One More Sonnet

Category: Life

  • A Natural Stamp

    A Natural Stamp

    The strength of argument is undermined
    when a salient point is overstressed.
    For combative sake, such is underlined;
    brought to fore, emboldened and overdressed.
    At front of mind keep things staid and subtle.
    Let the main point grow from a single source.
    Hold back on highlights, their shine can scuttle
    gentle persuasion (a more useful force).
    Let the shape of things assume a pattern.
    By design, logic itself will unfold
    its grand plan; and in good time, unflatten
    that which by rights should have its credits told.
    . Let the emphasis be a natural stamp.
    . Let the logic of truth light its own lamp.

    © Tim Grace, 18 October 2012

    To the reader: Fashion often begins as a bold statement that gains mainstream approval. Singularity becomes popularity. The norming effect absorbs distinction. Peaks of interest wane; become mundane… we simply lose interest in the fad. Used sparingly, boldness is an effective attention grabber; useful in assembling interest, drawing a crowd and gaining focus. Overused, it’s a crude and ugly device.

    To the poet: “Are all things to be boldly underlined?” Impacts can pack a punch and leave a lasting impression; as in a bruising affair. Then again, there’s a lot to be said for the subtle approach that through imperceptible gradations alters a line of thought or a chain of events. In poetry, novel nuance is equal to brazen boldness; our good-readers are alert to ambiguity; they’ll stop without a red-light flashing.

    A Natural Stamp A Natural Stamp
    Picture Source?
    http://youtu.be/tI7fktKY6OU
  • Variations

    Variations

    ‘This from that‘ can be interpreted thrice;
    subtle ambiguity some might say.
    Otherwise expressed, a poet’s device;
    so that hairs might split, so that ends might fray.
    ‘From this that‘ a simple alteration
    from the original text, an exchange
    of order, a sequenced variation:
    sleight of hand, write of passage, slightly strange,
    rightly plausible; curious, obtuse.
    That’s the poet’s ploy, that’s the poet’s choice.
    ‘From that this‘ offers another excuse
    to alter meaning without change of voice.
    . From that this… from this that … or … this from that?
    . Noteworthy differences … or idle chat?

    © Tim Grace, 10 October 2012

    To the reader: Variations on a theme. Subtle change. One of many interpretations. The Sciences love to monitor variation; noting change with mathematical precision. In the Arts, it’s through music that variations abound. The music industry cleverly exploits the human ear’s acuity by releasing different versions of the same song, or orchestral piece, for our listening pleasure… spot the difference.

    To the poet: … another one of those puzzle poems. Word order is an important semantic tool. Sometimes it makes little difference to meaning; other times, a shift in placement can disorient the reader’s expectation. Used deliberately, a change of word order can be very effective in drawing attention to a point of difference.

     

     

    Variations Variations
  • Hastiness

    Hastiness

    Hastiness – the answer that’s come too soon:
    a gift-wrapped solution, an empty shell.
    It’s just another song without a tune;
    has momentum but nothing to impel.
    We are all too ready to jump and leap:
    jump to conclusions through hoops of faith.
    Too quick to give away what we should keep:
    ready to end; too impatient to wait.
    Hastiness – cuts loose, all that’s to follow:
    severs ties with solutions; tried and true.
    Too quick to grab at straws, thin and hollow.
    Too quick to surrender to all that’s new.
    . Hastiness – not an answer, just a fudge;
    . just an assumption, they’ll be quick to judge.

    © Tim Grace, 8 October 2012

    To the reader: Since the beginning of biblical days, through the wisdom of Solomon, we’ve been advised to avoid the lazy answer; Proverbs 21:5 states that:diligence leads to riches, as surely as haste leads to poverty”. And more confusingly we’re told to balance haste over speed (or is it the other way around?). All very well, but convenience is an attractive lure; the short-cut solution that satisfies impatience often appeals.

    To the reader: “How are we to judge without conclusion?” – The good poem reads as fresh and acute; of the moment, forever true. Hence, there shouldn’t be too many indicators of laboured inspiration. Conversely, signs of a rushed solution are markers of laziness. Somewhere, built into a poem, there needs to be both ‘point and purpose’… like ‘dollars and cents’ they are the currency of a ‘reading and writing’ exchange.

    image

     

  • Forged or Forced

    Forged or Forced

    It’s not that these are different: so unlike
    that resemblance must be forged or forced
    from two extremes. It’s not that hard to strike
    agreement; one that’s logically endorsed.
    The fear of difference is a sad disease,
    a limiting malady; one that’s stoked
    by judgement (prejudice) and jealousies:
    stoked by greed; too easily provoked;
    too easily given voice of reason;
    dressed as patriotic (us not them).
    As contrast sees many, difference sees one.
    It’s from a single cell that many stem.
    . Be not divided by difference, delight
    . in contrast, sing of all things bold and bright.

    © Tim Grace, 7 October 2012

    To the reader: When an image is drained of definition we can manipulate its balance to achieve a better effect. Toggling the tonal quality adjusts the play of light and colour. Too much light and the image is saturated with colour. Any over-compensation risks distortion. The trick is to graduate changes with care so that shadows, lines and temperature strike a natural pose.

    To the poet: In any act of distortion, there’s a point at which an adjustment disagrees with reality; the exaggerated affect stretches belief. Over-emphasis is the literary equivalence of photographic saturation. In concluding a sonnet there’s a risk of rising to a climactic couplet, a crescendo of pretentious agreement… “sing of all things bold and bright” may have met the tipping point?

     

    image

  • To this point…

    To this point…

    To this point, there’s a statement of intent:
    the sending of a message; the promise
    to commit; it’s this sets the precedent,
    this then becomes the line of sight, from this
    all else is judged upon delivery.
    Against what’s known, what’s been, new things are judged:
    held account; tested for transparency;
    valued for clarity … dismissed if smudged.
    The purity of truth is honesty:
    revered as the path to enlightenment;
    it’s the well-spring of possibility;
    a straight approach without impedement.
    . For those who are driven by conviction,
    . be not distracted by contradiction.

    © Tim Grace, 6 October 2012

     

    To the reader: Up to a point, most of us can hold opposing points of view without losing face or sleep. The internal debate over right and wrong, good and bad is instructive. Occasionally, gaps widen and curious differences become stark and polarised. Through choice, we abandon one idea for another and our personal conflict is resolved. Through good government, mature societies can do the same: we live with contradiction but not hipocracy.

    To the poet: “Is the line concise on contradiction?” Unpacking, then reassembling a ten-syllable sequence created for poetic effect is a bit of a stretch; for reader and poet. On the way to a logical conclusion there are many distracting alternatives; rhyme being the most significant. As one rhyme demands another the margin of error widens and the meaningful target becomes less and less a possibility. You can feel it happening… but like bike and tree there’s a fatal attraction to disaster!

     

    To a point... To a point…
    Picture Source:
    http://youtu.be/06J1GLnvIss
  • Brittle Surface

    Brittle Surface

    Then there’s the other playground, hidden
    from the cast of eyes, from the field of view.
    Given shape of whispers, a forbidden
    terrain that no survey could map as true.
    Due regard, a somewhat wise precaution.
    As with a grain of truth in rumour’s mill,
    this place has no scale of good proportion.
    All things can be ground to a common swill:
    ’til there’s nothing left of confidence,
    just the remnants of dignity, respect,
    and honour; nothing but shallow pretence,
    a bastion of moral poverty … wrecked.
    . Play, ground away, under spiteful attack,
    . Brittle is its surface; ready to crack

    © Tim Grace, 22 August 2012

    To the reader: As a school principal, I watched with horror the spiteful subterranean attack of girls on each others’ friendships. Damage to dignity inflicts a cruel wound; one that festers long after its initiation. The attacks were often highly orchestrated and finely targeted at a hapless victim. The remedy was to some extent exposure but humiliation of the perpetrator was fuel to the fire. Reconciliation was the broker’s joy!

    To the poet: This sonnet was constructed to highlight the fragility of a playground. Designed with a sharp tongue in mind. An outpouring of emotion, prone to pretence and posturing. A string of words nuanced with nastiness. If you’re listening carefully there’s a reference to self-pity; an obfuscation, that distracts attention from cause and effect. The mere suggestion of ill-will is an affront worthy of indignation. Words just words… I don’t think so.

     

    Brittle Surface Brittle Surface
    Picture Source:
    http://youtu.be/YYfxfudoE_k