BREATH - Poetry

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Metrical rhythm generally involves precise arrangements of stresses or syllables into repeated patterns called feet within a line. In Modern English verse the pattern of stresses primarily differentiate feet, so rhythm based on meter in Modern English is most often founded on the pattern of stressed and unstressed syllables (alone or elided). [45] In the classical languages, on the other hand, while the metrical units are similar, vowel length rather than stresses define the meter. [46] Old English poetry used a metrical pattern involving varied numbers of syllables but a fixed number of strong stresses in each line. [47] Marianne Moore

Vuong thrusts readers into language that opens and reopens, ‘a cage/that widens’ to disparate meanings. This collection is full of doors, entrances, thresholds— liquidised boundaries— on which we are encouraged to linger, remaining both inside and out of our choices, our histories and our joys.’ To repossess ourselves of a methodology of expression which shall be the equal of the laws which so richly determine the original function which we call human life—this, surely, is the task. And I have elsewhere argued that the first principle is, that if you propose to transfer power you must manage in the process of the transfer a kinetic at least the equal of the thing from which you begin. Which is why we will do nothing until we front what we are, precisely, the conditions of a human being, what is, exactly, the nature of a human life. (Glover diss., p. 271) Where you are. You must let it find you. Can Writing and Poetry be used to Meditate or to Cultivate Mindfulness? 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.There are a wide range of names for other types of feet, right up to a choriamb, a four syllable metric foot with a stressed syllable followed by two unstressed syllables and closing with a stressed syllable. The choriamb is derived from some ancient Greek and Latin poetry. [55] Languages which use vowel length or intonation rather than or in addition to syllabic accents in determining meter, such as Ottoman Turkish or Vedic, often have concepts similar to the iamb and dactyl to describe common combinations of long and short sounds. [59] In the Western poetic tradition, meters are customarily grouped according to a characteristic metrical foot and the number of feet per line. [53] The number of metrical feet in a line are described using Greek terminology: tetrameter for four feet and hexameter for six feet, for example. [54] Thus, " iambic pentameter" is a meter comprising five feet per line, in which the predominant kind of foot is the " iamb". This metric system originated in ancient Greek poetry, and was used by poets such as Pindar and Sappho, and by the great tragedians of Athens. Similarly, " dactylic hexameter", comprises six feet per line, of which the dominant kind of foot is the " dactyl". Dactylic hexameter was the traditional meter of Greek epic poetry, the earliest extant examples of which are the works of Homer and Hesiod. [55] Iambic pentameter and dactylic hexameter were later used by a number of poets, including William Shakespeare and Henry Wadsworth Longfellow, respectively. [56] The most common metrical feet in English are: [57] Homer: Roman bust, based on Greek original [58] Some 20th-century literary theorists rely less on the ostensible opposition of prose and poetry, instead focusing on the poet as simply one who creates using language, and poetry as what the poet creates. [34] The underlying concept of the poet as creator is not uncommon, and some modernist poets essentially do not distinguish between the creation of a poem with words, and creative acts in other media. Other modernists challenge the very attempt to define poetry as misguided. [35] 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.” 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.

Although not a rhyming poem, Breath presents us with a deliberately bold choice of rhyme in its opening tercet: “What is death, / but a letting go / of breath?” The choice is bold for a contemporary writer, because “death” and “breath” have such a long history of cohabitation in Anglophone verse. Partly because the stanza encapsulates a question – rhetorical but not uninteresting – the familiar rhyme and its antithesis seem to make a fresh start. Base: Mindfulness is being aware of the present moment without judgment. It’s not always easy to do, especially when we are stressed out or anxious. We can practice mindfulness by taking time to focus on our breathing, noting what is around us, or simply having open awareness. Is” comes from the Aryan root,[11] as, to breathe. The English “not” equals the Sanscrit na, which may come from the root na, to be lost, to perish. “Be” is from bhu, to grow. The methods for creating poetic rhythm vary across languages and between poetic traditions. Languages are often described as having timing set primarily by accents, syllables, or moras, depending on how rhythm is established, although a language can be influenced by multiple approaches. Japanese is a mora-timed language. Latin, Catalan, French, Leonese, Galician and Spanish are called syllable-timed languages. Stress-timed languages include English, Russian and, generally, German. [43] Varying intonation also affects how rhythm is perceived. Languages can rely on either pitch or tone. Some languages with a pitch accent are Vedic Sanskrit or Ancient Greek. Tonal languages include Chinese, Vietnamese and most Subsaharan languages. [44] Classical Chinese poetics, based on the tone system of Middle Chinese, recognized two kinds of tones: the level (平 píng) tone and the oblique (仄 zè) tones, a category consisting of the rising (上 sháng) tone, the departing (去 qù) tone and the entering (入 rù) tone. Certain forms of poetry placed constraints on which syllables were required to be level and which oblique.

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Some scholars believe that the art of poetry may predate literacy, and developed from folk epics and other oral genres. [9] [10] Collected Complete Poems by Iliassa Sequin is a book many of us have been anticipating for many years, exceeding all expectations! One of the most extraordinary avant-garde poets, she refused to publish a book in her lifetime. Her husband, Ken Sequin, has beautifully collected her inimitable poetry for us in this new book published by Grey Suit Press in London.’