Site Map
Poetry If You Find It
  2 › 1 › 5 Set Section Search PREVIOUS NEXT
Reservations    

Gist of the Previous Page

Resting May Pay
Fully evolved newspaper-reader
resting well on top of all these cornflakes
Tremendous delight can finally pay.

What is meant by "cornflakes" here? Something yellow, flattened, eatable and sweet-tasting - either concretely or "lifted" into a metaphoric meaning. If used metaphoric, take into account possibly subjective or arbitrary meanings of "small flat pieces of toasted maize that are eaten with milk, sugar etc. as a breakfast cereal" (cf. Collins Dictionary)

Fame - being in the public eye - can be a tough thing to handle at times, just like public lavatories. Briskness alone will not do all the time; you have to be on your guard also, supposedly.

A poetry matrix

  
 
 

Matrix is Latin for 'womb'. Some wombs generate humans. A womb for making baby-poems can produce verses to delight in, and all the others, perhaps deep and mystifying verses too. You can make one yourself:

Find in the boxes words and phrases that appeal strongly to your heart, add them up and you have something. Perhaps mystifying at first look. If so, wait till tomorrow or next week to have another glance at it. Then a little brushwork may be all that is further needed, and you have a poem that makes sense, at least to you - perhaps deep and mystifying without appearing like that at al. It could happen.

How to

Experiment and build on your own experience. In building poems that suit you, see if this stepwise approach suits you too:

Tableau
  1. Go to box 2 of line 1 (in the matrix above). Find the term to your liking if you can.
  2. Select similarly from the last box of line 2.
  3. Choose a key in the same way from box 1 on line 3.
  4. Choose phrases that you feel for from among the remaining boxes. Experiment a little with their various suggestions if you like. Write down your best tries if you will. Final suggestion: Leave the last box till the others have been selected.

And one more thing: Once you are pleased with your product, try to have a good, well-allied interpretation ready too. Why? It could pay very well to align your output to something of high status so that rude and mean persons won't so easily take to projecting bad stuff against you. Just try to conform tactfully by how you write. There are good reasons for lining up that way if you are surrounded by mean ones who make a living out of pretending, out of wearing masks, so to speak, for their surface shows or facades may crack and break in the face of what they cannot quite understand. It is a basic insight that in the face of great uncertainty and outright danger, feigning loosens its hold and masks may drop. Try not to become a target, a sitting duck.

A secret or three or four let out:

  1. The first box of the first line right below is for attributes somehow. The second box of the first line tells of God or holiness plots.

  2. The second line describes some fairly typical doings and some others. What is on the second line tends to set the scene of your novel haiku-allied poem.

  3. The third line in this semi-poetry is for pregnant and snappy conclusions or something else to finish the poem.

Polish the result - some words or lines could need to get brushed - maybe by having more than 's' [plural form] added. Who knows.

Another three-liner

Breast-Ruling

Substantial, large-breasted mom,
Ruling the world on top of all these cornflakes,
Listening full well takes what it takes.

◦Listen to your heart [Roxette]." Transmute concretes into abstracts, and meanings may start to come to the fore. For example,

  1. 'Substantial' signals real and not only imagined or loose.
  2. Try 'very compassionate' as a replacement for 'large-breasted', if that suits you. Breasts go softly along with all of these: 'sympathetic, kindly, understanding, tender, pitying, humanitarian, charitable, humane, indulgent, benevolent, lenient, merciful, kind-hearted, tender-hearted' (Collins Dictionary). There are replacement terms like "ample-bosomed' and many others. Suit yourself: [Melons]
  3. Some take mom or ma to mean "Divine Mother" The manifesting side to Bhavana* may be regarded the she-side of things and happenings, a shakti, and so on. In Hinduism many goddesses and many names are venerated as manifestations of the Divine Woman (the Divine Mother and so on, reflecting the stages of womanhood).
  4. 'Cornflakes' calls for your interpretations of it as a metaphoric device. What could it be? To what do your associations lead you? Compare how individualistic mental associations are. [Mental associations]
  5. 'Listening full well: Listening thoroughly means hearing the sounds of nadis in the body, and such listening is crowned with attuning to the muffled sound which spells "listening fully" in the highest yoga.
* Bhavana means "producing" in the sense of "calling into existence" and "development" etc. The word appears in terms like citta-bhavana (the development or cultivation of the heart/mind) or metta-bhavana (the development/cultivation of loving-kindness). When used on its own, bhavana signifies 'spiritual cultivation' generally. [WP, "Bhavana"]

If you work on the three-liner a bit more, being allied with good meditation teachings, you may evolve views - allied to facets of yoga and meditation that are not necessarily mainstream in the West yet.

If you decide on another ending of a matrix-generated poem of a sort, you may soon see that there are many alternatives to choose among in each box. For example a change of ending in the very last box brings about 17 variants. You may not like all of them.

Be that as it may. Here is an interpretation of the poem for us:

Interpretation
Tender love rules the universe
from the source outwards.
By so-called attentive proficiency you may hear the source.

That is one way to look at it - to interpret the poem as a mystical, cryptical thing. There are stories about the great Ramakrishna that exemplify the approach of aligning to Divinity in several ways.

The slim poem generator can be fit for more than a million poems - [(18 x 21) x (13 x 7 x 14) x (17 x 18)] full poems, and also fragmented lines, singly or added to other lines, two or more full three-liners made into a longer poem with verses, and further. Allowing for such as overlaps; chunking and compounding terms; and refined polishing with omissions and additions with discretion - not wholly as you please - the sum total can be larger too, but that hardly matters where a million is enough.

So stick to the phrases that you respond to, and try to deal with most of them cogently for the sake of your reputation as a non-freak, that is.

Old poem

There is a Japanese haiku from the 1600s written by Basho (1644-94). It tells of a frog that jumps into the water in an old pond. Haiku, or hokku as it was called during the lifetime of Basho, is the shortest among the traditionally accepted forms of Japanese poetry.

The ancient pond,
A frog leaps in.
Splash.

The last line is not 'splash' in all translations. There are many options, and this haiku is reputedly hard to tackle. So: different translators, different outcomes. Translators have to decide which words seem best - to them - under the circumstances. Is is hardly 'plash', but what about 'plop'? It seems to me that frogs seem to plop more than they spash, but I have not listened a lot to frogs.

  • The pond in the haiku can serve as an image of the more or less timeless existence, and this world we are in for as long as it lasts.
  • The frog: "A frog leaps in": The frog can be yourself in this world.
  • Plop (or splash): The splash serves to illustrate the meeting-point of the juxtaposed main figures - the pond and the artist (frog).

This shows how there can be deep hints within a poem, according to set-up ways of presenting things (traditional ways), or personal interpretations, or both in a blend somehow. [Link] Salient poetry of this sort harms no one it is hoped. How could it? As for novel haiku-attuned generator-poems, the seem capable of helping against being taken in by wordplay that robs deep inner needs for belonging.

TO TOP

Get smart or wise ahead of troubles

Your seven "boxes" have many "phrase-cards" to draw from them - at random if you like too. By such an approach - or preferably the one on top of the page - you should have been liberated from reading lots of books, but that may not be so sure. There are many settings and "local colours" to take in too, from tract to tract - and other things play along with the poems too. Be that as it may, you have in your hands a scheme that yields as many poems as many thousand poetry books. Quality estimates are kept out of this here. Maybe you write better poems than what is found in books and translated books, or maybe it is the other way round in the start.

Many of the generated poems may function all right but can all the same be improved by brushing, adding to them, replacing words, and so on. Welcome your deep-probing poems with possibly deep, existential undertones if you can find them - and think of the handy things to instead of buying or borrowing hundreds of poetry books.

Consider the possible metaphors and stay on the safe side: There can be more than one interpretation of the terms used: icebergs are at times a metaphor of humans drifting in the ocean of being, and at other times not that.

Options abound

A haiku is an utterly terse poem, and rather like a telegram. You may decide to fill in just a little here and there in your chosen poetry to be understood. Some translations are like that.

Art to be had

Go for the greatest you are up to at well-nigh any time. Should deep meditation be a thing you can do, that could be it! By meditation you may rise above words too and may get many times happier.

This also implies that the one who decides on really simple poetry can remain functional, like for example Po Chü-i (Bai Juyi). Burton Watson writes of him:

He worked to develop a style that was simple and easy to understand, and posterity has requited his efforts by making him one of the most well-loved and widely read of all Chinese poets [and] also influential in the historical development of Japanese literature. [WP, "Bai Juyi"]

That is much! In poetry as in other forms of writing, much depends on what is put together, and how it is done (assemblages and arrangement of their parts).

Great savings may be had

There could be more than paper and large trees to save in this. There is also saving of shelves and space. Electronic storing is a great space-saver too.

To have a wealth of things but not of time suggests that free time has been traded in - perhaps it is another way of being silly as joy of life dwindles by it and good old handiness is degraded.

Discover how much you may save by a poem generator. Take into account Money. Effort. Shelf-space. Time. Catering to things of poetry-making offers help. And see whether great mystics or scoundrels haven't found such topics of interest earlier - just for simple comparisons. There will still be poetry essentials to master (books below).

For example, one of the Japanese poets founded a poetics school of his own, after passing through a certain apprenticeship. Then he insisted that a haiku to his liking must contain both a perception of some eternal truth and some "now and here" some way or other. Others rose in time to acquire opinions of their own on forming Japanese poetry well.

I for my part think blank verse is quite good enough for the zest of expressing. However, people are different. And there is room for much variation - of spelling, arrangement and arrangement of topic and so on. Just find some designs and variants that please the Child (zest in living) that is in you.

You can think of a good poem. It may assist your climb into express something tersely and well, or sometimes carrying figurative speech. If you can dream, you can rise into poetry - you have it in you. It is innate, actually. A dreamer is also a poet, a film maker, a creative one deep inside. One can learn how to interpret dreams a lot. [Link]


Poems generated, Literature  

Blass, Rachel B. The Meaning of the Dream in Psychoanalysis. Albany, NY: State University of New York Press, 2002.

Bownas, Geoffrey, and Anthony Thwaite. Japanese Verse. Rev. ed. London: Penguin Classics, 2009.

Bugeja, Michael J. The Art and Craft of Poetry. Ed. Christine Martin. Cincinnati, OH: Writer's Digest Books, 1994.

Hakutani, Yoshinobu. Haiku and Modernist Poetics. New York: Palgrave MacMillan, 2009.

Hall, James A. Jungian Dream Interpretation: A Handbook of Theory and Practice. Toronto: Inner City Books, 1983.

Higginson, William J., with Penny Harter. The Haiku Handbook: How to Write, Share, and Teach Haiku. New York: McGraw-Hill, 1985.

Livingston, Myra Cohn. Poem-Making: Ways to Begin Writing Poetry. New York: Charlotte Zolotov / HarperCollins, 1991.

McRae, John. The Language of Poetry. New e-ed. London: Taylor and Francis, 2003.

Mock, Jeff. You Can Write Poetry. Cincinnati, OH: Writer's Digest Books, 1998.

Smith, Robert Rowland. On Modern Poetry: From Theory to Total Criticism. London: Continuum, 2012.

Snowden, Ruth. Exploring Your Dreams: How to Use Dreams for Personal Growth and Creative Inspiration. Oxford: How To Books, 2011.

Whitworth, John. Writing Poetry. 2nd ed. London: A and C Black, 2000.

Yuasa, Nokuyuki, tr. The Narrow Road to the Deep North and other Travel Sketches. London: Penguin Books, 1966. —— On Basho (pp 9-49).

Poems generated, To top Set Archive section Next

Poems generated USER'S GUIDE: [Link]
© 1996–2015, Tormod Kinnes, MPhil. [Email]  ᴥ  Disclaimer: [Link]