It was an average size theater, capable of seating two hundred persons. Tonight it was filled to capacity. The variety of entertainment presented during this evenings program was very enjoyable. There had been two vocal solos; a small singing group; an orchestral presentation; twin pianos duet, and a flautist. The twenty minute intermission which allowed a comfort break was over, and the second half of the evenings program was near completion, except for a female violinist who was last on the program.
Auditorium lights overhead dimmed.; muffled sounds emanating from the audience diminished except for an occasional cough. Dark red, velvet curtains slowly opened accompanied with faint clicking of a few worn rollers as they moved along the rail, from which the curtains were suspended. The crowd hushed...another cough.
From the left wing of the stage a lone figure emerged, illuminated by a small spot light beaming down from overhead. He strode toward a Grand piano stationed at left-center of the stage. Placing sheets of music against the upright rest on the piano, he seated himself on a frail looking bench, raising slightly to adjust his tuxedo tails. Not satisfied, he raised and seated himself twice more, before looking beneath the key board. There he tapped lightly with his foot, on the pedals of the piano. Adjusting a small lamp above the music rest, he fingered through the sheet music assuring himself everything was in readiness. Finally, he nodded slightly toward the right side of the stage.
Behind the opened curtain at the right wing, a young woman appeared, carrying a violin and bow. Clapping of the audience began the moment she appeared. She was wearing a light blue, strapless gown that flowed like water around her lithe body as she moved. Another spotlight followed her; its beam causing tresses of her long blonde hair to gleam like spun gold; clapping continued. At center stage she turned toward the audience...bowing slightly, acknowledging their enthusiastic greeting. Slowly, the applause faded, there was quiet except from somewhere in the audience again a light cough.
Turning toward the pianist she nodded. At first his fingers touched the ivory keys lightly, then grew more intense as he played the lead to her chosen song. Raising the violin, she placed it beneath her chin, nestling it against her slender neck. It felt cool there. Drawing the bow across its strings lightly; she persuaded the violin to speak, as only a violin knows how. Sweet strains poured forth from the instrument filling the auditorium with a near human-like quality. Crying softly at first...resembling a plea of pure loneliness. It moaned as though deeply wrought in sorrow, calling out to a lost lover, yet knowing there would be no response to its cries. Softly, its soulful anguish began to fade...
I know some of you occasionally scroll down to the reference section but naturally the primary focus here is the Member's Poetry which is as it should be.
However, with the recent change of format at PMO, the reference section went through extensive "clean up" and a little reorganization. I am really pleased with how it has turned out. There is certainly more out there to research and I will add it when I find it (I am searching all of the time.) but I think most of whatever is out there about the craft of writing poetry has now been documented here.
So if you have some time and are so inclined, scroll down the page check it out.. Or if you have writer's block and need some ideas to jump start your muse the world of poetry is a treasure box of ideas, maybe a new approach to an old idea is just what you need. See how the cultures of the world approach writing.....Explore the Craft of Writing From Around the World ...
Pick a genre, pick a culture, pick a structure, pick a technique or meter, explore! You might find it fun … [click on the title to continue reading]
The most common metric line in English poetry is iambic pentameter. A poem written in pure iambic pentameter (da Dum da Dum da Dum da Dum da Dum) can create a sing songy effect yet a skilled writer can deliver the metric pattern without the poem sounding like a nursery rhyme. Here are some guidelines for composing iambic pentameters. The guidelines are generally accepted standards that I try to follow.
Many people have the misconception that a line of iambic pentameter must contain exactly five iambs. While five iambs in a row certainly does make an iambic pentameter, iambic pentameters are not limited to this configuration. Various substitutions (of other metrical feet) may be used within lines of iambic pentameter, and the lines will still be considered iambic pentameters … [click on the title to continue reading]
Hi to any who stop by here. I haven't been very active in the blog forum, not really sure what I should share here. I am a student of poetry and what I have posted in the Reference Forum is simply me trying to make sense of it all. In future blogs I will be using parts of that Forum but If you want to know something from the reference section, all you need do is go there. You don't need a blog to direct you.
Lately I've been reading blogs at different poetry sites and I'm taking on a new perspective. I am going to try a weekly post to Tinker's Blog and I've chosen Thursdays. So here I am. Thursday, the day of the week when everyone who wanted to get something done took care of it on Monday through Wednesday and the procrastinators are waiting for Friday afternoon to take care of their business … [Click the title to continue reading]