. An example of this can be found in Peter Dale’s ‘Half-Light’; he writes “I’m trying not to give another glance. / Lit window thirty years back up that path.” The first line is a perfectly regular iambic pentameter, but the second introduces an extra stress on “Lit”, so that what the speaker’s trying not to be drawn to seems more powerful, perhaps helping us empathise with him when he does look back and “catch her eye an instant””

 

Note  on  the word:iamb

An iamb /ˈaɪæm/ or iambus is a metrical foot used in various types of poetry. Originally the term referred to one of the feet of the quantitative meter of classical Greek prosody: a short syllable followed by a long syllable (as in “delay”).

To measure out right feelings in due size

A  triolet can act as a device
That stops the flood of feeling  drowning  all
If it   embeds a phrase  for wiser eyes.
A  triolet can act  when well contrived
To measure out right feelings in  due size
Then we are  sheltered from  apocalyptic falls
A  triolet’s a  poem , a    rhymed device
To contain the flood of feelings which appalls.

No woman

No woman ever can be what he dreams

Nor can they give comfort,not a  goad

Yet every night he plots and thinks and schemes.

And rarely does he ever go abroad.

No food he eats will satisfy his tongue.

The best wine is as naught to mother’s milk.

He grumbles and will not admit to wrong.

I‘ve known more men than him of this same ilk.

No bed can be the right one for his sleep.

No sheets and pillows suit his wary skin.

He often has made gentle maidens weep

Crying out they’re  too fat or boney thin.’

Beware the man who never can adapt

For in own lone wishes he is trapped

Red maple tree

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I lie back in the weather-proofed green chair
To gaze up at the flowering maple tree.
Now, touched by sun,lungs full of scented air
I embrace with joy the beauty I now see.

Old celandine show brightly by my feet
Neglected currant bushes straggle round the path
There is no birdsong yet a silence sweet
Soothes my heart and quietens my wrath.

For my heart's sore and anguished is my mind
Yet in this little wood I feel deep calm.
My eyes are shadowed and my face is lined.
May this green spring bring me a gentle balm.

For even in depression and deep grief,
The mind makes healing medicine of a leaf.

We like the vaguely vogue

dracula-faces Surprise   them by  lying  real vague like a dead ghost
 A dread  like a  wolf’s toe nail hit me.Chiropody fee required.
 Shake the tiger by your wail and  you will be safe ,or play dead
 Slow longings make doubt rise
 If only balls could talk,we’d be nuts.
 The spout  was swilling  the kettle’s back on the fire
 Think outside the  frocks
Prick  your seeds daily
But at the dividends of the delay we’d be ok
 Plenty will fish   with no sea,some with no rod,pole or perch.
 Every god has  their decayed half life
 She  smoked like a   tea pot in a brandy store and boy,what pot!
She owed Leonard Cohen a  poem.Without knowing ,he was  morally inbred
Hell ,he eased her pain.His real name.Norman,morning

Ideas can be concealed

 I thought I'd write some poetry,
Though my thinking was too blind.
So I called into the Ideas Library
To see what I could find.

I looked through rows of new ideas
but none of them appealed,
I turned and tripped and banged my head,
where ideas can be concealed.

If you bang your head extremely hard
You really do see stars.
but don't do this to loosen thoughts,
It's the riskiest method by far 

I spent the night in hospital,
Awakened every hour
I was advised to watch my step
And avoid the Ideas Tower.

I wonder if there is a shop
Where ideas and dreams are sold?
For just a small expenditure,
Put your creative mind on hold.

But if you can't afford to pay
The library is still there.
Just look around and use your mind.
Ideas are everywhere.

The interaction of the world
With vision,thought and mind,
Produces many new ideas.
Those who seek shall find.Idea

The best villanelles of all time

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http://www.thehypertexts.com/Best%20Villanelles.htm

 


One Art

by Elizabeth Bishop

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

Elizabeth Bishop wrote a small handful of truly great poems such as “One Art,” “The Fish” and “The Armadillo,” and can probably be considered a major poet for those poems alone. “One Art” bends a few rules here and there, with good results, and manages to be both clever and moving at the same time: a considerable accomplishment.