there are two types of sadness

there’s the kind of sadness
we ignore and
try to get rid of it
by finding new things to do
or we find someone to talk to
by blatantly avoiding any type of conversation
about feeling sad
about having any feelings at all
and then there’s that kind of sadness
that takes over
and it consumes any activity we do
we know it’s there
and there’s no possible way to avoid it
so we feed it exactly what it wants
it craves the sad music
it craves the isolation
it craves the anxiousness
and the sadness comes storming in
it has no manners
here we are calling sadness, an “it”
when all it is
is a feeling
that most people
call home

Areas of knowledge answer: How do we know?
Looking for the origins of  our knowledge flow.
From mathematics to the ethics,
History to the arts,
These are the ways we tell types of knowledge apart.

First of these eight categories is math.
From axioms to logic it takes a very exact path.
Deals with conjecture and theorems; creating laws about the world.
Sometimes this complicated topic makes me want to hurl.

Next comes ethics with many complicated questions,
Using morals and values to give the proper suggestion.
Depends on people's views that differ by culture,
Questions from "Theft to save your family?" to "Killing a vulture?"

Areas of knowledge answer: How do we know?
Looking for the origins of  our knowledge flow.
From mathematics to the ethics,
History to the arts,
These are the ways we tell types of knowledge apart.

Up comes history dealing only with the past;
It is only concerned with evidence and the facts.
Studies government propaganda to the plight of the peasant.
Deals with any kind of knowledge from creation to the present.

Fourth on the list are the human sciences,
From many loaded questions to our stream of consciousness.
Observations to conclusions, free will to determinism,
Deals with our knowledge of the world from the atom to reductionist

Areas of knowledge answer: How do we know?
Looking for the origins of  our knowledge flow.
From mathematics to the ethics,
History to the arts,
These are the ways we tell types of knowledge apart.

Religious knowledge systems deal with people's beliefs;
Knowledge of God and the heavens to the world beneath.
From polytheism in Athens to life after death,
Knowledge coming from religion concerns us to our last breath.

The natural sciences, knowledge of the natural world,
Explaining how things work like biceps d'ring a curl.
Hypothesis, theories and all sorts of paradigms,
Knowledge so revolutionary that in the past it was a crime.

Areas of knowledge answer: How do we know?
Looking for the origins of  our knowledge flow.
From mathematics to the ethics,
History to the arts,
These are the ways we tell types of knowledge apart.

Indigenous knowledge systems, the customs of the tribe,
Using folklore and storytelling to spread ancestor's pride.
Knowledge or tradition and customs of the ancient nomads,
Anything about the indigenous from the good to the bad.

Last on the list, the final area of knowledge,
Is the arts, all the way from elementary to college.
Dealing with aesthetics, forgery, kitsch and catharsis;
Without this types of knowledge we'd be stuck in the darkness.

Areas of knowledge answer: How do we know?
Looking for the origins of  our knowledge flow.
From mathematics to the ethics,
History to the arts,
These are the ways we tell types of knowledge apart.

princesses made of freckles, wild nettles, vitamin C
strawberry-preserve smiles, backdoor-screen
dreams, pockets full of pencils and pink jellybean
lip gloss, wearing summer and skinned knees
these types of princesses don’t practice their lives
in stone-and-mortar towers. they take dives
into lake-blue unknowns, sunflower skies,
break their falls on vanilla sunrises.
these types of princesses only build their
castles made of tarpaulin and filled
with oak-tree pillars and moons that tilt
into the soft iridescence of rose-gold winters.
these types of princesses conquer backyards.
these types of princesses catch falling stars.

a few months ago,
you asked me: "What is love?"
As you can see,
it had taken me a long time to understand the question myself,
but I think I've finally come up with an answer.
Unfortunately,
the English language
has only one word to describe something that has limitless interpretations.
In Greek,
there are three words for the three basic types of love.
Eros;
lust.
This type of love
is when you find yourself doodling their name
on the inside of your history textbook,
dotting the I's with hearts
as if you are 13 again and you were just asked on your first date.
You chose that textbook
because it will be the only place no one would ever think to look.
You think about everything you would be far too shy to say or act in person,
making out in the back of a movie theatre
not caring who would walk past,
sneaking off away from your friends just to have two measly moments of what you both call "peace."
Most often,
this type of love is encased in "I love you"
only to obtain a certain goal.
Virginty,
a picture,
or even just one more night
of having them in your arms.
Eros is not authentic,
it is emphemeral.
Phileo;
Brotherly Love.
The friend you would drop anything for in a heartbeat to make sure of their wellbeing,
but also the neighbor you see from time to time watering their garden.
They ask you
to tend to their garden while they are away,
and you do it
even though you've never spoken more than a paragraph to the man
because it is what you believe is right.
This type of love is the devotion of time and energy without any promise of compensation in return,
purely out of the good of heart.
Phileo lasts as long as the people do.
The final type of love
is Agape;
unconditional love.
In religion,
we are guided
or pushed
towards showing this type of love towards the diety.
Yet, very rarely
it is shown towards a human being.
Unconditional love
is the ability to say so much with only uttering a single word.
I have experienced this love,
it is great pain
and great sadness
but the feelings of pain will never leave my lips
in case they are transferred to the person i wish to have the least pain.
This kind of love
is when it is not only enough that you think about them every waking moment but every slumber-filled one as well. You have hung up your needs at the front door along with the key to your heart and devoted yourself entirely to them,
even if they don't reciprocate.
They have been adopted by your body and taken the form of a vital *****.
If you do not
pay absolute attention
to them at all times
you will run into many problems.
You need to keep them running smoothly in order to stay alive and healthy,
because without them you are nothing.
You are a sorry sack of bones with a beating heart with no purpose.
Unconditional love is taking all the lessons you have ever learned
all the rights and wrongs you have finally learned the difference between and throwing them out the window.
It is the thin line between sanity and insanity,
heaven and hell,
and safety and danger.
You walk the rope
from building to building
without the promise of a net.
Unconditional love
is authentic,
but not emphemeral.
((Love *****, don't do it.))

*** trafficking – the trafficking and debasement of souls; Drug trafficking – the trafficking of substances that debase the body.  Here compared you will find the prevalence, impact, and rehabilitation processes associated with *** and shrug trafficking.  Respective clientele, demographics, and locales that these types of trafficking touch will be revealed in order enlighten you to their world-wide prevalence. The physical, emotional, spiritual, and psychological impact of lifestyles that result from these two types of trafficking will be detailed to etch vividly an image of just how far-reaching the impact of these two activities is. Light will be shed upon the rehab processes that lead to recovery from each.
                 According to UnoDC.org, the United Nations Office on Drugs and Crime, the use of illicit drugs has remained in a stable trend, with approximately the same number of people using illicit drugs each year. This trend has continued for a number of years. Upon examining the world drug report, written by UnoDC.org, production of several drugs exhibit particularly interesting trends. ***** production for example fell and spiked in a somewhat predictable patter from 1990 until 2010. When this data is graphed a reasonable medium appears for all the years, revealing that ***** production has stayed around an average production of roughly 200,000 hectares annually. Likewise, coca cultivation pictures an interesting trend. From 1990 to 2010 coca production appeared to be almost identical each year, and with little to no rise or fall in production, there is a similar trend in its being trafficked.  
Nefarious: Merchant of Souls is a documentary that was released in 2012 by Exodus Cry Its producers and researchers saw firsthand the atrocities of the *** trafficking industry. The film crew interviewed former pimps and prostitutes, spoke to traffickers, the families of the trafficked and to individuals still actively engaged in three sides of the *** trade referring to currently employed pimps and prostitutes as well as those who purchased ***. The researchers and producers interviewed eastern European gang members and took a trip to Amsterdam’s red-light district – home of legal prostitution. They journeyed to Los Angeles and saw the glamorized side of the dark issue of *** trade.
According to Nefarious, the number of humans trafficked for the purpose of providing ****** services is on a shockingly steep rise. In a matter of a few years, *** trafficking rose from the third largest criminal enterprise to the second. It is second only to drug trafficking and is vying for the position as top criminal enterprise in the world. It is encroaching upon that position far more speedily than any authority or decent human being would care to acknowledge.  A survey taken in 2010 by DART (the drug awareness resistance training program) revealed that 21.8 million people aged 12 and older had taken an illicit drug in the previous month. In 2010 it was estimated that between 153 and 300 million people had used an illicit drug at least once in the previous year. These statistics fail to take into account the impact that this usage has on the lives of the families of drug users. Neither do these statistics reveal the extent to which drug users lifestyles are impacted by drugs. However, nearly  every single human trafficked for ****** purposes is completely and utterly enveloped in the lifestyle of prostitution and the violent world of being prostituted. In Nefarious a shocking statistic is revealed. Approximately ten percent of the entire human population of earth has been trafficked. Both human and drug trafficking are prevalent across the globe. Human trafficking occurs in 161 of 192 countries. Illicit drugs are trafficked in every country that has laws that deem substances unlawful. There are little to no race, religion, ethnicity, or age restrictions on who can and is trafficked for use of ***, but drugs are far more limited by age and ethnicity in their use.
Drug trafficking, though similar to *** trafficking in many ways, is in no way as substantial a damaging force to the mind, soul, and spirit as the world of *** trafficking  is in terms of the critical and dangerous force it exhibits in the emotional, physical, psychological, and spiritual  impact it has on young girls. Both drugs and *** trafficking have some influence in all of these respective areas. The primary area in which people are affected by drug use is the physical. Drug users’ health declines, they become physically or psychologically dependent, and they may develop diseases from sharing of needles or lack of inhibitions that lead to *** with an infected individual. Drugs may, in some rare cases, lead to psychoses and mental disorders. They may cause brain damage, which is both physically and mentally damaging. Drugs may even set one’s heart and soul in a place that they are more susceptible to lies or truth. They alter spiritual state for some individuals, but only mildly. However, *** trafficking victims are impacted majorly and in their entirety as a person. In all aspects of the physical, mental, and spiritual, *** trafficking victims are consumed by *** trafficking. In Nefarious it is revealed that In order to “break” *** trafficking victims they are profusely beaten, and are psychologically toyed with to create a twisted trust and dependence on their various handlers. They are repeatedly *****, and are examined like cattle by those who wish to buy women. They are imprisoned in dark rooms and not allowed to leave unless told to do so. They are bedridden and forced to ******* themselves. After being broken in ways described above and sold to a ****, girls are forced every day to meet certain quotas of customers and cash flow. If they do not meet these they are beaten even more. They lay in bed sometimes a week at a time to recover physically enough to usefully return to their “job”.  Through this hellish ordeal, their soul, self-worth and identity are being attacked by circumstances that devalue them. They become like animals.
*** trafficking victims become dependent on their environment for normalcy. This is so true for some individuals that even though they have been rescued from the lifestyle, they return.  This is not because the *** trafficking victims enjoys the lifestyle of prostitution, and it is not because they want to. Instead, it is because they think they can be nothing more than a *******. The *** trafficking victim, in this case, believes that they need to settle into the numb and thoughtless mind state that they develop when broken. Returning to prostitution does not evidence an addiction. In contrast, it is the cry of a soul that is desperately trying to cope. They do this in order to feel as if they can survive.  
The rehab processes for *** and drug trafficking differ greatly in commitment and length, but are similar in that they both require physical and psychological rehabilitation.  Drug rehabilitation programs typically consist of twelve-step programs or something similar. They last a number of months, or occasionally a few years. They allow individuals counsel and encouragement, and they attempt to, by abstinence, exorcise an addicted individual’s addiction. *** trafficking rehabilitation requires the re-creation of an individual. Self-worth must be reconstructed. The spirit must be healed in order to allow for psychological healing. Prostitutes are not addicted to prostitution, but prostitution produces dependence in that the prostituted crave normalcy. This dependence must be killed. Successfully rehabilitating women from this forced lifestyle requires lifelong commitment and endless resources. It requires passionate fanatics, people who will pour their life into changing the lives of others, because only the incurable fanatic can wreak havoc on the tragedy of human trafficking. Any short-term effort to rehabilitate a *** trafficking victim is doomed to failure. The degree to which the brokenness of *** trafficking victims becomes ingrained in them is so extreme that it takes a lifetime to reshape their lives.
While researching *** trafficking in order to accurately produce Nefarious, the researchers and producers of Nefarious became convicted by facts that they collected. The evidence they collected speaks to the fact that *** trafficking does not just attack the body; it attacks the entire being, and in far worse ways than drugs ever could. Varied races and ages are prostituted and / or consume drugs. The impact of both of *** and drug trafficking is severe, but much more so severe in the case of human trafficking. The rehab process for human trafficking is much more in depth and is testament to the horror and degree of psychological, mental, and emotional disfigurement, as well as acclimation to a horrible situation to the point that horror becomes normal – a new definition of addiction. Human trafficking is an atrocity that is far more horrendous and prevalent than imaginable. It is far more destructive than drug trafficking. Drug trafficking is one of the most destructive forces in this generation.  Surely consuming drugs is one of the most horrid things we can do to our bodies, but what about consuming souls? *** trafficking consumes souls, hearts, minds and bodies. It splits, fragments, debases, brutalizes, obliterates, murders, rapes, molests, destroys, and dehumanizes the prostituted.  Drug trafficking attacks the body the soul, and sometimes the mind, but in much milder ways.

Once...there are 2 types of women...

One, are the types that you only can enjoy up their bodies..

The other one, are the types of woman that you can rely on and respect them...


But, lastly...


There is one more types...

Types of woman, that wipe out the other two types...


It is...The woman that you love...

When you met her... All the other woman in this world vanish... And, she'll be the only woman that you know...

Thus... You'll only set your eyes to that singular woman...

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

Bob Said These Words...
So... " OVER - Stand "... !!!

"You can't tell the woman, from the man ?"

And NOW These Words Are RARELY Heard...
Because The TRUTH Is Now IN VIEW...

Transgender Education...
For The Next Generation... !!!
While Peoples' Confusion...
Is Now... POLLUTING...
The World We're Using... !!!

So MANY ABUSING In Institutions...
Where It's CLEAR They Are CONFUSING...

Their Actions of... COLLUSION...
With Those of... AMUSEMENT... !?!

... " Midnight Types "...

Work In The... SPOTLIGHT... !!!
Cos' They Like To Moonlight...
AWAY From....................... "sight".....

You Have To Wonder...
What's In Their Minds...
As They Put ASUNDER...
What's Wrong From Right...

Marley Used MUSIC...
Like These People Use FUSES...
To... IGNITE Midnight...
With Light Personified...
As Confusion In The Heads...
of The... " Midnight Types "...

The FREAKS Who COME OUT...
In The... Middle of The Night... !!!

Because of Who They Be...
When They Look INTO The Light... !!!

The LIGHT That Resides...
In CONFUSED POLLUTED Minds... !!!!

The... " Midnight Types "...
Who Ride Like Knights...
Who Have NO SIGHT...
And Have NO TIME...

To ENERGISE... And FREE Themselves...
of The Passengers They FIGHT... !!!!!

The PASSENGERS They CANNOT Quell...
When DARKNESS Meets Their Light...

Within These Simple Messages...
Are HOMAGES In Rhymes...
To One of Our GREAT Messengers...

... " Bob Marley "...
" Truth and Rights "... !!!

These Words Are Simply...

....... " Vestiges ".......

of What He Saw In Life...
The... " Midnight Ravers "...

Doing Things...
That CLEARLY BLEW HIS MIND... !!!!!!
So Now I'm On... " The Ride "...
THIS One That We Call... " LIFE "...

These Days I Don't Feel Strong...
But Just Like Bob Said In His Song...

I Say...

"People RIDE ON...
That's Right People, RIDE ON...."

Because My Words May Not Be Heard...
But THIS I MUST... Pass On...............

Marley Was A LEGEND...
As Were Bunny And Tosh... !!!

Ravers With Those Flavours...
That Made People... " RIDE ON "...

So As I End This Piece of Verse...
THINK of The Wailers Song... !!!
And REMEMBER My Poetic Vibes...
That Now Speak On These......

... " Midnight Types "...

So YES People RIDE ON...
YES YES People RIDE ON...................