Some people come to poetry on retirement. When you retire you have many spare hours to fill, and some think of trying something new. That 'new' thing for some is poetry. That brings problems though, what to write about, how to write, what poetic style?
To some, a poem must rhyme. People remember poetry from their school years, and think 'The Man From Snowy River' is what a poem must be. This poem of AB 'Banjo' Paterson's is a fine poet in the 'Bush Ballad' style, well known to Australians. Others may remember William Wordsworth with his 'Host of Golden Daffodils'. But poems can come in many other forms too.
There is the villanelle, haiku, ode, clerihew, sonnet and a thousand more.
The poetic form I want to talk about here is one I created - the Cordonostic poem'. I created it when I was helping out a Primary School teacher, teaching her students a little about writing poetry. It was a mixed class, and the main interests for the students was either shoes, puppies, kittens, or football, depending on gender and inclination. Few of the students were interested in creative writing, let alone writing poetry.
I thought about it and decided to set a challenge to the students, by giving them a poetic form that used their counting skills as well as their English skills. The Cordonostic poem was my answer. This is what it is all about.
This new poetic form - the 'Cordonostic' poem - was invented at 10.00 am 18 September 2006. The form must have an even number of verses, and is based on syllable counts as follows:
2 verses -
1st verse:
· 1st line - 3 syllables
· 2nd line - 5 syllables
· 3rd line - 7 syllables
2nd verse:
· 1st line - 7 syllables
· 2nd line - 5 syllables
· 3rd line - 3 syllables
Can be continued as wanted, keeping to 3/5/7;7/5/3 syllable count for further verses.
Can be rhyming or non-rhyming, on any subject matter.
The Cordonostic poem must contain at least one line of enjambment (Enjambment is when a linguistic unit (phrase or sentence) in poetry runs over the line break. Enjambment is the opposite of end stopping, where each linguistic unit corresponds with the line length).
An example of Cordonostic poetry:
Ananka
Pregnant dog
her tummy filling.
Our hopes and dreams are rising -
will the puppies live up to
dreams, or not? Only
time will tell.
and another one:
Frog
Swimming in
our pool just above
the top stair - he didn't know
chlorine was so dangerous.
I moved him to our
pond's safety
and I hope
he will be safe there
with our fish, and other frogs.
Over the years many frogs
have been moved like this.
They croak 'thanks'.
So that's a Cordonostic poem - I leave it up to you to take it somewhere else!
Friday, March 7, 2014
Poetic Terms Explained
Why do poets use:
1.Full Rhyme
The effect is used in humorous and satiric verse. Full rhyme is a rhyme in which the words involved have the last two or more sounds in accord and so the only difference is earlier in the word or line. Full rhyme is sometimes known as strict rhyme.
2.Half Rhyme
Half rhyme is a kind of rhyme in which the consonants of the two words sound the same but the vowels differ e.g. buck/back. This is sometimes known as pararhyme.
3.Internal rhyme
A correspondence of word-sounds within the line, rather than as in conventional rhyme, at the end of lines.
4.Assonance
The reiteration of the same vowel sounds close enough together to be noticed by the ear. It is more aural than alliteration because it is not so visible on the page.
5.Alliteration
Alliteration is the repetition of consonants close enough together to be noticed by the ear. It usually appears on stressed syllables.
6.Consonance
Broadly, this can mean the overall harmony or concord of sounds. More specifically it includes the correspondence of certain sounds, as for instance in assonance or alliteration.
7.Enjambment
Enjambment is the continuation, or run-on, of one line of poetry into the next; that is, the syntax flows through the line-break. This is the opposite of end-stopped lines.
8.Caesura
This is the term used to denote the break in a metrical verse line, usually at halfway. It is in effect a pause, but a distinct one that falls at virtually the same point in the series of formal lines.
9.Simile
A simile is a basic form of metaphor, in which the comparison is directly conjoined, usually with 'like' or 'as'.
10.Metaphor
A metaphor expresses one thing in terms of another by suggesting a likeness between them.
11.Personification
Personification is when inanimate objects are given human qualities.
12.Repetition
Repetition adds emphasis to a poem. Repeating words also pushes a poem forward and makes the poem flow. If repetition is used in effectively and too often the poem can become boring, it must be constructed.
13.Stanzas
A group of lines shaped in the same way, with the lines usually, although not always of the same length. Traditionally they would be rhymed, but not always, especially in the twentieth century. Stanzas can vary greatly in length and structure. They serve the function of segmenting the poem and providing pauses in its progression.
Macclesfield Tutorial College [http://www.macctutorialcollege.com] is an independent college, and offers full time and part time courses to students from 16 years old to adult. The college offers GCSE and A Level courses is a wide range of subjects. The college offers a high level of education, resulting in a predominant number of students going onto higher education. The college can be contacted at office@experttutorials.co.uk
1.Full Rhyme
The effect is used in humorous and satiric verse. Full rhyme is a rhyme in which the words involved have the last two or more sounds in accord and so the only difference is earlier in the word or line. Full rhyme is sometimes known as strict rhyme.
2.Half Rhyme
Half rhyme is a kind of rhyme in which the consonants of the two words sound the same but the vowels differ e.g. buck/back. This is sometimes known as pararhyme.
3.Internal rhyme
A correspondence of word-sounds within the line, rather than as in conventional rhyme, at the end of lines.
4.Assonance
The reiteration of the same vowel sounds close enough together to be noticed by the ear. It is more aural than alliteration because it is not so visible on the page.
5.Alliteration
Alliteration is the repetition of consonants close enough together to be noticed by the ear. It usually appears on stressed syllables.
6.Consonance
Broadly, this can mean the overall harmony or concord of sounds. More specifically it includes the correspondence of certain sounds, as for instance in assonance or alliteration.
7.Enjambment
Enjambment is the continuation, or run-on, of one line of poetry into the next; that is, the syntax flows through the line-break. This is the opposite of end-stopped lines.
8.Caesura
This is the term used to denote the break in a metrical verse line, usually at halfway. It is in effect a pause, but a distinct one that falls at virtually the same point in the series of formal lines.
9.Simile
A simile is a basic form of metaphor, in which the comparison is directly conjoined, usually with 'like' or 'as'.
10.Metaphor
A metaphor expresses one thing in terms of another by suggesting a likeness between them.
11.Personification
Personification is when inanimate objects are given human qualities.
12.Repetition
Repetition adds emphasis to a poem. Repeating words also pushes a poem forward and makes the poem flow. If repetition is used in effectively and too often the poem can become boring, it must be constructed.
13.Stanzas
A group of lines shaped in the same way, with the lines usually, although not always of the same length. Traditionally they would be rhymed, but not always, especially in the twentieth century. Stanzas can vary greatly in length and structure. They serve the function of segmenting the poem and providing pauses in its progression.
Macclesfield Tutorial College [http://www.macctutorialcollege.com] is an independent college, and offers full time and part time courses to students from 16 years old to adult. The college offers GCSE and A Level courses is a wide range of subjects. The college offers a high level of education, resulting in a predominant number of students going onto higher education. The college can be contacted at office@experttutorials.co.uk
Poetic License
Emotion defined its existence
Its mystery is expressed by intelligence
Feel free and find your voice in the midst of adversity
Listen to the voice within and defy the charms of gravity
Express what you felt whether it is shameful or hot
You may impose on your self the art of rhyme or you may not
Poetry is about individuality, is it not?
Rest assure that your voice be heard whatever path you choose
I marveled and took the path less traveled
Listen, reflect and feel the messages behind every heart beat
We may go on different directions but on our destination we shall meet
Let go of your worries and relish the good memories
Don't be sorry but be inspired by thousands of stories
Angels? Nay, we are but men with wits
Finding a better way to express bits by bits
Through weakness our might can be manifested
Though battered but you'll never find us wince
I poured my emotions into the cup of prose
Intelligence merely put these words in place
It's emotional, simply irrational
He who have invented poetry must have understood women
Capture this moment and seize the day!
When this moment will come to pass, we may never find another one like this
Undertones may change but we will not deflect from our purpose
To express, not to depress
I have served my purpose
Emotions are expressed hidden between those lines, can you see?
Poems are made by fools like we
Don't mind the grammar, it is poetic license.
Its mystery is expressed by intelligence
Feel free and find your voice in the midst of adversity
Listen to the voice within and defy the charms of gravity
Express what you felt whether it is shameful or hot
You may impose on your self the art of rhyme or you may not
Poetry is about individuality, is it not?
Rest assure that your voice be heard whatever path you choose
I marveled and took the path less traveled
Listen, reflect and feel the messages behind every heart beat
We may go on different directions but on our destination we shall meet
Let go of your worries and relish the good memories
Don't be sorry but be inspired by thousands of stories
Angels? Nay, we are but men with wits
Finding a better way to express bits by bits
Through weakness our might can be manifested
Though battered but you'll never find us wince
I poured my emotions into the cup of prose
Intelligence merely put these words in place
It's emotional, simply irrational
He who have invented poetry must have understood women
Capture this moment and seize the day!
When this moment will come to pass, we may never find another one like this
Undertones may change but we will not deflect from our purpose
To express, not to depress
I have served my purpose
Emotions are expressed hidden between those lines, can you see?
Poems are made by fools like we
Don't mind the grammar, it is poetic license.
Poetic Form and Content
Offering a group of alphabets in a fashionable manner, stitching dream on the azure sky and adding some green metaphors like an artist to its shape- we get the Poems for Life. They spread happiness that a reader can drink glassful at thirsty moments- at the lonely night of full moon or rain.
If we look carefully- we will see that each poem has two aspects: Form & Content. Form is the superstructure, the body and Content is the infrastructure, the bone, meat and blood- both are crucial.
A poem may be written in different forms either following poetic grammar or without tracking thereof. Form is just like the apparels design- lucrative looking devise attracts customers. Hence, the magnetic impact of form is very significant. Preliminary attraction is the main feature of form.
On the other hand, content plays the pivotal role to satisfy reader-customers demand. The life and the context around us are the source of content that sings the victory of life. A certain thing as we see, we imagine, our desire and vision add good value to the content. In the fast moving society, contents also changing very swiftly.
Both the form and the content are the basic features of the poem. Traditional form and content of the poem have its antic value. But writing poems in modern form with contemporary content become dearer to the current readers. Still then, we have opportunity to write in classical or modern form with conventional or contemporary contents.
Whenever we compose a poem, we may consider the form and content keeping the readers' desire in mind. It is told that quality of a product remains in the customers mind. If we write a poem efficiently and effectively, but the readers do not like, that is not a perfect poem at all.
When we look into, we find lots of poetic forms- and when we watch around we see (either on open eyes or on close eyes) numerous contents are there. We have our liberty to choose- but we should not write against humankind. Out writing should be in favor of the development of human race towards progress.
We would like to add something in the development of mankind with the aid of Poems for Life.
If we look carefully- we will see that each poem has two aspects: Form & Content. Form is the superstructure, the body and Content is the infrastructure, the bone, meat and blood- both are crucial.
A poem may be written in different forms either following poetic grammar or without tracking thereof. Form is just like the apparels design- lucrative looking devise attracts customers. Hence, the magnetic impact of form is very significant. Preliminary attraction is the main feature of form.
On the other hand, content plays the pivotal role to satisfy reader-customers demand. The life and the context around us are the source of content that sings the victory of life. A certain thing as we see, we imagine, our desire and vision add good value to the content. In the fast moving society, contents also changing very swiftly.
Both the form and the content are the basic features of the poem. Traditional form and content of the poem have its antic value. But writing poems in modern form with contemporary content become dearer to the current readers. Still then, we have opportunity to write in classical or modern form with conventional or contemporary contents.
Whenever we compose a poem, we may consider the form and content keeping the readers' desire in mind. It is told that quality of a product remains in the customers mind. If we write a poem efficiently and effectively, but the readers do not like, that is not a perfect poem at all.
When we look into, we find lots of poetic forms- and when we watch around we see (either on open eyes or on close eyes) numerous contents are there. We have our liberty to choose- but we should not write against humankind. Out writing should be in favor of the development of human race towards progress.
We would like to add something in the development of mankind with the aid of Poems for Life.
Practical Poetic Anthology
The A to Z's of poetic styles is a teaching tool every poet should own. It is also extremely entertaining. With Pat Simpson at the helm, the project began.
Patricia Ann Farnsworth-Simpson put out the call to poets from all over the world to poets who knew how to write in particular forms to submit them to this book.
It did help that Patricia is partners with Daveda Gruber and together they own their own poetry site, Poetry with Passion.
Many of the Poets-World-Wide group began submitting poems done in specific poetic styles. This book took time and energy from many poets who worked very hard to produce poems that would entertain the reader while showing the different styles.
Not only is there a genuine glossary, but examples of how to put the tools into effect. This book could help students of poetry and should be available in libraries.
The diversity of the subject matter and the forms used to portray them has brought about a book superior to most. The poets you will find within the pages are talented and some of the best of this generation.
The writers involved are most definitely a 'who's who' in the poetry world. Daveda Gruber, Patricia Ann Farnworth, Tina R. Jussaume, Joseph Spence Sr., Erich Goller, P. F. Kosack, Helen Mcmanus, Joe Hartman, Jacquelyn Sturge, Michael L. Schuh, J. Elwood Davis and Mary Ann Duhart (winner of the best poem for 9/11 competition presented by Poetry with Passion) are just a few of the published authors within the covers of this teaching book.
Patricia Ann Farnsworth-Simpson put out the call to poets from all over the world to poets who knew how to write in particular forms to submit them to this book.
It did help that Patricia is partners with Daveda Gruber and together they own their own poetry site, Poetry with Passion.
Many of the Poets-World-Wide group began submitting poems done in specific poetic styles. This book took time and energy from many poets who worked very hard to produce poems that would entertain the reader while showing the different styles.
Not only is there a genuine glossary, but examples of how to put the tools into effect. This book could help students of poetry and should be available in libraries.
The diversity of the subject matter and the forms used to portray them has brought about a book superior to most. The poets you will find within the pages are talented and some of the best of this generation.
The writers involved are most definitely a 'who's who' in the poetry world. Daveda Gruber, Patricia Ann Farnworth, Tina R. Jussaume, Joseph Spence Sr., Erich Goller, P. F. Kosack, Helen Mcmanus, Joe Hartman, Jacquelyn Sturge, Michael L. Schuh, J. Elwood Davis and Mary Ann Duhart (winner of the best poem for 9/11 competition presented by Poetry with Passion) are just a few of the published authors within the covers of this teaching book.
Monody Poetry
Monody poetry is originally a Greek song of lamentation. The monody or threnody is a poem in which one person laments another's death. The poem many have any number of stanzas and there is no particular syllable count or rhyme scheme to follow in this style of poetry as one will find in the sonnet form. This is from a person's heart in that person's particular form of expression at that moment. Additionally, a threnody is a poetic song or hymn of lamentation performed as a memorial. One of the famous threnody poems in its musical form of expression, narrating grief for the dead or lamentation used for instrumental compositions, is Penderecki's Threnody for the Victims of Hiroshima. It is a musical composition for fifty-two string instruments, composed in 1960 by Krzysztof Penderecki. The following is a rendition of a combined monody - threnody poetic form:
Dearest Mother Living In My Heart
Within my soul is a broken heart torn apart
She dwells therein and for me will never depart
My dear mother has gone home to stay
She has joined her Lord; this I will always pray.
Lifted by an host of angel to heaven where she is welcomed
Her life as a messenger from God on earth has blossomed
I will never forget how she taught me to knelt and pray
Repeating and visualizing God in my own special way
While she is resting on high she is also in my heart
Her essence of praise reminds me of twinkling stars to start
I know that she is always here with me each day
She is missed, but I know within my heart she will stay
My God bless you mother always for being His
Uplifting His name unto others many praises you did give
Knowing the way this life is and its impermanence
One day we will be together again reaping His abundance
Joseph S. Spence, Sr. (aka "Epulaeryu Master"), is the author of "The Awakened One Poetics" (2009), which is published in seven different languages. He also co-authored two poetry books, "A Trilogy of Poetry, Prose and Thoughts for the Mind, Body and Soul" (2005), and "Trilogy Moments for the Mind, Body and Soul," (2006). He invented the Epulaeryu poetry form, which focuses on succulent cuisines. Joseph is a Goodwill Ambassador for the state of Arkansas. He has completed over twenty years of service with the U.S. Army.
[http://www.trilogypoetry.com/]
Dearest Mother Living In My Heart
Within my soul is a broken heart torn apart
She dwells therein and for me will never depart
My dear mother has gone home to stay
She has joined her Lord; this I will always pray.
Lifted by an host of angel to heaven where she is welcomed
Her life as a messenger from God on earth has blossomed
I will never forget how she taught me to knelt and pray
Repeating and visualizing God in my own special way
While she is resting on high she is also in my heart
Her essence of praise reminds me of twinkling stars to start
I know that she is always here with me each day
She is missed, but I know within my heart she will stay
My God bless you mother always for being His
Uplifting His name unto others many praises you did give
Knowing the way this life is and its impermanence
One day we will be together again reaping His abundance
Joseph S. Spence, Sr. (aka "Epulaeryu Master"), is the author of "The Awakened One Poetics" (2009), which is published in seven different languages. He also co-authored two poetry books, "A Trilogy of Poetry, Prose and Thoughts for the Mind, Body and Soul" (2005), and "Trilogy Moments for the Mind, Body and Soul," (2006). He invented the Epulaeryu poetry form, which focuses on succulent cuisines. Joseph is a Goodwill Ambassador for the state of Arkansas. He has completed over twenty years of service with the U.S. Army.
[http://www.trilogypoetry.com/]
Wednesday, March 5, 2014
Poems From Satipo
Ode to Satipo
[Part One/Jungle Eyes]
O Satipo, your jungle eyes--I see;
Lo, your life-filled warmth opens
Upon thy brow...
Be ye, open up--your jungle gates
For me,
Before--,
Before the wild comes with new
And old roars
(And horrific drums form within
The deep...)!
I could feel and hear the jungle life
Within my veins,--
Appeared images--within my brain.
Leafage, like peace offerings--
Silently--swayed,
Upon the shoulders of its kind--;
And here I stood in paradise!
1/24/06 #1016
Ode to Satipo
[Part Two/Peru's Abode]
Across her deep-roads of green
From rivers and valleys now
(From where I stand) unseen,--
From thy heavens above, falls
Forth,
(In truth and trials, and long course)
To call you nobler friend, than I,
Wherefore I stand, under your skies.
Wherefrom I saith, 'Satipo!'--
Peru's abode--, as
Precious as the Andean walls--
Be ye, lift up your gates:
Jungle (beauty),
For here is where stars are born!...
#1017 1/24/2006
Ode to Satipo
[Part Three/Shades of Green]
Oh patient Satipo, in silent
Green!
Complexities, triumphs
Wings like engines
(Everywhere)
And, what so way I look,
Shapes and wonders: bounties
Great--
That thou with loving care
Creates
A thousand colors of jade
Receding in your rainforest;
Hence, I sense your bliss,
Within
Your wildness...!
#1018 1/24/2006
Comments by the author: I had lived as a child in the city (St. Paul, Minnesota, United States), which I left as soon as possible, to roam the world, which I felt was really my own little city. I was amazed at the diversity of the world, its many kinds of people, traditions, customs, temples, ruins, climate, geography, animals--, and now I've been to several jungles, and of course that is in a class of its own. From Central America (Tikal), to the Amazon, to the Gran Sabana, and those jungles in Java, and South East Asia, Vietnam; and let me add, Guam, and the Galapagos (more for the animals, than jungle though); and Easter Island (again, more for its isolated location, and its people than for the jungle life); the fact is, it is all one big jungle for me; etcetera. These poems in this book were written during a quiet time of my life (which is now of course); quiet, in the sense of: I'm slowing down some, more because I have to, not necessarily want to. So I dedicate this three part poem to the folks of the Satipo Jungle of Peru. And to a friend writer, who has written much in his young life,and loves the word, and has much to say: Lance Windslow.
In Spanish
Translated by Nancy Penaloza
Dedicado a Mamá María
Oda en Prosa: A Satipo
OH, Satipo, tus ojos de la selva- yo vi; Aquí, tu calor lleno de- vida se abre sobre mi frente, aun aquí arriba en los cielos. Por favor abre Las puertas de la selva antes de que el salvaje venga con nuevos e impacientes rugidos, yo quiero ver mas; horribles tambores, yo escucho mi corazón latir, nuevamente, ¡aquí, vienen!
Yo puedo sentir y escuchar la vida de la selva dentro de mis venas, -cuando no estaba
Cerca de ella; uno puede, usted sabe, cuándo esta en ti; su imagen aparece, aun cuando no esta cerca- dentro de mi cerebro.
El follaje, como ofrenda de paz- silenciosamente yo recuerdo su -balanceo, sobre mis hombros de su amabilidad-; y aquí, aquí yo permanezco en el Paraíso!
1/24/06 # 1016
Una nota sobre: Mamá Maria. Ella vivió la mayor parte de su vida dentro y fuera de Satipo la selva de Perú; esto talvez fue su tercer o cuarto amor: primero Dios, ella misma su esposo e hijos, y luego la selva; yo creo que esto pudo ser en ese orden, o talvez su esposo y niños y luego ella misma, yo no se: pero lo que yo conozco es esto: si ella amo a la selva la mitad de lo mucho que yo amo escribir poesía: ella verdaderamente amo al Monumentalmente Satipo, entonces quien mas merece esta poema dedicado, yo no se si alguien mas además de ella.
See Dennis' web site: http://dennissiluk.tripod.com
More information, please visit :
[Part One/Jungle Eyes]
O Satipo, your jungle eyes--I see;
Lo, your life-filled warmth opens
Upon thy brow...
Be ye, open up--your jungle gates
For me,
Before--,
Before the wild comes with new
And old roars
(And horrific drums form within
The deep...)!
I could feel and hear the jungle life
Within my veins,--
Appeared images--within my brain.
Leafage, like peace offerings--
Silently--swayed,
Upon the shoulders of its kind--;
And here I stood in paradise!
1/24/06 #1016
Ode to Satipo
[Part Two/Peru's Abode]
Across her deep-roads of green
From rivers and valleys now
(From where I stand) unseen,--
From thy heavens above, falls
Forth,
(In truth and trials, and long course)
To call you nobler friend, than I,
Wherefore I stand, under your skies.
Wherefrom I saith, 'Satipo!'--
Peru's abode--, as
Precious as the Andean walls--
Be ye, lift up your gates:
Jungle (beauty),
For here is where stars are born!...
#1017 1/24/2006
Ode to Satipo
[Part Three/Shades of Green]
Oh patient Satipo, in silent
Green!
Complexities, triumphs
Wings like engines
(Everywhere)
And, what so way I look,
Shapes and wonders: bounties
Great--
That thou with loving care
Creates
A thousand colors of jade
Receding in your rainforest;
Hence, I sense your bliss,
Within
Your wildness...!
#1018 1/24/2006
Comments by the author: I had lived as a child in the city (St. Paul, Minnesota, United States), which I left as soon as possible, to roam the world, which I felt was really my own little city. I was amazed at the diversity of the world, its many kinds of people, traditions, customs, temples, ruins, climate, geography, animals--, and now I've been to several jungles, and of course that is in a class of its own. From Central America (Tikal), to the Amazon, to the Gran Sabana, and those jungles in Java, and South East Asia, Vietnam; and let me add, Guam, and the Galapagos (more for the animals, than jungle though); and Easter Island (again, more for its isolated location, and its people than for the jungle life); the fact is, it is all one big jungle for me; etcetera. These poems in this book were written during a quiet time of my life (which is now of course); quiet, in the sense of: I'm slowing down some, more because I have to, not necessarily want to. So I dedicate this three part poem to the folks of the Satipo Jungle of Peru. And to a friend writer, who has written much in his young life,and loves the word, and has much to say: Lance Windslow.
In Spanish
Translated by Nancy Penaloza
Dedicado a Mamá María
Oda en Prosa: A Satipo
OH, Satipo, tus ojos de la selva- yo vi; Aquí, tu calor lleno de- vida se abre sobre mi frente, aun aquí arriba en los cielos. Por favor abre Las puertas de la selva antes de que el salvaje venga con nuevos e impacientes rugidos, yo quiero ver mas; horribles tambores, yo escucho mi corazón latir, nuevamente, ¡aquí, vienen!
Yo puedo sentir y escuchar la vida de la selva dentro de mis venas, -cuando no estaba
Cerca de ella; uno puede, usted sabe, cuándo esta en ti; su imagen aparece, aun cuando no esta cerca- dentro de mi cerebro.
El follaje, como ofrenda de paz- silenciosamente yo recuerdo su -balanceo, sobre mis hombros de su amabilidad-; y aquí, aquí yo permanezco en el Paraíso!
1/24/06 # 1016
Una nota sobre: Mamá Maria. Ella vivió la mayor parte de su vida dentro y fuera de Satipo la selva de Perú; esto talvez fue su tercer o cuarto amor: primero Dios, ella misma su esposo e hijos, y luego la selva; yo creo que esto pudo ser en ese orden, o talvez su esposo y niños y luego ella misma, yo no se: pero lo que yo conozco es esto: si ella amo a la selva la mitad de lo mucho que yo amo escribir poesía: ella verdaderamente amo al Monumentalmente Satipo, entonces quien mas merece esta poema dedicado, yo no se si alguien mas además de ella.
See Dennis' web site: http://dennissiluk.tripod.com
More information, please visit :
How to Writing Prose
Prose is the name of what most of us do, in one form or another, every day. If you think that you don't write prose, think again. If you wrote a note, a letter, an email, a report for work, or wrote in your journal, diary or blog or even made a post on the web, chances are that you have written prose. Unless the writing you did was exclusively a poem, you have written prose.
Prose is writing that resembles everyday speech. The word "prose" came to us from the Latin word-"prosa" which literally translates to "straightforward".
We use prose on a daily basis it is the normal writing that we read and write.It is meaningful and grammatical, written or spoken language without metrical structure or the rhyme characteristics of poetry or verse.
The only writing that is not prose is poetry of all types. Written prose does not contain rhyming, and consists of very little embellishment.
Examples of prose are:
Short Stories
Factual or Non-fiction Prose
Letters
Novels
Diaries
Plays
Newspaper Columns
Articles
History
Biography
sermons
Journals
Personal Essays
Technical Writing
Legends
Fable
Myth
Epic
Many technical writers object to having their detailed and exact writing classified as prose right beside Fairy Tales. Although the writing styles are greatly different both types of writing are prose.
General Guidelines for writing are:
Be concise, brief: say what you want to say
Be precise, specific and avoid ambiguities; be clear use personal pronouns and do not write in general terms. The reader should feel confidence that he has read factual information and not be in doubt of what he just read.
Prefer the active voice; it is much more useful and easier to apply the information that uses the active voice.
Prefer the Present tense; try to avoid the passive voice, except where it is absolutely required.
Avoid being too technical, even in technical writing, the reader's ability to understand and apply what he has read is your priority.
Follow rules of writing (grammar).
The following types of publications use prose:
Books
Newspapers
Magazines
E-zines
Encyclopedias
Broadcast Media
Films
Letters
Philosophy
Text Books
Non-fiction Books
In conclusion, prose is the customary style of writing that we normally use in both writing and speaking. The writing style varies from formal or casual, business or personal, creative or factual even academic or technical.
Relax, enjoy reading prose, writing prose and even speaking prose. It is our usual form of communication.
More information, please visit :
Prose is writing that resembles everyday speech. The word "prose" came to us from the Latin word-"prosa" which literally translates to "straightforward".
We use prose on a daily basis it is the normal writing that we read and write.It is meaningful and grammatical, written or spoken language without metrical structure or the rhyme characteristics of poetry or verse.
The only writing that is not prose is poetry of all types. Written prose does not contain rhyming, and consists of very little embellishment.
Examples of prose are:
Short Stories
Factual or Non-fiction Prose
Letters
Novels
Diaries
Plays
Newspaper Columns
Articles
History
Biography
sermons
Journals
Personal Essays
Technical Writing
Legends
Fable
Myth
Epic
Many technical writers object to having their detailed and exact writing classified as prose right beside Fairy Tales. Although the writing styles are greatly different both types of writing are prose.
General Guidelines for writing are:
Be concise, brief: say what you want to say
Be precise, specific and avoid ambiguities; be clear use personal pronouns and do not write in general terms. The reader should feel confidence that he has read factual information and not be in doubt of what he just read.
Prefer the active voice; it is much more useful and easier to apply the information that uses the active voice.
Prefer the Present tense; try to avoid the passive voice, except where it is absolutely required.
Avoid being too technical, even in technical writing, the reader's ability to understand and apply what he has read is your priority.
Follow rules of writing (grammar).
The following types of publications use prose:
Books
Newspapers
Magazines
E-zines
Encyclopedias
Broadcast Media
Films
Letters
Philosophy
Text Books
Non-fiction Books
In conclusion, prose is the customary style of writing that we normally use in both writing and speaking. The writing style varies from formal or casual, business or personal, creative or factual even academic or technical.
Relax, enjoy reading prose, writing prose and even speaking prose. It is our usual form of communication.
More information, please visit :
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