A Few Secrets
edited: Sunday, April 23, 2006
By Debashish Haar
Rated "G" by the Author.
Posted: Saturday, April 22, 2006
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The structure of verse (Ed. H. Gross, 2nd edition, 1979).
Poetry, in particular, and writing in general, is more mellifluous if done in active voice. Adjectives, adverbs and to be verbs should be minimally used. An author/poet shouldn’t absolutely use any word that doesn’t contribute to the presentation. Rhythm should be both in the synchrony with the musical phrase and the thematic continuation.
An 'Image' is that which presents an event or a set of events, and may be rooted in psychological complex in an instant of time. It is always better to give a direct treatment of the “thing” be it subjective or objective. It is the presentation of such a 'complex' instantaneously which gives that sense of sudden liberation; that sense of freedom from time limits and space limits; that sense of sudden growth, which we experience in the presence of the greatest works of art. Avoid abstractions, as much as possible. Avoid mixing of abstract and concrete images. The natural object is always the ADEQUATE symbol/representation.
Read as many great authors as you can, don't allow 'influence' to mean merely that you mop up the particular decorative diction of a few poets whom you happen to admire. Use either no ornament or good ornament, this is applicable to rhyme. When you rhyme, make sure your end rhymes have sufficient consonance/assonance support.
Stanza means room in Italian; when you start a new stanza be sure that your perspective shifts a bit to necessitate a new room. Make every part of page count, avoid special alignments, indentations, unless thematically necessary. When you break a line make sure it carries the tension and suspense so that the reader would be compelled to read the next.
About the point of view (POV): Choose the POV that suits your style and the situation. When you want to keep the most intimate, closest aspects intact, blurring out the wider parts, you should try first person POV. In contrast, third person omniscient is least intimate POV but lends the widest overall understanding. And second person POV is good for rhetorical arguments, anti-war statements, etc. It is a compromise between the other two POVs. Second person POV is mostly used in user manuals and brochures [Criticism is by no means a circumscription or any set of prohibitions. It provides fixed points of departure. It may startle a dull reader into alertness.]
- The New Princeton Encyclopedia of Poetry and Poetics (Ed. Alex Preminger & T.V.F. Brogan).
- In Retrospect, An Essay (Ezra Pound).
"Structure, sound, and meaning" Sound and Poetry (Ed. N. Fryne, 1957).