marjoram_blues wrote:Do we need a definition ? What are the necessary and sufficient conditions?
How do we recognise when someone is being poetic?
What are the characteristics, or properties?
What is the objective of producing poetry?
Is it simply an emotional expression; a form of therapy.
From the reader's point of view, do we apply special criteria for how great a poem is?
What is the best kind of writing?
Philosophical ?
Original ?
Moving...
Who amongst the contributors to the Poetry thread consider themselves philosophical poets, or poetic philosophers ?
Where did Psychonaut fly off to?
Hello.
I say that a good poem evokes an emotional response.
The intent in the writing is to set in stone the ineffable glimpsed within the particular;
a.k.a squeezing the ocean into a drop;
a.k.a. reduction to the essence;
a.k.a. philosophy.
The intent to write a poem is felt as a need
The writing of the poem gives relief from the need
Relief in the form of feeling and experiencing peace
Until the need returns
Which also explains the distinction between desire and need.
*
Roses are red
Berries are blues
All who bed
Wed the memory
To forever changing the news
*
Since it’s considered gauche for the poet to speak of his poem, the scholar analyzes, further distancing the ineffable when habitually apriori. The first two lines are a cliché. Blues is in names and everyone knows the blues. Berries are not only blue they are slang for a portion of male anatomy, and berries that are blue is also slang. Bed is used as a verb, as in bedding someone, thus everyone who beds someone in fact weds, or marries themselves to that person in memory so that the memory of that person always will influence you, and even though the ego does not realize it this memory contributes to the future, which changes the way news is perceived and on an unstated level, how news is made. The relevance of blue berries
(Rolling Stones, Can’t Get No Satisfaction), bedding someone (getting satisfaction), wedding someone (married to the memory that influences the unfolding dance of reality in recognition and action), all relates to the drive for propagation, the root of the flower that attracts the dance, a.k.a. the music of voice energy, apparent in birds which were the models for human speech, if those in the know are to be believed.
Of course there's much more that could be related and as more is related, more can be. Such as, the dadaist pursuit of the irrelevant with serious and dedicated attention, or as one of my professors put it, raising the blade on your lawnmower until it doesn't touch the grass, then meticulously going over your suburban lawn as if accomplishing something.