Bird Watching

Upon a light barked limb of birch
a sparrow and a robin perch.
The robin shifts, the sparrow cries,
tilts his head, takes stock, then flies.

From an oak not far away
comes a bluebird and a jay.
The bluebird there to poach a nest,
the jay, simply to taunt and test.

The robin ready to give song,
protests briefly, moves along.
While hidden in the leaves above,
caws a raven, coos a dove.

A Passing Triolet

What passes by passes away
To hold is but to borrow.
If trees could speak, I’m sure they’d say
“What passes by passes away”.
The grass of spring, the blooms of May
will wilt and dry tomorrow.
What passes by passes away
To hold is but to borrow.

Love

She asked me what I meant and I fell silent,
and falling dumb, I fell upon my knees.
To mean is to maintain in spite of violence,
a steady and illusionary peace.

I battered her with doubt, I begged for something,
anything by which to be defined.
I am, it is, they are – Dear God, have mercy:
A stranger in a world to which I’m blind.

“Love”, she said, distressed, as if an answer.
I lost myself a moment in her eyes.
I rose both to her need and to embrace her
and spoke a gift of comfort and of lies.

More on Forms

The topic of traditional verse forms comes up often in the poetry section over at the mywriterscircle.com. Questions like: Is formal poetry even valid today? Is it too hard for beginners? Should they avoid forms altogether or at least wait until they are more comfortable writing in general? The following is modified from a reply I posted to one of these topics.

A newer poet posted a rhyming poem. The rhymes were forced and the poem had no detectable metrical structure. One suggestion made was for the poet to abandon their attempt at rhyming verse and to focus on what they wanted to say. It was a thoughtful suggestion and presents an approach that may work for many. Another approach, and one I advocate, is to learn the building blocks of metrical verse through study and imitation. I think this approach will serve the poet throughout their life regardless of their intend to work in form or not.

Poetry evolved. It is a mistake to assume that at some magic point in time poets cast off their shackles and started writing ‘real’ poetry. It is equally a mistake to assume that the tools and techniques put to use effectively in the past are irrelevant to modern expression. Every poem, or at least every poem worth reading, has a form. The poet is creating a soundscape to carry their meaning and all the emotion appropriate (in the sense that it conforms to the poet’s intent) to it. Otherwise every utterance is a poem and all definition is pointless.

At a minimum we should agree that a poem tries to say something in a purposeful and specific way. That way is the poem’s form. Seen in this light, good free verse is not formless. Its form is organic. The idea that it is easier to write good free verse than in a traditional form is simply false.

There is a creative tension between the artist and their medium regardless of what that medium is. It’s kind of the “necessity is the mother of invention” idea. The problem in poetry of relying on what you have to say is that what most of us have to say is not all that earth-shattering. Worse than that, someone has certainly beat us to the punch.  As poets we count on this. We are hoping for a connection. We want our words to resonate with the reader. What we can do, is say it in a way that is pleasing, that engages the readers senses, appeals to their common humanity, and makes them think. Uniqueness does not need to be forced. It is a given.

If a young poet is bending their content to fit a rhyme, the problem is not the rhyme, it’s more than likely a weakness of vocabulary or the creative faculty to rephrase exactly what they want to express in a manner that fits their medium. This effort is what forces the formal artist to get creative. I will add that the effort often drives the poet to examine their idea(s) intimately. The effort itself forces them to know what they want to say. I think it is in this sense that Winters viewed poetry as a form of discovery.

Young poets focused too heavily on just saying it run the serious risk of counting solely on moral judgements, political affiliations, and fashions of thought. Please don’t misunderstand, there are many talented people out there. Some with the such raw ability that they will find their voice regardless. But, if we are talking about young people of average genius, telling them that expression is enough and to ‘just go with it’ is destructive to them as artists and destructive to the art as a whole. Its effect on modern poetry can be read in reams and reams of agenda-based nonsense, sentimental drivel, and lowest-common-denominator sexualization that lost even its shock value decades ago.

I’ve known people in the visual arts. To a one, regardless of style, they have a strong foundational understanding of classical technique. This foundation is viewed as core competence and provides them with material for their own innovations. Musicians, if they are worth there salt, know at least some measure of theory. When it comes to poetry however many aspiring poets operate under the assumption that centuries of history and the evolution of their art can be dismissed. Self expression may be therapeutic and political expression may be socially valuable, but they are not art. They can be expressed through art and a poet that want to address the valid issues of their day to effect should know at least the foundational building blocks of what that art is.

Again. I’m not advocating everyone or anyone go back to writing sonnets (it won’t hurt), but I do think young people who want to be poets should know the history of their art and appreciate that at one time, the forms that are now considered staid and stale were once radical innovations capable of extreme emotional and rhetorical power. That these techniques can inform and enrich their own poems. And that the best way to express yourself effectively is to know how to speak. This means having all the tools of our literary heritage on our palettes whether we chose to use them in a particular work or not.

Flower-gathering – Robert Frost (1915)

I left you in the morning,
And in the morning glow,
You walked a way beside me
To make me sad to go.
Do you know me in the gloaming,
Gaunt and dusty grey with roaming?
Are you dumb because you know me not,
Or dumb because you know?

All for me? And not a question
For the faded flowers gay
That could take me from beside you
For the ages of a day?
They are yours, and be the measure
Of their worth for you to treasure,
The measure of the little while
That I’ve been long away.

Indigo Bunting

I’m dumb to leaves and prairie grass;
a million colors can’t be named.
Wind conspires with shifting light
to humble language, exult sight.

I watched a bunting taking flight
from black to blue turn as I looked.
A list of shades between the hues
would burst the bindings of a book.

A spectrum spanned, a moment took,
a world encompassed in a blink
and all I ever hoped to know
vanished when I stopped to think.