Submit your work, meet writers and drop the ads. Become a member
Umi  Mar 2018
Lunar Tear
Umi Mar 2018
Go on with haste and fly through this undawning memory of love,
What is the moon looking up at, perhaps a dance of pulsar stars ?
What is the sun looking down at, perhaps the life growing from light?
An eternal sinner wanders under their light, with no aim, no goal,
All he carries shall be the pride in his heart, with undying love burning as bright as a hyper nova in the nearby young nightsky,
Lingering sadness seeps it's way through, to the surface of the moon, forever to be bound in an orbit, overshadowed, shining in lesser light,
Yet does it oversee, what beauty it brings to the night, or what it would be if darkness reigned supreme without it and the stars to rise?
Enlighting the darkest of nights for us, forgotten it keeps up his duty,
For maybe, even if just one is touched by his luminosity it would be enough to keep going, until the time comes to greet the break of dawn
The milkyway alike a river of stars, each with their own story to tell,
Stars stand with their secret hidden, an orbital parent to many planets
The sky is the eternity in a land of pure fantasy and hope after all,
A dream which knows no death till its termination draws near,
But isn't waking up the commencement of something far greater ?

~ Umi
Alex E  Dec 2010
Overshadowed
Alex E Dec 2010
I am overshadowed
By my desire.

I look up to it.

Its longings
Dwarf my abilities.
Pax  Dec 2016
Overshadowed
Pax Dec 2016
Rock with double shadows
******* is hard to swallow
Sea of Pebbles in the sands of time
Roses hunt something that shines
Powders of snow shine in the dark
But it did not shine by just anyone
Alone, hidden in a sea of pebbles
------------Will you find it?-----------
Or it's just another thing lost
In the sands of time
© 2012 Pax
this was one of my older piece when i was starting to used imagery in my poetry. It was the First part of my Concrete poetry series, it was supposed to be a pebble shape, now im not sure(smiles). As i re-read it now and post it here, i realized something that i never thought of when i wrote it. I was writing it on a fantasy genre on mind, but now i know deep inside, even before, i am looking for someone who i can connect with, to share something with, to be with someone you can relax and trust upon... i become the rock who is lost in the sands of time, because the roses have gone away, or never got to find my shine.
Ratna  Nov 2014
Shadows
Ratna Nov 2014
A presence that's physically not there.
Though it's lurking pretty much everywhere.
It's harmless, they say.
But I don't want them to stay.
Being overshadowed is scary.
And seeing the shadows of the past is painful to me.
Though they're physically not here, their shadows remained.
Trapping me inside an invisible cage of fear.
Violet Mason Dec 2012
It's funny, no one knows about that one day I went to the Guidance office
And I cried for an hour
I was sitting in a corner
On the floor
There were black linoleum tiles
Coated with a fine pelt of dust bunnies.

I tried breathing in the problems people came to discuss in anguish and the tears and despair of my predecessors
To fill that empty space in the back of my throat
That you get when you cry for too long and your face is stiff with tears and your eyes sting, because  you've been holding a staring contest with reality, and you lost, but after you caved, and blinked, the sting still lingered.

The space at the back of my throat stayed empty and it stayed that way all day.
When I went back to class and my eyes were rimmed red and occasionally my breaths would come in short gasps like a marathon runner- I guess I was running a marathon- although one of a different sort,
And nobody noticed I had been crying because on the day I chose to break down another wave of bad news hit the school and so I was overshadowed so they all had trembling jaws and glistening eyes as well and,

I still can't decide whether or not I wanted someone to notice that I had been crying.
Sayer  Mar 2013
Overshadowed City
Sayer Mar 2013
I don’t need to look it up if the room is dark and hysterical

crazy as it will ever be and out of my peripheral vision comes the world’s longest highway

a place where no indicator will tell me if she wishes to tell me something important

a place where people go and ride forever into the breeze of the crying air



just the one part lets me drift alone into the words once again

I can’t remember anything about riding on that highway but the inspiration it gave me

for it would be my transport to years in shadows (if I only could control it)

but it looked at me for I am unrecognizable to the river below it

                                                    

by the beaches of the longest highway in existence I snapped a glance at you

your beauty flowing with the air; the wind blowing gently across my hair

the sounds of cars and trucks above us and you smiling made me assured

that anything is possible if i just put my mind to it



all that time I just sat there imagining the walls breaking

only to find that those dreams were reality (and this is a dream?)

the answer to my problems, the end to and

I won’t keep the car running if I don’t have to



the colors start to fade as night falls in the city overshadowed by the longest highway in the world

lights up the world from the Universe’s point of view

I begin to follow you where ever you go

to find myself with you the whole time



I don’t need some assurance to know if this real or not

this moment, this truth is reality

no matter how much I want this city to be

tonight I will wish I can visit once again

but the sky keeps falling and will shatter into a million pieces

piercing the air making it cry tears of blood

with that nightmare I’ll wake up

one day

next to you.
Umi  Apr 2018
To death in Love
Umi Apr 2018
That shooting star,
Loved the earth so much that it crashed right into it, burning away in passion, lethal, poisonous passion, to be with what it really wanted,
It cut through the darkness with our hopes, with our deepest wishes,
Before it vanished, like a long lost dream, or a overshadowed memory
As time ticks on, reality and illusion melt together, sharing a heart,
That too is a sign of death, as each lost its meaning by just doing this,
In order to heal my aching chest, I too must be to death in sweet love,
So I will not lose to anyone, daling, after all, once you give another a home within your heart, a part, yet small dies and fades into shadows
I know I am not alone, because I am reaching out for your love, dear
A last remote of lonesome fear, engaging the thought of losing what you hold so dear, is what makes it morbid, burning even hotter now,
But a fire burns out faster, the higher it reaches, so be very cautious,
Envy is for love the metamorphosis to turn into pure fury or hate,
A ****** devotion to be the only one your darling ever will desire,
As you fall, to death in love

~ Umi
elle jaxsun  Jul 2018
2,226 miles
elle jaxsun Jul 2018
i escaped 2,226 miles away

in hopes of finding
what i've been missing

in hopes of escaping
your
deadpan
tight-lipped
cold stare

in hopes of
peace

what i've been missing
all along
is me

overshadowed by the
hatred of myself
built by you

overshadowed by the
thoughts of suicide

why would i want
to be me when
my own family doesn't
seem to want me

and i know i'm not
the only one with a
story like that but

knowing so doesn't really make
this much easier to handle

i will admit that
i've had a lot of help
and i'm beyond lucky
to have the family i chose

they teach me things like

just because you used to be
doesn't mean you have to be

and

patience and kindness can
tear down the tallest walls

the ones i’ve spent my whole
life building just so i didn't
have to feel all of that **** again

but i’ve been
getting better at getting better
at 2,226 miles away

i think i’ll stay
I moved a year and a month ago. I live with some of the best people I know. I'm so thankful to be here.
Peoples’ lives are dying in consistency;
Greed in their pedestal has corrupted this world’s societies.
A fruitful opportunity, a gold rush was encountered!
Underlying the main ambition of many unfortunate ambitious desires.
  
Persistently seeking an object of materiality,
Children have become contracted to labor endlessly till mortality.
The corporate pose has overshadowed humanity,
Predetermining existence through living in a vision of obscurity.
  
Freedom has evolved in many attaining their dreams,
Yet, failing to realize their limits in overstepping boundaries.
Morality has been compromised to new opportunities.
Ultimately, corrupting one’s essence in living spiritually.
  
We have eluded to perceive the subtle communication they have established you see.
Projecting honesty while planting a seed, they enrich themselves invulnerably.
Enabled through the loophole of ignorance attracted by social mediocrity,
Revealing a battle between each other secretly disguised as insecurity.
  
Asking how do I seek success, freedom, and happiness endlessly.
Indubitably, the answer relies inside, secreting awareness internally.
Discovering that the war begins within may end the violence indeed.
Extinguishing eternal destruction of the world through peace and harmony.
  
By: Michael M. De La Fuente
John Shahul Oct 2018
Whenever  I am not seeing you
Lethal void is my heart
Like the monolithic art
Of a sculptor;
Like the figures of Mona Lisa,
I tried to engrave you
Again and again in my heart
And rehearsed you many times
In my memories.

To reconstitute
Your beautiful image
Inside of my mind
I behold you thousand times,
Yet all loving and languishing
Nothing could be captured
To match your perfection
As you were seen in person
Nor could be remembered
To your many dimensional figure
Of youth unclaimed.


You are just beautiful but demure,
Seductive but unrevealing
A love that slips down
Near your lips were forbidden?
And be never told?

Like two balsam flowers unfold
Opening from their buds,
Your eyelids are open wide.
Like two bees ******* honey
My eyes were seeking yours
To ferret out the secret
Of your true love and desires;
Neither did they come out
Nor did they flutter
And never reached out
My beehive safely.

Seeking out for your true love
In your eyes, in your lips,
Cheeks and chin far and near,
Everywhere  all over you,
Looking at you all the time.
You are open to interpretation
Of your true intention
Of your love and desires
Like the secret smiles
Of Mona Lisa.

Until you make confession
Of your true love,
I will behold you thousand times,
You are just beautiful but demure
Looking for you all the time.
You make me dream about you
While in my sleep or I am awake.

My discrete memories
Are overshadowed by time,
I cannot fight with my feelings
Whenever  I am not seeing you,
Lethal void is my heart,
Come and meet me in person!
Neville Johnson Jan 2019
Sue Venir loved Hugh Biquitous, but he was unreliable, so she confided this to her friend, Di Namic who confirmed he’d been seen with Penny Farthing and Miss Chevous. Then she ran into Ken Tucky, who’d just broken up with Jen Erator, and was known to hang with Mel N. Choly. Together, they and Dan Ube went to a party thrown by Perry Winkle at the house of Dana Point.

Con Valescence introduced Sue to Marine Layer who asked Mr. Tucky to join the conversation, and they’ve been conversing ever since. Lou Kemia couldn’t make the party as he was ill. This was confirmed by Nick Knack who’d been informed by Conrad Alert.

Penny Saver left early, heading over to the home of I. Stan Bul, who was throwing a celebration in honor of Hazel Nuts and Grant N. Aid, who were to be married by Will Power, though Miss Givings, his former girlfriend, did not approve. Celebrants included Buzz Saw, Ma Larkey, Ben E. Diction, ***** Pack and of course Ann I. Versary, who deemed it worthy of being remembered. Tom Foolery was always good for a laugh, which was appreciated by Art I. Face, Dee Vice and Tess Osterone.

Some chose to dine alfresco, notably Flora Fauna, Heidi **, and Ed U. Cate. Barb Ituate was a downer, though Ma Larkey tried to cheer her up, watched by Cliff Hanger who wanted to see what happened, until a dispute arose between Ana Conda and Ann Ticipation, who’d both been vying for the attention of Billy Goat.

Meanwhile, in another part of town, Terry Dactyl was in a dispute with Billy Club over Lilly White because of something Miss Conception had reported after hearing from that duo, Caesar Salad and Reuben Sandwich.

Junior Mints tried to mollify the situation with sugary statements, but was interrupted by Yuri Nal, who said he had to go, and then left with Jay Walking and they were off to congregate with Diane Tomeetya.

At the next table General Jive held court in a warlike mood,  that Cary Cature tried to lighten.  With them were Tex Arcana, whose accent was amusing to Bill Collector, Al Gorythm, Tim Buktu and Marv E. Lous, who always had a great time wherever he went.

By then, Bobby Pin, the luscious seamstress, had given up on Peter D. Out, after seeing him clowning around with Butch Wax and Slim N. None, all of them malcontents and disrupters.

In walked Daisy Chain, newly arrived  from the Southern Hemisphere, along with Sydney Australia. Klaus Trophobic had initially agreed to travel with the two of them, but said he had to stay at home. Frank O’Phile overhead this and confided to Phil O’Sophically that there is sometimes merit to such position.

The restaurant was owned by Ty ****, managed by Chuck Wagon, with the food delivered by waiters Clay *** and Terry Aki , assisted by busboyTara Misou.

The next morning, everyone gathered at the home of Dawn Patrol, who was there with her new husband, Earnest Money, after divorcing Perry Mutual. Deb Enture was her maid of honor.  Nick O’Time was nearly late to the party, driving in with Stu Debaker, via a shaky Uber driver named Manuel Shifting.

Al Acrity was his usual sunny self, but not when Den O’Thieves interrupted his conversation, which was shut down by Kay O.

Sherman Oaks and Van Nuys were late, having gotten mixed up on the location. Cliff Hanger was worried about the falling stock market, and as a result was getting drunk with Jack Daniels. Stan Dup was his usually assertive self, but was overshadowed by the always munificent Cy Pres.

Claude Hopper was dressed in yesterdays’ styles, but that didn’t matter to Dov Tail who  was going into business with Matt Chabox, known for his incendiary personality. They had two other partners to round the group out, **** Ular and Ben E. Fit.

Gar Gantuan loomed large, and was unstable when paired with Mo Mentum, who said in such situations, they needed to involve Otto Matic.

Terry Cloth was wrapped around Jan U. Ary, ogled by Barbie Queue and Coleman Lantern.
zebra Oct 2017
Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

— The End —