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Writing Poetry 38

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  • ErcAshfrd@aol.com
    Writing Poetry 38 There are no rules to writing poetry, but there are some laws of symmetry that we should be aware of. There is a sacred geometry of form that
    Message 1 of 1 , Mar 24, 2003
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      Writing Poetry 38

      There are no rules to writing poetry,
      but there are some laws of symmetry
      that we should be aware of.

      There is a sacred geometry of form
      that a spirit-poet expresses.
      Her ideas have a shape
      that is expressed in meaning and structure
      but that form may be only seen by open eyes.

      She knows that beauty
      is not only in the eye of the beholder
      but in the harmony of her vision,
      and how she says that vision into words.

      The most perfect form of poetry
      is when it completes a circle.
      Just like music
      it should open a theme
      then refine and develop it.

      Then she creates a subtle architecture
      with her thought, and the space the thought moves in.
      She explores harmony
      in variation and representation,
      making other potential models of meaning.

      She adds layers and alternate definitions
      to the mandala of her idea.
      Though she may shift and soar
      into new patterns of cognizance,
      elaborating and magnifying her images.
      She knows that there needs to be
      a return to balance.

      Now she seeks a recapitulation.
      Only this time,
      the theme is transformed
      and, like the poet herself,
      has undergone a journey of discovery.

      The poem restates its original idea,
      yet it is a new sprung conception
      now opened out
      into a sphere of unique insight.

      There is depth to the orbit of her thoughts
      as they form a numinous circumnavigation
      around the globe of illumination.

      The design has returned
      to the fullness of silence
      and the poem is seen as a whole.


      love

      eric

      ~~~~~~~~~~~~~~~~~~

      Copyright Eric Ashford. March 3003.

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