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Jordan Harris Jul 2014
What truly is the definition of righteousness?
Is it determined by act or by mind?

They say a good man fights for justice, peace, and prosperity.
But then, can a man of such moral truly remain so
if he turns to violence as an answer?
Does his intent to create marvels render him of moral status
though his methods may empower death and promote war?
Oh, this man is peaceful himself,
taking letters instead of bullets to battle
but his lyrics dislodge society in a manner not all approve
and so begins combat.
Can this soul carry such holy title,
if the repercussions of his strung together words are strung up necks?

Or is the good man the one who turns away from the world's fight
to be his own embodiment of ethical beauty?
For the one who remains silent causes no direct pain;
he himself is passive and tranquil
and moves to inspire such conduct in others without commanding it.
But his silence encourages fierce vehemency and wildness.
Does this fact not taint his name?

The first man had pure intent,
but with his tongue he spit sparks
which others used to ignite a fire and burn the world.
The second did not fight himself
but his chosen hush could never end the blood rain,
and so his lack of sharp verbosity allowed knives to flash and blood to spill.

So I will ask again,
what determines morality?
Though this time with a grounding response;
morals define morality.

Each man's mind renders his own flawless ideal individually,
and so one's perfection will always be another's monstrosity.
In truth? There are no good men,
or at least not one to all.
Inspired by the Doctor Who quote, "Demons run when a good man goes to war". I was very curious on the definition of a 'good man' (or rather human, because sexism is a no).
Mateuš Conrad Dec 2015
the famous czech immunologist (miroslav holub) got it right, holding his complete works, seeing the precious output,  then hearing him say it: 'i'm not against the repetition, but what the hell would i write if i lost my first ambition of a career? i would write dross, but i'm not against balzac or dickens doing the ironing work - but i just couldn't do it - better me likened to a butterfly that was the czech spring of '68. indeed mummified flowers between the pages.'*

the main reason poetry books will never be
shelved, itemised, on the inventory: BEST SELLER,
is because they use priceless things in their contents
section of approved poetics ticked off...
poets mention the moon, the night,
the sun, the orange glaciers of skin of suntans
bundled up in fat and sold as ****,
poets forget they are touching priceless things
with words, i'm sure a readership numbering
1,000 will dry your socks after that marathon
run on lake verbose in the middle of hunting season,
but it will never go past that,
that's the fury and the fear surrounding
hunting down the poet who exceeds producing
the noble prize winning output of a szymborska,
~100 poems a lifetime means you really did live
it out, and wrote with slithering undertones
the art, the paradoxical art of the ancient world
trumpet or saxophone - it wasn't philosophy
that attacked us... but the woodwind instruments,
the harps are safe, i stashed them while cracking
and playing bone poker dominoes with my fingers.
poetry doesn't attract the most socially acceptable
form of lying: namely fiction -
poets don't lie - there's no genre that does it better
than writing fiction - and if they do lie,
it's un-intentional - mechanical, like the world,
like the world being so mechanised it almost
feels self-content without applause but an opera
chorus of screams and other forms of hysterics.
some books talk of seen and unseen realities,
i beg to differ, i can claim certain unseen realities
in the seen realities, take for example
man's ability to walk the method of onomatopoeia
like virgil walking dante through the inferno...
man as an animate thing can clearly imitate
other animate things.... he can howl, meow and bark,
he can imitate the pig's and the deer's snout
when impregnating a mare...
the grunt hot breath riff of things...
but he misjudges his accuracy of recording sounds...
he simply cannot fathom the sounds of inanimate
things in the realm of onomatopoeia;
it's not that he mishandles the 26 symbols,
but when he tries to make the visible doubly-visibly-divisible,
to notate knocking on a door, to notate
the scorching sounds of the sun in the equilibrated
exchange of hydrogen & helium (sun gods
laugh after all), when he tries to notate
the carbonated water fizz, the beer bottle cap
charles i pop / apache scalping with a tomahawk...
he's off by a mile and a marathon...
we can't mutilate words into sounds just to see
certain sounds (primarily of inanimate things)
with letters... there's an impasse about the whole thing;
this is trans-verbosity, overt-verbosity that cannot stand...
it's pointless trying to see a complex sound
with letter governed by the onomatopoeia...
it's enough to hear it... touch it... seeing is not believing
in this instance... this insistence...
after all we're utilising priceless things to get out message
across... so if man makes it worthwhile,
an onomatopoeic antonymous decision i have crafted:
the sound of the universe's vacuum "silence"
is counterweight to neither the sound of atoms congregating
into celestial orbs... but rather the place where man
out to shove his parallel representation of thought.
you can already see invisible realities within the realm
of visible realities, the many missing and the many amiss
onomatopoeias of what animate things echo from when
interacting with inanimate things... paradoxically
atoms are in an inanimate equilibrium as animate things
likened to the celestial bodies in orbit,
but in fact they are inanimate in an animate equilibrium...
worth a worth's worth of study in a laboratory allotment...
and if it was a cow's digestive system you were investigating,
the inanimate equilibrium is being worked on:
the equilibrium of what sort of usefulness from experience
can be possibly passed on;
but wait, you can't write me the onomatopoeia
for the crating of carbon monoxide (CO),
or formic acid (HCOOH),
or myristic acid - nutmeg  (CH3 branch with twelve CH2
and the carboxylic ending),
nor the ester (RCO2R) - because now you're
using a chemical alphabet of the periodic table,
and all necessary onomatopoeias are lost
to the names of the necessary elements
that begin with hydrogen, and end with anything
remotely removed from a famous scientist
by the elemental name akin to einsteinium.
Ross Robbins Aug 2011
Pernicious mind, stop eating me!
Incessant head, oh, can’t you sleep?

I’ve moved beyond mental
Have approached the eternal
But god’s still a mystery
at times I’m a husk

Shrinking back at times
from light of open mind
Find a spot to fester
if I’m feeling like a sore

Swaying mendicant head
of sweating adolescence
Jacking off verbosity
Shut me up, Oh Lord!

Now all given way to
spiritual *******
******* a smile if
I’m too tapped out for joy.

****** slips away,
I’m naked in God’s hand—
Surrendered to the will of
some other spirit’s blood.
the fountain of poetry
e'er threatens to dry up
yet the inspirational words of Beryl Dov Lew
re-supplied my dwindling cup

with his advice duly given
my expression's reservoir fills to capacity
in a most generous
flow of endless verbosity

had he of not encouraged me
to keep the pen's ink spilling
my Hello Poetry pages
would be empty of shilling

with a mentor of Beryl's calibre
positively re-invigorating my oft dry fountain  
I am ever assured of a verse
brimming unto the highest mountain
#inspiration  #mentor  #fountain
PrttyBrd Dec 2014
Letters fill my lungs
As I fight to breathe, to live...
Still choking on words
Francie Lynch Aug 2014
Mnimalists uproot everything,
Aiding natural entropy.
Poets can do likewise.
Omit redundancy;
Scorn verbosity,
Make words work
Articles shunned,
Prepositions abhorred;
Conjunctions - need none.
For our sake.
Fit words together.
Make words work
Helen  Mar 2015
Embrace Verbosity
Helen Mar 2015
repeat yourself over and over
wield words as your weapon
repeat it as many times you need
until you drown beneath
your own perception

Tell the boy you fell in love with that you don't appreciate his lust, tell the girl your dreaming of that she's the only one you think of

Shout out to the universe
that you're unimpressed
Scream in the face of the world
that you deserve only the best

Get into the face of the *****,
or the *******,
that hurt you the most
and insist you are worth
the air you breathe, make sure
*you're extremely verbose
Nat Lipstadt Mar 2014

as is my wanton wont,
when stumbling
upon a new voice,
the passed baton
is herein handed off

am old man.
my poetic voice is just
memories that are
repetitive lies and lines.

speak in simple sentences declarative.
this is nature's way.

darkness approaching is indeed my
au courant poem, mon actuellement.

I have seen better days.

I have read betterdays.

now I am upset, distraught.

here come another young
hot bright votive voice,
and I am being asked to believe that there are
still words that raise hopes of

her bed chip crumbs, delighting,
leave crumbs of pleasure in my soul.

l like her big word poems,
that leave me, fill me by:
siphoning all in a parched gluttony
leaving behind a viscous residue
and few glassine portals
into a reflective world

better yet I love her
mothering little god poems,
letting me remember little boys
who once loved a father

little god love
radiant is thy smile,
smallboy love, exudes from you,
like a flower god's nectar,
bestowed, with negligent love,
upon a mother's world.
i will drink my fill,
everyday, whilst i can,
for far to soon will you
grow up.

don't speak eastern Australian,
tackers and doona's, no clue,
blue cats are a foreign breed,
but the cat of this starfish mother,
shares my literary tastes:

him, nestled,
on the second, to
uppermost stay,
of the third
in the study.
he has filed
ogden nash
and proust
and it is there,
he plans to stay.

let me not go on and in deeper, lest
I delay you from her pleasuring
thy tasted untested senses.

so here I am all grumpified
(at my age, you can make up your own words)
unsure if un or satisfied,
knowing that a woman,
word whips me into a
soothing frenzy of creamy
morning coffee verbosity,
a captive taker of life's
ungrandest moments,
poems of them,
make to glory come.

somewhere in the world,
a woman writes of plain goodness
of simple strife and simple lives,
makes methinks that there could be
betterdays still ahead,
better poets surely, than me,
and the day starts well

Read her please, follow her if you love life.
Tell yourself to breathe
as the stratosphere is falling,
imagining verses tumbling
midst downpours' dissension,
sans sentimentality's
         loquacious language,
and the land is left barren
    as verbosity disintegrates
and emotions wholly perish
    'neath fickle cloudbursts
               of poetry's extinction
Jun Lit Oct 2017
Experiments with short (10w) poetry. Personifications of thoughts and feelings and . . . so on.
annh  Oct 2019
Verbosity Atrocity
annh Oct 2019
You ask,
Use ten words
When two will do?

‘Cos a pair is always eight words too few.
‘"The efficiency of the cleaning solution in liquefying wizards suggested the operation of an antithetical principal, which--"
"Did you have to get him started?" Cimorene asked reproachfully.’
- Patricia C. Wrede, Calling On Dragons
now, I will try to abandon time and space
in this form of truancy.

what is this abandonment trying to measure?
  the abeyance of presence.

what is the measured variable trying
to dissect? the impossibility of absence.

a poem aspires to be something concrete. a poem
   is what is real and imagined in the same context.

I try to invoke Abad -- what is imagined is most
   real.  this shall be its leitmotif.

now, i imagine the horizon as a point

of origin, or a template to some familiar projection,
  or a tagebuch summarized into a fine line
of allegories and denouement.

what this line tries to prove is that

an enjambment is a mimesis.

acknowledge the sublimity of a
  creation. notice that the sequence that will
be promised is diegesis of absence as form
     but not a poem as in a poem that enshrines
lucidity -- but the lack of it.

there is only the photograph of horizon
   as hypothesis of perpetuality. this now

is a subject, a speculative undertaking rearing a
   poem -- writing as preparatory for absence,

finishing a line as pursuit of thesis, gravity of
    its heft as tabulation of emphasis, or
verbosity, which may be telling of meaning or chronology.

a poem that is not a poem,
  But poem as a form of absence

that aspires to be a poem.

what is transpiring now is that i am assuming
   an utterance: utterance as being here,

and perhaps voice as sound of becoming but not finality
   of presence, and sound as disappearance

post-peak. its point-source silence and formation
   of thought, and then a poem is written as

evidence of disappearance in deep and close
   contest with a vision coming from another

audience as an objective supposition or
   reaction that may propel an exchange

but only when silence is entertained does
  silence happen, and so this may be dismissed

as a monologue among dialogues insofar as
    only to pinpoint this arrogant feat:

i may be speaking glossolalia, or in tongues,
  and that i seek no reprieve nor vestige,

all the more response -- intone of voice
   stilling itself in the tense setting

of being gazed upon, glazed with coherence
  of senses from one identity to another say,

you hear me speak as in speaking
as baring sound.
   but now that i have spoken, i have already undone

  the quiet to stir volumes and amplitudes
to attest sound-fade as vital component of absence,

whereas this poem produces ample sound
  if you pay close attention to yourself reading

in the lull form of reading (your
breathing will have intensified here,

your reasoning will have made so much
  noise here) as i continue to whittle

away in form of verse, verse not as poem,
  verseliteration not as occupancy of space,

but all in all, a body of work
that is a visage of movement - or a trace of absence, physics of space and kinesis of departure.

a delineation of a thing that was once
   thriving in threshold accompanied

by its tendency to wane: sound may be an
     analogue of unheard, as sound is impervious
to quietude but quietude conscious of sound
     and its potential,

that quiet coheres to its inclination to consummation,

this completeness so emphatic,
this allegory as
  absence the somatic, axiomatic,

indefatigable machinery of a presage,
   or continuity -- this poem that is not a poem,

but an excess of sound, a body that
   deserves end,  a punctuation.
     verity of this argument in basest form.

this body of work as absence
  and its completeness, volition

of its enigma: is this the end
  of sound or your silence summoned?

to drag it back, its recalcitrant body,
   is form of revision, then possession

of an absence, a recollection that will have granted
   seamless entry and translation

which passes on from its origin to
  a new clause -- to end it here, now and pass

over as readable only in the background that is
   an embellishment of absence amongst

things in exclusive continuity, to have this produced
   in space as empirical of absence,

and to punctuate this, a mystification,
or say, acceptable fabrication,

to read and extricate as acceptance of an absence
   as form: this poem that is not a poem but

only a physicality delimited -- to speculate
and study
as disbelief, and to have done such simply

demystification of its transition.
A deconstruction as evidence.

— The End —