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There are many sorts of poetry embedded in a tick tack tao survey - it has poetry deep in its belly.
It is not hard to learn how to form a survey of this sort. Gather data, select some of them and arrange them and see what you come up with. You may delight in the results of your efforts; there is that chance.
Take a tick tack tao survey and select a few phrases and fragments from it as you like. The way you put these blocks (phrases) together, tends to show up as different sorts of poetry. First, decode the tick tack tao survey. Second, choose fragments or phrases. Three, assemble those bits and arrange them in blocks. Four, polish the result. Then you are finished. It is as easy as that.
A. ANCIENT STYLE POETRY - BABY STEPS.
An ancient style teaching poem: Take a phrase or fragment from the first section of a tick tack tao survey, and one from the third. You are halfway! Then one from then the first and third again - and there you are: A teaching poem of an old style!
The end results of such a metric poem may be variable - some apparently good, others not so good, and so on. You may need to toy with the ideas to make them shapely and give them a try.
B. THE SLEEKA TEACHING POEM Sleeka is a name given to an extract or abstract that is made according to a design (according to metrics rooted in the Get Tao design) and put together to run as free verse. While appearing as free verse, it is also rooted in Sanskrit sloka, verse.
Thus, sleeka is a generic name for associative, salient poetry, and preferably such instructive poetry too. It consists of fragmented key notes and key phrases put together. 'Associative' here means "relating to association especially of ideas or images". It is by idea associations most persons learn and develop a mind of their own, the Buzan brothers show. They say that the more you educate people, the more unique mental networks of associations they get. [Mmb 64-66].
There may be a little added to the keys too, in between them. Such additional words are a sort of glue between some of them key words and phrases, or for clarifying parts, or modifications as it seems fit. Glue may range from added to assorted and more or less stripped elements thus.
LADEN, INTRINSIC USE. The sleeka (variant spelling: sleka) looks like a Sanskrit sloka, such a sort of stanza. The sloka is the chief verse form of the Sanskrit epics. Interestingly, ancient Sanskrit verse frequently uses modes of expressivity that go together and mark modernist poetry and free verse of our times. Both sleeka and sloka with their very fluid metres lends themselves extremely well to improvisation. The Gold Scales sleeka can be compared to a new twig on an old stump as well.
The sleeka is for taking the bull by its horns by being a quite free-standing knowledge poem that is made up of key points, fragments, and key phrases it is good for learning, if what the eminent psychologist Tony Buzan asserts about the value of focusing on key words and key phrases is all right. Buzan tells we can access ten times more or better through key notes - or maybe "just nine" - and the instructive sleeka consists of key notes. The sleeka may be linked to the Japanese ikebana (shoka) too, in that its key phrases are like arranged flower offerings to Buddha deep within.
In the simplest forms of the sleeka, most ellipses may be shown just by linebreaks. It is possible to draw still more out of it, though, through various structural designs. Both prose and poetry outputs are possible.
ELEMENTS OF LINKED, EUROPEAN HISTORY. Sleekas take off through similar means as in modernist poetry, by more or less isolated fragments and irregular metrical designs, just as in free verse. Various components are put together and experimented on. In modernist poetry experiments paved the way for a stripped and refined use of language that allowed for brief and economical outputs, seemingly rootless or even freaked at first glance, and yet robust enough. As in modernism, there is room for such as satire and arguments, and incorporation of most elements in lyrics.
As in the Modernismo movement there may or may not be an emphasis on native themes and folklore. Sleekas may also be seen to derive from main elements of free verse in that they pick up cadences of speech and image patterns and thinks less of putting elements into some regular metrical scheme. A steady, abstract rhythm is not needed; its rhythms are based on patterned elements in words, phrases, sentences, and maybe whole paragraphs. The typography tends to be experimental. The expressive take eliminates much artificiality and substitutes a flexible formal organization and perhaps a casual-looking tone. Ezra Pound, William Carlos Williams, Marianne Moore, and Wallace Stevens all wrote some variety of free verse.
As with vers libre poets of France in the 1800s, where structural innovations paved the way for liberated phrases more than fixed number of syllables, the lengths of lines may vary and rhyme is optional. The term prose poems may come to mind, as with Arthur Rimbaud (1854-91), known as a marvellous poet of elliptical style, a genius that made a considerable fortune, and one of the founding fathers of modernism.
EB: Encyclopaedia Britannica. Encyclopaedia Britannica 2013 Ultimate Reference Suite DVD. London: Encyclopaedia Britannica, 2012.
Mmb: Buzan, Tony, with Barry Buzan. The Mind Map Book. Rev. ed. London: BBC Books, 1995.
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