Free|Form

Argument for Free Verse                                                 Argument for Form

And then
you let it flow.
It’s easy-like, just think!
You write your gut, what aches down deep,
take off the chains of form, of rhyme, of beat–
write free! Get rid of rules that tell
you what to say in rhyme,
that orders feet.
Ascend!

Immerse
yourself in form;
let rhyme yield memories.
Compose set-time to bring to life
the musicality of images.
Experience the thrill of sounds
that rush the wind with fire
of metaphors
and verse.

Throw out
ideas of form,
the last resort of those
who have no passion of their own —
those youth who haven’t lived or aged shades
still hanging on to dreams of art.
It’s time to break the rules.
Authenticate
with clout!

So bored
with this drum roll!
These cries of lazy minds
that choose to vomit words, then serve
up prose disguised as ugly poetry,
refuse to learn their craft, refine
their lines,  deride the skilled
with angry, strong
discord.

To praise
ideals in form,
hide –bound to metered rhyme
obscures reality. The scars
of life, the wars of hurt, the private angst
that teaches strength, that burns the soul
inflames our minds — become
the howl, the source
of rage.

To smooth
the furrows out,
reduce to essences,
extract the purest feelings with 
the finest words that spring from ironies,
analogies in praise, despair
or passion’s depths. The goal’s
to sing  and plumb
for truth.

© Gay Reiser Cannon * 9.24.14 * All Rights Reserved
Both sides written in the © Quarrel Form (or Falling Diamonds) that I invented and am using as a challenge at dVerse Poets Pub for Meeting the Bar

The Symphony of Me

Chicago_Symphony_Orchestra_2005

It begins allegro vivace ending in a lonely oboe solo.
The stage is strewn with Marguerites.
The opening movement begins in sets of call-responses in G major.
In sonata form, it advances to a minor key played by strings,
rising to a frantic crescendo then culminating by the repeat of that plaintive oboe.

The second movement continues in lilting 6/8 waltz time,
a melody having a lazy dreaminess shifting in and out of keys in major and minor;
midway through, the tempo changes to a set of quick mood swings.
The latter part takes up themes from the first movement once again changing keys.
Built with clarity and steady rhythms the closing melody shines sublime.

The third section sings in andante cantabile, a fugato of four voices:
a constant swirling and weaving of themes, each voice expressing different things.
Each playing in counterpoint to the others but the whole accelerating to a Viennese.
The figures circle then return to andante, each song highlighted in razor
sharp relief before being united one last time as the woodwinds and brass rejoices.

The last section, a haunting largo piece, hearkens nature’s sounds.
Beginning with bassoons then clarinets to mimic mockingbirds and parakeets;
the melody returns to the initial plaintive tune as each motif is like a treasure.
The rise and falls are like sun and moon, the turns, rotations; the starts and endings–
lullabies dissolve into strains that arc to triple forte, a conclusion of leaps and bounds.

© Gay Reiser Cannon * 9.11.2014 * All Rights Reserved
Posted for d’Verse Poets hosted today by Karin Gustafson. The prompt is an extended metaphor.