Portal:Poetry


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Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, consonance, euphony and cacophony, onomatopoeia, rhythm (via metre), rhyme schemes (patterns in the type and placement of a phoneme group) and sound symbolism, to produce musical or other artistic effects. They also frequently organize these devices intos, which may be strict or loose, conventional or invented by the poet. Poetic structures vary dramatically by language and cultural convention, but they often rely on rhythmic metre: patterns of syllable stress or syllable (or mora) weight. They may also use repeating patterns of phonemes, phoneme groups, tones, words, or entire phrases. Poetic structures may even be semantic (e.g. the volta required in a Petrachan sonnet).

Most written poems are formatted in verse: a series or stack of lines on a page, which follow the poetic structure. For this reason, verse has also become a synonym (a metonym) for poetry. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz, or Rumi may think of it as written in lines based on rhyme and regular meter. There are, however, traditions, such as Biblical poetry and alliterative verse, that use other means to create rhythm and euphony. Other traditions, such as Somali poetry, rely on complex systems of alliteration and metre independent of writing and have been described as structurally comparable to ancient Greek and medieval European oral verse. Much modern poetry reflects a critique of poetic tradition, testing the principle of euphony itself or altogether forgoing rhyme or set rhythm. In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading).

Poetry uses forms and conventions to suggest differential interpretations of words, or to evoke emotive responses. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, figures of speech such as metaphor, simile, and metonymy establish a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm. (Full article...)

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The Mahabharata or Mahābhārata (Sanskrit: महाभारतम्, Mahābhāratam, pronounced [məɦaːˈbʱaːrət̪əm]) is one of the two major Sanskrit epics of ancient India, the other being the Ramayana.

Besides its epic narrative of the Kurukshetra War and the fates of the Kaurava and the Pandava princes, the Mahabharata contains philosophical and devotional material, such as a discussion of the four "goals of life" or purusharthas (12.161). Among the principal works and stories in the Mahabharata are the Bhagavad Gita, the story of Damayanti, an abbreviated version of the Ramayana, and the Rishyasringa, often considered as works in their own right.

Traditionally, the authorship of the Mahabharata is attributed to Vyasa. There have been many attempts to unravel its historical growth and compositional layers. The oldest preserved parts of the text are thought to be not much older than around 400 BCE, though the origins of the epic probably fall between the 8th and 9th centuries BCE. The text probably reached its final form by the early Gupta period (c. 4th century CE). The title may be translated as "the great tale of the Bhārata dynasty". According to the Mahabharata itself, the tale is extended from a shorter version of 24,000 verses called simply Bhārata.

The Mahabharata is the longest known epic poem and has been described as "the longest poem ever written". Its longest version consists of over 100,000 shloka or over 200,000 individual verse lines (each shloka is a couplet), and long prose passages. About 1.8 million words in total, the Mahabharata is roughly ten times the length of the Iliad and the Odyssey combined, or about four times the length of the Ramayana. W. J. Johnson has compared the importance of the Mahabharata to world civilization to that of the Bible, the works of Shakespeare, the works of Homer, Greek drama, or the Qur'an. (Full article...)

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Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic who was a major figure of the early modernist movement. His contribution to poetry began with his development of Imagism, a movement derived from classical Chinese and Japanese poetry, stressing clarity, precision and economy of language. His best-known works include Ripostes (1912), Hugh Selwyn Mauberley (1920) and the unfinished 120-section epic, The Cantos (1917–69).

Working in London in the early 20th century as foreign editor of several American literary magazines, Pound helped discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost and Ernest Hemingway. He was responsible for the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock" and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote of him in 1925: "He defends [his friends] when they are attacked, he gets them into magazines and out of jail. ... He introduces them to wealthy women. He gets publishers to take their books. He sits up all night with them when they claim to be dying ... he advances them hospital expenses and dissuades them from suicide."

Outraged by the carnage of World War I, Pound lost faith in England and blamed the war on usury and international capitalism. He moved to Italy in 1924, and throughout the 1930s and 1940s embraced Benito Mussolini's fascism, expressed support for Adolf Hitler and wrote for publications owned by the British fascist Oswald Mosley. During World War II he was paid by the Italian government to make hundreds of radio broadcasts criticizing the United States, Franklin D. Roosevelt and Jews, as a result of which he was arrested by American forces in Italy in 1945 on charges of treason. He spent months in detention in a U.S. military camp in Pisa, including three weeks in a six-by-six-foot outdoor steel cage that he said triggered a mental breakdown, "when the raft broke and the waters went over me". Deemed unfit to stand trial, he was incarcerated in St. Elizabeths psychiatric hospital in Washington, D.C., for over 12 years. (Full article...)

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Selected poem

Bhagavad Gita (excerpt, chapter 11) by anonymous

Behold! this is the Universe! — Look! what is live and dead
I gather all in one — in Me! Gaze, as thy lips have said
On GOD, ETERNAL, VERY GOD! See ME! what thou prayest!

Thou canst not! — nor, with human eyes, Arjuna! ever mayest!
Therefore I give thee sense divine. Have other eyes, new light!
And, look! This is My glory, unveiled to mortal sight!
Sanjaya. Then, O King! to God, so saying,
Stood, to Pritha's Son displaying
All the splendour, wonder, dread
Of His vast Almighty-head.
Out of countless eyes beholding,
Out of countless mouths commanding,
Countless mystic forms enfolding
In one Form: supremely standing
Countless radiant glories wearing,
Countless heavenly weapons bearing,
Crowned with garlands of star-clusters,
Robed in garb of woven lustres,
Breathing from His perfect Presence
Breaths of every subtle essence
Of all heavenly odours; shedding
Blinding brilliance; overspreading —
Boundless, beautiful — all spaces
With His all-regarding faces;
So He showed! If there should rise
Suddenly within the skies
Sunburst of a thousand suns
Flooding earth with beams undeemed-of,
Then might be that Holy One's
Majesty and radiance dreamed of!

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