Da Vinci Code

Da Vinci Code

This life is full of  
tittering jeering emptiness  
and unacceptable too,   
so I painted myself like a Hero: 
no less than the Marvel’s figures:   
A holy spirit I framed this sh*t,   
and started moving along 
the silent winds to climb 
the flirting stars and was 
singing Milton’s songs. 
Wearing white  
in that dark cold night,   
my flight in the falling mist  
was full of horror and fright, 
and when I past the worldly time,  
that measures the melting hours,  
down I saw glares and glows unknown  
and heard thousands of filthy groans,   
it left my reason  
numbed and vision blind. 
A high treason it would be   
in the seventh sky, as I got to know 
that MAN is a fleck of dust, 
but worthy more than the ten commandments, 
and sacred like the Da Vinci code…  
Oh come on K !
WTH are you talking?   
it’s too boring, isn’t?   
let’s have some drink and  
a little nap instead.


what is Free Verse?

Poets have explained that free verse is not totally free. Free verse displays some elements of form. Most free verse, for example, self-evidently continues to observe a convention of the poetic line in some sense, at least in written representations, though retaining a potential degree of linkage. Donald Hall goes as far as to say that “the form of free verse is as binding and as liberating as the form of a rondeau”,and T. S. Eliot wrote, “No verse is free for the man who wants to do a good job”.Kenneth Allott the poet/critic said the adoption by some poets of vers libre arose from ‘mere desire for novelty, the imitation of Whitman, the study of Jacobeandramatic blank verse, and the awareness of what French poets had already done to the Alexandrine in France’.The American critic John Livingston Lowes in 1916 observed ‘Free verse may be written as very beautiful prose; prose may be written as very beautiful free verse. Which is which?’

Some poets have considered free verse restrictive in its own way. In 1922 Robert Bridges voiced his reservations in the essay ‘Humdrum and Harum-Scarum.’ Robert Frost later remarked that writing free verse was like “playing tennis without a net.” William Carlos Williams said “being an art form, verse cannot be free in the sense of having no limitations or guiding principles”.Yvor Winters, the poet/critic said “the free verse that is really verse, the best that is, of W.C. Williams, H. D., Marianne Moore, Wallace Stevens, and Ezra Pound is the antithesis of free.

Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in Walt Whitman’s poems, where he repeats certain phrases and uses commas to create both a rhythm and structure. Much pattern and discipline is to be found in free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty.With the Imagistsfree verse became a discipline and acquired status as a legitimate poetic form.[14] Herbert Read however, noting that ‘the Imagist Ezra Pound gave free verse its musical structure to an extent that parodoxically it was no longer free’.
googled and shared.

what is Blank Verse?

Blank verse 
is a literary device defined as un-rhyming verse written in iambicpentameter. In poetry and prose, it has a consistent meter with 10 syllables in each line (pentameter); where, unstressed syllables are followed by stressed ones and five of which are stressed but do notrhyme. It is also known as un-rhymed iambic pentameter.
Features of Blank Verse
Blank verse poetry has no fixed number of lines.It has a conventional meter that is used for verse drama and longnarrative poems.It is often used in descriptive and reflective poems and dramatic monologues — the poems in which a single character delivers his thoughts in the form of a speech.Blank verse can be composed in any kind of meter, such as iamb, trochee,spondee and dactyl.
Types of Blank Verse Poetry
Iamb pentameter blank verse (unstressed/stressed syllables)Trochee blank verse (stressed/unstressed syllables)Anapest blank verse (unstressed/unstressed/stressed syllables)Dactyl blank verse (stressed/unstressed/unstressed syllables)
Examples of Blank Verse from Literature
The Earl of Surrey introduced blank verse in English literature in 1540. Milton,Shakespeare, Marlowe, John Donne, John Keats and many other poets and dramatists have used this device in their works. Have a look at some examples of blank verse:

Example #1
Something there is that doesn’t lovea wall.
That sends the frozen-ground-swellunder it,
And spills the upper boulders in thesun;
(Mending Walls by Robert Frost)
This poem has no proper rhyme scheme. However, there is consistent meter in 10 syllables of each line. It is following iambic pentameter pattern with five feet in each line. Only the first line is written in trochee pattern. All the stressed syllables are marked in bold.

Example #2
But, woe is me, you are so sick oflate,
So far from cheer and from yourformer state,
That I distrust you. Yet, though Idistrust,
Discomfort you, my lord, it nothingmust…..
(Hamlet by William Shakespeare)
Hamlet is a perfect example of a typical blank verse. It is written in iambic pentameter. Shakespeare employed the deliberate effort to use the syllables in a particular way. Shakespeare brought variation by using caesuras (pause) in the middle of the line, as in the third line. Shakespeare has other literary pieces that are also good sources of blank verse examples.

Example #3
You stars that reign’d at my nativity,
Whose influence hath allotted death and hell,
Now draw up Faustus like a foggy mist
Into entrails of yon labouring clouds,……
So that my soul may but ascend to Heaven…
(Dr.Faustus by Christopher Marlowe)
Marlowe developed this potential in the late 16th century. Marlowe was the first author who exploited the potential of blank verse for writing a powerful speech as given here. The pattern utilized here is iambic pentameter.

Example #4
It little profits that an idle king,
By this still hearth, among these barren crags
Match’d with an aged wife, I mete and dole
Unequal laws unto a savage race….,
That hoard, and sleep, and feed, and know not me.
(Ulysses by Alfred Lord Tennyson)
Just look at the above example in which the first line is written in regular pentameter. However, there is a little variation in the stressed pattern in the following lines that is again revived in the last two lines and does not follow any rhyme scheme.

Example #5
“Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death.…….”
(Macbeth by William Shakespeare)
William Shakespeare wrote verses in iambic pentameter pattern; without rhyme.Macbeth is a good example of blank verse. Many speeches in this play are written in the form of blank verse.

Function of Blank Verse:

Originated from Latin and Greek sources, blank verse is widely employed as a vehicle in English dramatic poetry and prose to create specific grandeur. Blank verse has similarity to normal speech but it is written in a variety of patterns, which bring interruptions such as pauses. Therefore, the intention is to produce a formal rhythmical pattern that creates musical effects. Hence, it tends to capture the attention of the readers and the listeners, which is its primary objective.

Note:googled and shared for education purpose only.someone else has written this.


Only few dare to see
the darkness of day,
when the sun shines
up in the sky.

Oh I am in search
of place, where
people may live
without ambition or mate.

My inflated senses are
obsessed with the conceits
she yield
from the psychosis.

I pray thy blindness O heart;
better go and catch some Zs.
the pangs of spotlight
is not for you.


critical review: PH forum

Semantics. You’re trying to tell someone about how you feel instead of showing them. If you want to ‘tell’ then write it in an essay. (Having said that, the best essays use some (at least) poetic language) Floundering poets never seem to understand the difference between telling and showing… Talking to someone, or writing ABOUT SOMETHING. Emotions clog up the essence of a poem. Lose it, Man!  XK

poetry for praise? purpose…

What is more important for a poet? To receive praise, which is no guarantee for great poetry, or to feel that a genuine human emotion was expressed as well and as honestly as possible for that poet? Just thinking, what if, what I write is applauded by the ” experts” but, I simply wrote to please or wrote for the ” experts” ? I don’t know if this is true but I remember reading somewhere that no serious critic ever wanted to go near any of Charles Bukowski’s poems until recently. Now, of course, he is considered, at least on this site, to be one of the 10 greatest poets.
Go figure…

( possibly from Jefferson Carter )


Lamont Palmer views on poetry

critical views of LP from PH

Um, ‘Acker’. that’s not a critique. Those are just dumb comments from YOU and your small mind. To go through a poem asking, ‘what does this mean, and what does that mean’, is silly. I’m not writing a newspaper article. I’m writing poetry. Poetry (at least the best of it) uses the language of SUGGESTION, not direct comment. I won’t bother to give you a lesson on Symbolism, and symbolist poetry, as its obviously WAY over your head. Lets just say, unlike your ‘work’, none of those lines are trite or banal, and they all have meaning. You’re so used to your own bland poems, you don’t appreciate originality in others…especially someone you apparently have a serious, pathological grudge against. But I do appreciate you having to immediately go to Stevens to point out ‘weaknesses’ in my own. That’s ultimately what I want. -LP 

LP on jc

Um, ‘Acker’. that’s not a critique. Those are just dumb comments from YOU and your small mind. To go through a poem asking, ‘what does this mean, and what does that mean’, is silly. I’m not writing a newspaper article. I’m writing poetry. Poetry (at least the best of it) uses the language of SUGGESTION, not direct comment. I won’t bother to give you a lesson on Symbolism, and symbolist poetry, as its obviously WAY over your head. Lets just say, unlike your ‘work’, none of those lines are trite or banal, and they all have meaning. You’re so used to your own bland poems, you don’t appreciate originality in others…especially someone you apparently have a serious, pathological grudge against. But I do appreciate you having to immediately go to Stevens to point out ‘weaknesses’ in my own. That’s ultimately what I want. -LP 

29 – 9-14

00 PM) Post reply

The problem with ‘Coiling’ is the same problem that tanks the majority of ‘Acker’s poems: they’re full of tired, unoriginal imagery. As evidenced by all the alias swapping and weird forum postings, ‘Acker’ apparently has an imagination, but when he writes poetry, it shuts down completely. Admittedly, the tired language in this particular poem had a ‘prettiness’ to it, but it was tired nonetheless. Most neophyte poets don’t realize this, but no matter how ‘nice’ something sounds, if its not fresh, it doesn’t count as good poetry. The last two stanzas (as someone else pointed out) are outright cornball: 

‘And, if all else fails, kiss greedily the full lips of a quiet woman’. 

That’s worst than McKuen; its McKuen on a very, very bad day. I could pick out all the other sappy and syrupy figures of speech, (silent sound of a setting sun) but why bother. There’s one in every stanza. Plum said he was trying too hard. My assessment is, he wasn’t trying hard enough. Most of it was lazy writing. But I can see how a reader could THINK its a good poem. Again, the weird thing is, as vicious and creepy and maniacal as ‘Acker’ behaves in the forum, his poems are sugary sweet and boring; you’d think they’d have more bite, or be wildly inventive. Nothing in poetry (or art in general) is worse than the trite and the stale, regardless of how ‘important’ the message might be. -LP

No. Its HOW he’s saying it, that’s key. He’s purposely using very rich language to describe the ‘parting of souls’, as he sees it. The language isn’t the idea/thought, its the vehicle FOR the idea/thought. You or I could put forth the same idea, but we’d use far less ornate figures of speech. The rich connotations are borne out of the language, which is form. Content is all around us all the time. It exists apart from language and other symbols. Language expresses content, gives it shape and can lift it to the level of art, if the language is evocative. Language is the tool (or form) that we use to express the content we see and feel or, often, imagine. Again, its how I personally I divvy up the parts of a poem. Don’t feel like getting into Wittgenstein on a relaxing Sunday night, but maybe I’ll post some snippets of a couple of essays later this week to support what I’m saying; i.e. putting it into a more eloquent ‘form’. -LP

Content is primarily WHAT the poem is saying, the subject matter, the theme, the tone, the assertions and the meaning of the poem. Form speaks to everything else: language, syntax, music, construction etc; HOW the content is being delivered. In other words, when I’m not referring to the content, which speaks to topics and meanings. I’m referring to the language of the poem, specifically. I’ve argued this before – some people consider content to be language. I don’t. I’d happy to post some statements from others to show you I’m not alone in that. -LP


Honestly, I liked this poem better than some others. There were a couple of nice lines in it that helped to take it out of the banal territory that JC seems to relish wallowing in. But here’s the problem, to piggyback on Sherrie a bit. If you don’t get the content, if the message of the poem is muddled, there’s no real arresting language to fall back on, in a typical JC poem. Its like reading a story where, if you miss the point, that’s it. There’s nothing else to hold you. When I don’t get Auden, I don’t care, because the language moves me and delights me, apart from what he’s actually saying. Poems are made up of words, not ideas. That plain style (or at least JC’s hyper-flattened version of it) cheats itself out of various ways to give poetic pleasure, and relies on mostly one thing: understanding what its saying. Truly great poetry gives you more. -LP 

‘If a man wants to become a poet because he has a lot to say, he probably won’t make it. But if he wants to see what he can do with words, he has a better chance’. -W.H. Auden.

I don’t know how much influence subject matter has on style. That’s something that could be up for discussion in the forum. In my opinion, one chooses to write in one style or the other, regardless of the subject. Since I’ve never seen you write a sonnet or a villanelle or blank verse, I have to conclude that you think all subject matter can be treated plainly and narratively. Your poems look no different than they looked in 2005 when I first encountered you. So your message to me about stylistic diversity would hold more water, if in ‘Get Serious’, there were at least two or three examples of good terza rima. -LP

JC, I enjoyed the poem, now, and the first couple of times I read it. Naturally the subject matter helps it along, as it quite deliberately plays on the emotions (not saying there’s anything necessarily wrong with that) and the tragic nature of the event. But it does it with dark humor and a certain amount of ‘strangeness’, which keeps the mawkishness (nearly, not entirely) at bay. However, again, with a lot of your poems, I have to suspend the expectations I usually have for strong poetry; fresh language, unique metaphors, discernible rhythm or music, a less than standard syntax etc, and read exclusively for content; the message of the poem, (or the effect that the message evokes) much the way I read an essay or newspaper article. That’s one of the problems with plain language is, it often flirts with sentimentality because of its directness. This poem is not much different. While it has an unusual perspective, the language itself is standard and commonplace; syntactically, its going for the gut, more so than the mind, as opposed to lines that might be more disjointed, or employ more wordplay. I can see this poem easily being spoken by a thoughtful character in a play, because of the monologue-ish way the words fall into place.. So whether it fails or succeeds as verse is anyone’s opinion. But its an effective piece of writing, no question. -LP


When I bumped into JC in this forum in 2005, we immediately started out debating and clashing over poetry. I thought his poems were put-ons, as they were written in such a surprisingly plain, chatty way, with, in my opinion, no music or rhythm at all. Then one day, he asked me what I meant when I used the word ‘music’ in relation to poetry. I sent him to my page and told him to read one of my poem, ‘Rain, Isolation’. At that time it was a new poem. This is what he came back and said, a most definitive remark, which I kept: 


7/23/2005 2: 47: 00 PM FORUM: Poetics & Poetry Discussion 

This message has 1 reply ]]] Lamont, I read your ‘Rain, Isolation, ‘ keeping in mind your description of it as a more ‘structured’ free verse poem. It’s not my kind of music; to my ears it’s too elaborate, too fancy, but that’s really just a matter of my personal taste. I like plainer, more under-written work. To me, this poem has moments when it seems overwritten.