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Poems by Brian S. Boyi 2nd Collection
Poems by Brian S. Boyi 2nd Collection
BRIAN S. BOYI
Second Collection
© 2023 Brian S. Boyí
Growing up is like
Walking on a tight rope
Balancing your weight on it
Eyes eagerly focused on the other end.
Reeds
Seasons
A chilling weather
Takes June away, far away
Shall we remember?
~~HAIKU.
The Power Of Nature
I had to be sound
I had to survive
But I was vulnerable, ever since
'Do you still love me?', I propped my guard.
Sing with Joy For Every Dawn
A Rose
Sky
The Plane
Slowly. 1
And then, 2
Gathers momentum steadily. 3
With a front leap, 4
Wonders in the sky, away. 5
(a pentastich)
A Poem
Weaver
Creation
A POET
Attention of
Readers'
Eyes.
Or
Fill
Their expectant
Hearts with
Every
Aspect
I think needs
Recognition.
(acrostic poem: Poets Are Birds Of The Air)
Prayer
Passion of Poetry
When to walk up to it
Grab it by the spine, pull it
Off the shelf, in to my arms
Cuddle it. Beneath my breathe hum
Its contents. My mind munching
Piece by piece not leaving
A morsel tasted, to the last page
Even if it takes a decade.
A Letter To Mama
Young, so young
These souls,
They can not talk for themselves
Yet they shout loud to be heard.
These souls,
Can not bite, can not chew-
They want to wean so soon
Feeling old to grind cereals.
A servant in making
Called to serve humanity,
With wisdom and love.
It is beautiful... Nature?
So beautiful...
Family Photo
She loves me
But she never says it, often
For she knows I understand
Much more than she could have said
And that's for sure.
She loves me
But mama naver says it, often
For she knows I understand
The language of the hearts
Much more, than she could have said.
I Will Still Cry
I will cry.
Yes, I will still cry.
If By Chance You Remember
She looks-
She stares at me.
With judging eyes, she measures
My somber face upon what-?
I would wish to know
My hand stirs. Stirs and stirs
And she's still staring.
I lift up my head from the cup;
The cup from the table, to sip-
Ouch! I startle...
It stings my tongue
My hand without a choice, retreats
I pant for the cool air.
She's still there, at the counter.
Behind her back, dying to laugh
I feel humiliated. I am harassed,
In front of the beholding eyes.
###
For my love you crave
In my heart you want to pave
A path; so clean and clear.
But it is difficult my dear
For us two to groove.
~~Limerick
The Ambulance
My dignity, my treasure
Was stripped off me.
I was robbed my face
And I was nothing- left for shame.
My whole body went in to shivers
In the chills of those days-
I felt sick.
In a moment of silence,
We bowed, our heads arched
Eyes staring on the tiled floor
Or somewhere, amid the deafening air
Lost in painful thoughts.
Why now...?
And how...?
###
When I'll be lying there dying,
Let you be there beside me.
I want to feel your presence
Travelling along with me to that-
Lonely life beyond the sun
And keep the peace in my heart as well.
When I'll be lying there dying,
Let you be there holding my hand
And I will always remember
How it felt lying in your arms,
The warmth that incubated me,
I will remember, beyond the horizon.
When I Will be lying there dying,
I want to see you with me
And keep that last image of you
Brightly floating on my vision.
Lighting that whole darkness
In that life beyond the stars.
When I'll be lying there dying,
Embrace me on your chest.
Let me hear the beating of your heart
Let it reverberate in my drums
And I will be assured there is still life
And I will keep the peace in my heart, as well.
Feral Wings
I want to be a star,
Shine up above in the sky,
And the little ones- spur,
Their dreams bring nigh.
I want to be a spar,
On the plane; above the clouds- fly,
And move ahead- far,
Before i grow weary and die.
Christmas Eve
It was a cool evening
The sun had set,
Dropped suddenly out of the azure sky
Like an over ripe orange from a tree
Darkness crept slowly upon the town
Street lamps blinked shyly on,
Glowing cold and dull in the gathering gloom
The falling snow flakes adorned the scene
Neon lights flashed the enticing words –
‘MERRY CHRISTMAS.’
Burning Plains
The afternoon sun burned hot and bright
Illuminating the whole savannah
SOMEONE
LOST LOVE
HALF A DAY.
Do You Care?
Do you?
When I say, the same womb that labors
Any poem in which the first letter of each line forms a word or words. The words
formed are often names—the poet’s or the dedicatee’s. Longer acrostic poems can
create entire sentences from the first letter of each line.
Acrostic poems are free to rhyme or not rhyme and can be metered or free verse.
Ballad
A short narrative poem with stanzas of two or four lines and possibly a refrain
that most frequently deals with folklore or popular legends and is suitable for
singing.
Ballads are constructed of alternating lines of four and three beats (feet). The
lines are usually iambic, but need not be. This accordion-like construction creates
a lilting, sing-song style. An example of a ballad would be Coleridge’s “The Rime of
the Ancient Mariner” (the first three stanzas are excerpted here):
It is an ancient Mariner,
And he stoppeth one of three.
`By thy long beard and glittering eye,
Now wherefore stopp'st thou me ?
Blank Verse
Blank verse is poetry that has no set stanzas or line length. It is a common form of
poetry seen often in Shakespeare, Milton, Yeats, Auden, Stevens, and Frost. In fact,
a great deal of the greatest literature in English has been written in blank verse.
Blank verse is unrhymed lines that follow a strict rhythm, usually iambic
pentameter.
Cinquain
Despite the French name, the cinquain is actually an American poem influenced
by the Japanese haiku. Cinquains are usually light verse used to express the brief
thoughts or moments. This form utilizes few adverbs and adjectives, working best
with a profusion of nouns and verbs.
Cinquains have a strict syllabic count that must be adhered to. The poem is five
lines and 22 syllables long. It need not follow anymetric pattern, though an iambic
cinquain is not unusual. The first line of the poem has 2 syllables, the second line
4, the third line 6, the fourth has 8, and the final line has 2.
For an example of a cinquain, we turn to its inventor, Adelaide Crapsy:
These be
Three silent things:
The falling snow... the hour
Before the dawn... the mouth of one Just dead.
Elegy
A poem of lament and praise and consolation, usually formal and about the death
of a particular person. Elegies can also mourn the passing of events or passions.
They can be meditative and distressed, such as “Elegy Written in a Country
Churchyard” by Thomas Gray (arguably the most famous poem to take this form).
Elegies are seldom without form, though the form varies from poem to poem.
Epic
The epic is a long narrative poem that usually unfolds a history or mythology of a
nation or race. The epic details the adventures and deeds of a hero and, in so
doing, tells the story of a nation. Epic poetry is the oldest form of poetry dating
back to classics like Gilgamesh, The Iliad and Beowulf. Though too long to be
excerpted here, any of these works would serve as fine examples of an epic.
Epics often follow a recognizable pattern, but there is no set pattern. The form
changes from culture to culture, language to language.
Epistle
Epigram
A very short, ironic and witty poem usually written as a brief couplet or quatrain.
The term is derived from the Greek epigramma meaning inscription.
Ghazal
A short lyrical poem that arose in Urdu. It is between 5 and 15 couplets long. Each
couplet contains its own poetic thought but is linked in rhyme that is established
in the first couplet and continued in the second line of each pair. The lines of each
couplet are equal in length. Themes are usually connected to love and romance.
The closing signature often includes the poet’s name or allusion to it.
Haiku
A Japanese poem composed of three unrhymed lines of five, seven, and five
morae, usually containing a season word. e.g from the anthology 'Fare Thee Well,
June’
A chilling weather
Takes June away, far away
Shall we remember?
Horatian Ode
Short lyric poem written in two or four-line stanzas, each with its same metrical
pattern, often addressed to a friend and deal with friendship, love and the
practice of poetry. It is named after its creator, Horace.
Idyll
Poetry that either depicts a peaceful, idealized country scene or a long poem
telling a story about heroes of a bye gone age
Limerick
Ode
Sestina
The form of the sestina is demanding. There are 39 lines in the sestina broken
into 6 stanzas of 6 lines each and one final stanza of 3 lines. The last word in each
of the first six lines of the poem is repeated as the last word in varying lines
throughout the poem. If we assign the last word of each line a letter, the pattern of
last words would fall as follows: ABCDEF FAEBDC CFDABE ECBFAD DEACFB
BDFECA the final stanza, or the tag stanza, ends with either ACE or ECA. This tag
stanza usually includes the other three words. On top of this complex pattern it is
not unusual to see sestinas follow a strict metered rhythm (often iambic
pentameter).
Sonnet
One of the most popular forms, the sonnet has two major styles, English (or
Elizabethan or Shakespearean) and Italian (or Petrarchan). Both forms are
fourteen lines long and are renowned for focusing on love. Often, the first eight
lines of the poem (the first two quatrains in an English sonnet) demonstrate the
problem to be solved, and the final six lines (the last quatrain and a couplet in the
English sonnet) resolve it.
Sonnets are written in iambic pentameter. The English sonnet adheres to this
rhyme pattern: ABAB CDCD EFEF GG, or a variation on it. The Italian sonnet
usually follows this pattern: ABBA ABBA CDE CDE. Sometimes the tercets (groups
of three lines) vary. These variations can look like: CDC DCD or CDC DDC or CDC
EDC. Finally, there is a second form of English sonnet known as the Spenserian
sonnet. It rhymes ABAB BCBC CDCD EE. It follows the same basic pattern as the
Shakespearean sonnet but varies the rhyme.
Tanka
A Japanese poem of five lines, the first and third composed of five syllables and
the other seven.
Terza Rima
Verse
Villanelle
Borrowed from the French, the villanelle is a poem of heavy repetition made
famous by Dylan Thomas’s “Do Not Go Gentle Into That Goodnight.” In this poem,
as in all villanelles, entire lines are repeated.
Nineteen lines long, the villanelle not only repeats lines, it rhymes. The pattern is
ABA ABA ABA ABA ABA ABAA. The first and third lines of the poem repeat
alternatively at the ends of every subsequent stanza. Usually completed in iambic
tetrameter or pentameter, the poem has a clear cadence
The tercet is a stanza of three lines. In The Divine Comedy, Dante employed a tercet
throughout its 14,233 lines in a rhyme scheme called the terza rima, which is very hard
to make sound good in English, a language with far fewer rhyming endings than Italian.
The terza rima rhyme scheme is aba, bcb, cde, ded, and so on.
The quatrain is the most popular stanza in our language for rhymed poems. We have of
course already encountered it with ballads. The ballad stanza is written in iambic
tetrameter.
While we think of the sonnet as an old-timey closed form, it was actually invented by the
Italian poet, Petrarch, in the fourteen century. After Petrarch, the biggest innovator of
the sonnet is Shakespeare. We speak of two different kinds of sonnet, the Petrarchan, or
Italian; and the Shakespearean, or English. The Petrarchan sonnet has an abba, abba
scheme in its first eight lines, which are called the octave; the final six, or the sextet, can
be rhymed cdcdcd, cdecde, or in any other rhyming pattern. The Shakespearian sonnet
has four clusters: abab, cdcd, efef, and gg. The rhymed couplet at the end is often
reserved for a surprise, a twist ending.
A limerick is a poem with five anapestic lines, usually rhyming aabba. Limericks are
funny and often raunchy, as this one, from Clifford Simpson:
The sestina and the villanelle are intricate forms of closed verse that are exceptionally
challenging to write. They build more elaborate echoing patterns than most other verse
forms, and thereby, when successful, achieve strong musical effects.
The sestina is a thirty-nine-line form that we think was invented by Arnaut Daniel, a
twelfth century troubadour. In a set pattern, the sestina repeats the initial six end-words
of the first stanza through five more six-line stanzas. At the end is a three line stanza,
called the envoi. Here is the ordering of end-words and stanzas::
ABCDEF
FAEBDC
CFDABE
ECBFAD
DEACFB
BDFECA
The first word of each line of the envoi repeats that pattern, as does the last so that we
have a variation like,
The villanelle is a nineteen-line poem featuring two repeating rhymes and two refrains.
The form consists of five tercets, followed by a quatrain. The first and third lines of the
opening tercet are repeated alternately in the last lines of the succeeding stanzas; then in
the final stanza, the refrain serves as the poem’s two concluding lines. The villanelle,
which has its roots in Italian and Spanish dance songs, did not start out as such a rigid
form. However, probably due to French influence, it became what many believe to be the
most difficult of all poetic forms to execute successfully. Villanelles in English not only
have an inflexible rhyme and refrain scheme, but they also tend to be written in iambic
pentameter.
Open Form
Open form poems are poems that do not employ traditional fixed forms like meter, rhyme
schemes, or the intricate patterning we saw in sestinas and villanelles. Open form got its
start in the nineteenth century in France and in the United States. In France, Charles
Baudelaire and Arthur Rimbaud pioneered the prose poem. In the United States, Walt
Whitman borrowed poetic devices, such as phrasal repetition, from the King James
translation of the Old Testament. The translators had not wanted to impose English verse
forms on what they saw as holy scripture, so they followed the original Hebrew as
closely as possible.
Free verse was widely popularized by the modernists of the first half of the twentieth-
century, including such figures as Ezra Pound, H.D., Marianne Moore, and William Carlos
Williams. We are about to read one of its most important practitioners of the latter half
of the twentieth century: Frank O’Hara. Today it could probably be said to be the
dominant form, though closed forms have proven remarkably resilient.
Open form does not mean total freedom to do whatever. As William Carlos Williams
asserts, “Being an art form, verse cannot be ‘free’ in the sense of having no limitations or
guiding principles.” Yet in open form, the poet must find the guiding principles that suit
each poem’s subject-material. The poet cannot rely on previously existing forms.