fn Every wtouth (oman fo Reborn eAgain""————S=SO* peer-review — let one academic phrase be permitted here. So, this work-oh how ambitious it sounds — Jet them be the outcome of last year's reflections and obs: distant people around her. The reflections | decipher the easiness and atu ching for the stable foundations of the of sea : ; eption of a woman's i stereotypical vision and perc: unending questions pertainin: che has cherished the questions on the meaning of life and the sear] happiness for such a longperiod. these drafts, are closer to reality- ervations of close and pon the theme of trying to ractiveness of a genre like poetry with the themes meaning of life against the jife and behaviour, with the J to each of the 12 poems, the plan of this work, Theory on Poems 1. A poem sets itself apart from other forms of creative texts. It is still a piece of writing but with a huge presentation, It is a little lad with a loud voice entering adult discussions on equal rights. It is a scandal in accounting: that a minimum of words is capable of spreading a maximum in meaning, and even to claim the various potentialities to be invested into further reading and re- readings. 2. A poem is an epistemological labyrinth: a rambling with plenty of meanings. A blurred idea of exit-final meanings that exist as the preliminary attempts to grasp the absorption of the previous meaning. 3.A poem intriguingly tempts one with the task of reading it. No scanning or surfacing is permissible here while with the rest of the text is accepted.: It must be read properly, i.e. a quintessence of hermeneutics where the reading and understanding coincide. 4.A poem is both completeness and its scarcity of words. It is as emotionless as a taut bowstring hurriedly waiting to aim, 5.A poem as a textual masterpiece demands its careful reading to begin with the beginning, i.c. a title. The title that is like the top of an iceberg with a hidden mass underwater making the sense of the meaning bigger i.c. more significant. 6. The definition of a poem is partly hidden behind the title, signposting the poem's peculiarities and features. The apt name is the embracing of all features, The nicknames are not false names but highlights of the features that are not defined before. Similarly, with a poem, the name can be guessed even in the fragment taken from the native form. The issues of name, size, style, and the rhythm of the poem might be set as a foreground. 7. Reading a poem is to first detach it from the name (title). Because of isolation and annoying informality coherent to the fragments of a poem, they lack identity, belonging, and tradition, therefore they cannot be taken holistically as a whole, Only a complete poem embodies wholeness.~~ n fragmentary form) rests on the rhythm. The 8. Any poem (even in a tor ee jrit, and the absence of what makes the structure rhythm is the inner tempo, spi groundless. 9.4 poem labelled as a blank verse and the absence of rhythm is nothing but piece of prose aligned in the format of the columns. The absence of rhythm, makes it vulnerable and alien in the family of the poem. This is because the rhythm is a glue which pastes the lines in pairs under the reign of the common theme, The presence of the blank verse is a hint which poses the question: what is the principle difference between prose and poetry? 10.The length of a poem or, simply, the number of lines according to the known standards culturally varies. 1if the rhythm is a poem’s flesh then the content is the bone of the poem. One reading is not cnough, the slicing of the content that is rooted deeply as its natural resources are not shown on the surface. As the reader moves through the reading word by word, the content opens its enigmas. The methodological outlines are to identify the name, the structure, and the content. 12.What is the purpose of writing a poem that does not necessarily coincide with the grand theme that the poet unfolds line by line: the eritique of reality, the imitation of reality, and the modulation of reality by substituting it with a purely imagined one, The common core is unchangeable, it fetters with reality, even in the high flights of fantasy, the poet reacts to ongoing real situations that endeavors to change it with a pen. 13, Not all poems are presented (or are survived) in full. A fragment of a poem is like a plant torn forcibly from its native land. It still bears the smell and the details of the land can be reconstructed. 14. A poem is a piece of creative work by an author that undoubtedly possesses a meaning. 15. A poem is first met during childhood going on to haunt people throughout their whole life, Namely, above other types of writing, poems were the first to be heard by babies. 10 16. Our first lullabies, both rhymed and not rhymed, are composed under religious, custom and folklore influences. Small children are encouraged to learn poems by heart. Reading poetry is a deliberate captivity. 17. A poem is the cradlesong of humanity 18.A poem's easiness is hinted here in terms of grasping and easy digestion. The easier the rhythm the easier it is to learn by heart, the more difficult (caused by the rare trope or style) the more difficult grasping of meaning. 19. And as a piece of art, a poem is subjected to an evaluation under the angle of an aesthetic criteria. In fragmentary and full shapes, it bears the stigmata of meaning wrapped in an undeniably aesthetic form. 20. A poem is the first and perhaps the last candidate for the title of a bearer of uniqueness for a meeting place of rhythm and thyme where the last presupposes and validates the existence of the former. 21.If a poem as a whole is unique then its offspring such as a piece of a poem, composed of lines in unrepeatable combinations still carries out the lucid light of uniqueness but in the small proportions. 22. The severe academic requirements of avoiding plagiarism is to be satisfied with the poem. A poem will never agree to borrow someone else’s words and set expressions. 23. The threat of plagiarism in poetry is absent since the poct produces the masterpiece that does not resemble the rest (from this tradition). 24. Each line that is paired under the domain of the rule of rhythm and rhyme drops to the idea of drifting with no roots and connections. 25.Each word in the line that occupies its proper place enjoys the company of the welcoming neighbours, each word pulls a plume of interpretations and meanings behind it. 26. The line and the order of the words are unchangeable and are merged into a single ingot and monolith by the author as the street and buildings could stay for years until some destructions do not take place, as in February’s snowing, April’s raining, and July's heat are potentially viewed. uwa "_~—~CSCO* i can 27, It is only a case of a rude interference as the translation of @ poem i ings of the poem. change the order and in some cases the meaning. Ps i i fforts (even when a isi ible to find out despite all intellectual e pallies is a matching of an original text of a poem translator is a gifted poet as such) with its translations in all world languages. 29, A poem is a categorical lover of one’s own language. 30. A poem is a bitter skeptical uncompromising in its ¢ attempts to change its dressing. For instance, one cal favorite poet is Homer until reading it in its original language. 31, How do you read a piece of poetry in its native language? Subjectivism is : re, Reading poetry involves a personal interpretation to hardly escapable he the vast number that already existed. 32. Inevitably one’s interpretation meets intermingled mixture of meanings the read reading is an aim, it presupposes interpretations depend on the number of readers, understanding is blurred. 33, ‘The hermencutics-based task (to arrive at the right understanding); is intuitively caught in the final meaning modelled by the author. It is rarely realized by only extremely skilful readers. 34. Hermeneutics expectations float above the level of satisfaction with personal interpretations. 35. A poem is a thought strained in a form, waiting for co-operation with the reader to be rescued from hampering conditions. 36. The scarcity of words: is t i imagination of the reader. Thus, the interpretations multiply. 37. There are no untitled entities in the writing, even a torn fragment from : a ‘ : the motherland of content includes a theme within that can inspire the nami thm and rhyme is like a disorder or complete giving process. The lack of rhy' chaos. conservatism towards nnot say that one’s another interpretation and in one er confuses themselves. If the right the right understanding, If the number of the concept of a right 1 be compensated by the abundance of the 38. One remaining verse (from the rest of the poem) is still an aphorism without rhythms for its laconic exhaustion of extra words. 39. Even carefully reading a verse is a decoding of the meaning where all probes to catch it are numerous ways to rotate around the core point not necessarily reached at once. For careful reading, firstly it must be understood that a poem is a construction, a building, where each line is a floor with a similar number of apartments. The symmetry is the inner skeleton of the entire construction, otherwise it falls. The spontaneous, supernumerary, extra word is not welcome with no compromises for the spare variants waiting to fulfil the vacant place. 40. If each word in theline must occupy its proper place, words must be suitable in the ad hoc situation and to embody the rightness in the fitting proposed background: as singers in the choir are chosen for the voice fitting, as dancers in the group dance are selected by the similar body paraments, as the glass pieces of mosaic- for the shape and colour, 41. The layers of meanings in a subterranean way are figured out by different readers, The plurality and the dissimilarity of the readings are not merely the obstacles in the triads of the possible interpretations: the same challenges addressed to the meaning: the depths of undiscovered meanings and unrecognized senses as unanswerable questions to haunt the mind for ages. 42. A poem is a skilful hint-maker. In the first layer (but in major cases in subsequent deep layers as well) the reading is smooth on the surface and deals with allusions prompting the route to the final meaning. The route to the meaning that is behind the words (inside the words, underneath the words) is sketched on the map by the signals. Reading poems is like diving: the denser the search, the more hints (treasures) that are met. 43. The route to deciphering the code meaning of a poem is in line sometimes with understanding humour (of any kind and of any national coverage). Humour as a message, including the unusual and untypical interpretation (comedic and fun-like in most cases), of known and banal events is measured by its skilful presentation of the masking of content. 44, Similarly, the content, the core, and the route to the final meaning of the poem is covered. The laughter is the deciphering of its hidden meaning 13,Mere reer eee eer although not all poems after decoding leave the readers with positive joyful emotions. It does not necessarily mean that poems make everybody laugh, the link between poems and humour is presumed to be intersected merely (in the context of this work at least). — Namely not providing a prepared product. 45. Metaphors, comparisons, and deixis, penetrate the content of the poem, The latter component bears a function of pointing out, showing directly, or hinting at the route to the meaning. 46. Careful reading is a tét a tet conversation where the reader is left with the picce of a poem with no help from the side of the intermediaries. Careful one- to-one reading is a smoothness of non- disturbance. 47. The reliance on the first-hand reader’s impressions is not enough. The multiplying of probes assures the approach of the right interpretation of the meaning and learning by heart the critical remarks. The semantic meaning is hidden behind each line. Likewise, in the long or short poctic pieces the arrival at the final meaning is a simple calculation of the collected meanings from each line. Under this auspice, this does not lead to a formula: the more lines the deeper the sense. 48. A poem is a house welcoming the metaphors as expected guests. The metaphors are the best candidates to the most puzzling but also the most challenging connections of words. What is a metaphor if it does not play with words and meanings? It is a celebrated dualism, in complexion and simplification in a promise of distant beautification and a harvesting of the nearest half-ripe fruits. 49. A poem in its marrowbone does not allow the arrival of unwanted word- candidates. 50. As in the case of translation, the poems do not bear any compromise for unfit form and content. 51. If the alliance is composed in a given way, if the people are sitting on places they happen to occupy on public transport or sitting in front of people they do not know and never intend to come across in the urban cafeteria, the words must not be asked to occupy or fit into places whether comfortable or not. 4 52. In the rhymed verses the words must be content with the places they have, the non-comfortability can be noticed in the absence of rhyme. 53. Poetic rhyme is an inner mechanism of bestowing the words with the proper place (word order) within a line. 54. In the rules of etiquette an examined poem is ready to get a protocol, a label, a tag, a sticker, a sign of being reviewed (not necessarily approved) with the authorized or ad-hoc licenced opinions in a subjective tone and in well- weighted words. 55. A poem isa place where the quality (not quantity) plays a leading role, the weirdness of extra words covers an avalanche and paves the way for a triumphant marching of meanings, for it to be expressed in some words. 56. A poem is preferably written (and read) in isolated conditions, as far as it is possible to escape from poem-enemies: the vanity, noisy streets, and empty conversation, 57. If the writing of a poem comes from inspiration, the reading of a poem relies on proper conditions. If the writing is an unexpected act of creativity for the author, the reading needs the before-set decorations: the quietness of the library or silence of a noiseless midnight. No noise of neighbouring human activity. 58. A poem passes through stages of development: it is born out of a splash of ideas. It is read in through thought-provoking words, It combines uniquely a burst of energy and creativity motivated by the delivery of a specific message. It is silent in letting go with a slow process of understanding its enigmatic messages. 59. Agnosticism is not favoured in the reading of a poem; the search for the meaning is never endangered with the first failures, As every problem has its high philosophical connotations and solutions, a pocm’s meaning is to be found even in a subjective trajectory of the search. There is no poem without a meaning. A poem isa manifesto of meaning, a must-read piece of art abundant with exclusive words (for not every word is welcomed under strict rules of composing each line). 15,re, 60. If every problem can be translated into a philosophical language rested on the concepts authored and enrooted in a tradition, then a poem with its key words - are unconditionally authored and bound with tradition. 61. A poem is the squeeze of a person’s life changing one into a cemented block of messages that penetrate the caravan of ages with lucidity and the swiftness of a dashing arrow. 62. A poem is a celebration of subjectivism, screaming the core behind actions and events, mixing, and rallying them together into a stillness of wide embrace. Thus, the poem is hatched from the shell, and immediately surfacing ‘on the objects bestowing them with values, characterizations and even nicknames. 63. A poem is a long-waited freedom of influences. Each word in a line is an outcome of origin and dignity, but not adopted. It is a swallowed virus, gone from the polluted air of the imposed standards and styles. 64. In a poem there is no restriction of academic regulations, repeating, or fancy literature, There is no uncontrolled human imagination galloping like ‘Arabian horses. (An academic and amateurish reading can perform a similar understanding still expressed with different words and phrases). 65. The rhythmed message of a poem is not from this carth. For catching its light vaporization, the reading and learning by heart come as a solution and, thus, “read’” as an imperative. 66. A poem is crystalized, a modulated perfection spiced up with exclusive words directly addressed to serve as a finishing piece born to be used solely in the poetic dressing (otherwise in daily jargon it would be plagiarism if not cited properly). The words are saturated with lyrics, unescapably, the poem is a lyrical digression. 67. The best wallpaper for reading a poem is sincere willingness. A poem is for a poem-lover, the careful reading -which each poem deserves- happens not out of midday boredom. 68. A poem compels every word to speak up on an equal level of significance still not indulging and not deceiving oneself with all sides of a vanity of focusing on tiny details. Every word in this poetic mission as a legitimate part 16 of a poem contains the deposits of the unused energy and potential of an adamant meaning. 69. A poem is a potentially testing field to admit the thesis that the scope of the right understanding echoes in every subjective reading of every poem. In fact, this reflects the hermeneutic purpose spinning around as a loyal sputnik of a process of reading any poem. In turn this reminds reader that the banality and significance of this aim of understanding has never been vanished from a human being's agenda as the easiest and the most complicated task humanity ever has faced. 70. However, by the process of elimination, neither the construction nor the deconstruction is a tool in reaching the hermeneutic aim of a reading a poem is but a raised a curtain which shadows the meaning. 71, The isolation from the annoying agents of influence (including the facts of biography and search for similarities or dissimilarities with contemporaries) gives its long awaited harvest in pursuing this hermeneutic aim, 72. Like every human being, a poem has a unique date of birth, a destiny, and life trajectories to walk along. It has friends and foes, it has admirers and intruders, it has a death date or complete immortality. 73. A poem rests upon the rules of a scarcity of words to cover the vastness of meaning. Therefore, the measurement and balance distinguish a poem from other pieces of work much like little bites of bread that take away hunger, or sips of water that extinguish the flames of thirst. Sometimes some lines of a poem are cognitively enough to inspire one person’s life to be turned to the refreshing self-perfection and betterment. 74. A poem in its shortness can express content when thousands of pages are not sufficient. Some lines from selected poems overload the several books of rare stores in libraries. 75. A poem is a message to a rare anonymous reader who, after re-reading it many times, comes to know that it has been addressed to them. (A poem does not neglect laconism: one meaning can be expressed with one sentence or copied, flavoured with different spices, hues, and undertones). 776. A poem is an unexpected formation of a person’s own thoughts. The author can be stuck with the own written lines and the source of a stimulus can still be unclear: or divine inspiration, or a good mood or a well-trained inborn gift tamed to act in a mechanic way. 77. As many readers as many interpretations and no one knows that one’s hit the target with a dart, i.e. how to caught a right meaning of a poem. Neither author knows own interpretation of the thoughts igneous from depths of mind put in the rhymed words. 78.The final outcome is equally unknown (and hidden behind the curtains of the unseen). To repeat again-even the author does not know what will be born out of these creative efforts or the turns and nuances of the born interpretation. 79. If any writing text is not free from exceptions, where are they in a poem? The play of words, the calembours, one of the favourite intellectual games of poem-writers, at least in English the word ‘poem’ is co-played with the word “pome’’. Each line of the poem brings the freshest, the sweetest, the ripest fruits and vigour that is already imprinted on the seeds. 80. It is not a time-consuming task to count the number of used key words in a poem. The calculation strengthens the argumentation in favour of a choice of a theme as a mainstream one. 81. Reading and simultaneously commenting on the poem is like picking up scattered pearls on each step of a spiral staircase, where the meaning is a gathered pearl necklace. 82. As ina human’s life, the poem in its reading and comprehension bears the ups and downs, not in the means of style but in terms of lucidity or the overclouding of the path to its inner meaning. 83. As usual- but it is not a rule- the narration in a poem gains its speed -like a marathon runner -reaching their peak. Only to then take a deep breath downstream later to ascend again and so on. The finish is the summit of the peak, 18. 84. Subjectivity, that is in the blood, manifests itself in the reading of the poem through individual glasses of a kaleidoscope. The genuine message stays unaltered and static, but the angles of understanding are in constant change. 85. The reader of one poem alters their first-hand impression in subsequent readings. The preferences are to be edited: the favourite poem or lines of youth made the uncontrolled thrilling admiration are potentially to be covered with oblivion in the matured period. The reading of a poem is not exclusively an admiration of an aesthetic styling of the words in a proper order, but the persistent diving for the pearls of a meaning hidden in the depths. 86. The attentive reader must be careful in directing their first impressions in the hunting of meaning: There is no more powerful deception than self- deception. The catching of a rare bird can be unexpectedly easy. After that, the attained meaning of the poem must be tested and then the process of re- reading begins once more, 87. Victory is bestowed on the battlefield; reading can be rewarded with the unfolding of meaning only and under the condition of staying within a text (not the additional sources of commentaries or biographical literature). 88. A poem never bears vanity. Do not rush to the end. Do not leave the poem unread until the last word. A to Z is the motto for a careful reading. 89. Everyone can read poetry yet not everyone can understand its deeper meaning. Everyone can succeed in being a careful reader, but not everyone elevates to the level of a careful critic. 90. A poem does not trust non-careful critics those who never reflect deeply upon lines, Those who never match words in a metaphorical sense welcomed by all poems like couples under the hymn of marriage in one law of rhythm. Thus, an ideal careful poetry critic must be a past or not a fully-fledged poet at heart. 91. A poem warns its careful reader with the following message: “Be cautious when listening to other comments for you are opening your ears and heart for subjectivity.” 92. The meaning of a poem is prudently hidden behind or under each word. It must be gathered like seashells scattered on the shore. The quest for it can be 19simplified by the finding of the culminate point(s) in the poem, where the meaning is seen in depth. 93, Each part of poetic masterpicce is both the same and different to others. 94. Reading a poem isa search for matching: poem seeks its readers, Not one poem is equal to all its guests. 95. Not everyone is prone to counting and reading algorithms. However, a poem is an unriddled code with the passwords acting as the first prerequisite for understanding. Truly, poems are for those who understand. 96. A poem is the solving of hermeneutics, i.e. understanding. It is not included in the excurses of the retelling of borrowed thoughts. The right response gives a feeling of catching the shades of the right meaning but in a second it can slip away. The genuine interpretation is free from a shameless retelling of retelling. 97. The right reading stimulates the proper responses which results in a unison of the uncovered meaning and solving the hermeneutic purpose of the right understanding, It celebrates the right sound like the sounds of a guitar with well-tuned strings. The well-tuned, well-balanced music climaxed in the right reading of the poem is to keep the right tune of mind. 98.For a careful reader of a poem being fascinated with poetry and its consequences in the forms of commentaries is like the quest for a lost paradise, 99. There is a principal difference between the readers knowing their own reflections and competence in critical accounts. Despite this, one who has selected their favourite piece of a poem pays the devotion with no expiry date 100. Poetry is an unheard ambition. In a world of constant change, poetry is a way to find something stable, unchanged, and immutable. A poem is like a stone untouched by a strong wind, being potentially close to everyone but neglected in the vanity of daily life. A poem teaches a careful reader to rise above this vanity of daily life. The words invigorate like a prayer, inspiring like kind words of a person's dearest ones, embracing with the right instructions like a wise teacher. 20 21