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Posts tagged “fugued poetry and poetics

where the marigolds lie (where they liest – ’tis a mix of tense and time)

I’m from here, but write in tongues of another, for my land is not mine own
I’m here, but my song is not mine own
I am with you, for we seek a better home

(Home?)

Where is home if it not be bathed in thine eyes?
Where?

Is it the cheesy cake, baked from millions of years ¹(that art)   past and ¹(that art) gone? —
Is it thy lines, written upon thy face?
Is it in the letter sent my mother
Or in my brother’s embrace?
(Is it) thy gaze that takest me to wonder?
(Is it) thy most supple, strong embrace ?
I wonder dear, where the marigolds lie
As I long thy strapping grace
Upon hill and dale
And anywhere (whence)
My cumbersome eyes thou (hast) traced

 

 


 author’s note: — italics only in song version —
(or not)
If they are in a bluish hue,
they are (or ought to be)
paired off, each whole or in bits
(or with others of similar chromatic presence elsewhere below)
the ¹  is an extra –a superfluous appendix for ”that art’

You may find it at the very end of the present article


 é o que me está a apetecer ouvir

 

 

 


that art thou art
mine
mine
takest
liest
mine (my)
inflection
hast
(behold)
my (mine)
reflection

takest

thine
embrace

.

( the pronominal phrase, 
  the nominal reflection { ?  }  a case in time   or mere inflection  ) 

 

 

 

 

 

 ¹*   [ this poem above is for the reader to verse either in fugued form – ad libitum , or straight through]

.
 


IndiaInkOnPaper_GuidaAlmeida_03_2016

 

 

thou art art  though thou art not
thou art that art that thou art not
thou art not that art
thou art art.
thou in art and thou without
thou art
thou art,
thou art not,
and

thou art that art that thou art
and are not.

 

 

 

 

 

²*     [ this  poem is to be read as is ]

 

 

 

 

 


•  ''where the marigolds lie (where they liest - 'tis a mix of tense and time)''

— is the title of the first as well as all three poems , together,  and it was made to be read (or recited).   

gui

[author’s other note –
”Three poems – from word to song – ”
(this note is mostly for me)

*The coloured italics
used in the ”bridge”
(adjacent / modulating modes),
 but also still remain 
in respective section and sequel.
(whether they be ”worded” or not).
*The ”b” (second) section – the use of
hocket, and through
contrapuntal devices
*The ”c”(third) section – for the coda]

*for the work based on:
« where the marigolds lie (where they liest – ’tis a mix of tense and time) »

 

 

 

 

 


 

 

 

 

 

 


 

 

 

 

 

(final note)

Hope all are well – and may good health find you when you need it. 
Take care.

 

 

 

 


APPENDIX

¹  (that art)

That art is an art
Cascading redemption
It hath a heart
Seeth contention
Be it song
Be it slight
Be it wrong
Be it flight
The longest breeze
Claspeth thy knees
In relentless wonder
Whilst ye slumber
– It hath no number
Hath no jury
A fury

Redeeming invention

 

 

 

 

 

 

 

 

 

.

 

 

 

 

.


Bird, little bird

 

IMGP5275_GA

 

IMGP5277_GA

 

 

 

 

 

 

When you learn to fly,

But you haven’t any wings

When you stand and cry —
                                       

                ( : )

                                                                                                                            

simply standing – dry,

the rain within pours and stings,

and it hurts and sings —           

                         

in a holy plight,

in battered flight, wavering

your hand – favouring

 

 

because

it’s

warm before the night.

 

 

 

 

 

 


59 syllable poem.  –   ”575 575 575 215” form | 3 haiku +  3lined strophe
                                            

 

 

poem dedicated to a little bird

 

 

 


 

 

 

An annotation to the poem:  in brackets I leave a *Key / Legend – as if in a map, for its reading.

(59 syllable form of 3 haiku + 3lined strophe | in mus. comp. terms it would be a Da capo Aria, but, in truth, more towards being a small French Overture form, where the Da capo section precedes (can precede, that is)  those that follow, that can be on there own – with the Da Capo section and independant of each other in their own ”section”, or linked between the three that follow in their present order, or, a variation if expanded to a larger structure. This description of ”structure”, is mainly for my own benefit – and as a mnemonic – for Musical Form, in case I hit the keyboard latter on (for instance, because my poor brain functions more freely as a musician, when looking at form and structure).  I shall leave, however, a punctuation mark – a full colon – to represent the Da Capo section before it, in light blue). As I also see the this somewhat as another sample of a ”fugued poem” form, as well (I have a couple), where each line of the Da Capo section can stand on its own – for the the *variations in mind,  the full (or rather, the expanded version) of this I shall leave below (also in light blue)  .

 

 

 

When you learn to fly  

The rain within pours and stings    

Your hand, favouring   

But you haven’t any wings   

In a holy plight   

Because its warm in the night  

Simply standing – dry, 

When you stand and cry,   

In battered flight, wavering      

 

 

 

And
Because
it’s warm, sing .

 

 


(variation: section 575757557 123 –   and varied off the 575 575 575 215) 

 


Finale: 
[215 557755575(or 7) –  a 59 syllab, form(or 61, if seen as a * 2nd variation*).  ]


 

 

Because
it’s
warm before the night, 

 

Your hand, favouring
in a holy plight, 
in battered flight, wavering,
But you haven’t any wings
Simply standing – dry,
And it hurts and sings,
When you stand and cry,
The rain within pours – and stings,
Because it is warm – (because it’s warm before the night) .  

 

 

 

 

 

 

 

 

 

 


Time: in a Penta-iambic Quatrain.. open couplets amidst closed (clothed) lines. | ”fugued poem”

 

Crouched in a corner,
bending bouyant blur,
sitting in a room
faster than sunlight.

 


Time is no foreigner,
no shifting  murmur
in movement, to loom
perched in endless flight.

Typecast adorner,
Chronus’s porter
transfixed, flows.  As spume,
beams full in plain sight.

___

Cometh yon caboose 
– untamed, almost loose,
– anointed, jointed,
– appointed, in truce.

 

∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞

 

Bending bouyant blurr
No shifting murmur
Chronus’s porter
Untamed, almost loose
Sitting in a room
Movement, anointed
To loom there, jointed
Transfixed, flowing spume
Perched in endless flight
Faster than sunlight
Appointed in truce
Beams in a corner
Crouched in plain sight.
Time
is no
adorner, typecast foreigner

 

it
Cometh intemporal
and loose.

________________________________________

 

 

 

 

 

 

 

____________________

Faster than sunlight
Time is no foreigner
Bending bouyant blur
In movement, to loom

In movement, to loom
Chonus’s porter
Anointed, jointed,
Beams full in plain sight.

 

 

 

 

 

 
shallow focus photography of wooden clothes clip on clothes string rack

Photo by Santosh Maharjan on Pexels.com

 

IMG_20140708_142607

 

 

 

 

 

 

 

 

 

 

 

 

(more…)


…..em tom de fuga

 

 

India_Ink_on_paper_GuidaAlmeida03_2016
Ink on paper, Guida Almeida – 03 / 2016

 

Vincent_van_Gogh_-_Sunflowers_(Metropolitan_Museum_of_Art)
 Two Sunflowers –  oil on canvas, Van Gogh 1887 

 

enamelRedAndIndiaInkOnPaper_GuidaAlmeida_03_2016
 mixed media on paper, 33,5cm x 42cm, G. Almeida, 03 / 2016

 

Vincent_van_Gogh_-_Bloeiende_pruimenboomgaard-_naar_Hiroshige_-_Google_Art_Project
 Bloeiende pruimenboomgaard  (naar Hiroshige) – oil on canvas, Van Gogh 1887

 

1890-Vincent-Van-Gogh-Amandier-en-fleurs-Huile-sur-Toile-73x92-cm-Amsterdam-Rijksmuseum-Vincent-Van-GoghAlmond Tree Blossoms – Vincent Van Gogh,  oil on canvas,1890

 

blossomsPhotoGuidaAlmeida
photo – G. Almeida
sans titre_parJeanPaulRiopelle1955

 

 (Ink & Watercolour on paper,
Jean Paul Riopelle 1955)

 

 

FuguedPoemGuidaAlmeida___March2016

 

Hapi’s sibling – iseetheriverbeforeme – Flowing in Prayer form : originally posted elsewhere April 2013, by G. Almeida ,
is a ”fugued ” poem  
 for better reading -please click on the image to zoom in

 

 photo___GuidaAlmeida
 photo – G.Almeida

 

 Peacocks_and_Peonies_I_and_II_(LaFarge)JPG
(detail of photo taken by James Steakley, of)  Peacocks and Peonies I and II  – stained glass, John LaFarge  1882

 

monet.wl-clouds
 Water Lilies – oil on canvas, Monet 1903

 

 1225px-Vincent_van_Gogh_-_Banks_of_the_Seine_with_the_Pont_de_Clichy_in_the_Spring_(1887)River Bank in Springtime / Banks of the Seine with the Pont de Clichy in the Spring –  oil on canvas, Van Gogh 1887 

 

Bach
Bach Bach
Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach
Bach Bach
Bach
ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ ᙠɒɔʜ
ᙠɒɔʜ
ᗷɐⅽµ ᗷɐⅽµ
ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ
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ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ
ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ
ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ ᗷɐⅽµ
ᗷɐⅽµ ᗷɐⅽµ
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ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ ʜɔɒᙠ
ʜɔɒᙠ

Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach
Bach Bach
Bach
Bach Bach
Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach

 

 

IndiaInkOnPaper_GuidaAlmeida_03_2016
ink on paper, 42cm x 33,5cm, G.Almeida, 03 / 2016

 

 Vincent_van_Gogh_-_Sunflowers_(Metropolitan_Museum_of_Art)Two Cut Sunflowers – Van Gogh, oil on canvas, 1887

 

mixedMediaOnPaper_GuidaAlmeida_03_2016mixed media on paper, 33,5cm x 42cm, G. Almeida, 03 / 2016

 

   Bach is a four letter word, as is the word in Portuguese for fugue. As it happens, in Portuguese – fugue, has another meaning. It means ”a leak”, an escape”  or ”to run”, as well.
So, I’ll just leave this post here and make a «fuga», go ouside and smell some flowers while I can.
I hope you have a lovely Spring.

Naturally, the beginning of Spring not only makes one think of flowers (and a ”reawakening” of the planet (that in truth doesn’t sleep, though it may seem to…) as it enters the season), the equinox landing on what during Bach’s time was his birthday brings to mind a poem first written in the end of March of 2013 (I call it  a ”fugued poem” because it reads also from the bottom line up, through every other line, from the centre out, from ”out” to ”centre”, or exchanging the three groups of four lines between themselves).
The days at the end of the month bring to mind what we now call Bach’s birthday, and also other birthdays (one very dear to my heart, and also Van Vogh’s).

How could I make a Spring post and not place Bill Evan’s – ”You Must Believe in Spring”?

 

I can’t.

 

 

 

 

 

 

 

 

 

And as I think of the planet’s apparent  ”reawakening”, as I mention above, and the authors that come to mind (those in this post, and another, who would have also celebrated a birthday at the end of the month..) how could I not include a sample of a new recording called – Gaia ?

I can’t.

 

 

 

 

 

Wishing all a wonderful Spring
♥ Take care.

 

 

 

 

 

 

 

 

 

 

 

.