CREATIVE WRITING

Introduction to Poetry

OPEN
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Objectives: .

Define what poetry is and what makes it

different from other genres; .

Identify the elements of poetry; and

Examine the development of poetry

through the three periods in Philippine .
literature.

.
 .

What is the strongest emotion have you experienced? .

Is it anger, happiness, or fear? Have you experienced
something you could not describe because it was a
mix of different things? Often, we have emotions we .

are not sure how to label or name, and poetry, to a

certain extent, helps in fleshing out or putting into .
words that feeling.
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 .

Take a look at the following ways we express emotions.

What do you notice about them? Do they encapsulate what
.
you really want to say? In one to two sentences, restate the
following in your own words without using the generic
adjective for that emotion. See how else can you express .
yourself.
I am in love.
I feel anxious. .

I’m excited!
I’m feeling happy.
I am hopeful. .
 .

What is a poem? Is it a mere expression? How does poetry

put into words and translate experience? How does it
.
thoughtfully recreate emotion? Take a look at the following
examples and discuss each examples afterwards.
.

.
Rain on a Grave
Thomas Hardy
Clouds spout upon her
Their waters amain
In ruthless disdain, -
Her who but lately
Had shivered with pain
As at touch of dishonour
If there had lit on her
So coldly, so straightly
Such arrows of rain:
One who to shelter
Her delicate head
Would quicken and quicken
Each tentative tread
If drops chanced to pelt her
That summertime spills
In dust-paven rills
When thunder-clouds thicken
And birds close their bills.
.
Would that I lay there
And she were housed here!
Or better, together
Were folded away there
.
Exposed to one weather
We both, - who would stray there
When sunny the day there,
Or evening was clear
At the prime of the year. .
Soon will be growing
Green blades from her mound,
And daisies be showing
Like stars on the ground, .
Till she form part of them -
Ay - the sweet heart of them,
Loved beyond measure
With a child's pleasure
All her life's round. .
Dulce et Decorum Est 
BY WILFRED OWEN
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed
through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.
 
Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
.
In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.
 
If in some smothering dreams, you too could pace
.
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs, .
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est .
Pro patria mori.
.
The Dying Child
John Clare
He could not die when trees were green,
For he loved the time too well.
His little hands, when flowers were seen,
Were held for the bluebell,
As he was carried o'er the green.
His eye glanced at the white-nosed bee;
He knew those children of the spring:
When he was well and on the lea
He held one in his hands to sing,
Which filled his heart with glee.
Infants, the children of the spring!
How can an infant die
When butterflies are on the wing,
Green grass, and such a sky?
How can they die at spring?
.
He held his hands for daisies white,
And then for violets blue,
And took them all to bed at night
That in the green fields grew,
.
As childhood's sweet delight.
And then he shut his little eyes,
And flowers would notice not;
Birds' nests and eggs caused no surprise, .
He now no blossoms got;
They met with plaintive sighs.
When winter came and blasts did sigh,
And bare were plain and tree, .
As he for ease in bed did lie
His soul seemed with the free,
He died so quietly.
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 .

DEFINING POETRY .

There are many ways of elaborating

or showing grief. But in the examples
given previously, each poet saw it fit .
to use a particular situation or image
to represent this emotion. For them,
there is simply no other way of
saying it and they were compelled to .
transform that experience to
literature.

.
 The poem is not just about a .
Again, we go back to the central
specific experience; it is
question of this lesson: What is a
experience itself. It is the
poem? If a poem, according to
“moment lived” as Gemino H.
William Wordsworth, is a .
Abad would say. This means that
“spontaneous overflow of
the act of reading the poem is
feeling,” then it is easy enough to
the actual moment – that if it is
assume that all sentimental
successful, the reader also
writing is poetry. But .
undergoes not necessarily the
Wordsworth goes on to say that
affective experience internal to
poetry is “emotion recollected in
the poem (although it could), but
tranquility” meaning these
the linguistic experience such as .
feelings that one attempts to put
when Ezra Pound writes in his
into words have been processed
poem “In a Station of the Metro,”
and meditated on as represented
which you can access here:
by the word “tranquility.” .
https://www.poets.org/poetsorg
/poem/station-metro
 .

One not only imagines the scenario presented but also

experiences that apparition – in these two lines, the form enacts .
the content. It is as short as the moment immortalized and the
reading of it mimics that fleeting view. It is as if the reader himself
has seen those faces and made that gesture of meditationg upon
.
them.

.
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ELEMENTS OF POETRY .

.
What exactly constitutes a
poem and what makes it
different from prose? Although
.
there is such a thing as prose
poetry, the main unit of a
poem is the line.
.
 .

Obviously, visually it seems .

Like poetry. But in fact, delineation

Is not the only element of a poem. .

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 .

The text above is not poetry, but a prose written to look

.
like a poem. The line and the different ways of breaking
it will be discussed in the next chapter.
 
Other elements of poetry, which will be discussed .

extensively in their own lessons are meter, sound,

imagery, and structure. Before going to an examination
of each element and delving into techniques, beginning .

writers should also look at other worjs that exists within

the immediate context, whether historical or
contemporary, to make writing of poetry informed. .
 .

Philippine Poetry in English .

The great poet and anthologist Gemino H.

Abad classified the growth and
development of Philippine poetry in
.
English into three strains (although he
does qualify that timeline may be
overlapping): the Romantic, the Formalist,
and the Open Clearing. Since Americans
brought English to our country and used it .
as medium of instruction, Filipinos have
tried writing poetry and other forms of
literature in English.
.
 .

The Romantic Spirit: From Fernando M. Maramag to Jose Garcia Villa

.
The beginning of poetry in English written by Filipino authors marked
a time of linguistic apprenticeship, with poets like Fernando M.
Maramag and Luis G. Dato writing poems that represented our way of
life. Although not necessarily beginners in the literary or poetic sense, .

those who wrote in English at that time were still exploring the
possibilities of the language. The Filipino poet mixed the English
Romantic sensibility with that of local culture and context. .

.
 Moonlight on Manila Bay .
Fernando M. Maramag
A light, serene, ethereal glory rests
Its beams effulgent on each crestling Not always such the scene; the din of .
wave; fight
The silver touches of the moonlight wave Has swelled the murmur of the
The deep bare bosom that the breeze peaceful air;
molests; Here East and West have oft .

While lingering whispers deepen as the displayed their might;

wavy crests Dark battle clouds have dimmed this
Roll with weird rhythm, now gay, now scene so fair;
.
gently grave; Here bold Olympia, one historic
And floods of lambent light appear the night,
sea to pave- Presaging freedom, claimed a
All cast a spell that heeds not time‘s people‘s care. .
behests.
 .

The Formalist Strain: From Edith L. Tiempo to Cirilo H. Bautista

.
With the proliferation of writer’s workshops and writing programs
particularly in the U.S., the New Criticism mode invaded Philippine
shores. Iowa Writing Program graduates like Edith and Edilberto
Tiempo, pushed for the use of this critical lens, prioritizing organic unity, .

metaphor, and emotional restraint. Indeed, the use of English by our

Filipino poets has been more creative, with our writers seemingly more
comfortable in asserting its nuances. .

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The Open Clearing: From the 1970s to the Present

.
Abad describes this period as one where it seems like there are no
formal constraints when labeling a text as poetry. From the 1970s
onwards, he sees Filipino poetry in English as having mastered the
colonial language and writers who have started with created poems .

from English and not merely in. Our poets are now “at home” in a
language originally not their own and have begun experimenting with
it. Note, however, that the “present” in this context is true until 1999, .

when A Habit of Shores–the anthology by Abad where this classification

was presented–first came out.
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Assignment .

.
1. Choose a partner. Together
with his/her, search 3 examples
of poem from Three Strains
.
given by Abad.

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Assignment .

2. Still with your partner, choose

a topic below and write a song .

about it. You need to express this

term without naming it.
.
Fail
Winning
Friend-zoned
Emo .
Feels
Mental

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