Poets & Poems (by D. L. Siluk)) Part XXVII)Writing Porse Vs. Poetry [and: Grammar]

Poets & Poems
The Globetrotter Poet
(A Journal by: D.L. Siluk)) Part XXVII))
(Reviews, Commentaries, Short Stories and Poems)
[10-27-2006]



Writing Prose vs. Poetry in Plays
[The Fingers of Grammar]


I have written plays in poetry, and in prose, it is by far livelier, if not more spontaneous also (and a greater achievement, more complicated), and more complete with emotional triggers, to have it in poetry vs. prose.
Prose being undoubtedly the more thin, or soupy of the two, even Shakespeare knew this of course, as did Homer. Perhaps the trick in producing this kind of play (added with dialogue) is to feel inside of you the words as they come out side of you, and as your fingers write them down, instead of just writing to write.
Sounds, you must play with the sounds of words, not just the meaning. Sad is sad, in writing with prose, but sad can be debilitating in poetry, if you know what I mean.
A noun equals a name in prose writing often, especially in prose. In poetry a name is often not necessary once said, why? The intensity of emotion is or should be, built in poetry, and therefore, I say, the noun does not need to be in place, the emotion will suffice (plus you already heard the noun).
Grammar once learned, is exiting, but once you’ve mastered it, you do not need it anymore to get your sentences the way you want them, it is intensity you want to seek, and poetry is part of that intensity. Diagramming sentences to be, as you want them to be for the emotional triggers you want to place like bombs here and there, or stanzas in poetry likewise, William Faulkner is a good example of this.

Adjectives use them as you wish, they come and go like mice, they are the things that effect ones interest; too often, the writer over uses them. Which clogs up the story, meaning, the great interest one is trying to hold from page to page. In poetry you use them sparingly, to knock people out, then go on to the verbs. Again I must use Faulkner for a good example, he goes in circles with them too often, and by the time you grab onto its tail, you’ve forgotten what he was originally writing about. Hemingway, uses too much dialogue, you could make five stories out of one, or one story into twenty.

Verbs and adverbs are quite interesting, and can be often mistaken, or they can make mistakes. Nouns are quite solid, and you know what they are, and adjectives, seem to be as they are, but verbs and adverbs are endlessly trying to be whom they are not, a pretense. I suppose it is like human nature, a book would never sell on style and structure alone, it is human nature that people buy. Thus, it is verbs and adverbs people look for. They are the camels on the move, the adventurous. I could get into prepositions, but they do have long lives, and are really nothing in the long run: they irritate me. Articles are like Adverbs they can be interesting. They seem to please; as the opposite of a pronoun cannot please—it is like stale bread. If I were to quote Shakespeare, I’d say: a rose by any other name. And leave it at that.