(note: Have been off-line for a while but am now back 2/12/8)
Most of the works here are early versions of what is now a book, Half a Century of Silence, by R. Christopher Horak, available on lulu.com
I prefer rhythm, meter, and rhyme. I adhere to Hopkins' and Scotus' concepts of "inscape". I prefer a natural spoken-language construction. The more emotional content I can pack into a sentence, the better. The music within the word and sentence structure should be used to enhance the emotional content. Simple is complex. In the end, getting the emotional concept across trumps all other preferences, unless I'm being funny of course.
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Folks, if you're going to give me a differing opinion, criticize my work or even dis me, feel free. I welcome you. If you do though, please, please read the author's note first. Please!
Rainer Maria Rilke's last poem, Mid-December, 1926, less than two weeks before his death:
Come you, you last one, whom I avow,
wretched pain in the corporeal weaving:
as I burned in spirit, see, I burn now
in you; the wood resisted receiving
for a long time the flame which in you glows,
now I feed you and burn in you as well.
In your rage my native being mild grows
to a rage not from here but of hell.
Quite pure, quite planlessly free from future I
climbed the tangled funeral pyre of pain,
so sure nowhere to buy a future gain
for this heart, in which has grown silent the supply.
Is it still I who burns unrecognizably?
Memories I do not seize inside.
O life, life: being-outside.
And I in flame. No one who knows me (translation by John J. L. Mood)
Most of the works here are early versions of what is now a book, Half a Century of Silence, by R. Christopher Horak, available on lulu.com
I prefer rhythm, meter, and rhyme. I adhere to Hopkins' and Scotus' concepts of "inscape". I prefer a natural spoken-language construction. The more emotional content I can pack into a sentence, the better. The music within the word and sentence structure should be used to enhance the emotional content. Simple is complex. In the end, getting the emotional concept across trumps all other preferences, unless I'm being funny of course.
******************
Folks, if you're going to give me a differing opinion, criticize my work or even dis me, feel free. I welcome you. If you do though, please, please read the author's note first. Please!
Rainer Maria Rilke's last poem, Mid-December, 1926, less than two weeks before his death:
Come you, you last one, whom I avow,
wretched pain in the corporeal weaving:
as I burned in spirit, see, I burn now
in you; the wood resisted receiving
for a long time the flame which in you glows,
now I feed you and burn in you as well.
In your rage my native being mild grows
to a rage not from here but of hell.
Quite pure, quite planlessly free from future I
climbed the tangled funeral pyre of pain,
so sure nowhere to buy a future gain
for this heart, in which has grown silent the supply.
Is it still I who burns unrecognizably?
Memories I do not seize inside.
O life, life: being-outside.
And I in flame. No one who knows me (translation by John J. L. Mood)
- Last seen on Nov 14 4:56 PM. Member since January 6, 2005.
- I'm a carnelian hope poet for 115 comments.
- My mood is , and quote is "Faith does, Hope guards, Love bridges.".
- I am a 58 year old person (United States)
- When I'm not writing, I'm Researcher.
- I have 115 comments
My Poetry
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Ledz go down an' geddit.
Ged a liddle credit. -
Advice to all young men
Is rarely realy heeded -
The oft told joke from the New York Times,
For which almost nothing truly rhymes, -
Last night Ah met the strangest feller.
His fingers and his teeth were yeller.
