The Poetry Forum http://www.thepoetryforum.co.uk/ A poetry forum for all, share your works in a friendly, welcoming environment en Fri, 18 May 2012 20:19:27 GMT vBulletin 60 http://www.thepoetryforum.co.uk/images/darkfantasy/misc/rss.jpg The Poetry Forum http://www.thepoetryforum.co.uk/ Senior Member Status http://www.thepoetryforum.co.uk/showthread.php?t=32690&goto=newpost Fri, 18 May 2012 16:32:47 GMT T_T not sure what's going on with me here, but it's nice]]> > T_T not sure what's going on with me here, but it's nice ]]> General Discussion passthepeaches http://www.thepoetryforum.co.uk/showthread.php?t=32690 Yaya Yao http://www.thepoetryforum.co.uk/showthread.php?t=32686&goto=newpost Fri, 18 May 2012 15:28:32 GMT She's a local poet in my city, and I hero-worship here.

One of her poems is up here:

"http://nomorepotlucks.org/site/what-its-worth-yaya-yao" ]]> Poets Worth Reading saturn_adrift http://www.thepoetryforum.co.uk/showthread.php?t=32686 Suggestion for a new category http://www.thepoetryforum.co.uk/showthread.php?t=32646&goto=newpost Thu, 17 May 2012 18:57:48 GMT Hi- admin and members

this is just a thought I've had: I don't know about the rest of you, but I've been having to misc a lot of my poems because they don't fit any of the existing categories. I've noticed that a lot of mine relate to the darkness theme but are not so much about anger or death- more fear, or the unnerving.

I am therefore suggesting the consideration of a "Horror" or "Sinister" board- would this be possible and do you guys think it'd be worth it? If not, I'm happy to carry on posting in misc!

Alice ]]> General Discussion passthepeaches http://www.thepoetryforum.co.uk/showthread.php?t=32646 Roses are red... http://www.thepoetryforum.co.uk/showthread.php?t=32617&goto=newpost Thu, 17 May 2012 10:39:47 GMT easy, roses are red, violets are blue..... add the next lines :) roses are red violets are blue i like poetry how about you easy, roses are red, violets are blue..... add the next lines :)



roses are red
violets are blue
i like poetry
how about you ]]> Forum Games Dracorispyrotis http://www.thepoetryforum.co.uk/showthread.php?t=32617 This!! Is painful but its still fair crit http://www.thepoetryforum.co.uk/showthread.php?t=32613&goto=newpost Thu, 17 May 2012 09:49:15 GMT AFTER YESTERDAY'S 'DISCUSION' ON WHAT CONSTITUTES CRITIQUE AND FAIRNESS, HERE IS AN EXAMPLE OF A COMPLETE MONSTERING BY SOMEONE WHO KNOWS THEIR TRADE AND APPLIES IT WITH NO PRISONERS TAKEN. NONE, IN FACT IF YOU LIVE TO TELL THE TALE IT WAS MILD :)))

I'VE POSTED 5 PIECES ON THE FORUM IN QUESTION TO A CHORUS OF MOSTLY SILENCE, (FROM THOSE WHO'S OPINION I SHOULD LISTEN TO). THIS I POSTED WITH SOME TREPIDATION AS I KNEW IT HAD A 'FEW ISSUES'.

IF ONLY I HAD KNOWN JUST HOW MANY.............




Cold friends
The plough of your words digs perfect rows of disbelief,
in the loam of our time.
The ashes of your accusations fall from my fingers,
too hot to handle to the hallowed ground.
The bright crop of our decades mown down,
like worthless weeds.

The farmhands of our friendship we sowed and tended
to bind the soil with deep roots.
Now made the barbed wire of no mans land,
they lie exposed in the shell holes of your words

So with the strength of outrage,
I'll drive this last furrow deep
and bury shared humiliation,
as Skylarks mark our passing


This is a mare's nest (if you know mares, and know the term; your speaker is alleging "farmer"; but that's not very credible, as "plow person" is alleging "poet," too): one expects the plow took a heavy hit when the team or tractor driver turned through the boulder garden and headed wrong-way down the road.

Cold Friends ["Cold" as in dead and in a dumpster of faulty farm metaphors, maybe? The title says plural (or hyper general); the piece probably says singular, unless the speaker's addressing a group. The title says "friends" (or means "friend), but the narration, convoluted and anonymous as it is, suggest ex-friend(s).]]

The plough of your words digs perfect rows of disbelief, ["Plow" is more modern. How do words become a plow, and how do they dig? A forced metaphor is a sure narrativicide.]
in the loam of our time. [Really? How's that? (Some might allege it to be humus or loess, compost or dust--alluvium, the product of erosion or decomposition.) Demonstrate your assertion or throw it out.]
The ashes of your accusations fall from my fingers, [Just a few lines ago, the other's words were a plow; now, they're accusations and ashes. Nothing indicates who's talking, or to whom.]
too hot to handle to the hallowed ground. [Whoa! Adding (or assing) in a layer of fresh manure will burn the roots! A plow/words result makes "rows" in the speaker; somehow these turn to ash, the speaker is either ash-holder or "hallowed ground" (how and in what way "hallowed"?), and the ground/speaker/hallowed is loam, and the loam is some unspecified "our time," too? OOookaaayy, just how much of the hog tranquillizer (PCP) fell on her or him?]
The bright crop of our decades mown down, [Wow: a plow mows a crop? Plowing it under would be more likely--and that would make the crop, a bit like this metaphoric mulch, a bunch of green manure.]
like worthless weeds. [Well, this part would make sense--if the definition of "weed" didn't not merely imply, but outright state, "worthless."]


The farmhands of our friendship we sowed and tended ["The farmhands of our friendship"? How? Have you submitted this to the "Guiness Book of Whirled Metaphors, Suppurating Simile Division"? I see a record sprouting here!]
to bind the soil with deep roots. [A "farmhand" would love to know how that's accomplished--and a reader sorting through this chaos would welcome a relieving move from metaphor to reality (people, situation, insight, etc.--or has the speaker been illicitly carrying on with the scarecrow? That's illegal in some states, you know.]
Now made the barbed wire of no mans land, [A no "womans" land, maybe? If you didn't mean the possessive, but the plural "men" ("mans" is really weedy), try spelling it "no-man's-land," and pick up a few handy tips from "The Gardner's Guide to Planting Possessives." And now, another transformation: so then, rows plowed into the hallowed ground of the rows-become-ashes-in-hand speaker, then become plow-mowed (gotta get me one 'o them) crop devalued to weeds tended by deep-root-binding farmhand tenders, have somehow been transported, and the hallowed-loam speaker's aforementioned crop/weeds turns to barbed wire, and the field to barbed-wired no-man's-land? Does Barb know about this? Have anyone's tenders been snagged by a barb or Barb? Anyone as disoriented by being hoist by her/his petard as much as a reader has by stepping on a mine--or rather, a yours? Whoever's doing the plowing must have been sowing "shells" while "mowing" with that "plough": a ninja ash-maker/plow operator, eh?]
they lie exposed in the shell holes of your words [Uh-oh, her "plough" words became ashes, and the ashes became ordinance-sans sans cannon? Anything fired out of this canon just has to be suspect!]

So with the strength of outrage, [And what might that be? My frind's's "strength of outrage" is ameliorated by a good mouthwash and farmer-grade deodorant; we fumigate her shoes.]
I'll drive this last furrow deep [Wait a minute!!! At the start, the other person was plowing, and the speaker was that ashes-in-hand, plowed hallowed loam! Where/when was the revolution (something here seems revolting!) and what has the other become? We know that "plough/plow" was a euphemism for a man "planting" a woman's "furrow," but hey, taking that root deep and binding thanks to farmhands' tenders, seems an awfully kinky row to plow/mow/blow up/fence with barbed wire/declare a no-man's-land/make into a muddled metaphor for some unspecified reality.]
and bury shared humiliation, [Hmmm: just seconds ago, the speaker was victim and the plower was perpetrator; now they share? And they share a stipulated, but nowhere shown "humilation"? I've heard of "swords to plowshares," but "plow to shovel"? Is that on the same shelf as "water to wine" and all that feeding the multitude stuff? But wait--wasn't the crop "mowed"? How, then, is the "shared humiliation" "buried"?]
as Skylarks mark our passing ["Skylarks"? What's their relevance? After slogging through all of the above, one would have expected buzzards!]

Now, if I were in my overalls, I might just mutter under my straw-hat-shaded, straw-strand-chewing breath, "Aw, city boy, you're just makin' this # up, aintcha!" But since my fields and animals are some thousands of miles south and I'd be saying that in Spanish, anyway, I'll just point out that down on the farm, we say there are degrees of comprehensibility. From high to low, those would be:

- Thought-provoking
- What was s/he thinking?
- Was s/he thinking?
- Wasn't thinking
- Can s/he think?
- Can't think.
- S/he's out there trying to milk the bull with a pair of vice-grips.

You pick: I'd like to see you turn your choice into a car that becomes bitter sugar in your baseball team under the airport parking lot's giraffe of life--after all of this, I know you can bake that in your bicycle mowplow!

THIS WAS MY REPLY

God alive at least a call of "incoming" would have given me time to duck.
Thanks, I'll digest a loamy shrapnel based meal
this evening and ponder if there's any hope for the poor lads or if they should remain six feet under?
Before you respond, I'll assume they've been given the last rites...

Oddly enough I enjoyed the read,(evidently more than you, mine).

Actually thanks, I'll take it all on board. Just as soon as I've got the smell of sulphur out of the room

Cheers

5th

JUST AN EXAMPLE OF HOW (A) HE DOESN'T KNOW ME AND THEREFORE DOESN'T CARE IF I'M OFFENDED. FAIR ENOUGH I DIDN'T ASK HIM TO BABYSIT JUST CRITIQUE
(B) ITS BLOODY FUNNY IN PARTS. PAINFUL BUT FUNNY
(C) I SAID THANKS VERY MUCH. I ACTUALLY HAVE A COUPLE OF POINTS TO MAKE IN RESPONSE BUT WILL DO THAT WHEN I'VE HAD TIME TO CONSIDER IF I'M RIGHT?

HOPE THIS HELPS PROVIDE AN EXAMPLE OF HOW FAR CRIT CAN GO AND STILL BE FAIR

5TH ]]> General Discussion fith colum http://www.thepoetryforum.co.uk/showthread.php?t=32613 Just A Moment http://www.thepoetryforum.co.uk/showthread.php?t=32589&goto=newpost Wed, 16 May 2012 22:52:02 GMT You get lonely sometimes, As you lie in your field of dreams, Thinking of what has gone, And what could be. When the Sun doth shine, It brings... You get lonely sometimes,
As you lie in your field of dreams,
Thinking of what has gone,
And what could be.

When the Sun doth shine,
It brings joy to thine eye,
But when the Moon doth glow,
It lets ones feelings flow.

Thou art my light,
Thou art my dreams,
Through the darkness,
And through merriment,
My love, thou art everything to me. ]]> Introductions harris909 http://www.thepoetryforum.co.uk/showthread.php?t=32589 Introduction http://www.thepoetryforum.co.uk/showthread.php?t=32576&goto=newpost Wed, 16 May 2012 18:56:45 GMT Dear Ladies and Gentlemen Hi.I am so honored to find this chance to get in contact with a group of most unlimited and highly sensitive people (this... Dear Ladies and Gentlemen
Hi.I am so honored to find this chance to get in contact with a group of most unlimited and highly sensitive people (this is the description of the literary people and the poets ,I believe).
once a Master, asked me to define the literature.I told him I can't because literature is a reflection of the whole existence,the being,the life.since we can't define the whole being,then we can't define the literature as well.
Thats why I believe You people are the most unlimited group of the people.In fact you are used to deal with the extreme sides of the life.
Nice to meet you all again
Masoud Parvasi from Iran ]]> Introductions masoudparvasi http://www.thepoetryforum.co.uk/showthread.php?t=32576 Who Do You Write Like? http://www.thepoetryforum.co.uk/showthread.php?t=32529&goto=newpost Tue, 15 May 2012 20:32:38 GMT _iwl.me (http://iwl.me)_ is probably one of my favourite websites. Basically you input at least a paragraph (I usually put in two, but then, I like... iwl.me is probably one of my favourite websites. Basically you input at least a paragraph (I usually put in two, but then, I like short paragraphs) of writing and it uses some fancy algorithms to tell you what writer your style most closely resembles.

So I chucked in a few paragraphs of some of my IRC fics and got Arthur C. Clarke, not bad. Then I threw in some personal blog chapters and got William Gibson, sci-fi seems to be ingrained in me. ]]> General Discussion Don_Joe http://www.thepoetryforum.co.uk/showthread.php?t=32529 Tom Clark http://www.thepoetryforum.co.uk/showthread.php?t=32490&goto=newpost Tue, 15 May 2012 03:58:29 GMT I first discovered the San Francisco poet Tom Clark in the late 80's through Beat Scene Magazine.

I have since corresponded with Tom a little. He's getting on in years nowadays and was involved with many of the beat writers. He knew Ginsberg, Kerouac, Ferlinghetti and was friends with the late NY punk poet Jim Carroll. He also edited the Paris Review at one point, and has authored a biography of Kerouac.

He keeps a blog here, where he posts many poems of his own, and those of his own favourite poets. He's a knowledgeable character and I learned a lot from him.

http://tomclarkblog.blogspot.co.uk/ ]]> Poets Worth Reading u.v.ray http://www.thepoetryforum.co.uk/showthread.php?t=32490 <![CDATA[Free Course : Modern & Contemporary American Poetry]]> http://www.thepoetryforum.co.uk/showthread.php?t=32450&goto=newpost Mon, 14 May 2012 12:35:15 GMT Modern & Contemporary American Poetry

Quote:
One of the Coursera range of learning courses

We offer high quality courses from the top universities, for free to everyone. We currently host courses from Princeton University, Stanford University, University of California, Berkeley, University of Michigan-Ann Arbor, and University of Pennsylvania. We are changing the face of education globally, and we invite you to join us.
Quote:
About the Course

In this fast-paced course we will read and encounter and discuss a great range of modern and contemporary U.S. poets working in the "experimental mode," starting with the 19th-century proto-modernists Emily #inson and Walt Whitman and ending with 21st-century conceptual poetics. Aside from providing a perhaps handy or helpful survey and chronology of 20th- and 21st-century poetry, this course offers a way of understanding general cultural transitions from modernism to postmodernism. Some people may wish to enroll as much to gain an understanding of the modernism/postmodernism problem through a study of poetry as to gain access to the work of these many poets. Participants do not need to have any prior knowledge of poetry or poetics. The instructor, Al Filreis, rarely lectures, and frequently calls for "the end of the lecture as we know it"; instead, most of the video-recorded lessons will consist of collaborative close readings led by Filreis, seminar-style -- offering models or samples of readers' interpretations of these knotty but powerful poems, aided by the poetry-minded denizens of the Kelly Writers House on the campus of the University of Pennsylvania.
]]> Poetry Events Altocumulus http://www.thepoetryforum.co.uk/showthread.php?t=32450 Robert Frost: Mowing http://www.thepoetryforum.co.uk/showthread.php?t=32431&goto=newpost Mon, 14 May 2012 02:16:22 GMT Robert Frost: Mowing
Notes taken from a 'Modern Poetry' seminar at Yale University.

Direct link for 'Mowing' poem - http://www.poemtree.com/poems/Mowing.htm
Mowing

There was never a sound beside the wood but one,
And that was my long scythe whispering to the ground.
What was it it whispered? I knew not well myself;
Perhaps it was something about the heat of the sun,
Something, perhaps, about the lack of sound—
And that was why it whispered and did not speak.
It was no dream of the gift of idle hours,
Or easy gold at the hand of fay or elf:
Anything more than the truth would have seemed too weak
To the earnest love that laid the swale in rows,
Not without feeble-pointed spikes of flowers
(Pale orchises), and scared a bright green snake.
The fact is the sweetest dream that labor knows.
My long scythe whispered and left the hay to make.

Robert Frost
Mowing is a monologue by a worker, a mower. It is a sonnet, too. Some describe it kind of song of a worker. Notice that Frost is interested at once, the presence of sound; the sound of the tool of the worker; the sound is the sign of his work and it raises a specifically interpretive question: what is the message of the work that the man does? What is its meaning? What is it that it whispered?

Tools mediate the worker’s relation to the world; it’s what the worker uses to do things and make things. In Frost’s work things are not made up in the sense of imagination, like fairies, but instead are made in the sense that they are constructed. They’re the products of specific acts, in this case, the acts of the worker.

In ‘Mowing’ the scythe makes a sound as it cuts, and that sound is delicate, it’s quiet; it whispers. But cutting is something fearful and forceful; a kind of controlled violence. Frost takes it for granted that we (the readers) will remember that the scythe is a conventional image for time, which harvests us all in death. Time and death – these are the forces the worker is working against and tries to marshal in the process of working his will into the world, to make his way in it, to earn his living.
But these forces are not something the worker controls as a simple extension of himself. Tools in Frost are tricky; they have a kind of independent, objective existence.

The poem’s lines are rather like sweeps of the scythe as it lays down rows of swale. Frost wants us to think about that; he wants us to see the harvested rows as being like lines of verse. It’s an ancient association from classical poetry.
The word “swale” is interesting; you hear the s and the w, the two key sounds of the poem, which are the sounds of the whispering scythe, notice the metaphorical association. He is inviting us to hear the sweep of the scythe, and possibly the ‘huff and puff’ of the worker in his rhythmic exhalation in the w’s which alternate and interact with the s’s.

The whisper of the scythe then, is what it’s all about. The whisper is not, Frost specifies, a “dream of the gift of idle hours”. Frost is writing against the Romantic idea that poetry is written in repose, received passively as inspiration. Poetry in Frost is action, not a matter of emotion recollected in tranquillity. Here, he is specifically writing against the early poetry of Yeats.

“Dream”; Frost implies that it is something more than the truth using a suggestive choice of words. Truth is something less than a dream in Frost, it is ‘life-sized’. To get down to it, you have to cut away at what is not true. The truth is a reduction, a simplification. It is what is fit for the earnest love that is working for truth.

“Love” is a crucial word in Frost; you don’t think of Frost as a love poet yet love and desire are at the centre of his poetry. He suggests that it’s earnest love that is doing the cutting (the working); labour loves, labour dreams.

Note Frost’s use of the word “something” and “perhaps”, these are words you’re not supposed to use in poems or even when writing about poems. In Frost there is explicit, deliberate, calculated vagueness, a withholding of certainty that allows a range of possible meanings to be entertained. It’s a rhetorical and conceptual move that is analogous to the whispering of the scythe. This tool doesn’t speak loudly, you have to lean forward to listen to it; the same rings true for the poem itself.
Expect that line 13 seems to violate that principle. Here, Frost seems to be spelling things out, making a declaration/statement and seeming to celebrate what is literal: “the fact is the sweetest dream that labour knows”. If Frost decided to end the poem there, we’d assume he’s telling us ‘that’s what it’s all about’, but he doesn’t end there…

Line 14 returns us to the work of the mowing; the poem ends with an image of process and not of product, an image of the process of labour. The implication is that it is the same way for a poet who lays his words in rows that are his lines of verse. The hay, or the pay-off, what the poem is all about, what mowing is all about. The hay isn’t handed over to you, rather it’s “left to make”.

What Frost leaves us with here is a poetry that leaves its meaning to make, all the time. Frost’s poetry is engaged in construing, constructing, constituting facts which means it doesn’t give us the truth as if it were a product rather it gives us a process, an act that is involved with dreams, desire and love. In Frost’s work facts are made not found. And this is to say that, the process by which facts are made is like work and therefore something that has to be done over and over again, that is making up the world.
Meaning in Frost poems, as in the world that they evoke, has to be interpreted every day. It has to be in that sense worked for again and again. ]]> Poetry Discussion http://www.thepoetryforum.co.uk/showthread.php?t=32431 <![CDATA[Writing Poetry: Devices, Tips & Useful Information]]> http://www.thepoetryforum.co.uk/showthread.php?t=32416&goto=newpost Sun, 13 May 2012 17:30:58 GMT Please note that any information posted in here by myself isn't that of my personal opinion or advice, I'm simply collecting and compiling information from various sources that I believe to be helpful for all members.

As I'd like to continually add information etc, I'd like to ask that members refrain from posting in here (perhaps use the rep or visitor comments to leave feedback, which is always appreciated), not to be rude, purely so that when this thread is used for reference purposes, no one has to trawl through much irrelevent posts to find what they're looking for.
But please DO add posts with similar information that can benefit us all, I'm learning a lot just from composing this thread, for example the first post by Pencrone. :)
Equally, if there's something specific you'd like me to compile some info on, let me know and I will do so as best as possible.

Poetic Devices

More often than not, poetry indulges emotion, imagery, beauty and rhythm, whatever the case, differing or otherwise, there are a number of ‘poetic devices’ which can help attain essential qualities in your writing, here are some of them:

Alliteration – the repetition of a beginning sound, e.g. “rain reigns roughly”

Allusion – a casual reference to someone/something in history/literature that creates a mental picture, e.g. “a common woman, no troy she, takes the world by war”

Analogy – the comparison of two things by explaining one to show how it is similar to the other, e.g. the comparison of day to a train journey

Caesura – the pausing or stopping within a line of poetry caused by needed punctuation (the punctuation within the lines is the caesura, NOT the punctuation at the end of lines)

Enjambement – the continuation of thought from one line of poetry to the next without punctuation needed at the end of the previous line

Hyperbole – extreme exaggeration for effect, e.g. “giants standing as tall as mountains”

Metaphor – the comparison of two unalike things by saying one is the other, e.g. “clouds are ships full in sail”

Metonymy – the substitution of a word for one with which it is closely associated, e.g. “as the White House cringes in dismay”, the White House is used instead of the word “President”, readers understand exactly what is meant without such being directly addressed

Onomatopoeia – the sound a thing makes, verb forms such as “roaring” aren’t onomatopoeia but rather words like “Boooom” are

Oxymoron – the use of contradictory terms (together) for effect, e.g. “freezing heat of hate”

Personification – the giving of human traits to non-human things incapable of having those traits

Simile – the comparison of two unalike things by saying one is like, or as, the other

Symbol – something which represents something else besides itself

Assonance – the repetition of initial consonant sounds

Imagery – words or phrases that appeal to any sense or combination of senses

Meter – the reoccurrence of a pattern of stressed and unstressed syllables

Repetition – the repeating of words, rhymes, phrases, lines or stanzas

Rhyme scheme – the sequence in which the rhyming occurs; the first end sound is represented as the letter “a”, the second is “b” etc

Stanza – the grouping of two or more lines of a poem in terms of length, metrical form or rhyme scheme

Allegory – a symbolic narrative in which the surface details imply a secondary meaning

Anapest – two unaccented syllables followed by an accented one

Blank verse – a line of poetry/prose in unrhymed iambic pentameter

Connotation – the associations called upon by a word that goes beyond its dictionary meaning

Couplet – a pair of rhymed lines that may/may not constitute as a separate stanza

Dactyl – a stressed syllable followed by two unstressed ones, e.g. “fluttering”

Denotation – the dictionary meaning of a word

Elision – the omission of an unstressed vowel or syllable to preserve the meter in a line of poetry, e.g. “flies o’er th’ unbending corn”

Figurative language – a form of language by which the writer conveys something other than the literal meaning of their words

Foot – a metrical unit composed of unstressed and stressed syllables

Iamb – an unstressed syllable followed by a stressed one, e.g. “today”

Irony – a contrast of discrepancy between what is said and what is meant

Octave – an eight-line unit which may constitute a stanza or section of the poem

Pyrrhic – a metrical foot with two unstressed syllables, e.g. “of the”

Quatrain – a 4 line stanza in a poem

Sonnet – a 14 line poem in iambic pentameter

Synecdoche – a figure of speech in which a part is substituted for the whole, e.g. “lend me a hand”

Tercet – a 3 lined stanza

End rhyme – a rhyme in the final syllable of a verse

End-stopped – a feature where the syntactic unit (phrase, clause, sentence) corresponds in length to the line

Internal rhyme – also called ‘middle rhyme’; a rhyme occurring within a line, may be words in the middle of the line but not at the end of the line

Slant rhyme – a rhyme in which the sounds are similar but not exact

Echo – repetition of a key word/idea for effect

Paradox – seeming contradiction that surprises by its pithiness

Taken from a variety of sources. Please move to the appropriate forum if not in the correct place. ]]> Exercises http://www.thepoetryforum.co.uk/showthread.php?t=32416 Bursaries to Way With Words, Dartington, Devon if 17-25 yrs of age http://www.thepoetryforum.co.uk/showthread.php?t=32415&goto=newpost Sun, 13 May 2012 17:07:32 GMT FREE: 6-16 July 2012 - Way With Words Festival of Words and Ideas at Dartington, Devon is offering:

'bursaries to young people between 17-25 years to attend all (10 days) or some (5 days) of this year's festival free of charge.'

E mail to: admin@wayswithwords.co.uk

The programme can be downloaded from link below. Interesting line up of authors, speakers and events.

http://www.wayswithwords.co.uk/festi...ington-hall-24 ]]> Poetry Events Pencrone http://www.thepoetryforum.co.uk/showthread.php?t=32415 <![CDATA[let's play a game :)]]> http://www.thepoetryforum.co.uk/showthread.php?t=32401&goto=newpost Sun, 13 May 2012 09:47:16 GMT today, my boyfriend and i, were discussing poetry. he likes haiku and etheree due to the rules that he needs to follow, which help him write the... today, my boyfriend and i, were discussing poetry. he likes haiku and etheree due to the rules that he needs to follow, which help him write the poem. today (as far as we know) he created another, set out like this;

lines 1,3,5 have one word each, and rhyme.
lines 2,4,6 have three words each and do not rhyme.


thought everyone could have some fun ^_^ ]]> Forum Games Dracorispyrotis http://www.thepoetryforum.co.uk/showthread.php?t=32401 My Top Fifty Classical Music Pieces. http://www.thepoetryforum.co.uk/showthread.php?t=32313&goto=newpost Fri, 11 May 2012 16:16:34 GMT *My Top Fifty Classical Music Pieces.* I have had a go at naming my top fifty pieces and found it quite a challenge. I wonder if anyone else could... My Top Fifty Classical Music Pieces.
I have had a go at naming my top fifty pieces and found it quite a challenge. I wonder if anyone else could do it.

50. The Ring-Wagner. (Actually I have never heard this complete, however I would love to one day.)
49. Der Rosenkavalier-Richard Strauss.
48. Finlandia-Sibelius.
47. The Trout Quintet-Schubert.
46. Rhapsody on a Theme of Paganini-Rachmaninov.
45. Water Music-Handel.
44. Pavane-Ravel.
43. Bolero-Ravel.
42. Swan Lake (ballet)-Tchaikovsky.
41. Violin Concerto No. 4-Mozart.
40. Violin Concerto-Beethoven.
39. Emperor Waltz-Johann Strauss.
38. Symphony in C-Dukas.
37. Peer Gynt Suites 1&2-Grieg.
36. Fantasia on a Theme by Thomas Tallis-Vaughan Williams.
35. Double Concerto in A minor-Brahms.
34. Romeo and Juliet-Tchaikovsky.
33. Sea Drift-Delius.
32. In a Summer Garden-Delius.
31. The Walk in Paradise Garden-Delius.
30. The Damnation of Faust-Berlioz.
29. Tosca-Puccini.
28. Madam Butterfly-Puccini.
27. Variations on an Original Theme 'Enigma'-Elgar.
26. 'Moonlight' Piano Sonato-Beethoven.
25. Canon and Gigue-Pachelbel.
24. 'Air on a G string-Bach.
23. Peter Grimes-Britten.
22. Scheherazade-Rimsky-Korsakov.
21. The Flying Dutchman-Wagner.
20. Violin Concerto in D-Brahms.
19. Symphony No. 5-Schubert.
18. A Midsummer Night's Dream-Britten.
17. Symphony No. 6-Dvorak.
16. Danse Macabre-Saint-Saens.
15. Fantasia on Greensleeves-Vaughan Williams.
14. Piano Sonato-Dukas.
13. Adagio-Albinoni.
12. The Nutcracker (ballet)-Tchaikovsky.
11. Symphony No. 2 in E minor-Rachmaninov.
10. Piano Concerto in A minor-Grieg.
9. The Four Seasons-Vivaldi.
8. The Sorcerer's Apprentice-Dukas.
7. Symphony No. 5-Beethoven.
6. The Blue Danube-Johann Strauss.
5. 1812 overture-Tchaikovsky.
4. Carnival of the Animals-Saint-Saens.
3. The Planets-Holst.
2. Symphony No. 6 (Pastorale)-Beethoven.
1. Lark Ascending-Vaughan Williams. ]]> Music Ian The Poet http://www.thepoetryforum.co.uk/showthread.php?t=32313