The Styles of Poetry E-Book

Anwer Ghani

• Herausgeber: BookRix
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

We are now in front of many facts about the beautiful artistic writing:

First: In the last twenty years, the writing beautifulness and artistry in our awareness have been transmitted from the aesthetic view into the expressive view. Now the creative people concern with feeling expression more than the aesthetic applications.

Second: We can differentiate three eras of stylistic approaches about the beautifulness and artistry in the writing, the pre-modernism which concerns with power of the meaning connection, the modernism which concerns with aesthetic of the writing and the post modernism, the present era, which concerns with powerful feeling expression.

Third: In our globalisation and post-globalisation era, there is a powerful feeling and practice of free writing which doesn’t or shouldn’t observe the rules, the laws or the traditions in the beautiful writing, the literature, even the genre.

Fourth: Now, we are in front of new literary writing which doesn’t fit or doesn’t want to follow any genre classification, it is a non-genric or trans-generic writing.

Five: In this very free seeking era, why we need to study the stylistic elements of the present artistic writing and its law?

I will answer the last question first and the other points I will deal with through the chapters of the book. In fact the human is a very selective creature and always seeking the better, and appreciate the best and imitate it, this is a point. In other aspect the deep humanistic instinctual recognition or experience, despite its truthfulness, it is vague and can’t exit from the primary view for the world things while the soul is a very complex and a highly knowing creature and can’t satisfied by the primary instinctual experience, so it needs the intellectual experience and analysis to reach its goals in everything, not just in aesthetic and beauty. In the process of the analysis, the intellectual recognition and the systematic differentiation of our experiences about the beautiful writing, we don’t add or invent something, not present in the text or in the writing or we put some elements which they are strange to the instinctual experience, but in fact, the intellectual analysis of the beautiful writing is a thorough analysis of the instinctual experience. Yes, our intellectual experience is always an analysis of our instinctual experience. So this book is a collection of intellectual analysis of the instinctual experiences in different aspects of the beautiful writing. So, I won’t find a new thing, but I will try to show what is present. I believe absolutely that the mind can’t find anything but just a tool to explain what the instinct knows and experiences. The mind knows nothing new but shows us what we know.

Leseprobe

Anwer Ghani

The Styles of Poetry

Quantitative Stylistic

To the very new writers; new in vision.BookRix GmbH & Co. KG81371 Munich

Introduction

We are now in front of many facts about the beautiful artistic writing:

First: In the last twenty years, the writing beautifulness and artistry in our awareness have been transmitted from the aesthetic view into the expressive view. Now the creative people concern with feeling expression more than the aesthetic applications.

Second: We can differentiate three eras of stylistic approaches about the beautifulness and artistry in the writing, the pre-modernism which concerns with power of the meaning connection, the modernism which concerns with aesthetic of the writing and the post modernism, the present era, which concerns with powerful feeling expression.

Third: In our globalisation and post-globalisation era, there is a powerful feeling and practice of free writing which doesn’t or shouldn’t observe the rules, the laws or the traditions in the beautiful writing, the literature, even the genre.

Fourth: Now, we are in front of new literary writing which doesn’t fit or doesn’t want to follow any genre classification, it is a non-genric or trans-generic writing.

Five: In this very free seeking era, why we need to study the stylistic elements of the present artistic writing and its law?

I will answer the last question first and the other points I will deal with through the chapters of the book. In fact the human is a very selective creature and always seeking the better, and appreciate the best and imitate it, this is a point. In other aspect the deep humanistic instinctual recognition or experience, despite its truthfulness, it is vague and can’t exit from the primary view for the world things while the soul is a very complex and a highly knowing creature and can’t satisfied by the primary instinctual experience, so it needs the intellectual experience and analysis to reach its goals in everything, not just in aesthetic and beauty. In the process of the analysis, the intellectual recognition and the systematic differentiation of our experiences about the beautiful writing, we don’t add or invent something, not present in the text or in the writing or we put some elements which they are strange to the instinctual experience, but in fact, the intellectual analysis of the beautiful writing is a thorough analysis of the instinctual experience. Yes, our intellectual experience is always an analysis of our instinctual experience. So this book is a collection of intellectual analysis of the instinctual experiences in different aspects of the beautiful writing. So, I won’t find a new thing, but I will try to show what is present. I believe absolutely that the mind can’t find anything but just a tool to explain what the instinct knows and experiences. The mind knows nothing new but shows us what we know.

I made the chapters short, clear and concentrated on one idea to follow the souls of the present reader who doesn’t like the long and the complex writing. We are now in the era of the “general reader", and we should leave the remnant of modernism; I mean the era of the “selected reader”. The seeking of the selected reader is killing to the literature and its aesthetic and social goals. Even the critic, the theoretic or the analytic essays should be clear, beautiful and widely interested.

I will follow these rules, and I will try to deals with very clear and true instinctual elements in the experience of the artistic, so this book is for all of us, the reader, the writer, the non-reader and the non-writer instinctual appreciators of the beautiful writing . When we talk about our writing, we talk about our speech, but the writing is the formal and the external presence of the speaking and it is widely used as a connective and a literary tool.

The Writing is a Transfiguration of The Soul

Our world in its essence is a transfiguration of souls and all of us appreciating it. We can see the immense impact of the soul acts on our daily life, and our existence is simply an incessant attempt to find our souls.

Seeking the souls is an innate desire, and as we can’t live without food, we can’t live without that desire. One of the souls’ pages in our life is writing which, by its admirable styles, enlivens the lands of hope and illuminates the areas of darkness. Beautiful writing can change our awareness about ourselves and the world, in addition to its innovative features which make us fly with cheerfulness and jaunt with delight.

These conscious and subconscious effects of writing occur as a result of the strong relationship between the language and our souls, of the powerful effect of writing on our minds’ embodying and the final appearance of our existence. Language is the central tool in the organization of thought, and any conception about anything should occur through the meanings and through the language. If we want to change any situation we can do that by the universal changes in our words about it, and sometimes this is the only way to create the change.

From this view, the writing is a transfiguration and our souls uses the writing to transfigure. The ideas, as any creature, always try to transfigure in full and powerful existence. So, one idea may wear many dresses to show itself and the writer should listen to its voice and give attention to her wishes.

To accomplish all these targets, the writing should have an efficient existence with the occurrence which gives full and powerful transfiguration of ideas. This efficient transfiguring property of writing can appear with multi-expressive structures, where the sentences bring the same deep idea and central message but they appear in different images and statements. This system we call "The Mosaic". In the mosaic transfiguring system, the sentences appear as mirrors. The mirrored system of the textual sentences forms an intellectual existence imitates mosaic where the sentences behave as small pieces with harmonious presence.

Although every word and every text has mutuality circles but there are specific words in the writing of every author has a big transfiguration from the interchange view. He uses them widely and deeply with vast symbolic actions. In these deep interchange areas, the writer is not the author mind but it is the author souls. We should emphasize that the soul have a wider experience more than the mind, and the mind and its knowledge is a part of the souls.

The most important feature in the mutual meanings are out of time and place, so they can take any shape smoothly and this is reflect the timeless nature of soul in comparison with timed mind.

Poetry is a dream

When I write poetry, I don’t call the poem, but the poem calls me. The poem takes a long history in me and in my deep awareness. It is a discovery of my deep true feeling. When I saw the poem, I saw a bulk of feelings and representation of my people in front of my eyes, so my poetry searches the emotional aspect of the words and not just conception and conduction. At the writing, I were in a situation between consciousness and unconsciousness, it is semi-dreamy state, where the ideas colored with feeling. Poetry is a type of dream.

Conception of speech has noticeable velocity

Conception of speech has noticeable velocity and despite the higher speed of the intellectual understanding, we notice the time which we need to catch meanings of a text. Beside the dimension of the conception, there is an emotional dimension which has specific velocity also. If the velocity of conception speeds that of feelings, the text will be ordinary semantic, but if the contrary happens; I mean if the velocity of feeling in the text speeds the velocity of understanding, the text will be an abstract writing.

Poetry is a Mirror

Poetry is a mirror and the text is the vehicle so the poetic text in its essential existence is a big mirror. When we use prose to bring poetry, in fact we make another mirror and when we narrate our lyricism, this is an additional mirror. So narrative prose poetry is a very complex system of mirrors and in every poetic moment, there is a mirror. "Colored Mosaic" is a narrative lyric writing with superficial narrative structure and a deep lyricism.

Everything tries to present in a full transfiguration state. Poetry as anything also tries to present in a full transfiguration. Freedom is essential for poetry and its full revelation so poetry in prose is a mirror of poetry glory. The letter also tries to present in a full transfiguration by pressing on the author to express it every moment of writing. Sometimes the letter takes several shapes to reach that goal. In mosaic system the letter appears in several clothes; it repeat itself in different text. The texts in the mosaic writing are the shapes, the clothes and the visages of the writer’s letters. So the mosaic system is a system of mirrors which is more complex than what is occurring in poetry. "Colored Mosaic" in short is the mirrorlike writing where everything is a mirror to everything.

From stylistic view, in the mosaic writing, there is a primary title under which the poems sit, and secondary titles; the poems’ titles. While the secondary title is basically thematic and reflects the poem’s theme, the primary title describes the poems, the writing, or the universal deep idea. The number of poems under the primary title should be more than one to compose the mirrorlike system and can reach a large number, and in "Colored Mosaic", we find three poems under each primary title.

The deep internal area of writing

In our deep internal areas there are areas of interchange where everything means everything and when we talk about something we talk about other thing. At this area and at this level what is happened is the mutuality of feelings, meanings and impression. Writing sometime becomes a big interchange process and when you use some generalized unite, you fetch its semantic aureole with a constant circle of meanings. So that words of general use always has a constant semantic action in addition to the contextual meaning and the complementary part in the sentence which is related to this general word will talk in a way or another on a same deep core. So when we use a generalized word like (I, his, our) we always talking about multiple subjects one of them the textual contextual rational meaning but beside this we also talk about other things which they are deep in our internal.

The language in our internal (the consciousness and the sub-consciousness) has many level, and every word has many semantic radiation and many circle in every level. The text and the words in it are always talk about many things, and summon many meaningful circle not just the contextual meaning or its circle but in every level of meaning and every level of language in the conscious and subconscious area the text and the words fetch multiple circles of meaning and multiple semantic aureoles.

Because of these facts we can make one interrelated text from multiple texts by special lines of meaning or a specific unite of writing. In volume one of "MUTUALITY" we will find the universal text of the generalized words have been used in multiple text, so it is a text formed from quotes from multiple text but you will see the strong correlation between its sentences and its parts.

Thr Literary reading

Bennett has asked; "where or when does a literary text begin?" But before this question and in the way to answer we should ask "What is the literary text? When we take a mere look for a literary text, we will find that the literary text is an independent intellectual entity. Literature is not the writing, and the literary text is different from the linguist text. Writing is a vehicle of literature and the linguistic text is a mirror of the literary text.

Although Bennett had tried to catch the beginning in Paradise Lost and introduced it as the beginning from beginning but we can see the confusion in Bennett’s assumption which pushes him to say; "Despite the complications of Milton’s opening, however, at least it tries (or pretend to try to begin at the beginning, rather than in the middle." And what I see as a cause for this conflict is the linguistic approach to the literary text. In fact, the literary text is different from the linguistic text, and the beginning of the literary text differs from the beginning of the linguistic text.

To understand the literary text, we should differentiate between the writing and its message and these from the literary text; literature. The beginning of the writing is simply and obviously starts from the first word of it, but its message may started before or after it while the literary text is always before the writing and before the message and even before the author and the reader. So when Bennett referred to the Milton’s Paradise as an example of the beginning from the beginning, or when he had referred to Dante’ Comedy as an example of the beginning from the middle he meant the message, and not the writing nor the literature.

The importance of this understanding becomes clear when we remember the cooperative and shared nature of literary knowledge. Literature can't start from the paper or its theme, and the letter of the author is just a part from his personality, so literature which is older than the author can't be explained by the writing or its letter, and the beginning of Bennett is not accepted.

The condition become more complex in lyric poetry and in the same time becomes more clear that the beginning of the text situates in pretext level. In expressive narrative prose poetry where the anti-narrative narrative and anti-poetic poetry co-exist, we usually find the clear pretext beginning which has broken the lyricism. Kareem Abdullah in his "Whenever I Call You, My throat Gets Perfumed" he said:

"This ether bears the perfume of your images, blossoming alone in my eyes' night, raining with abundant dreams, in whose new springs swim the voices of my blooming youth. How could I collect the sprinkle of your eyes while these stars beseech for washing their darkness by the blueness of your shores? Flower coronas stand every morning at your window, waiting the moment you get up to grant them the perfume. Flocks of birds land down on your table, hoping that crumbs of your voice would make them sing very softly. Even your clothes in their cupboard are impatiently waiting for your soft fingers to caress them so that they dance playfully and recover their glittering."

He, despite his continuous present, bears the past image and the future dreams and begins his narrative with a space out of time, but it is definitely a mirror of pretext life. In opposite to the certainty of Kareem Abdullah, we find the beginning of Fareed Ghanem is merely a hallucination in his expressive narrative prose poetry "Overcrowding" where he said:

"Just now we've concluded the conquest of Constantinople. It took us fifty three seconds, the time between two cigarettes and two hallucinations. Then, we came back."

We can see the transfiguration of the pretext elements represented in phrase of "conquest of Constantinople" and the global theme. The weight of the text has existed with a magnificent picture in these hallucination moments to give explanation to the defragmentation while the post-textual transfiguration has been present the narrative descriptive style which gives the familiarity in the reader soul for this hallucinated moment.

It is so risky making a literary view according to approaches has been essentially ordered to deal with storytelling writing because of the strict adherent of these arts to the places and time; the thing which is absent in poetry. But in narrative poetry, we find ideas and figures which transfigure in a narrato-lyric text and can give a universal concept about literary artistry.

So now it becomes clear that there are a time-place adherent writing, a time-place free writing and the middle situation. The first; I mean the time-place adherent writing represented by short fiction and novel, while the second; the time-place free writing represented by poetry but in the third class we find the middle area between them which is represented by prose poetry and because the dimming of the expressionism and lyricism in the traditional prose poetry, the contrary expressive narrative prose poetry group has endeavored to write a text keeping the lyricism glory with free writing in a narrato-lyric text characterized by a superficial narrative prose structure and deep a lyric, expressive and poetic deep structure.

In "A Farmer" of Anwer Ghani, we see the potent pretext life has taken its fall transfiguration in his expressive narrative text which represents the authorial transfiguration where he said:

"I am an old farmer knowing this earth perfume. I grew between its legumes like a butterfly loving the sunshine. Come here look at Euphrates. He is sweet and clear. He doesn't know any spite. With a brown garment and a headband, he descended as a desert cavalier, so it is not strange to see all that sand covering his face."

But also the reader has a potent presence also in phrase "come here" and "to see" and this represents the reader transfiguration. The pressure of the text can be seen through the logic personification of the pronoun of Euphrates, and this is the textual transfiguration.

These transfigurations can be seen in Abdussalam Sinan’s "Amazement" where he said:

"He is roaring like a dragon; whenever I contemplate his pain sockets with its dark wrinkles, I scatter in his mummy skeleton due to the tiredness of the ragged time. A burning flame irradiates from those hard eyes."

In this expressive narrative prose poetry piece, we can grope the higher lyricism, symbolism and fragmentation which are not usually present in traditional prose poetry and the authorial aim transfigure in the global expressive description and the extreme use of words of feelings type like "roaring, dragon, pain sockets, scatter, mummy skeleton, ragged time, burning flame, hard eyes." It is obvious that the use of adjectives here is not just for description but it is for expressive the strong feelings and this is a tool of expressive narrative. The textual aim transfigures in the superficial logic narrative despite the deep fragmentation. Another feature of the text transfiguration is the harmony in the words lexicon where we can see"" dragon, pain sockets, dark wrinkles, scatter, mummy skeleton, tiredness, ragged time, burning flame, irradiates and hard eyes." Although the words are belong to a generalized terrible meaning field, we can see the very close subclasses and the potent proximity. It is so obvious the correlation between words in this piece "dragon/ burning flame/ hard eyes, pain sockets/tiredness/ ragged time, dark wrinkle/mummy skeleton, scatter/ irradiates." The reader has been also noticed in the text in phrase" the tiredness of the ragged time which is a universal conscious element. Everything in the text appears to be out of the personal author experience it represents the generalized awareness and the pressure of the reader on the text (reader transfiguration) and this pressure has degrees and everything in the text tends to outstand the logicality, proximity and harmony it represents the textual pressure (text transfiguration).

The authorial, textual and readerly transfiguration has obviously appeared in the poetess Rahmeh Innab’s "The Zest of my Heart". And in a general speaking, beside the poetic metaphoric elements in the feminine arts, there is always a potent transfiguration of the writing’s aims so in my opinion the feminine writing is a good material for the studies deals with writing transfiguration science.

In this expressive narrative piece, Rahmeh has said:

"Oh the zest of my heart, how you can conglobate my femininity and blow in my dough olive and ripe pomegranate your vigorous fragrance make it grows, shakes and then toddles in a narcosis your starry dawn has overthrown."

We don’t need much speech to explain the potent emotional winds in this piece and the high expressiveness level which represent the authorial transfiguration. The reader was present in the pointing to the femininity and the ecstatic status which represents the reader transfiguration. By using what we call "the nearby symbolism" and a clear conductive message the text reaches its aim and that is representing the text transfiguration.

So the text is a mirror and transfiguration of pre-textual, textual and post-textual objects and aims. Although Bennett admitted that Laurence Sterne’s "The Life and Opinions of Tristram is a writing about life but he also related the beginning of the text to the theme and content while we saw Tristam Shandy said:

"I am verily persuaded I should have made a quite different figure in the world, from that, in which the reader is likely to see me."

We can see the pre- and post-textual elements which press in the text, we see the pre-textual author’s aims (I should), the textual aims in phrase (different figure), and the post-textual reader’s aims (the reader is likely to see me). The writing is a transfiguration and a permanent attempt to occur with the complete existence and it start from remote points outside the text and not from the textual theme or letter as Bennett said.

From these notes we can confidently say that the literary text is neither the theme nor the writing; it is the conscious presence where the author, the language and the reader participate in. The literary text is a universal system involving many texts, many authors and many stories. So Bennette did not point to the real site when he had said "If beginnings always have a context and it therefore determined by what comes before, the opening to Tristam Shandy makes it clear that, in turn, beginnings determine what comes after."

While we can find a soled thematic details and logical time-place related events in the novel, this is not true in poetry. Bennett had found "satirical prevarication and pedantry, combined with blustering assertiveness, characterize the whole novel (i.e. Herman Melville’s Moby Dick or The Whale). This description is misleading where it shows that the literature is a textual element and all its presence is limited to the paper, but this is not true. You can't catch all the literature in the paper and the text is just a vehicle and the success in collection a good material from the text about the literature in the novel doesn’t make it a generalized situation or a universal base. In poetry, we almost always can't know the literature just from the written text and we should search many extra-textual factors to grope the actual literary text. So the literary text is different from the written text and has independent intellectual presence.

References

1-Andrew Bennett, Nicholas Royle: An Introduction to literature, criticism and theory; 1995

2-Arcs magazine for expressive narrative prose poetry, 2018.

3- Anwer Ghani : Narratolyric Writing, 2016.

4-Laurence Sterne’s "The Life and Opinions of Tristram Shand , Gentlemen (1759)"

The Compatible Reading

When we; the common simple persons take a look at literature, we will find that it composes from two elements; the psychological and the artistic elements, and both of them can be deep and superficial. The deep factors represent the experience and the global awareness of the author about the world and its things. They are the definition of the things in the deep consciousness of the author while the superficial equivalent factors represent the ability of the author to translate that deep knowledge into words on the paper and the last represent the linguistic aspect of literature. So the linguistic aspect of writing is part of it and not the all.

The common idea about literature beauty is that its effect has come from the artistic linguistic and verbal elements but this is not all the fact. All of us realize that there are deep areas the author discovers them. Yes, the text is a mirror and an expressive tool to show and pointing to them but the solid intellectual pleasure which occurs in our internal is due to the deep author catches. Literature is art of speech but what gives the superb literary writing its fervor and penetration deeply in the souls is the deep pre-textual factors which the author has moved between their lands and seas.