Poetic Tips II (I suppose slightly harder)

Poetry – like all artistic displays – has a myriad of rules as well as their designations when those rules are not followed, essentially: structural and counter-structural, fluid and stagnant, chaotic and orderly. It is necessary for me to stress that no form of composing elevates over another, and none yields better results among the general readers. The most important element of any form of art, for me, is it’s understandability, how accessible it attempts to be. Portuguese author José Luís Peixoto placed it best in an interview, I will attempt to translate as best I can:

“Eu acredito muito na escrita como alguma coisa que se dirige às pessoas, que não exclui ninguém e que procura, justamente, comunicar com todos, por isso, em relação aos seus veículos não coloco limites.”

I strongly believe in writing as something directed at people, it does not exclude anyone and seeks, precisely, the communication with all, therefor, I place no boundaries to it’s vehicles. 

Related to his writing being displayed on building walls of Lisbon, in an interview with Caras in 21 of March of 2011

Some years ago, I was confronted with the reality that my Portuguese poetry wasn’t always understandable (an example would be TEMPO, the only clear example of that published on this website), and it alienated a plethora of possibilities by being excessively confusing – not because of any attempt at brilliance, but because of obvious mental laziness at conveying my own creations clearly. I would just cast it off with any vocabulary I could muster, with any structure I could be bothered to envision.

Under beyond-the-grave mentorship of many authors, I was taught the importance of structure and how it deeply affects the reader, and how the common myth of overly-complex pieces being superior is just a trap aspiring authors tend to fall face-first into. There is nothing wrong about the humility of being understandable by all, as much as there is no class or poignancy in being understood by none.

SYLLABLES, SOUND, VISUAL ORDER

Metric lines in poetry have been used for centuries, but many people question: to what purpose? From iambic pentameters, latin hexameters, endecasillabo, an vast array of metrics were created with different purposes, but the one subjacent to most of them is the sonority of the composition. Many times, poetry wasn’t just a readers delight, it was also meant as a listeners glory. These poems could be considered similar to current songs, as they flew off the mouth straight to the chest, and they were meant as exhibitions of romantic beauty or full theatrical compositions.

Today, the device of counting syllables has fallen to disuse, and is often disregarded all together, but to anyone interested in the sonority or aloud readability of compositions, with or without rhymes, you should be wary of the syllables used while you compose. Not only do they fuel great sounds, but they also control tightly the visual order of your poem. For example, visual disconnects are not common, but they are odd constructions that should often be avoided, for the sake of the readability of a line:

(disregarding syllabic order) 

I could sense my mind flickering akin to the pinnacle of a candle’s flame,

The waver… a burning tempest of emotional apathy.

(regarding syllabic order) 

My mind flickers akin to a candle’s flame,

Wavering… whirling fires of inner apathy. 

(these lines are demonstrations and not part of any actual composition) 

The second version is a common use of the alexandrine meter, following twelve syllables in each line, one of my most common uses of a meter. Often, the syllables align the lines, but it’s not always the case (hence why my compositions often look so “orderly” in the length of each verse, it happens naturally most times).

Is it important, at all? I would not know. It is important to me, it allows me to express the feelings exposed in an understandable, appealing way, instead of the word mesh I used to create. It helped me greatly to worry about these things, and now, composing to me really feels like composing, I look at all these elements, I organise them, and a poem is born almost naturally, because as the paper suffers this structure, so do my thoughts and writing.

In a lighter tone, my Mother used to say that a messy room is representative of a messy life. I’ve always believe that this applied to many of common things, like poetry! This outer order I create allows my mind to clear further, like organising a desk.

Of course, if your jam is poetry that comes straight from the mind to the paper, there is absolutely nothing wrong with that either. This is mostly directed at people who hold much to be expressed and cannot do it when they attempt to write poetry.

I hope I helped someone, in any way, that would make me the happiest.

Santos is almost here, I’m a big celebrator of Portuguese folk parties, so poetry will be scarce. Let’s enjoy the first step into Summer with poetic incantations!


Johnny.

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