Welcome to the Poetry Portal
Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Depending on the genre particular instances or even a group of instances of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, consonance, euphony and cacophony, onomatopoeia, rhythm (via metre), rhyme schemes (patterns in the type and placement of a phoneme group) and sound symbolism, to produce musical or other artistic effects. They also frequently organize these devices intos, which may be strict or loose, conventional or invented by the poet. Poetic structures vary dramatically by language and cultural convention, but they often rely on rhythmic metre: patterns of syllable stress or syllable (or mora) weight. They may also use repeating patterns of phonemes, phoneme groups, tones, words, or entire phrases. Poetic structures may even be semantic (e.g. the volta required in a Petrachan sonnet).
Most written poems are formatted in verse: a series or stack of lines on a page, which follow the poetic structure. For this reason, verse has also become a synonym (a metonym) for poetry. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz, or Rumi may think of it as written in lines based on rhyme and regular meter. There are, however, traditions, such as Biblical poetry and alliterative verse, that use other means to create rhythm and euphony. Other traditions, such as Somali poetry, rely on complex systems of alliteration and metre independent of writing and have been described as structurally comparable to ancient Greek and medieval European oral verse. Much modern poetry reflects a critique of poetic tradition, testing the principle of euphony itself or altogether forgoing rhyme or set rhythm. In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading).
Poetry uses forms and conventions to suggest differential interpretations of words, or to evoke emotive responses. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, figures of speech such as metaphor, simile, and metonymy establish a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm. (Full article...)
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The conversation poems are a group of eight poems composed by Samuel Taylor Coleridge (1772–1834) between 1795 and 1807. Each details a particular life experience which lead to the poet's examination of nature and the role of poetry. They describe virtuous conduct and man's obligation to God, nature and society, and ask as if there is a place for simple appreciation of nature without having to actively dedicate one's life to altruism.
The Conversation poems were grouped in the 20th-century by literary critics who found similarity in focus, style and content. The series title was devised to describe verse where Coleridge incorporates conversational language while examining higher ideas of nature and morality. The works are held together by common themes, in particular they share meditations on nature and man's place in the universe. In each, Coleridge explores his idea of "One Life", a belief that people are spiritually connected through a universal relationship with God that joins all natural beings.
Critics have disagreed on which poem in the group is strongest. Frost at Midnight is usually held in high esteem, while Fears in Solitude is generally less well regarded.. (Full article...)
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Poetry WikiProject
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Born in Huntington on Long Island, Whitman worked as a journalist, a teacher, a government clerk, and—in addition to publishing his poetry—was a volunteer nurse during the American Civil War. Early in his career, he also produced a temperance novel, Franklin Evans (1842). Whitman's major work, Leaves of Grass, was first published in 1855 with his own money. The work was an attempt at reaching out to the common person with an American epic. He continued expanding and revising it until his death in 1892. After a stroke towards the end of his life, he moved to Camden, New Jersey, where his health further declined. He died at age 72 and his funeral became a public spectacle. (Full article...)
Did you know (auto-generated) -
- ... that Sarah Pickstone based her John Moores Prize–winning painting on an illustration that accompanied the poem "Not Waving but Drowning"?
- ... that eight poems to the 6th-century Brittonic king Urien Rheged may be among the oldest works of vernacular literature in post-classical Europe?
- ... that Emily Manning used a poetic dialogue between a husband and his clairvoyant wife to examine Victorian gender roles?
- ... that the memoir of Saudi poet Huda al-Daghfaq has been described as an expression of her "existential battle"?
- ... that the Yiddish poet David Einhorn levelled criticism at other Jewish writers in Berlin whom he accused of being "bourgeois intellectuals" and out-of-touch with their fellow migrants?
- ... that Benjamin Britten composed Canticle I: My beloved is mine and I am his for the tenor voice of Peter Pears, using poetry from A Divine Rapture by Francis Quarles?
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| Mandala 1, Hymn 1, Rigveda by anonymous |
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1. I Laud Agni, the chosen Priest, God, minister of sacrifice, The hotar, lavishest of wealth. 2. Worthy is Agni to be praised by living as by ancient seers. He shall bring. hitherward the Gods. 3. Through Agni man obtaineth wealth, yea, plenty waxing day by day, Most rich in heroes, glorious. 4. Agni, the perfect sacrifice which thou encompassest about Verily goeth to the Gods. 5. May Agni, sapient-minded Priest, truthful, most gloriously great, The God, come hither with the Gods. 6. Whatever blessing, Agni, thou wilt grant unto thy worshipper, That, Angiras, is indeed thy truth. 7. To thee, dispeller of the night, O Agni, day by day with prayer Bringing thee reverence, we come 8. Ruler of sacrifices, guard of Law eternal, radiant One, Increasing in thine own abode. 9. Be to us easy of approach, even as a father to his son: Agni, be with us for our weal. |
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