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Gilbert - The Poets Cookbook: Details for over 50 forms, types of meter, structure, rhyme and over 100 writing exercises.

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Gilbert The Poets Cookbook: Details for over 50 forms, types of meter, structure, rhyme and over 100 writing exercises.
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The Poets Cookbook: Details for over 50 forms, types of meter, structure, rhyme and over 100 writing exercises.: summary, description and annotation

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First off, this isnt a book that is about how you should write poetry, it is a (hopefully) light-hearted and humorous approach which explores how you can write poetry.
Im not into rules. I like experimenting and exploring ideas and the pursuit of creativity. However, I do also think that we can learn from some of the rules, conventions and mechanics of different types of poetry no matter how much we think we know.
Whether you are new to writing or whether you are a more experienced hand, I hope that there is something for everyone in this book, that it will be challenging and will help you to grow in your craft.

Gilbert: author's other books


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The Poets Cookbook

Details for over 50 forms, types of meter, structure, rhyme and over 100 writing exercises.

Introduction

Dear fellow poet, welcome to The Poet's Cookbook.

First off, this isnt a book that is about how you should write poetry, it is a (hopefully) light-hearted and humorous approach which explores how you can write poetry. Im not into rules. I like experimenting and exploring ideas and if you allow me to be a little pretentious (thanks very much) I like the pursuit of creativity and believe that pursuit of creativity requires us to break free of some of the rules (for some reason this conjures up the image of Jack Bauer pursuing a terrorist) However, I do also think that we can learn from some of the rules, conventions and mechanics of different types of poetry no matter how much we think we know.

I think that the analogy of a cookbook is useful (hence the name of this book). If you have ever cooked a meal from a cookbook you will know that you don't have to follow the recipe exactly to reach a delicious result. The recipes are often simply a direction, it doesnt matter if you do things a bit differently, swap a few ingredients around. For instance if you were making a lasagne you may decide to use lamb mince instead of beef mince, you may not have any basil so instead you decide to use cumin and cinnamon, and you may be out of pasta sheets and so instead decide to use layers of grilled aubergine. The end result might not recognisably be a lasagne but by following the methods and directions you have created some other taste sensation (a delicious moussaka). However, if you were to go to the supermarket and just buy lamb mince, aubergine, tomatoes and cheese and then hit the kitchen with any knowledge of how cooking works then the likelihood is that you wont create something nearly as good.

I guess my point is this, if you look around for poetry, online, at open mic events, even in some books, often the instead of moussaka there is only cheesy lamb on a bed of aubergine and tomato mush. Which just isn't as good. And if you want to know why I don't think cheesy lamb on aubergine mush is good then you will see if you read the section in this book on free verse poetry.

Whether you are new to writing or whether you are a more experienced hand, I hope that there is something for everyone in this book, that it will be challenging and will help you to grow in your craft.


The technical stuff

To begin with here is some of the more (boring) technical stuff.

Meter and measure

The following are the types of meter and measure used in poetry, this describes the rhythmic part a word or string of words play in a poem. They are defined as unstressed and stressed but may be more easily be understood as short and long or as de and dum (which is how I best understand it).

Iamb - unstressed stressed (de-dum)

Trochee - stressed-unstressed (dum-de)

Spondee - stressed-stressed (dum-dum)

Pyrrhic/dibrach - unstressed - unstressed (de-de)

Dactyl - stressed- unstressed - unstressed (dum-de-de)

Anapaest/antivdactylus - unstressed - unstressed -stressed (de-de-dum)

Amphibrach - unstressed -stressed- unstressed (de-dum-de)

Amphimacer/cretic - stressed- unstressed -stressed (dum-de-dum)

Molossus - stressed-stressed-stressed (dum-dum-dum)

Tribrach - unstressed - unstressed - unstressed (de-de-de)

Rhythm

The following are the names of the rhythmic structures in a poem. It we were talking about music I guess this would be the time signature, like 4/4 or 6/8.

Iambic pentameter - 5 iambs, 10 syllables

Trochaic tetrameter - 4 trochees, 8 syllables

Anapestic trimeter - 3 anapests, 9 syllables

Dactylic hexameter - 6 dactyls, 17 syllables (with a trochee replacing the last dactyl)

Rhyme

Perfect rhymes

Perfect rhymes are probably the most common type of rhyme in poetry and they are the most simple.

Single - here the rhyme is on the last syllable of words, for example, leg and keg.

Double - here two syllables of a word are rhymed, for example, double and bubble.

Dactylic - as above but this time concerning three syllables, for example, belittle and acquittal.

General rhymes

General rhymes here refer to rhymes that are a little more abstract than perfect rhymes but still maintain a similarity.

Syllabic - where the last syllable of a word sounds the same but the first syllable may not rhyme, for example, puddle and fiddle, hotter and butter or broken and taken, etc...

Near or Imperfect - where the rhyme is between words with contrasting stressed and unstressed syllables, for example, bent and solvent.

Weak - where the rhyme is between sets of words with unstressed syllables, for example, honey and motley or flower and water.

Semi rhyme - where one of the rhymed words has an extra syllable, for example, send and mending.

Oblique or forced - where the rhyme is sounded rather than written, for example, sail and male or weir and ear.

Assonance - where vowels create an internal rhyme, for example, Steve's squeaky wheel.

Consonance - where consonants match to give rhyme, for example, ruby robbers.

Slant or half rhyme - where the final consonants of a word match up, for example, lazy and dozy.

Pararhyme - where all the letters of a word match up, for example, ball and bell or ding and dong.

Alliteration - where the first letter of words match up, for example, slippery, slithering snake.

Visual rhyme - the opposite of oblique rhyme, where the words visually appear to rhyme but they sound different, for example, stove and love or break and weak.

Rhyme Position

If you look at some poetry you will find that although there may not be a specific rhyme structure, rhyme will be situated in different parts of a sentence.

End rhyme - where the rhyme is at the end of the sentence or verse.

Internal rhyme - where rhyme in the middle of a sentence matches with another in another line of the verse.

Off-centred rhyme - a type of internal rhyme where the rhyme is in an unexpected place as if it has been misplaced.

Holorhyme - where two sentences are written differently but have the same sound, for example, Hear, for I sail, Here, four eye sale.

Broken rhyme this is where there is an enjambment (the continuation of a sentence beyond a line end and onto the next line without a pause) and the rhyme at the point where the line breaks matched with the end word of another line in the verse.

Cross rhyme - where the word at the end of a line rhymes with a word in the middle of the preceding or following rhyme.

Types of poetry

Sonnets, odes, limericks, cinquains, villanelles, etc

Anacreontea

Anacreontic form was first used by the Greek poet Anacreon and are poems are about love and wine, enforcing once again the stereotype that we all have about the ancient Greeks as being libidinous drunks.

Later poets who copied his form, known as Anacreontea, wrote in the same theme and meter although in modern poetry they are classified only by the subject matter and are short and lyrical (which for some reason only makes me think of The Pogues).

In modern poetry the form simply consists of seven syllables per line.

The following is an example from William Oldys and is just about drink, unless he had a thing for bluebottles

On a fly drinking out of his cup

Busy, curious, thirsty fly!

Drink with me and drink as I:

Freely welcome to my cup,

Couldst thou sip and sip it up:

Make the most of life you may,

Life is short and wears away.

Both alike are mine and thine

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