How To Write Your Poetry 2b6ki

How to write your poetry Techniques, methods, and recommendations

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Miguel D' Addario

First edition CE 2021

Contents

Author Introduction to poetry The vocation of writing poetry Exercise 1: Writing Resources Exercise 2: Interpretation Write poetry The rhyme and the measure of the verses Types of Poems How to make a poem or poetic text in 6 steps Types of stanzas and poems Exercise 3: Lists of alliterations and assonances Exercise 4: Metaphors and similes for life Exercise 5: Letters and musicality Exercise 6: Writing words Exercise 7: List of words Exercise 8: Metric exercise Exercise 9: Guide map for writing a poem Exercise 10: Write a sonnet

Exercise 11: Write an Ode Exercise 12: Write a romance Exercise 13: Create poems from giving examples Recommendations for writing poetry So, you want to be a writer? (Fragment) Tips from Edgar Allan Poe How to write, by Umberto Eco Annex "Learn to write poetry" Glossary of literary Bibliography

Author

Miguel D’Addario is Italian, he was born in Buenos Aires. Degree in Journalism, Master in Social Education, Master in Sociology and Doctorate in Social Communication from the Complutense University of Madrid. He has developed his experience in various fields of teaching, from Vocational Training to University level, both in Latin America and in Europe. His books are found in different study centers and libraries around the world, such as the San Pablo University of Peru, the University of Santo Domingo in the Dominican Republic, the University of San Gregorio in Ecuador, the University of Valencia, the National Library of Spain, the National Library. of Argentina, University of Texas, Complutense University of Madrid, University of Toronto, Canada, University of Deusto, National Autonomous University of Mexico, Greater National University of San Marcos (Peru), University of Illinois, University of Kansas, Community Libraries Madrid, Castilla y León, Andalusia, and the Basque Country, British National Library, Harvard University, Library of Congress of the United States. PhD and essayist, he has received awards and mentions from Writers' Associations, Cultural Centers, Universities and related venues. Also, as Speaker, Lecturer and Researcher, in Universities, Educational Centers, public and private. Author of artistic books: Poetry, Short Story and Stories. Author of educational books, of various levels and topics. Author of books on philosophy, ontology and metaphysics. Author of Self-help and Coaching books. His books are distributed in the five continents, are regularly consulted in Libraries around the world, and are ed in international catalogs, ISBNs and bibliographic databases. They are translated into multiple languages and can be found in international bookstores, both in paper format and in electronic version. Webs where to know and / or acquire other works of the author: https://cutt.ly/2t1bmZv

Introduction to poetry

Poetry (from the Greek ποίησις 'action, creation; adoption; fabrication; composition, poetry; poem' <ποιέω 'do, fabricate; engender, give birth; obtain; cause; create') is a literary genre considered as a manifestation of beauty or aesthetic feeling by means of the word, in verse or in prose. The Greeks understood that there could be three types of poetry, the lyric or song sung with the accompaniment of a lyre or hand harp, which is the meaning that later became generalized for the word, even without music: the dramatic or theatrical and the epic or narrative. That is why lyrical poetry is generally understood today as poetry. It is also inissible as a "textual modality" (that is, as a type of text). It is common today to use the term "poetry" as a synonym for "lyric poetry" or "lyric", although, from a historical and cultural point of view, this is a subgenre or subtype of poetry.

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Historical evolution of the term and the concept Greece Originally in the early Western reflections on literature, those of Plato, the Greek word for "poetry" encomed the current concept of literature. The term "poiesis" meant "to do," in a technical sense, and refers to all handicraft work, including that carried out by an artist. Such an artist is the ποιητής (poietés) 'creator, author; manufacturer, craftsman; the doer, legislator; poet ', among the multiple translations given by the word. Consequently, "poiesis" was a term that alluded to creative activity as an activity that gives existence to something that until then did not have it. Applied to literature, it referred to creative art that used the ancient language. Greek poetry was characterized because it was a communication not intended for reading, but for representation before an audience by an individual or a choir accompanied by a musical instrument. In his work The Republic, Plato establishes three types of "poetry" or subgenres: imitative poetry, non-imitative poetry and epic. Since Plato's literary reflection is within a much broader one of metaphysical dimensions, the criterion used by the Greek philosopher to establish this triple distinction is not literary, but philosophical. Plato, in the first place, describes dramatic creation, the theater, as "imitative poetry" insofar as the author does not speak in his own name, but makes others speak; describes, for his part, as "nonimitative poetry" a work where the author does speak in his own name, alluding specifically to the dithyramb, a religious composition in honor of Dionysus; Finally, it establishes a third type of poetry in which the voice of the author would be mixed with the others, the characters, and that is where they place the epic. From this first Platonic classification, the origin of the link between the poetic genre and the enunciative characteristic of the presence of the author's voice emerges. For the rest, the use of verse is not relevant at this time, since ancient literature was always composed in verse (including theater). As noted, Plato treats literature in the context of his treatment of particular

philosophical problems. It will be Aristotle, who, for the first time, would face the elaboration of an independent literary theory. The key work is his Poetics (c. 334 BC), that is, his work on poetry. Aristotle introduces, in the first place, a novel element in the description of poetry, taking into that, alongside language (the "means of imitation" characteristic of poetry), in certain forms of poetry it can also be used, other means such as harmony and rhythm. Thus, in dramatic genres, Melic poetry and dithyrambs. And, secondly, when he reflects in the form of imitation, he distinguishes between pure narration or in his own name (dithyramb) and alternate narration (epic), arriving at a division similar to that established by Plato. Rome It is one of the oldest artistic manifestations. Poetry uses various devices or procedures: at the phonic-phonological level, such as sound; semantic and syntactic, like rhythm; or the overlapping of words, as well as the breadth of meaning of language. For some modern authors, poetry is verified in the encounter with each reader, which gives new meanings to the written text. In ancient times, poetry is also considered by many authors a spiritual reality that is beyond art; According to this conception, the quality of the poetic would transcend the sphere of language. For the common, poetry is a way of expressing emotions, feelings, ideas and constructions of the imagination. Although formerly, both drama and epic and lyric were written in measured verses, the term poetry is usually related to lyric, which, according to Aristotle's Poetics, is the genre in which the author expresses his feelings and personal visions. In a broader sense, situations and objects are said to have "poetry" that inspire rapturous or mysterious sensations, daydreams, or ideas of beauty and perfection. Traditionally referred to the ionare love, the lyrical in general, and especially the contemporary one, has addressed both sentimental, philosophical, metaphysical and social issues.

Without thematic specificity, modern poetry is defined by its capacity for synthesis and association. Its main tool is the metaphor; that is, the expression that contains an implicit comparison between the that naturally suggest one another, or between which the poet finds subtle affinities. Some modern authors have differentiated metaphor from image, words that are related to traditional rhetoric. For these authors, the image is the construction of a new semantic reality through the meanings that together suggested a univocal and once different and strange meaning. History There are testimonies of written language in the form of poetry in Egyptian hieroglyphics from 25 centuries BC. It is labor and religious songs. The Poem of Gilgamesh, an epic work of the Sumerians, was written in cuneiform characters and on clay tablets about 2000 years before Christ. The songs of the Iliad and the Odyssey, whose composition is attributed to Homer, date from eight centuries before the Christian era. The Veda, sacred books of Hinduism, also contain hymns and its latest version is calculated to have been written in the 3rd century BC. By these and other ancient texts it is justifiably supposed that the peoples composed songs that were transmitted orally. Some accompanied the works; others were to invoke the divinities or celebrate them and others to narrate the heroic deeds of the community. Homeric songs speak of episodes long before Homer and their structure allows us to deduce that they circulated from mouth to mouth and that they were sung to the accompaniment of musical instruments. Homer mentioned in his work the figure of the aedo (singer), who narrated events in verse to the beat of the lyre. The one with the songs not only had the purpose of pleasing the rhythm of the ear, but it also made it possible to the texts more easily. Lyric poetry had prominent expressions in ancient Greece. The first poet to choose his motives in everyday life, in the period after Homer's life, was Hesiod, with his work The Works and the Days. About 600 years before Christ dates back the poetry of Sappho, a poet born on the island of Lesbos, author odes and wedding songs (epithalamus), of which fragments are preserved. Anacreon, born a century later, wrote short pieces, generally dedicated to

celebrating wine and youth, of which a few survived. Calino de Efeso and Archiloco de Paros created the elegiac genre, to sing for the dead. Archilochus was the first to use iambic verse (constructed with "feet" of a short and a long syllable). He also wrote satires. In the V century a. C. reached its peak the choral lyric, with Pindar. They were songs intended for the victors of the Olympic games. Rome created her poetry dependent of the Greeks. The Aeneid, by Virgil, is considered the first masterpiece of Latin literature, and was written a few years before the Christian era, in the manner of Greek epic songs, to narrate the adventures of Aeneas, a survivor of the Trojan War, until it reaches Italy. The golden age of Latin poetry is that of Lucretius and Catullus, born in the 1st century BC. C., and Horacio (master of the ode), Propercio and Ovidio. Catullus dedicated all his poetry to a beloved, whom he called Lesbia. His love poems, direct, simple and intense, they ired poets of all ttimes. Chinese poetry In Chinese poetry, penta syllable and heptasyllable verses were especially cultivated, which in the case of the Chinese language corresponds to verses of five and seven sinographs respectively, since each sinograph represents one syllable. The most cultivated poetic forms were especially the Llüshi (, eight-line poems) and the Jueju (, four-line poems). A collection of poems entitled All Tang Dynasty Poems () was compiled with more than 48,900 poems by more than 2,200 authors. Among the most prominent poets are Li Bai (), Du Fu () and Bai Juyi ( ). A very important literary trend of the Tang era is the Ancient Language Movement (). The ers of this movement advocated a return to the literary style of the Han period and earlier, which was clearer and more precise, less artificial than the one that prevailed at that time. Many adept writers were prominent essayists. Han Yu and Liu Zongyuan stand out among them. Han Yu was considered the greatest Chinese writer of time by the renowned Orientalist Arthur Weasley. Together with Ouyang Xiu Su XunSu Shi Su Zhe Wang AnshiZeng Gong they are known as the eight masters of Chinese prose.

Japanese poetry Japanese lyric poetry, of great influence in Europe in the 20th century, dates back to the 8th century AD. C. and one of its most popular forms is haiku, a composition of three verses of five, seven and five syllables, in which a visual image is contrasted with another, without comments, or a concise reflection follows an image at the same time fleeting. Haiku, used by Zen Buddhism to transmit its teachings, influenced avant-garde poets of the 20th century, such as the American Ezra Pound. The first stanza of a metric variant called tanka is called haikú. Troubadour poetry The troubadour and gallant poetry originated in Provence, in the south of , and was the antecedent of the rich production of the Italian poets of the thirteenth century, such as Dante Alighieri and Guido Cavalcanti. A little later, Petrarch took to its maximum expression the so-called dolce stil nuovo (sweet new style), with his love poetry dedicated to his beloved Laura. Castilian versioning The art of rhythmically combining words is not the only thing that distinguishes poetry from prose, but until the mid-nineteenth century it was the best way to differentiate the two uses of language. The versification takes into the length of the verses, the internal accentuation and the organization in stanzas. The rhyme (coincidence of the final syllables in subsequent or alternate verses) is another element of the rhythm, like alliteration, which is the repetition of sounds within the verse, as in this one by Góngora: "infamous mob of nocturnal birds", where the sound ur is repeated and an assonance rhyme is also played in the interior of the verse between infamous and bird. The rhyme is consonant when all the phonemes from the vowel of the stressed syllable coincide in two or more next verses. It is called assonance when only the vowels coincide. Poetry in the Spanish language is measured according to the number of syllables in each verse, unlike Greek and Latin poetry, which have the foot as a unit of measurement, a combination of short and long syllables (the iamb, the simplest

combination, is a foot formed by a short and a long syllable). In Latin poetry the verses have been frequently six feet long. By the number of syllables, there are verses of up to 14 syllables in Spanishlanguage poetry, the Alexandrines. The octosyllable is very frequent in popular poetry, especially in the copla. Manrique's coplas are based on the scheme of eight syllable verses, although sometimes there are seven, topped by a pentasyllable. This form is called a "broken foot copla." Syllabic irregularity is common, even in traditional poetry. For example, in poetry of eleven syllable verses can be found some ten or nine

The stanzas (groups of verses) regular, of two, four, five and up to eight verses or more correspond to the more traditional forms. The sonnet, one of the most difficult classical forms, is made up of fourteen verses, generally hendecasyllables (eleven syllables), divided into two quartets and two triplets (four- and three-line stanzas), with different forms of alternating rhymes. The alternation of stressed (stressed) and unstressed (no accent) syllables contribute a lot to th poetry. If the accents are given to regular spaces (for example, every two, three or four syllables), this reinforces the musicality of the poem. Maintaining this regularity throughout a poem, an effect very similar to that of the musical beat is achieved. The poetry of the twentieth century has sometimes dispensed with the regular meter and, above all, the rhyme. However, alliteration, accentuation and, sometimes, assonance rhyme, maintains the musical roots of the poetic genre. Present Within the Russian structuralist current, Roman Jakobson speaks of poetic language in that the message is the poem itself. In other words, it states that in the poetic function of language, the syntagmatic axis (grammatical order of discourse) is projected onto the paradigmatic axis (lexical selection). Ezra Pound in his book The Art of Poetry speaks of the fact that the poet has an important social responsibility because he shapes the imaginary of his time. In the same work Pound talks about the characteristics of poetic language: fanopea (handling of the image), logopea (discourse of poetic thought and melopea (handling of rhythm and euppoetics. Regarding formal evolution, poetry has ed from the use of metrics and rhyme to free verse, and from there to the

free combinatorics that characterizes postmodernity and poststructuralism. The introduction of free verse is due to the poets Kahn and Laforgue at the end of the 19th century. From the restrictions of meter and rhyme, to go beyond the fixed forms established by the mandatory poetics. This implies for the poet a doubleedged sword, on the one hand it frees him from the canons, but, on the other hand, it places him in front of the responsibility that the poem is born generating its own rhythmic and euphonic form, taking into only the purpose of its own expression. It would seem that the criteria for knowing whether or not a text is a poem have been diversified. It no longer deprives the expectation of classifying into sonnets, lire, tenths, etc., but the perception of the poetic phenomenon embodied in language. Currently, with the opening of historical experience as a repertoire that can be recycled into new combinations, many of the classical forms have been taken up with an open sense. The role that poetry plays in the 21st century is linked to technological and scientific advancement. New currents of Poetry emerge, new forms of manifestation, such as Metapoetry, biopoesy, ecological poetry, virtual poetry, transmodernist among others, in addition to the fact that we are witnessing a renewal or at least a re-undertaking of certain avant-garde and critical aesthetic, such the poetry of consciousness. World Poetry Day was proclaimed by the General Conference of Unesco and was celebrated for the first time on March 21, 2000. Its purpose is to encourage for young poets, return to the enchantment of orality and reestablish the dialogue between poetry and the other arts (theater, dance, music, etc.).

The vocation of writing poetry

At some point (mainly in youth) something happens that awakens a vocation. That something is usually unforeseen, perhaps unconsciously sought out, or caught on the fly. And on that fortuitous circumstance, almost a revelation, the life of the individual who found, so to speak, a sign on the road comes to depend in large part on. Hearing the call, instinctively begins to move in the indicated direction. At first vaguely, and then with increasing certainty, I glimpse a destiny that demands its will. Economic incentives help to define most of the vocations, but that of the poet is necessarily disinterested. Your satisfaction and reward will be in the enjoyment of poetic perception and the ability to communicate it, as well as in the amazement provided by being able to look at the tapestry from the back. Some prose writers abruptly depart from poetry. They get a rough, mechanical prose, without grace. There is no good prose without the help of poetry. What's more, most of the worst "poetry" ever written is in verse. Let's get used to giving the title of poet to writers in whose prose poetry is manifested with the intensity and splendor of a García Márquez, for example. Poetry is more in the way of perceiving than in expressing. That is why a poorly written text, but in which there is poetry, can be later improved (by the author or by a co-author) and transformed into a work of literary value. Composing is relatively easy. The difficult thing is to SEE and turn what is seen into an idea. If a poet cannot write, he can use an editor to whom he communicates the matter. So, the poet is not the one who writes, but the one who has the revelation. The revelation does not appear in prose or verse: the poet tends to the verse form; the prose writer composes mainly in paragraphs. But poetry can also manifest itself in many other ways, and that is why it can survive in future civilizations, in which the art of writing is not used. To reserve the term poet only for the one who writes verses is to belittle poetry. And you also have to learn to enjoy unwritten poetry, which is expressed by other means. As the concept of the poet expands, it will be better for poetry and for the world.

In the workshop that originates these notes, there have been those who have failed to it Shakespeare to the list of poets. And yet, if Shakespeare does not deserve the title of poet, then no one else deserves it. The poet does not mean "He who makes verses." Significant creator. And "after God - as is known Shakespeare is the one who has created the most." He who only conceives poetry in verse, is opposed to poetic evolution. He who only conceives written poetry, ignores the past and does not know the future. Today, poetry is transmitted by different methods. If something as fleeting as movement can be stored and reproduced in various ways, it is to be expected that there will be new procedures for the poetry of the future. Consciousness of the species induces concern for the future. Time is one thing, and the future of humanity is another. If someone says that he does not care about the future, he cannot expect humanity to agree with him. You are aware of being a poet before you know what poetry is. Therefore, the poet precedes poetry (which confirms that the poet is born). But don't worry: the vocation can be stifled. Do not scare the family by writing verses, since the verse is what causes the scare. It is not necessary to say that one is a poet, because nobody believes it, but they think anyone can be a writer. Which indicates the high position that poetry retains. If the poem is the place where man meets poetry, according to the well-known phrase of Octavio Paz, it is also and more precisely the place where the poet meets, because the poet lives in the poem, whether we consider it in general, as in relation to an author and a particular work. The work is inseparable from its creator. In the event that this is unknown, it is said to be God. I have heard repeatedly that only the work itself is of interest, regardless of its author. You cannot speak of poetry in the abstract, putting aside the notion of the poet, since poetry exists because of the poet. In theology, the Creator is known by his creation, that is, the blade of grass leads us to God. There are some poems called "Leaves of grass." What did Whitman mean by that? Ah, but the ones that so they bitterly defend the thesis of poetry without a poet, yet they sign their works! How to read Beard - Jacob without Beard - Jacob? In art there is the stamp of the

author, as in us the mark of God. Or of the devil, according to the origin. Because there is the diabolical poet, happy to be: Lautrèamont, Genet, a hundred more, all very attractive to young people. It's natural. Evil also needs its poets and its artists. Evil and good are not enemies: they are partners. They collaborate, and stimulate each other. If they built such a vast and populated hell, in which 7'405. 926 demons existed in Jean de Weyer's time according to Pedro Gómez Valderrama - it is presumed that they will need musicians and poets to liven up the winter evenings. Poetry is not at the service of the poet, because it would be a servant, but the poet in the service of poetry, like the priest at the service of God. Propaganda poetry is not poetry, but propaganda. "Have Coca-Cola!" The first time I heard the word coke mentioned. Later they said it was a crime. The poem is born, it is not made. It means that the poet has to be pregnant. The spell poem is a simple wording doll. Even to read you need to be inspired. The uninspired reader, mechanical and compulsive reader, does not understand. Inspiration is accessed voluntarily. There are methods: availability, isolation, concentration. Plato says: "The Muse inspires poets, who communicate their enthusiasm to others, and a chain of the inspired is formed." The inspired reader is even scarcer than the inspired author, since literature ceased to be art to become a business in which even poets want to participate, like the priest who sells custody. It is not that poetry or those astute, business-minded poets that are discussed in this book. The true poet fights against poetry and makes long efforts to get rid of it before giving up. But there is also, as in everything, the amateur poet; and the one who takes poetry as an escape and turns it into a vice; or the harmless and picturesque man who incorporates her into his hobbies. Although there are writing poets, the writer and the poet are two different beings. A writer is a mule. That is why he can stand at a certain time in front of a sheet of paper, like a mule with its forage. But the poet is an angel. I do not indicate if good or bad. The problem of categories is another matter. When I work as a writer, I am a mule, with all the consequences, since the writer writes to order, for commitment, for business, etc. It is as if a demon grabs me and says: you have to do this.

(Investigate, analyze, conclude, write). Only with free time do the poet's wings sprout - in verse or prose - in contemplation and ecstasy. But they are tenuous wings and break on with the slightest load. You put a burden on the poet: you crush him. The mule of the writer resists. Therefore, it is better to be a writer. But poetry is more beautiful. The first Nazi manifesto was against labor. Because it was a manifesto written by poets. If you have to work all day and all week and all year, poetry will run away from you because you don't deserve it. You have become a slave. It is of the essence of poetry to be free. And that is why it is scarce. There is no longer freedom in the world. It will be a stronghold for poets. It is up to them to keep the flame. Just in case some distant day... Ovid (the story tells us) never wanted to be anything more than a poet and lived to be fifty as an idle gentleman. Anacreonte reached eighty-five years singing and dancing. Simónides de Ceos made his profession of composing poetry. The poet who comes to meet working hours is left in the dressing room, along with the hat, his status as a poet. And it is that the poet has to think, and you cannot think of a factory. Factories are to do. Not to think. People who can live without thinking find their accommodation in a factory. But the man who is alive and awake and who thinks is a man in his splendor and out of respect for himself and his splendor must limit himself to shine. Since today everything that protrudes is cut off, poets find themselves in white dwarf and shine inward. Or they open up into black holes so as not to be seen. The working poet gradually ceases to be a poet and becomes a worker. Loses sensitivity, subtlety, perception; he loses all his qualities and attributes one after another and becomes member in social member. Someone can put their hand on your shoulder, or they will pat you on the back. Ah, may that day not come for the poet, because that is the day of his death. Even if the burial is delayed, he will spend the rest of his life turned into a sarcophagus of himself, of his own dead that he is. Sensitivity A poet is better the more senses he has. Usually, you have five and two are left

over. But the poet is not content with five. It develops the sixth sense (of orientation, due to magnetite), as well as the other senses: the observation, the common, the non-sense and the sense of reality. Also, that of unreality, and that of poetry, and that of the absurd, and that extrasensory perception, and that magic and dreams. And that speed as well as that of stillness. That is, it is connected to the Universe like a neuron by many points of that transmit process and exchange information to it. The poet's brain grows until he is eighty or ninety years old and then disintegrates in successive pyrotechnic explosions. The sense of touch is exercised by touching, if we are not afraid of getting our hands dirty. The sense of taste is lost in haste and in forgetting that other sense, with which it is closely related, which is a smell. Pollution threatens the senses. In the city intelligence is sharpened, but the senses deteriorate. The first thing we banish are smells. Nothing should smell like anything. The flavors are attenuated, and all things become smooth so that they do not hurt us. The ear is filled with noises and shrillnesses and the sight is offended with all kinds of feasible things and garish colors. It is not surprising that some poets lose their reason, since everything around them is decidedly irrational. Normal people are completely crazy. Take a good look at them. The Pilot Public Library wanted to open a workshop of the senses and was not interested in that because they said that the workshop of the senses is the world. But most people remain insensitive to the world. His attitude towards Nature is an urban attitude, one of indifference and destruction. A flower is appreciated if it has a price in the market. Otherwise, it is replaced by an imitation. I have already seen mechanical birds in cages, in front of which artificial fruits are placed. The bird has a mechanism that makes it sing at dawn. Despite the famous "urban literature", the poet has to go out into the country. The poet who does not relate to nature does not relate to God either. God is a peasant. Nobody has civilized it. If you want to see God look at the Universe. The device for looking at God is called a radio telescope. If we see an insect, we squash it before trying to observe it. We have declared war on all animals and against them, we have manufactured poisons, traps and

weapons of all kinds, including airplanes for fumigation of birds. At the rate we are going, the men of the future will have only two senses: money and death. Perhaps poets can do something if they don't lose their sense of proportions. Sensitivity is not sentimentality. It is the ability to appreciate the beauty through patterns formed in the various aspects of culture and decanted by personal elaboration. It is perceptibility, receptivity, emotional capacity controlled by education and temperament. A painting tells us little until we have studied the history of art. Not a musical work until we know what it is about. Sensitivity is cultivated through the arts, sciences, literature, reflection, and you must keep all your senses alert and your brain awake at all times if you want to be a writer. Weekend poets and weekend painters are no more than amateurs, beautiful amateurs. Sensitivity, if not used, becomes dull. Blunt and obtuse poets are blotters of paper. Let us count how many poets we know of truly acute. Imagination and fantasy Fantasy overflows imagination. There is no border between one and the other, but the hallucination follows fantasy. And from then on it is insanity. Those who experiment with hallucinogens and drugs show different personal experiences, with different degrees of interest; moreover, when reviewing texts written or after such influences, and comparing them with works of great poets, who are not known to have used these aids, it is always found that artificial stimuli do not exceed the creativity of a brilliant brain. Those who seek such stimuli confess their incapacity. It is useless to look at them for the genius that you do not have. The fantasy of García Lorca or Vicente Huidobro was a product due to a conjunction of chance and unique ccircumstances in which poetry remains mysterious. Those who use drugs to seek genius do nothing but tire and become disillusioned, and eventually damage their brains. The Universe is the great chemist. The sorcerer's apprentice is always disappointed.

The idea, somewhat extended, that links creativity and artistic sensitivity to illness and defects in vital behavior and uses the pearl of the oyster as an example, is an idea originated in the artists themselves, who wish to distinguish themselves; or those who try to discredit comedians, musicians and poets. In recent times, painters were also discredited, but in view of the prices that paintings can fetch, this custom was abandoned. When poetry is valued, poets are valued. Count on it. Imagination and fantasy nourish the poem as they nourish life. But avoid falling into the corny and the ridiculous. Uncontrolled imagination is fantasy. The imagination is amazing; the fantastic surprises and enchants. Social organization stimulates the imagination, but fear of the unknown leads to mistrust of the fantastic. At this end of the millennium, the fantastic linked to technology finds acceptance in the explainable. But the poet's fantasy will always be suspect because it usurps a divine attribute. The first sign of imagination is to become independent. Get out of the herd. Usefulness of poetry It is not known how poets want to be published and read, if they have all taken to repeating that poetry is useless. Bad sellers of your product, the poets. We have to rectify the error of having said: - "Here you have something that is of no use to you." What sales pitch is that? On the contrary, it is necessary to demonstrate the usefulness of poetry in life. Naturally, you have to be convinced. We are going to say why and for what poetry is useful, and for whom, and how they can get the best out of it (by turning it upside down every so often) and of course that involves writing poetry and publishing it. What would the blind be without Homer, without Milton, without Borges, who have given them prestige and mystery? And of the one-armed without Cervantes, without Aleijadinho with his stone poetry, etc.? An editor has never been seen

complaining about The Iliad or The Odyssey, or about Dante. How about a Virgil, a Horace, Pindar or Anacreon believing and explaining that poetry is useless? If everything ends in disaster, let it be a beautiful disaster. Poetry is good for everything. Recreating interest around poetry, is not difficult, because something of its former prestige still hangs in the air, and respect for the great poets is so great that people don't even dare to read them. How many poems, perhaps not very good, have won for their authors the attention of beautiful, loved ones, previously impossible. How many poems have won for the poet the favor of a patron, the reward of a prize, the illustrations of Dürer, or any other tangible and lucrative good. Many composers have received money for adding music to the poem. How much paper (the most expensive) has been sold to print poetry books, even if they are paid for by their own authors, how much binders have earned for skinning poetic collections, how many poetry discs have been sold in the world since the invention of the phonograph, how many bottles of whiskey were consumed in the last poets meeting. Write and compose Write should not be confused with writing. Learning to write is easy. Most people can. For that there are rules, which some call technique. Writing is more difficult and is only available to a minority. Because, while writing only requires a grammar and knowledge of what you want to express, writing is creation and therefore requires inventiveness, imagination, fantasy, originality, eloquence and genius to some degree. Write the one that has something to make known in expository prose. Journalism, didactics, chronicles, science, communications in general require editors. The narrator, the poet, the playwright writes, the essayist, the historian. A letter is written, a report; a fable is written, a story. Writing is a job of rational intelligence. Writing is making a work of art. The work of art goes beyond logic. There is usually something inexplicable about it. That is why we speak of creation.

A written paragraph communicates ideas, conveys news. A written paragraph communicates emotions, excites sensitivity, turns energy into beauty. A treaty or code is drawn up. A drama is written, a comedy. To write you have to be sane; to write you have to be crazy. If you are a half writer, it is because you are half crazy. Who was the man: Cervantes, or Don Quixote? Secrets for writing The main secret to writing is no secret: it consists of having many secrets and the ability to reveal them. To do this, you have to start by mastering the subject. That's all. Whoever sits down to write is because they have something to say. As long as you don't have something to say, you don't have to start. The famous tale of the blank sheet every first thing in the morning has produced only slimy and polluting literature. He who needs a white sheet in front of his eyes to start thinking is not a thinker. Think first, and after you have thought, rethink the writing. Reflect. That's the secret. We must pause a moment to consider what the libraries hold before deciding whether to put one more page in them. Because every page that is written is a page that is added to the best. Is not easy. Ah? The theory says that writing should be easy. Write yes, relatively. But publish? That is where our responsibility and, of course, that of the editors becomes evident. When it was difficult to publish, poets had time to correct. Today, when fresh sheets, literature, and especially poetry are ripped from writers' hands, they have become a garbage dump. I consulted various editors on that. They told me that it did not matter, because universal literature has already been

written, and everything today is recyclable since it is about repetition. Seen like this, the literary enterprise is unobjectionable. But that is not what it is about when we talk about poetry. Poetry is another matter. For a young man to carry your poem along with two crumpled bills, there is no greater glory. If you achieve that you are saved. Because young people carry their teachers in their pockets. The good score Punctuation is necessary for the correct meaning of the text and its good reading, particularly aloud. The score marks the rhythm and the breath. Punctuation is an essential part of style, but where there is no lifestyle, there is also no style in the arts. The conventional way of punctuation is the most common. For the good writer, punctuation is an art. There is the meaty long-term writer and the sharp, sharp-cut phrase writer. They both catch us. And it is because of the chaining of the score. However, punctuation constitutes a part of the notoriously neglected grammar in Colombia, which goes hand in hand with the general forgetfulness of Spanish. The new generations have nothing but a sad neighborhood slang, which perpetuates their ignorance, since all study requires the precision of language. There are no scientific and technical treatises in "parlache". Ignorance of punctuation is concealed by writing without punctuation, with a false revolutionary pride of rebellion and novelty. It is unknown that the invention is not the lack of punctuation, but the punctuation itself. It was originally written without punctuation, which came later in response to an obvious need. To write without punctuation it is necessary to give the text a special form of continuity, which does not it punctuation marks. The informed reader discovers the author's intentions. If you find that you are hiding your ignorance,

just stop reading it. Punctuation marks are not universal, nor is Spanish, a language that loses importance because it is in the process of disintegration. The long-awaited project of a universal language is utopia. Every language diversifies as it expands. There are novels without punctuation, without genius, without art, without importance. Except for some monologue, the lack of punctuation hardly reaches literary category. Writing without punctuation is not easy, unless you ignore Spanish. Try to speak without pauses, without gestures and without intonation: it will be a comical and an incomprehensible string of words. Punctuation is abandoned, prepositions, conjunctions and other illative particles are eliminated. And you say that you write in Spanish, that you want to be recognized as a Spanish-language author? We have such stingy writers that they save punctuation. Others squander commas by the wayside, like scattering seed. Art is neither economical nor waste. It is the proportion within what is necessary. The bombastic and the ascetic are the extremes. "All extremes are vicious," say the saints. Observe in history what remains for its solidity, that is the best lesson. Verse and poetry Poetry in verse becomes somewhat tedious because you have to glean a lot to find an ear loaded with good grain. It is easier to find poetry in prose (and perhaps that is why the prose is more popular), or in the other arts: the poetry of music is accessible to everyone, poetry in painting as well. But Góngora only speaks for a few. That can be good or bad, depending on how you look at it. Nobody has a hard time with Bach. For that to happen, he probably had it with him.

It is convenient for current poetry that the verse ends and that the poems are written in prose, because the verse has been the traditional refuge of bad poets, false poets, mediocre poets. As they write their poetry in prose, they will have to capitulate or learn to write. Do not confuse verse with poetry. Most poems in verse do not contain poetry. The verse is a form. It can be filled with anything. The verse is not part of any definition of poetry. A good paragraph is worth much more than a bad stanza. Poetry is not written just because. It is written because not. Because what needs to be said cannot be said otherwise. Whenever something can be said in prose, prose should be used to say it and poetry should be reserved exclusively for the poem. This is to the benefit of prose and poetry, as well as all writers. In the poem, everything is allowed, except mediocrity. The poem should not be used to send personal messages: that's what the mail is for. Personal messages can be sent with the poem only through the centuries, and for that you have to call yourself Dante or Shakespeare. Love quarrels sound good in a popular song, but they sound ridiculous when reading a poem. "I love you" is not said in a cry, but in a whisper. The one who screams is because he is definitely alone. Metric and rhyme It is necessary to have knowledge and practice about meter and rhyme, both to use them occasionally, and not to use them inadvertently, and above all to be able to appreciate most of the poetry in Spanish, composed in this way from its origins. Beginnings. Metric and rhyme are an efficient and valuable mnemonic resource. By opting for free verse, poets lose something that was once essential: that poems be learned and repeated by heart. The free verse poem often escapes memory. In reality, there is no free verse, nor is prose itself free. A measure of euphony dominates in Spanish, which every good writer handles by ear. Corrections are frequent in common conversation. That's why: because we feel like it sounds bad, and it fixes instantly. Spanish is a rhythmic language, and verse is its natural form.

He who writes free verse without knowing metrics and rhyme does not manage to give his lines qualities of verse (ductility, elasticity, malleability, sonority) and therefore it can be affirmed that most of Colombian poetry in the second half of the 20th century it is written in fragmented prose, without the qualities of prose or verse. In the different kinds of free verse, it is necessary to change words to add or decrease syllables, or to modify accents, which is also done in prose. From the moment there is a measure that is imposed, the freedom of the verse is relative and refers only to the demarcation with the meter and rhyme. It is often believed that free verse is novelty. Fake. First was free verse. Free verse has always existed; it predates that dubious language, improperly called "Spanish." The free verse tried to make forget in the 20th century all the poetry of previous centuries, through its challenge and denial. It did not succeed. The most likely, as observed, is that by the 21st century, both forms will continue to coexist. All the more reason to deal with meter and rhyme. Concrete poetry and other graphic and capricious forms, or related to other arts, are experimental creations that obey another aesthetic and are left out of verse and prose. Measured verse and free verse The number of words that rhyme in Spanish has a limit. All possible rhymes were used many, many times already, the possibilities of rhyme were exhausted in repetition, and so consonant rhyme poetry came to an end. Ears were ravaged, and also came that charm of freedom and poets no longer wanted to be subject to measures and rhymes that restricted their expression. The assonance rhyme, richer and more current musically subsists, but the meter is required, and the meter requires study and practice, and the new poets are lazy with respect to prescriptions. The writers call free verse the one that rhymes freely, as in the silva, and loose verse the verse not subject to rhyme or measure; but in practice free verse is called free verse, and individual verses are verses culled from a poem. There is no one better than writers to mess things up. That is why it is said that criticism

is the art of obscuring what was clear. The measured and rhymed verse is the easiest, because it is enough to obey its rules. Free verse is more difficult because you have to invent it in each poem. The verse subject to meter requires office. In free verse, the poet can do whatever he wants, provided he is great. The metric can be practiced by a blind man. To write free verse you have to know how to fly. In free verse, or free flight, almost everyone is lost. Whitman and Pessoa were not lost because they were leading birds. If you want to be part of the flock, it doesn't matter where you are. The second and the last, both go behind the first. The free verse its all the ingenuity and whims of the author. From free verse came all the experimentation that poetry has endured in the last century, until it ceased to be poetry. When we contemplate the current verse, we cannot help but note that written poetry has exhausted its possibilities in of form, that perhaps the cinema represents its last great expression, and that what is now presented to us as a new verse is nothing more than the evolution of prose, foreshadowed in Vargas Vila, and which has taken from poetry what it needs to revitalize itself. If poetry died, that would be why poets are dejected. Maybe they killed her themselves. The poem as form and amorphous poetry During the last hundred years, starting from free verse, poetry, in of form and conception, has evolved until it ceases to be the verse. Find, then, other expressive means: the image (cinema); graphic forms (concretism); handicrafts (defenestration of poetry or poetic forms to throw out the window); and countless other frontier inventions: between theater and poetry (ing); between sculpture and poetry (forms to be touched); between the pictorial and the (experimental) poetry; between photography and poetry (from surrealism) , etc. The verse ceases to be the verse; with the disappearance of the verse the stanza disappears, and the poetry ceases to be the poem. After poetry goes through all these transformations it becomes clear that its evolutionary possibilities are limited and that at every moment poetry (considered as the poem) disappears after new formulations. The possible combinations of poetic forms reach their complete exhaustion. What evolves, so spectacularly before our eyes is not poetry, but prose, because

prose has always had the right to feed on poetry. Free verse, after having been subjected to all imaginable whims, is no longer another form of poetry, but another form of prose, which, between us, had become clear since José María Vargas Vila, although he has not so stated. The symbiosis occurs for two main reasons: the refusal of poets to study precepts that are detrimental to their expressive freedom, and a reader trained by the practicality of other cultural expressions. Currently all the forms of the poem coexist:

a) The meter and the rhyme still retain ers.

b) The free verse, including the verse, intermediate form between the verse and the paragraph.

c) The prose poem (also called poetic prose).

d) The prose in semiverse, which is the most common.

e) And poetry in any of its forms: verse, prose, image, graphics, object, sound, representation, art, craft, game or invention, provided that it is presented as a reproducible way of transmitting inspiration, emotion or poetic thinking.

The above forces us to differentiate poetry from poem: the poem can be an empty form of poetic content. Conversely, high poetry is often found in prose texts or

in other poetic forms other than verse and even written text. Let us persecute poetry but let us not be persecuted by verse. The verse itself is nothing: it can be escapism, vice, entertainment, or a manifestation of cretinism. It is not important to maintain the distinction between prose and verse. Why a poem in verses that do not contain poetry? The authentic poetic perception, wherever it comes from, enriches life, ennobles it, embellishes it and gives it meaning. Discrimination against poetry only shows a total ignorance about what poetry is and what man is: eyes with which the Universe sees itself. Even the critics are not very insightful. That is why many poetry workshops are needed. Poetry is the only thing that can pacify the world. Even if there are cursed poets, because cursed poets are ive. Topics in poetry The subject of their works constitutes a problem for artists, because the hypocrisy of societies does not tolerate free examination and rigorously penalizes the public treatment of public affairs. In our time the prohibitions decrease, but they do not end. The list of authors condemned for their books is too long and ominous for the shame of humanity. Shame is a saying. With one shame another is covered. Frequently the arts are affected by some censorship, especially poetry. No artist is forbidden the subjects as much as the poet. Why? Who does it? Censorship manifests the fear of poetry by attacking the poet, blocking his way. Indeed, to begin with, you are presented with the following restrictive list:

Do not write love poems, because the subject is exhausted and so is love. Do not write about death, because it is a bad omen, and the subject was spent by the pseudo-romantics. Do not write about childhood and family, considering it a trite, nostalgic, common and irrelevant matter. Do not write about politics and society because it is in bad taste and the subject is out of date. Do not write about local and rural issues because nature is anachronistic and is running out. Do not deal with literary matters, which is considered vicious, repetitive and disgusting. Do not write about your city because it is something monotonous, of which everyone is tired. Do not write about underworld and violence because that encourages crime and is too commoner a matter. Don't write about yourself because nobody cares. Do not write about other people, even indirectly, because it can be dangerous. Do not write about exotic topics because they are generally unknown and irrelevant. It is foreignizing. Do not write about religious topics because the contemporary world is atheistic and hedonistic. Do not write about current affairs because current affairs are unworthy of the poem. Do not write about eternal subjects because it is vain and presumptuous. Do not write about feelings and memories, which is considered corny and ridiculous.

Do not write about the future because it is unknown. Don't write about nature topics. It is naive and decorative. Not dealing with historical events. That is chronic, anecdotal, prosaic, something outdated and unproductive. Do not write philosophical poems because philosophy is not typical of the poem. That rhymed verse should not be written because the metric has already expired, and that free verse should not be written either because that is not poetry. That poetry does not say anything in essence but is limited to suggesting. Without ideas it will be less dangerous.

In short, the list of prohibitions is too long to transcribe in its entirety. In this way, an attempt is made to reduce the field of the poet and only the theory of the emptiness necessary to preserve the innocence of the world remains. Well then: what you have to write about is precisely about all the forbidden things and the forbidden way. And write clearly and forcefully, not timidly with half words. Poetry does not consist in hiding, but in discovering. It is a revelation, or it is nothing. There are no hidden treasures in poetry. The thieves already looted them all. Including Don Luis de Góngora. Autobiographical poetry Notorious defects of poetry in Antioquia have so far been localism and an autobiography, characterized by a cheesy sentimentality, under the protection of a medieval religiosity. The new poets, it seems, are determined to continue like this with all enthusiasm. Intimate poetry is proclaimed as the triumph of individuality over collective societies, which are considered primitive culture. But the truth is that all art that does not fulfill a social function disappears in inanity.

Young poets defend subjective poetry because they have not yet hatched and know no other subject than that of themselves as the center of the universe, according to their unsured child psychology. Countless themes that poetry could deal with are there without the poets perceiving anything, wrapped in their chrysalis innocence, closed in on themselves with their little personal affairs, trying to tell us the same love movie every day. Introspective poetry dies with its author. Ernesto Cardenal calls it “Vain song”. When the great poet says I, he takes everyone else with him. When the mediocre poet says I, he does nothing more than affirm its nullity. The poets who give us their diary to read, do they want to be pitied or ired for their sufferings? When writing becomes a waste of style, then it can be spoken of decadence: there is nothing to say, but something to show off. Fatuous literature, lacking the dignity of iintelligence. We are quickly letting go of the past. But not the young poets. They refuse. The inspiration The creative process is the same in all the arts. In music as in poetry, four modes are distinguished: inspired, constructive, traditionalist and experimental. Of course, there will have to be some inspiration in all of them for it to be poetry, because poetry is the breath of mystery. "If there is no mystery there is no poetry", writes Georges Brake. The constructive process is used by very expert poets, in extensive compositions of an epic nature, on historical, scientific, social topics or, in any case, to deal with important matters. This process is illustrated by works such as the "Canto General" by Neruda, or the "Cantico Cósmico" by Ernesto Cardenal. The inspired moments that appear here and there are what give the work its poetic quality. The traditionalist way is the one that uses the patterns of the metric. As an example, it is enough to cite the innumerable sonnets that tirelessly repeat the same form with its intended variations.

Experimental or exploratory poetry is mainly found in the avant-garde attempts to modify the formal part of poetry, since its essence is unchangeable. Finally, inspired poetry is the miracle, totally unpredictable and inexplicable. The inspired poet does not know himself what will come out, once the spirit let's call it that - moves his hand. Inspired poetry is the most authentic and, of course, the rarest. As an example of an inspired poet, let us BarbaJacob. It can be said that he did not write any page without the influence of inspiration and that is why he is considered an exalted poet. There is a theory to deny inspiration in art, just as there are theories to affirm or deny anything. But inspiration is volcanic fire, irrational impulse, a devastating force that transforms, invents, finds, discoveries, creates. God would be the best-known example of inspiration, if He were not the Inspirer Himself. That is why, according to George D. Painter, "every great writer deals directly with God." Aaron Copland explains in the simplest way, what happens with inspiration: “If one morning I feel like composing, I compose; if not, I will go for a walk around the field”. Just by reading it, we know if a poem is inspired or not. And this does not require demonstration. Writing only when inspired should be the rule of poets. But the need to fill out "resumes" causes a landslide of trash that threatens our library. The most curious thing about inspiration is that those who deny it, nevertheless, wait for it. They are the ones who seem to trust her the most. Like the atheists, we always say, when a poet presents us with his book: "God pay him." Magazines and literary publications Beginning writers turn to magazines and other literary publications because they see in them a first possibility of peering into a world that attracts them. They forget that freedom of expression has an owner. Nothing naiver than the writer who begins. The receptivity of such publications is null due to their incompetence to appreciate the value of a text by an unknown author. Referring to them, Álvaro Mutis says: "The pettiness of those who are in charge of these literary supplements and papers, and the sordid grudges that feed them, have gotten me used to always expect the worst."

Roberto Posada García-Peña notes in "El Tiempo" (89 - 05 - 19): "About ten years ago the literary supplements of newspapers gradually ceased to be literary to become pseudo-cultural hybrids without identity." Those old supplements were useful because they helped create public interest in reading and the subsequent training of writers. Dr. Otto Morales Benítez emphasizes this in the Colombianists Congress (Illinois, 2001 - 08 - 01): “The lack of readers raises the price of publishing houses, with other worrying losses such as the withdrawal of literary supplements in the newspapers. Those pages gave, before, a wide information to too many sectors, far from the cultural activity and with losses in their budget. They kept the community audience on. In those that do survive, there is a certain proclivity for frivolity, which gradually determines the influence of television. Cultural dissemination in the press is very cautious, on radio it is sporadic and on television it is almost non-existent, as a sign of superficiality prevails”. Although the forecasts on literature are pessimistic, it must be taken into that the written word is the of civilization. The Internet partially modifies the anonymity of new writers, but this is no more than illusory. It is equivalent to the modest and ephemeral magazines of small groups that collaborate for their mutual satisfaction. The current means of communication change reading habits, but it is not because of them that readers decline, but because of the lack of good writers. When one appears, it is sold and read with great success. Writers are needed for multiple tasks, including helping a disoriented country think. If newspapers are in decline at the same time that magazines by sectors of interest proliferate, it means that the public misses the excellent opinion columns that were once their attraction. You don't buy a newspaper for its flag, but for its columnists. With two or three exceptions, nothing in the newspapers is worth reading. Intellectual poverty drives away readers. Create it. Abundance is supposed to replace quality, but it is not. It is the predominance of mediocrity, which strives to stand out abiding by the saying that "in the house of the blind the one-eyed is king." The mediocre but intriguing, or the son of the curubito, displace the most capable. His failure is the failure of the country. The writer who respects his art must get away from all that vanity fair and place himself on a clean and neutral shore for hygiene. Criticism and self-criticism Every reading we do, even if it is superficial, is critical reading to some extent. Doing the same on your own text seems obvious and easy, but it is not. The gaze on the texts themselves always sins of narcissism. No matter how demanding we

are about the work of others, we always judge our own indulgence, and we cannot take the necessary distance from it to see it as something strange. However, until we can apply all the rigor that we put into that of others in our own work, we will not reach a sufficient degree of self-criticism to be able to trust our own judgment. Poets are usually endowed with what is called "critical spirit", but this is only formed in the knowledge of literature: the works and their criticism. Criticism is analysis and evaluation, and therefore it should not scare anyone, but insecure art fears criticism because it reveals its flaws. Publishing a text is subjecting it to the relentless, arbitrary and irresponsible criticism of the reader. Authors are fleeced from the privacy of a reader or turned into idols. If you don't fear the criticism of that ionate reader, why are you so afraid of the critic's criticism? Why is it being publicized? The reader's is also published among his acquaintances, and that is what makes books sell or despise. The reader can be a small workshop group. In front of him, the author is among his readers. Therefore, you should be interested in their, all the more since in that case it is given multiple, with sincerity and with generous good faith. All the text is published with the intention of incorporating it into the literature. Will there be enough in it, or will it get the place that the author proposes? Some say that the question should be left to time. But in reality, such a question concerns only the author. Those who place all their trust in time, it is because they do not have any in themselves, because they act with total unconsciousness and ignorance, and those are, naturally, the first to be devoured by that time to which they entrusted their fate. Beat time: that is the challenge of the great writer. And everyone who starts out wants to be great. Nobody starts small. A young assistant in the workshop, whose name I consign because afterwards you will hear about him, Javier Idárraga, decides one day to present his first poems. He stands up decisively, stands firmly in front of the group, unfolds his papers, and says: - “I am going to read some poems. They are mine. And they are very good. Whoever does not like them, awaits me at the exit”.

Method for self-evaluation of a poem

Measure your degree of satisfaction through reflective rereading, as if it were not your own text, but someone else's, putting that distance between the author and the text. Depersonalization. Make sure that it is a written text and not a redacted one. There is a difference between writing and writing. Writing is a calculated operation, which is available to many. It is enough to know Spanish and be clear about

what you want to say. They write a letter, a didactic text, a bad poem. To write, in addition to the subject, you need emotion and inspiration. Inspiration is the product of a state of exaltation in which the idea is perceived, and the work is conceived. Results in a draft that is correct, or a text that is considered final after revision.

Review the grammar, punctuation, semantics, from the point of view of the effectiveness of the text in relation to the average reader. Review each paragraph, or each verse, and determine it very well with respect to the meaning, its proportion, its participation in the whole, the rhythm, the euphony, and that it does not have stumbling blocks due to construction defects. Make sure that the text contains in full what was meant it, and that its understanding is possible with the type of reader to whom it is addressed. Review the architecture of the text with respect to its composition, distribution, balance and elegance. A text is a construction and must stand firm. Its parts have volume, weight, analogy, functionality. It is necessary to calculate the resistance of each one, the correlation of force between the parts, their stability and harmony of the whole. If the text is addressed to the general public, as is usually the case with most

poetry, calculate whether it will say the same to each reader. That the text is understood in the same way everywhere. The good writer prevails. He does not hesitate. Whoever writes does not deserve attention so that his words are interpreted in any sense. He does not know what it says. It is not worthy of a smart reader. Calculate how the text will be received by the reader: how he will understand it, what effect, what impact or reaction it will produce on him, what his degree of acceptance or rejection may be and why. Calculate the importance of the finished text in relation to a literature: regional, national, temporal, or global with respect to the language. Calculate the possible value of the text in the future, in the short and medium term. For this it is necessary to know the history of literature, have scientific notions about the future and be honest with yourself. It is assumed that in a country like Colombia it takes twenty years for a book of poetry to be appreciated by authorized critics, except in cases where the propaganda misleads the young public, which lacks criteria and believes everything it wants. They speak.

The foregoing is valid if you are a serious and trained writer, "with a vocation for permanence." If you just want to have fun, entertain yourself, and fool others (if they let them), then don't read the ten points above. Literary contests Those who have written his first poems usually considering them little less than great, and consequently he rushes to participate in one or another contest, waiting for the recognition he dreams of deserving. Each of the participants hopes to win, trusting in the good judgment, impartiality and illustration of the of the jury, completely dismissing the other competitors and with apparent forgetfulness that, in the best of cases, the prizes will not exceed three.

The good faith of the contests cannot be questioned a priori and in general, but their comparative results indicate that luck also plays here, as in everything else. Whatever it is, luck exists, since futurologists always count on it in their predictions. As a guarantee of impartiality, the custom of appointing writers to judge writers should be reviewed, at least in Colombia, and choosing the jury among critics, professors, authors of genres other than the one in the contest, editors or nonbelligerent intellectuals in the domains of the genre. Which is summoned. I am convinced that the juries handle professional jealousy against any outstanding author in a contest and consequently prefer to award the prizes to the second winners, who do not represent any future danger of competition. And if it is not so, then it is that they do not read, or they do not know how to read. The latter I have been able to personally. Whoever submits to the contest would do well to forget about the matter after the delivery of their originals, and not take their victory for granted but, on the contrary, be willing to accept the decision without objection. Not only to practice the rule of knowing how to lose, but because all artistic judgment is subjective and is based on personal criteria, somehow arbitrary and always debatable. Whoever participates in a contest accepts in fact the promulgated bases and waives controversy due to the ruling. If you win, you should not be overjoyed, for your success is relative by definition; and if he loses, he should not resent it, since he does not know all the works that participated. The flaws that are often pointed out in contests are more imaginary than real and always come from repeatedly frustrated contestants. Neither winning a contest graduates, anyone of genius, nor going unnoticed diminishes their future possibilities. The reactions that are observed after each contest make platitudes like this come true. Poetry contests have always existed, and disagreements between poets as well, and there is nothing to be surprised about. As has already been said, the only obligation of the writer is to write well. And if you have the finished work prior to the announcement of a contest, participating may be one of the few ways to publish a book of poetry. As for the number of jurors, they must be four or five. Not three. Because two

are amangualan. Poetry book Aspiration of every poet is his first book of poems. The book is made up of two distinct parts: the text itself and the editorial presentation. Poor presentation renders good text useless, which is always regrettable. The poor text, well printed and bound, looks like a monkey in a suit, and it is also regrettable. The ideal book: well written, interesting, graphically well crafted. Let's talk about the content of the book: it is now (in Colombia) to impose an absurd concept of "thematic unity" in the book of poems. Unjustified whim, meaningless. Each poem constitutes a unit in itself and does not necessarily have to be related to other poems. Let's open the books by Silva, Valencia, Barba-Jacob, León de Greiff: Thematic unit? Those who now demand that do not know poetry. That demand cannot be met. If heeded, it would turn poetry into something like essays in verse, treatises on things, professional writing on forced subjects. The poets have preserved their creative freedom. Those who try to impose rules can be sure that they will not be heard, even if they turn them into a contest clause. What each poem in the book must have is “quality control”, according to the author's purposes only. If this were not the case, all opportunities for the new would be closed. Those who deny that opportunity, argue that there is nothing new: that the day that is born is the same day as always, all too well known. That "quality control" should be in charge solely of the ingenuity of each author, and nothing else. That is why it is called self-criticism. If he is wrong, general indifference occurred. Some authors consult their originals previously, in order to receive opinions and confront their personal appreciation with them. In making the final decision, the safety of the perpetrator is tested. When someone complains that when selecting his poems, the best ones were not chosen, the fault lies only with him, since he recognizes that not everything he has published is of equal quality. Let's talk about publishing: it is often the case that Theron’s poets, when publishing their books, give themselves the pleasure of directing the edition without possessing the required technical knowledge, and then blame the printer for the poor quality of the book. That is a national vice. Everybody wants to do what they don't know, and then they find a way to the blame for their mistakes on to someone else.

Anyone who wants to edit a book, without previous experience, should seek advice, since the editing costs are high and the risks ruinous. In poetry you should not use small types (less than ten points) unless you want to avoid photocopying, and the spacing should be wide, separating the stanzas or parts of the poem well. If a graphic designer is available, the diagrams and proofs should be examined. As for the cover, it is essential to order sketches, review final art and, finally, sees proofs and control the printing. All precautions are little when it comes to printing a book, because the chances of it being spoiled are numerous and present at every turn. Printer and publisher are not always the same. Printing is a technique and an art. The edition has two meanings. The editor is the one who bears the financial risk. The perpetrator's risk is no less threatening. The art of the headline "The title is the essential metaphor of a book." Ernesto Sábato. The inability to title the poems is very well disguised leaving them untitled. There is a good excuse: excellent poets who are bad headlines. A poem without a title is like a person without a name. To solve this defect, the editors have a resource: the first verse, or first words of it, become the title. This is essential, among other things, to form an index. Another editorial resource is to simply title them "Poem” or designate them by a number. Therefore, the author who leaves the text without a title, is tacitly accepting the resources with which the editor will supply a disability that sometimes disguises itself as originality, if not laziness, and that is nothing more than a fool. Untitled poems have a fragmentary appearance and therefore are susceptible to all kinds of typographical errors. Any title is preferable to no title. Lack of title indicates lack of purpose in writing. How can I trust an author who can't even come up with a simple title?

An author with such mental poverty surely does not have anything interesting to say to me, because he did not even know how to draw my attention with a title. Those with such silly resources as the lack of a title intend to annoy a potential reader and believe that annoying him is what they should do, in reality they do not annoy him: they only drive him away. To give the same title to several poems is to unite them in an identity. In that case it is convenient to add a number for the benefit of the reader. Although there is a certain elegance in not doing it. It all depends on the intention. Nobody publishes a book without a title, but a poem does, which denotes contempt for the poem, or the fair appreciation that it does not even deserve a title. The untitled poem is a fetus. Something that was not completed. Aborted text. Abortion is practiced among young poets. Goodness. The headline style varies with the times. A workshop leader told me that no title is also a form of title. Citations and captions Uncultivated writers are very fond of using captions and quotations to appear to know a great deal. Sadly, the awakened reader is quickly aware of it, and naivety is exposed. Quotations should be used sparingly, only when they are appropriate and necessary and enhance the text rather than detract from it. An overloaded text of quotes resulting pedantic and indicates that the author has nothing of his own to say. When the citation is placed in a foreign or ancient language, it should be translated for the benefit of the average reader and general understanding of the text. Omitting the translation resulting from insolent pedantry that the reader does not excuse, even if he knows the source language. Headings have a certain elegance if used sparingly and if they fit the text. They should not accumulate too many epigraphs at the beginning of a book, and they should not be used to start a story, because the story is a genre that does not resist the epigraph. The epigraph in a story will always be unnecessary, and it is in very bad taste because it appears forced and carried by the hair. The one who is going to start a story starts it without further ado.

Preambles are always intolerable to the reader or the public. Instead, the epigraph can appear in a poem, at the beginning of an oratorical piece, or to start a book or chapter. When the epigraph is placed at the end it is called an epilogue. And it is nothing new, as some seem to believe. You don't find many epigraphs or many quotes in the great writers. We take it from them. The appointments should not be very long. In this case it is better to refer the reader to the original work, or to make a summary. The quoted section should not be divided to make it say something different from the author's thought. The entire quote must be enclosed in quotation marks or italicized. The opposite constitutes misappropriation and whoever does so is discredited in front of the informed reader. Don't think there isn't. When Ernesto Cardenal includes preColumbian indigenous texts in his poems, either they are by an unknown author and their provenance is collective, or the origin and intention are clear from the context. Dedications When in a book all the poems are dedicated, that does not mean that the author retains much iration, but that he had many debts at the time of publishing his book, or that he tries to spend many vouchers, to collect them later. At first the books were placed under the protection of a prince, in flattering dedications and interested parties. Now authors have more autonomy and can realize the luxury of being modest, dedicating their works to their family and friends. Inspired by the old dedications, Borges used an original, expressive, elegant formality. He knew how to offer style and chivalry an everlasting gift that honored its recipient, as it should be. Those who offer anything, for whatever reason, either do not appreciate the person they address enough to put such an offer in their hands, or they overestimate the value of the offering, or they are too poor of wit to give anything of merit. The dedications must be placed at the beginning of the work, because when they are placed at the end, they result in contempt for the person to whom they are

addressed. The dedication placed at the end is not an originality, but rather a rudeness. If the dedication is made with commendation, it must be sincere and sober, in the case of living people. The dead can be blatantly praised, because they no longer blush. The poet Eduardo Escobar dedicated a book “Para Noia”, and for a certain time I was wondering who that Noia would be, whom I had never heard of. Eduardo knows so many people, I thought... I had a collection of weird and curious dedications. I spent fun afternoons reviewing it, until I came across one that said: "Myself." It was from Walt Whitman. There is another class of dedications: they are those that are written to give a copy of a book. Books usually have a blank page for that purpose, but as such a page is frequently torn in order to have the respective copy, some authors prefer to autograph the title page, or the false cover, or also the first page, according to the importance of the document. Affair. Gonzalo Arango was a magician of dedications, which gave additional value to his books. I never knew if they obeyed a patient prior elaboration, but everything seems to indicate that he improvised them at the time. This kind of dedication is not easy. It is easier to write the book. If you do not have great wit, sobriety is preferable to the transcendentalist attempt to leave famous phrases for posterity that in the end only turn out to be ridiculous. Keep in mind that the dedication of a book should be addressed only to the person to whom it is given, and in no case to the probable and future readers of the book. Prologues If a book of poems, in general, has all the poems left over, how much more does

the prologue have left over! He who seeks prologue seeks recommendation, and he who seeks recommendation is because he is not worth by himself. The good book of poems, of which its author is completely sure, does not require a prologue. The author of a book should not worry about forewords. That is the job of the editor in later editions. A preliminary essay looks great in complete works and anthologies, but the foreword in the first book is a crutch. The author who begins with crutches indicates two things: either that he was born crippled, or that he is seeking courage. The second worse than the first. There are books that are only valid for the prologue, which is stated on the cover. There are also those whose merit is in the quality of the edition. That is why they say that there is no book so bad in which something good is not found. Preferable a modest little book, that does not contain the praise of himself, of whose text we do not want to get rid of. That is the one to write and publish and leaves the prologues to the lizards. Worse still than those who ask for prologues are those who offer them, because they want to go on horseback in someone else's work. And there is also the wellknown business of prologues, that exchange of favors that distorts the objectivity of criticism, tarnishes friendships and dirties everyone's life. Full of false reputations, Colombian literature is a blatant hoax, a cleverly promoted scam, because the ignorance of the people is lucrative. Those who believe in the "best sellers" list does not know how that list is made. A "most read" list would not be a reliable index either. The good reader chooses for himself. Reject propaganda The only prologue that the book of poem resists is the one written by the author himself, as a presentation, and any other text would be better as an epilogue, because the conclusion belongs to everyone, and only the author announces his work. If a prologue is longer than the book, the parts should be reversed and the book should be placed as the prologue to the prologue, and so on. It has not been said how many words a prologue should contain, but in any case, fewer than are written. The other time I read such a long foreword that afterwards I did not have the courage to read the book. I brought it up to the author of the prologue and he

said it didn't matter. All books should have blank pages at the beginning, so that readers can write the prologues and epilogues. It would be a way to train active and participating readers, in which the text causes vital reactions. No one can do a better foreword than the author himself, since he is the only one who understands the book. The others make approximations. If the book is about poetry, all the more reason. An excellent warning that Aloysius Bertrand gave to his “Gaspar de la noche”: “Here is my book, as I wrote it and as it should be read, before the critics obscure it with their interpretations”. On one occasion I sent a small text to a specialized magazine in which I spoke divinely against criticism. Although the text had been commissioned to me, a "Critic's Praise" appeared in its place, intended to teach me a lesson, because being on good with critics is part of the strategy for building and maintaining literary reputations. In spite of everything, the prologues usually contain something good and very funny: the reader immediately realizes the reluctance of the prologue, forced to demonstrate his good nature, and the ingenuity that he has had to waste to tell lies and nonsense so that they unnoticed by the applicant of the prologue, but shine before the reader. And so, writing requested forewords becomes a true art, full of wit and malice, which often turns out to be the best part of the book. Pseudonyms Beginning writers often use the pseudonym to hide their identity. Reasons:

a) Youth fondness for costume play. The pseudonym is a mask. You want to hide behind it, to appear what you are not.

b) Search for a literary name to replace his own name, too common or not very relevant.

c) Concealment from friends or family. Critical experimentation. Bad

conscience.

d) Follow a custom of journalism, originated in the persecution that public writers are usually subjected to.

e) Immaturity. Diffidence. Inferiority complex. Fear, attempt to avoid responsibilities. Hypocrisy: throwing the stone and hiding the hand.

f) Appear to be a foreigner because it is believed that it will be read that way.

Sometimes the game lasts for a lifetime, as in Leon de Greiff. But the individual who answers for his actions always signs with his name. What you have to do is learn to write well, so that the text deserves our signature. You also have to learn to avoid legal and social pitfalls. The good writer needs to be cunning. Its effectiveness will depend on its ability. Pseudonyms inspire nothing but mistrust. Only the one who pretends to deceive us appears to us dressed in another skin. The pseudonym is a scam, or a cowardice, or a lack of personality. Those who use a pseudonym are able to change their sex. Has occurred. However, the pseudonym also obeys the adoption of a literary name that seems beautiful, appropriate to a writer, and possesses memonic qualities due to its rarity, sonority, significance, or proposed analogies. Some writers use different pseudonyms simultaneously. The public identifies them by style and theme. Or they identify themselves by adding the photograph to the pseudonym, in which case the function of the pseudonym is literary and aesthetic.

The use of pseudonyms confirms that what is important is the text, not the author. Finally, there is the psychological pseudonym, by means of which the author highlights his character, qualities or conditions that adorn him or that he would like to have. Heteronyms are something else: an editing trick. Public Read Today pathetic declamation is still customary, and declamation contests at festivals and celebrations are frequent. While declamation is still a living art, expressive exaggerations surely lead to ridicule and kitsch. Barba-Jacob used an intermediate method between declamation and reading, a system that continues to be useful for those who do not master theatrical art. Those who are also actors will find a natural way to say the poem, without simplicity, but without too much alacrity. The poet who is fond of performing in public should take a course that includes breathing, diction, and body expression, not as a speaker but as an actor. As long as you don't, you can replace professional exercises with recorded rehearsals. By listening to himself, he will try to correct the main defects of his voice, especially in of clarity, intonation and expressiveness. This chapter is not concerned with professional declaimers, but with poets who must record or say their own verses in public. To entrust all the effectiveness of the text itself is to ignore the collective psychological mechanisms. Good presentation of the poem in public is equivalent to good editing in a book. Reading in public requires personal qualities or substitutes for them, in the manner of the actors. Safety, firmness, naturalness, clarity, eloquence, and the occasional distinctive feature that gives the individual touch and contributes to producing an effect must be sought above all else. In general, poets are poor readers of their verses, but as there is never a lack of opportunities to read, a little effort in that sense will always bring good results for those who, putting laziness aside, worry a little about their personal presentation in public. The audience may

be three friends, but those three friends must be very impressed and glad they listened. Poets tend to despise this aspect of their work, in which they are wrong. From its origins, poetry has been closely related to theater and many poems lend themselves to being staged, as well as others become songs. In these cases, the author must leave complete freedom of interpretation to those who assume that work, authorizing them to make cuts or modifications to the texts that may be necessary for reasons of euphony, vocalization, time, or requirement of the musical composition. The orality of poetry comes from its beginnings and continues to be an effective method of transmitting the poem. Since the general public cannot read poetry, they often only grasp its meaning by listening to the author or a professional reciter. Oral poetry finds ever greater possibilities in new technical systems. Poets will do well to take advantage of them, as a compensation for editorial difficulties and the restrictied circulation of the book of poems. To paraphrase Chairman Mao, may the modern serve the ancient: may advance technology recognize the eternal truth of poetry.

Exercise 1: Writing Resources

Write in your notebook three sentences that express a certain feeling, or that define it. Once this task is finished, you are going to share those phrases with the rest of the class, your teacher will write them down on the digital board, where they are recorded along with those of your classmates. What do you think of the phrases of your colleagues? And what feeling do they express? Express your opinion in your turn to speak. Now form a group of three to continue with this task. Are you ready? Choose three poems (Search and from a web browser) and from each one chooses a stanza of three to five lines.

Song of the pirate (José de Espronceda) The Guardian Angel (Gabriela Mistral) To Margarita (Rubén Darío) My old house (Juan Morales Rojas)

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Then read the chosen stanzas out loud several times and discuss as a group what you have understood about the poems and what feelings they have awakened you. To make your work easier, you can use these questions:

✓ Who or what was the author thinking of when they wrote it?

✓ Are the verses happy or sad?

✓ What do you imagine when you read the verses?

✓ Once you have expressed your opinions, prepare a table with the chosen verses and the interpretation extracted in a text document.

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Save the document on your computer with the name "We_Interpret", since you will need it in activity 2: "The interpretation". Links to read poetry: http://bibliotecadigital.ilce.edu.mx/sites/fondo2000/vol2/12/htm/sec_5.html http://www.viulapoesia.com/pagina_1.php?tipus=2&subtipus=2&itinerari=29

Exercise 2: Interpretation

Let's Practice Together: Illustrated Poetry. Meet again as a group, with the same classmates from the "Words of the heart" activity. Are you ready? Take back the text document "We_Interpret" and illustrate with images the chosen stanzas and the interpretations that you made of them. Image Bank http://recursostic.educacion.es/bancoimagenes/web/ http://www.pics4learning.com/

Write poetry

In this didactic sequence, important aspects about the understanding and interpretation of poetic texts will be discussed. The format and characteristics of a poem will be known, as well as the aesthetic sense will be valued and developed. This didactic sequence will be working in a collaborative and participatory way. For the work to be optimal, it is necessary to follow the guidelines and orientations that are indicated in each activity, always keeping in mind the sources of information that are proposed. Before starting the activity, you will know what a poem is and how they are measured, access the resource and discover it! The measure of the verses Since you already know what a poem is, now you are going to access the following resources to learn the different styles or literary resources that can be used in poetry. Stylistic resources The writer uses the common language, but subject to a will to form. This means that the writer carefully watches his expression to achieve beauty. For this it uses certain means or resources, called style or literary resources, but which are not exclusively on this language, since they are also used in ordinary speech. Stylistic resources are used in both verse and prose and due to their characteristics, we classify them into three groups:

Of a semantic type. Of a morphosyntactic type. Of a phonic type.

Comparison or simile Semantic type. Two are related, one real and the other imaginary, between which there is some similarity. Example: "His throat was long like an ostrich." Quevedo Metaphor Of a semantic type. It is the translation to a signifier of the meaning of another, because there is a relationship of similarity. It is an unexpressed comparison, as the actual term is not stated. Example "Your parchment moon Precious touching comes ". Garcia Lorca Allegory Of a semantic type. It is the succession of one or more words when supplying their meaning to others. Example "My poor gondola

among the waves unveiled and among the waves alone ". Lope de Vega Ellipse Of a semantic type. It is the deletion of one or more words when supplying others with their meaning. Example "The (hour) of dawn would be when Don Quixote..." Cervantes Personification Of a semantic type. It consists of attributing to inanimate beings qualities typical of animate ones. Example "With my crying the stone, shake". Garcilaso Hyperbole Of a semantic type. It is the exaggeration in the expression of ideas, feelings or actions. Example "Lies on this hard slab

such a thin woman that in the sheath of a sword, it was brought to the grave. " Baltasar de Alcázar Antithesis or Narrate Of a semantic type. It consists of opposing phrases or words of opposite meaning to highlight one of them. Example "When I want, I don't cry and sometimes I cry without meaning to. " Ruben Dario Paradox Of a semantic type. It is the seemingly contradictory expression of a complex thought or feeling. Example "I live without living in me, and so high life I hope that I die because I do not die ". Teresa of Jesus Irony

Of a semantic type. It consists of saying in a mocking tone the opposite of what is apparently said. Example "The devil to the innkeeper: Fed up is that sweat the water, don't sell it to us for wine ". Quevedo Metonymy Of a semantic type. It consists of designating one thing with the name of another with which it has a causal relationship. Example "I read Cervantes", for "I read a book by Cervantes". Hyperbaton Morphosyntactic type. It consists of the alteration of the normal grammatical order of the sentence. Example "From the hall in the dark corner..." Becquer

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Reduplication Morphosyntactic type. It is the repetition, two or more times, of a word within the same sentence. Example "Run away, moon, moon, moon, I already feel the horses ". Garcia Lorca Polysyndeton Morphosyntactic type. It is the repetition of conjunctions without being grammatically necessary. Example "The chariot and the horse and the knight..." Fernando de Herrera Asyndeton Morphosyntactic type. It consists of the suppression of conjunctions. Example "Jump, run, fly, It crosses the high mountain range, occupies the plain ". Fray Luis de Leon

Anaphora Morphosyntactic type. It consists of the repetition of one or more words at the beginning of several verses or sentences. Example "The rich man dreams of his wealth, What more care offers you. Dreams the poor man who suffers their misery and poverty. The one who begins to thrive dreams. The one who toils and pretends dreams ". Calderón Pleonasm Morphosyntactic type. It is the use of unnecessary words to highlight an idea or feeling. Example "Your eyes are so strong, my belly crying..." Poem by Mio Cid

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Epithet Morphosyntactic type. It is the use of a significantly unnecessary adjective, to express a quality inseparable from the meaning of the noun. Example "Of green willows there is a thicket." Garcilaso Alliteration Phonic type. It is the repetition of one or more sounds to produce an acoustic effect. Example "In the silence you only heard a whisper of bees that sounded ". Garcilaso

The rhyme and the measure of the verses

Rhyme Rhyme is the total or partial repetition of sounds in two or more verses starting from the last stressed vowel. Example: 1st: Leave, child, the saline. ____________ a 2nd: from the bottom and raise the sky to me _______ b 3rd: of the fish and on your hook, ______ b 4th: my little sea gardener. __________ a In this poem by Rafael Alberti, they rhyme: The 1st with the 4th verse (they end in –ar). The 2nd with the 3rd verse (they end in –elo).

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The verses that rhyme with each other is named with the letters of the alphabet (lowercase if they are of minor art, and uppercase if they are verses of major art). The verses that do not rhyme with any other of the poem are left loose and are marked with The rhyme in the verses can be of two kinds -Consonant rhyme: identical sounds are reproduced in different verses, in order, from the last stressed vowel of each one of them. Example: suitcase - jacket – shirt. Spanish words. -Assonance rhyme: when only the vowel sounds coincide in the rhyme. Example: house - wing - face // air – dance. Spanish words.

The measure of the verses Each line of the poem is a verse. Measuring a verse consists of counting the number of metric syllables, which are not grammatical, that it has. When measuring the verses, you have to keep these three things in mind: -When a word ends in a vowel and the next word begins with a vowel, they form the same syllable. This phenomenon is known as synalepha. -If the verse ends in a sharp word, one more syllable is counted. -If the verse ends in an esdrújula word, one syllable less is counted. Verses of major art and minor art When the verses measure 8 or less than 8 syllables, they are verses of minor art. When the verses measure more than 8 syllables, they are verses of major art. The verses are named depending on the number of syllables they have: Disyllables = 2 syllables Trisyllables = 3 syllables Tetrasyllables = 4 syllables Pentasyllables = 5 syllables Hexasyllables = 6 syllables Heptasyllables = 7 syllables Octosyllables = 8 syllables Eneasyllables = 9 syllables Decasyllables = 10 syllables

Endecasyllables = 11 syllables Twelve syllables = 12 syllables Tridecasyllables = 13 syllables Alexandrines = 14 syllables Measure of verses Measuring a verse is counting the poetic syllables it contains. To measure the poetic syllables that a verse contains, the following parameters must be taken into :

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The synalepha When a word ends in a vowel or in / and / and the next word begins with a vowel, in / and / with a vowel sound or in a silent / h /, a fusion of the two syllables occurs, so for the computation of poetic syllables, one less than the grammatical ones will be counted. A 'diphthong' is formed without taking into the general rules for the formation of diphthongs and triphthongs (if the union is strong or weak vowels) and it is computed as a single metric syllable, in union with the consonants that compose them. In some cases, the sinalefa groups the syllables of three words into a single syllable. You should not execute the synalepha in the case that one of the two vowels, and much less when both, are tonic. Examples: Give me encouragement when I enter your house, if I was something different. Or put another way: Making synalephs with stressed vowels produce inharmonic verses. Neither is the synalepha possible when it coincides with the caesura of a compound verse. Although synalepha is a constant phenomenon in speech and occurs naturally and spontaneously in verses, the poet may forego the application of synalepha in some cases. This personal decision is called poetic license. -Synalepha double or multiple sinalefa is called the case in which three or more vowels belonging to two or three words are fused in a poetic syllable. In multiple synalepha, the most typical thing is that in the center there is one —or more than one— strong vowel (a, o, e). The weak vowels (u, i) occupy the extremes, as in triphthongs: I'm dying, and still life I fear... // ... smiling, wisely and slowly...

But there are different cases as in that it was something different = 8 syllables. Within the difficulty of applying the rule of the synalepha as fixed and invariable, there are cases such as in the poetry "Canción del pirata" by José de Espronceda, where four vowels intervene in a single synalepha: Asia on one side, Europe on the other, = 8 syllables = A-sia even-la-do, al-o-tro Eu-ro-pa, and they continue to fulfill the norm of strong vowels flanked by the two weak vowels. But there is a case, almost unusual, in which a double synalepha is formed in which the five vowels intervene; is in the verse he returned to Europe from America = 8 syllables. The grammatical syllables are those that are here separated by hyphens and spaces; the fusion occurs in the syllables highlighted in red and underlined, and they are counted as a single syllable; that effect is what we call sinalefa. Exceptions: The synalepha is not formed when the / h / is followed by the diphthongs ia, ie, ue, ui, (in which case, the sound is like ya, ye, güe, güi). Examples dust, sweat and iron the Cid rides. // United they are like flesh and bone. Hiatus It is the poetic license that makes the effect completely opposite to what was said for the sinalefa. But the hiatus becomes a parameter of obligatory inclusion when it comes to separating the composed verses at their point of union (caesura). The application of the hiatus is usually done to avoid the synalepha between two words where

one or both of the vowels that intervene carry the rhythmic accent, and lastly, by the capricious or interested decision of the poet himself within what has been given the call poetic license. Among these parameters that intervene in the metric construction of the verse: synalepha, hiatus, umlaut, syneresis, according to its ending etc ..., synalepha is a constant phenomenon in speech and occurs naturally and spontaneously the verses, while that the other parameters are applied much more infrequently or restrictedly, almost always subject to the whim of the poetic in what has come to be called poetic licenses. The verses with a number greater than 11 syllables, are considered as verses composed of two simple verses, and therefore the point of union of the two primary verses is called caesura. Caesura or pause that invisibly divides a composed verse, prevents sinalefa. The syllabic computation of a compound verse must be done by counting the syllables of each primary verse separately, applying the rules described here for the measurement of the verses, that is: sinalefa, hiatus, umlaut, syneresis, according to their ending. Exceptions for the application of the synalepha It is not advisable to apply the synalepha (or syneresis) when the main stressed syllable of the verse comes into play (the penultimate syllable), it is not usually harmonious to apply the synalepha (or syneresis) because it produces a bad sound. Two words that at the beginning of the verse marry into an acceptable synalepha (or a single word with syneresis) at the end, and when the main syllable of the verse comes into play, they usually disharmonize if the synalepha or syneresis is made there. Hence the importance of rhythmic accents where the main one of all of them is the one that falls on the penultimate syllable of each verse. We can find, however, poetry that does not take into that requirement of good harmony.

Of all the verses that do not comply with it, it has been seen that the least disharmonious is the synalepha applied to the golden words when they go to the end of the verse. Although it is always better not to apply those two parameters there. When a verse may offer doubts to its author, or when it is suspected that readers may make various interpretations about its metric, it is advisable to find another verse with a similar expression and that does not offer room for doubts. The umlaut (or dialepha). It is the poetic license by which a diphthong is undone when we want to obtain one more syllable in the verse to achieve a harmonious meter. (The correct thing would be: ins-sa-cia-ble) To indicate where we have produced the poetic umlaut, we place on the corresponding vowel (always the weak vowel) the two dots identical to the grammatical umlaut. Synaeresis It is the opposite of the umlaut. It occurs when two vowels that do not form diphthong normally, are pronounced as if they formed it, in order to subtract a syllable from the verse by imperative of the harmonious meter. When it ends in a sharp word If the last word of a verse is acute (or monosyllable), it is necessary to add one more syllable to the verse. When it ends in word proparoxytone If the last word of a verse is proparoxytone, (or sobredrujula) it is necessary to subtract one syllable to the verse.

Types of Poems

All types of poems and their structural characteristics. Examples of types of poems Sonnet The sonnet is composed of 14 hendecasyllable verses of major art, two quartets and two triplets. The rhyme of these verses is usually ABBA-ABBA or ABABABAB, while the triplets can rhyme in CDC-DCD and CDE-CDE. Wounded sonnet

The rain on the windowpane the air of a shared plaza, the handkerchief of shadows of life, the night of Madrid and its morning,

love, the illusion of the future, the pain, the truth of what was lost, the constancy of a determined dream, the human freedom to decide,

the rush, the politics, the market, the news, the voice, the indiscreet desire to know what is silenced,

the rumor, the lies and the secret, everything that death has taken from you I would like to return it in a sonnet.

Luis Garcia Montero Third 3 hendecasyllable verses. 1st and 3rd verse -> consonant rhyme.

But I suffered you. I tore my veins Tiger and dove on your waist In a duel of bites and lilies. Federico García Lorca

Quatrain 4 eight-syllable verses (8 syllables each). 2nd and 4th verse -> consonant rhyme.

They say that love does not fierce neither iron nor with a stick,

but he has me dead the one that I bring by the hand.

And all the children's choir the lesson is singing: «A thousand times a hundred, a hundred thousand. A thousand times a thousand, a million ».

Antonio Machado

Lira - 5 verses - 1st, 3rd and 4th, heptasyllables (7 syllables each) - 2nd and 5th hendecasyllables (11 syllables each)

Song V If my low lira so much could he be, that in a moment anger appeases from the spirited wind

and the fury of the sea and movement,

Garcilaso de la Vega Romance - Indefinite number of eight-syllable verses (8 syllables each) - Assonance rhyme in even verses - Free rhyme in odd vverses

Prisoner's romance That by May was May, when it's hot, when the wheat grains and the fields are in bloom, when the calender sings and the nightingale answers, when the lovers they are going to serve love. But me, sad, caring, that I live in this prison. I don't even know when it's daytime nor when the nights are,

but for a little bird that sang to me at the dawn. A crossbowman kills her. Give God a bad reward. Amancio Prada

Tenth - Stanza of ten eight-syllable verses. - Consonant rhyme distributed according to modality.

Celestial synesthesia The tactile pious star –Minimal sidereal bird– Sparkling melody the fierce frigid night. Broken the egg of the moon, the chick jumped. Timely, candid spark in cry that makes the sky more human: To reach Despite the infinite space.

Jorge Guillén

Ode - It is divided into equal stanzas - Celebrate feat of people or attributes of things Example of two stanzas from Garcilaso de la Vega's "Poem Oda Ad Florem Gnido":

For you like I used to of the rough knight does not correct

the fury and gallantry, nor does he rule it with a brake, nor with lively spurs it afflicts him.

For you, with the right hand

does not stir the swift sword, and on the dubious plain flee the dusty Palestra like a poisonous serpent.

Acrostic - Message formed by the initial, middle or final letter of the verses forming a word that is read vertically.

I spend the cold winter; it is already moving away. Roses, lilies and jasmine, The gardens are filled with aroma. Butterflies of many colors. Trees, plants and flowers Green shoots on all its branches. Station expected by all. Renew illusion and fantasy, Love of youth and joys.

It is easy to find the word SPRING in this poem by Arjona Delia. Calligram - Verses take a topographical arrangement, forming a figure relative to the theme of the poem.

Couplet - 3 or 4 eight-syllable verses - Serves as a popular song These formations can be repeated until forming a song. Many popular music compositions follow this pattern.

With green and gold badge He came in a moonbeam,

From the moon of the month of January, he was a boy from Osuna, that he wanted to be a bullfighter. Salamanca cattlewoman, I name her godmother, than the money and the cartel, if one day I get it, I put heaven as a witness, that I marry you. Concha Piquer

Eclogue

- Bucolic poem (of pastoral or country matter) - It's about love between shepherds

The sweet lament of two shepherds, Salicio together with Nemoroso, I have to count, their complaints imitating. Whose sheep when singing tasty they were very attentive, the loves, to graze forgotten, listening. You, who won by working a name in the whole world,

and a degree without a second, now be attentive, alone and given to the illustrious government of the State, To the bathroom; now back to the other side, resplendent, armed, representing the fierce Mars on earth. Garcilaso de la Vega (fragment)

Elegy

- Extensive poem - Expresses feelings of pain, melancholy and sadness * Heroic Elegy -> when the calamity is collective

When I lose you...

When I lost you, you and I have lost?

I because you were the one, I love the most

and you because I was the one who loved you the most.

But of the two of us you lose more than me:

Because I will be able to love others as I loved you, but they will not love you as I loved you.

Ernesto Cardenal

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Epigram - Very short, funny and satirical poem The prayer

The verses are mine. When you declaim them, They turn from everyone, and you lose ownership

Epitaph - Inscription made on a grave - A short poem with a philosophical reflection or memory of the deceased person "Excuse me for not getting up, ma'am." Groucho marx Anthem - Solemn tone poem created to be sung - Highlights religious, patriotic, sports fervor, etc.

Hymn to the sea

Oh sea, oh myth, oh long bed

And I know why I love you I know we are very old.

That we have both known each other for centuries.

I know that in your venerable and laughing waters the dawn of Life burned.

(In the ashes of a tertiary afternoon I vibrated for the first time in your womb).

Oh protein, I have come out of you.

Both chained and nomadic.

Both with an intense thirst for stars.

Both with hopes and disappointments.

Both, air, light, force, darkness.

Both our vast desire and both with our great misery.

Jorge Luis Borges

Haiku - 3 verses - Generally, expresses love for nature

This path nobody goes through it anymore, except twilight.

Matsuo Basho

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Poetic prose -It expresses the inner world of the lyrical speaker, it is written in prose Prose: A form of habitual linguistic expression, not subject to the measure and cadence of the verse. The dog and the flask

-Cute dog of mine, good dog, dear dog, come and breathe in an excellent perfume, bought in the best perfumery in the city.

And the dog, wagging its tail, a sign, I believe, that in these mean beings, they correspond to laughter and smile, approaches and makes the wet nose curious in the uncovered bottle; then, drawing back in sudden fear, he barks at me, as if reprimanding me.

Greguerías - Curious, ironic or humorous phrase or thoughts. It is a sequence of words that is used in literature to accentuate an idea. It can be ascending, to reach a climax, or descending for just the opposite. What is the use of sowing crazy loves? if a disappointment comes that takes away trees, branches, leaves, fruit and flowers? In this stanza, the poet goes from more to less to highlight a lack of love (tree is more than branch, branch is more than leaf, leaf is more than fruit and fruit is

more than flower). Saying - Popular saying that contains a moral. Sayings are short sentences that usually convey some type of moral teaching, about how to act in certain circumstances, or some thought, tradition or observation widely rooted in a society. Sayings, which, unlike proverbs, are more popular rather than scholarly expressions, have been ed down between generations orally and some of them are only used in limited geographical areas.

Example 1:

"To what is done, chest." It conveys the idea that we must know how to face the consequences that derive from our actions.

Many sayings are rhymed couplet form to be easier to .

Example 2:

"To foolish words, deaf ears." It means that if someone tells you something stupid to hurt you for free, it is better not to answer; make it appear that we have not heard anything. Another variation would be "There is no greater contempt than not to appreciate" which comes to say the same thing.

What is a poem or poetic text? Broadly speaking, a poem is a type of text by which the poet seeks to express his feelings. In communicative , it is when the intention that the sender puts in the message is centered on the same message, for that reason there is a predominance of this (poetic) function. The poem has its origin in Greek antiquity, a time when the lyre (musical instrument) was used to accompany the words. It is therefore the oldest form of artistic expression and has its origin in orality. Characteristics of the poem or poetic text A poetic text presents various elements that make it characteristic. Below you will find a descriptive list that will help you understand its peculiarities.

1) The poetic text is a text that seeks to express feelings. Whoever writes the text is called a poet and the fictitious voice that is present within the poem is known as the lyrical speaker.

2) The lyrical speaker must have an attitude towards the world he is representing. This attitude can be carmine (of the song), in which a self predominates; it can be Apostrophic (dialogical), where the second person singular (you) predominates; or it can be enunciative (context), where the intention to tell a story in the third person (him) in a poetic way predominates.

3) The lyrical speaker represents his feelings (lyrical motifs) through tangible objects that he presents through the poem (lyrical objects).

4) One way to enrich the poem in playful, expressive or ornamental is through rhetorical (or literary) figures.

There are several, such as metaphor, synesthesia, epithet, comparison, etc. You can find on this page the ways to use them.

5) The poem may be subject to the use of metric rhymes, or it may be a freer verse. This decision will depend on the rhythmic intention of the poet.

6) A poem is a series of stanzas in verse, a stanza is a series of verses divided by a space, and a verse is a line of the poem.

How to make a poem or poetic text in 6 steps

Unlike other texts that are more rigid in structure, there are many ways to write a poetic text. Strictly speaking, it is a free text, so there should not be a manual to write it. Despite the above, we propose this manual as a starting point for a much more personal and liberating experience of poetic writing.

The first thing that should exist in you is the intention to express something. Every expression of an interiority implies a feeling, so we will understand this interiority as the foundation of your poem.

If there is a feeling that predominates at the time of writing, that is the temper of mind. That is, the mood that will predominate throughout the text you will write. If your feeling is sad, most likely that is the mood of your poem.

The second is to create a voice for your poem. Just as in the narrative there is a narrator who

tells the story, in poetry there is a fictitious voice that is called the lyrical speaker.

This lyrical speaker does not necessarily have to be defined; however, it is good that you know at least what or who it is. The lyrical speaker can be a person (a man), an animal (a dog), a thing (planet earth) or even an abstract idea (hope).

The third thing is to discover the lyrical attitude that the voice you have created will have. You could choose that that voice speaks from within only (carmine attitude), that its dialogue with another (apostrophic) or that it costs the story of a

third party (enunciative attitude).

Once you have chosen the attitude of your speaker, then you must begin to represent what you want to express through words. Poetry allows you to play at all levels of language, syntax (form), semantic (meaning), pragmatic (speech), etc. Take advantage of that fact in favor of your creative potential. Choose how many tangible objects you can recognize in your

environment (lyrical objects) and use them to represent the feelings (lyrical motif) through your poem. that every lyrical object in a poem implies a lyrical motif or feeling.

Do not forget that there are figures of speech. There are many and you can understand through this same page how to use them. Imagine them as the special effects that you can give your poem. True artifices that fill your poem with expressiveness, ornament and playful character.

Your poem can respond to the metric tradition, that is, have consonant rhymes, assonance or, be white rhyme (without rhymes). Use it if you feel that it contributes to the rhythm of your poem, or if you feel that it will help you memorize the text (Mnemonics).

Types of stanzas and poems

Knowing all the types of poems and the kinds of stanzas that exist is fundamental in the world of literature. Short poems We continue to decipher the lyrical world, after the articles "The meter and the rhyme of a poem" and "The meter of a poem: the verse and its measures", we close this topic of literature by describing the different types of poems that you will find and how many kinds of stanzas you have to learn to distinguish. Verse classes The stanza is a set of verses that usually share measure and rhythm. Learning to distinguish the different types of stanzas is the easiest thing you will find in the metric of the poems, because you only have to count the number of verses to know which poem we are facing.

Semi-detached The couplet is made up of two verses that can be minor art, major art or a composition of both. Normally the rhyme is consonant, but they can be assonance rhyme. Although the monkey dresses in silk, Mona stays. Third There are three verses of major art in which the rhyme is consonant in the first and third verse, and the second is usually free. When the triplet appears chained, the second verse that has remained loose usually rhymes with the first and third of the following verse, an example:

Moral Epistle to Fabius The summer flowers ed the autumn ed with its bunches, he spent the winter with his white snow. The leaves that we saw in the high jungles they fell and we are stubbornly. In our deception, we live immobile.

Let us fear the Lord who sends us the ears of the year and plenty, and the early and late rain.

Four-line stanzas Within this category we have to distinguish several types of stanzas composed of four verses: -Quaet: there are four verses of major art that rhyme in a consonant way, the first with the fourth and the second with the third. -Serventesio: There are four verses of major art that rhyme in a consonant, the first with the third and the second with the fourth. It will be the rhyme that differentiates them from the quartet. -Quarteta: they are four verses of minor art, but they rhyme the same as the serventesio. -Redondilla: there are four verses of minor art that rhyme like the quartet.

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Five-line stanzas There are three types of five-line stanzas that are easy to distinguish if you learn these definitions well: -Quintet: it is composed of five verses of major art with consonant rhyme, but an important detail, no verse can be loose or rhyme the three in a row or that the last two forms a couplet. "Only age explains to me with certainty why a constant soul, like mine? listening to an identical harmony, from the same thing that today draws sadness I used to bring out joy " Ramon de Campoamor -Quintanilla: Five verses of minor art consonant rhyme that maintains the same metric scheme as the previous one. -Lira: It is a stanza composed of five verses that have 7 and 11 syllables, its rhyme is consonant.

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Six-line stanzas Within this category we find two types of stanzas with six verses: -Sestina: these stanzas are composed of six verses of major art that do not have a fixed rhyme. -Copla de pie quebrado: it is a stanza composed of six verses, 4 and 8 syllables, with consonant rhyme, which is also called Copla Manriqueña. the sleeping soul, enliven the brain and wake up, watching how life is ed, how death comes so quiet. Jorge Manrique

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Exercise 3: Lists of alliterations and assonances

Create a list with a series of words with which it is possible to create alliterations or assonances. that an alliteration consists of the sound effect produced by the consecutive repetition of the same phoneme, or similar phonemes, in a sentence or in a verse; for example: Under the light wing of the slight fan (Rubén Darío). While the assonance consists of the repetition of sounds, generally the vowels of a phrase; for example: Up there, in the high mountains (Romance of the penance of King Rodrigo).

Exercise 4: Metaphors and similes for life

Make a list of important life events: birth, death, marriage, the birth of a child. Of course, you can think of life events that are relevant to you, regardless of the topics. Next, come up with a metaphor and simile for each of these events. that a metaphor consists of identifying something real with something imaginary; for example: It's not hell, it's the street (Federico García Lorca). For its part, a simile expresses the similarity between two things; for example: Some bodies are like flowers (Luis Cernuda). Bonus: write a poem about one of the life events using only the metaphor or simile you have chosen. Try to make what you write a bit ambiguous, so that the reader wonders if the poem is, literally, about the metaphor, or metaphorically about the chosen event.

Exercise 5: Letters and musicality

Pick a catchy song that you like and rewrite the lyrics. Try that the lyrics you write have nothing to do with the original theme of the song. What this exercise is looking for is that you pay attention to how the verses adhere to the rhythm and the beat. Listening to the song as you work on the new lyrics will help.

Exercise 6: Writing words

Among all these exercises is one that allows you to play word games, create verses or stanzas. It is used in many creative workshops and consists of: Make cutouts of words from a newspaper or magazine, stir them in a container and take them out one by one at random and form the verses. It may seem that they are isolated words but then they can be accommodated with connectors and the gender and number of each word can be exchanged. With this exercise it is possible to play with language and offer a range of possibilities to structure sentences.

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Exercise 7: List of words

Make three lists with the same number of words, one for nouns, one for verbs and one for adjectives, and then write verses. For example: Nouns, Verbs, Adjectives Home, Smile, Deaf. Water, Dream, Cheerful. Horse, Running, Violet. After making the lists, we will try to make word crosses: I dream of violet water near a house that smiles to the merry horses that run in the deaf fields Something important in the practice of writing is to create a personal habit. There are writers who force themselves to write a certain number of pages daily. There are those who take up to 10 years to write a single book. The important thing is to find your own

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style, set your goals well, and read along with your writing.

Exercise 8: Metric exercise

machines: artifact (the tumulus) voace: your grace, you incontinent: instantly plating: hat

Exercise 9: Guide map for writing a poem

Selecting some parameters from the following Map, make a poem of 2 stanzas, without rhyme and with verses of 14 syllables.

Exercise 10: Write a sonnet

Write a sonnet with consonant rhyme ABAB, of Alexandrian verses and that talks about love.

Exercise 11: Write an Ode

Write, a free theme Ode, in three stanzas of 4 verses.

Exercise 12: Write a romance

Write a romance, according to its structure before in detail. About a specific story, identified in the title itself.

Exercise 13: Create poems from giving examples

From a given example poem, make another poem with the same characteristics.

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Recommendations for writing poetry

It is common to consider that, to write a poem, it is enough to know how to capture a feeling that has been experienced. Without a doubt, that can be the basis of a good poem, but, if it is not done well, that a recreation of a feeling can only be understandable to the poet. And it is that the objective when writing a poem should be to communicate with a reader - based on the established conventions of a literary genre, conventions that will be familiar to the experienced reader - and generate an emotional response in him. The tips for writing poetry that we offer below seek to make a transition between poems that only manage to speak to their author and those that appeal to the feelings and emotions of any reader.

Be clear about the goal If you don't know where you are going, how can you get there? The first step in writing a poem is to be clear about what you want to convey with it. Therefore, before you start writing, ask yourself what you want with your poem: describes an event in your life, protest against a social injustice, or describe the beauty of nature? Once we are clear about the objective of your poem, you can shape its writing by taking each main element and putting it at the service of the ultimate meaning of the poem. Avoid cliches In poetry, a cliché is usually a metaphor or simile that has become so familiar from overuse that it no longer provides any meaning to the reader. It does not provide the liveliness of a fresh metaphor, but it does not have the force of a simple word either. Clichés make meaning insipid. Because they are so familiar that the reader can complete the sentences without having to read them. And if they don't read what you write, don't reflect on it either; or if they do not reflect, they will never discover those deeper meanings that mark the work of a poet. Problems starting with that novel that haunts your head. With the free guide Keys to start writing your novel you will have answers to all your questions: How to prepare the data for the first draft The formula to structure your ideas and create a solid plot. Exercises to put these keys into practice. Get ready to finish your novel and become a professional writer. You just have to here below:

Keys to start writing When writing a poem, avoid clichés. Avoid sentimentality Some poems are based on a forceful appeal to the emotions. However, readers may rebel against overly obvious attempts to invoke an emotional response in them, producing just the opposite effect as desired. Emotions should flow in a good poem, but never force them. Use images It is about painting with words, so that the reading of the poem stimulates both the emotion and the imagination as well as the five senses. You have to look for fresh and impressive images, as if instead of writing, we were filming, so that the reader feels that they are in the poem. Using metaphors and similes Metaphorical language is a powerful expressive instrument. Comparison, inference, and suggestion are inseparable elements of poetry, and similes and metaphors are tools that help us create them. The metaphor consists of the identification between two , in such a way that to refer to one of them the other is named. As in this example by Federico García Lorca: With the air / the swords of the lilies fought. The simile consists of highlighting or establishing similarities between two or more elements (objects, people, animals, situations, events). As in this example by Juan Ramón Jiménez: [...] and he offered me his cheeks / as one who loses a treasure. Take a look at other poetic devices that will enhance your poems. Concrete better than abstract Concrete words describe things that people experience with their senses (orange,

cat, heat). By using them, you get the reader to get a "picture" of what the poem is talking about and, consequently, it will be easier for them to understand its meaning. Meanwhile, abstract words refer to intangible concepts or feelings (freedom, happiness, love) that can awaken different ideas in different readers. Furthermore, due to their elusiveness, the concepts they represent can through the reader's mind without triggering a sensory response. Position As we have seen, a good poem has a recognizable theme. Well, as a poet you must position yourself with respect to it. The poem should be an affirmation of your own personal way of understanding the event, moment or feeling that you have poetized. Disrupt the ordinary The strength of poets lies in their ability to see the everyday with a new and different gaze. To write a poem you only need to take an ordinary place, person, idea or object and achieve a new perception of it. Use rhyme with caution Rhyme and meter can spoil a poem if you use them incorrectly. Choosing an inappropriate rhythm scheme will detract from the quality of your poem. Check The first draft of a poem is just the beginning. The normal thing is to prepare several drafts before having the "final" poem. Here we tell you how to correct a poem.

Ideally, let it sit for a few days and then read it again. When you meet him again, it is easier to consider him from an alien perspective that allows you to identify faults. Also, do not hesitate to give it to other people to read and accept their criticism and suggestions on those specific things that can be improved. Want more tips for writing a poem? You just have to our community of writers and you will receive every week ideas and tricks to write better every day. Leave your email below because you are welcome. "I believe that in my poetry is everything that I am now, my obsessions and concerns, my way of looking at life, society, history." Jose Saramago We think that creating beauty through language is a superpower that not all of us possess, since it is believed that true poetry must be strictly the product of a strong inspiration, a feeling or something that gives us enough courage to give ourselves the task of experimenting. With words, but the truth is that true poetry before being beautiful must be immeasurably sincere. There is no more poetic expression than that which, despite all the good and bad things, seeks the sincerity of feeling; precision is something the reader will dictate, while method will be more than metric; reminds Martin Heidegger "Poetry and art in general are manifestations of the truth." Indiscriminately, life and language are full of poetic expressions, complications appear when trying to channel an emotion adhering to linguistic precision. Reasons? If there were a word for everything that we manage to conceive as human beings, we would understand love perfectly and not only that, but we could also address other existential dissatisfactions through poetry. Just as the witty university professor said << Even what we don't do can have a name >> and nothing can be truer when talking about poetry, because sometimes even the most exaggerated feelings are considered poetry, always resorting to the crazy comparisons to try to get closer to the correct way to express what we feel. If your desire is to write a great poem before you die, or if you are one of those who often turn to literature to cope with life's adversity and have no idea how to start writing poetry, here are some tips for you. They can lead to taking the first step.

Read and listen to poetry Review the linguistic structure of poetry, identify the rhymes and investigate a little in the Verses de Arte menor and Versos de arte mayor, the best first steps: limericks, sonnets, sextinas, haikus and try to identify yourself with some of the forms of the poetry. Clarify your reasons Every poem has a special purpose or recipient, try to surround your target with poetic words and concepts, go to a couple of places to fuel inspiration, and write ideas or thoughts that illustrate your experience with the recipient in small stanzas. "Three or four weeks of absence and I long Five and six lovers for a couple of hours Seven, eight and nine jars tried to forget And ten linden tea rolls that were suddenly trying to make everything better. " Play with the contradictions Make comparisons and allow yourself to play with the contradiction by mixing the ideas a bit, think that if they were the colors, the combination of tones could surprise you. "I see sounds, I hear colors and only by being in front of you does ion have flavor." Be discreet in this regard, allow yourself to play lightly with the language and its rules, but do not go against the great virtue of written communication, try to change the usual meaning of verbs a bit: "Tattooed on the asphalt and only in his mind, the shadow delineated by a beam of light." If a poem is not sweet, it is too superb

Use some expressions that give solidity to your arguments to give it a touch of elegance, but always take care of coherence in the sense of the words - you don't want to spoil it, you almost succeeded. "A desire that, like the first prick of heroin, adheres to the flow of blood, allowing it to desecrate even the darkest corner of consciousness." Turn to the greats Use some reference to your favorite authors, light expressions that allow you to recognize a hint of a source of inspiration, avoid taking stanzas written by someone, but that only hurts your poem. Take, say, José Martí as an example: "She can't love me, her love left her scammed They say that he died of love as well as the girl from Guatemala”. Chorus Use refrains, and if this can be related to your title or some expression that manages to summarize the objective of poetry, it will be the best. Test your skill and exercise it by writing as much as you can, if the poem has a special recipient, do some different tests, different arrangements and overlays, so you can squeeze the best out of your verses; poeticize everything in your power and let yourself be surprised by the results.

So, you want to be a writer? (Fragment)

By Charles Bukowski If it doesn't come out burning from within, Nonetheless, do not do it. Unless it comes spontaneously from your heart and from your mind and from your mouth and your guts, do not do it. If you have to sit for hours staring at the computer screen or nailed to your typewriter looking for the words, do not do it. If you, do it for money or fame do not do it. If you, do it because you want women in your bed, do not do it. If you have to sit and rewrite it over and over again, do not do it.

If you get tired just thinking about doing it, do not do it. If you are trying to write like any other, forget it. If you have to wait for it to roar out of you, wait patiently. If it never rages at you, do something else. If you have to read it to your wife first, or your girlfriend or your boyfriend or your parents or anyone, you're not prepared. Don't be like so many writers don't be like so many thousands of people who call themselves writers, don't be dull and boring and pretentious, do not consume yourself in your self-love. The libraries of the world yawn to sleep with those people. Do not be one of them. Do not do it.

Unless it comes out of your soul like a rocket, unless you stay still I could drive you crazy to suicide or murder, do not do it. Unless the sun inside you is burning your guts, don't do it? When it is truly the moment and if it has been chosen, it will happen by itself and it will keep happening until you die or it dies in you. There is no other way. And there never was.

Tips from Edgar Allan Poe

Edgar Allan Poe's 7 Tips for Writing Stories and Poems Edgar Allan Poe, master of the horror literary genre, gives us some tips or advice to improve the writing of our literary stories and poems. What do you not know what they can be? Don't worry, we will tell you all about it below. Take a notebook and pencil and go pointing, and if you prefer some advice from Borges, Bolaño or Hemingway, by clicking on them you will have more information. Here are Edgar Allan Poe's 7 tips for writing stories and poems. Put an end before you start writing "Nothing is clearer," writes Poe, "that each plot, worthy of the name, must be crafted according to its outcome before attempting anything with the pen." Once the writing begins, the author must keep the ending "constantly" in order to refine the work and its consequences.

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Be brief Poe affirms that "if every literary work is too long to be read at one time, we have to eliminate everything that is left over" because if we were not, we would be forcing the reader to take a break and in that intermission the spell and magic would be broken. To read. Decide on the desired effect The author must decide in advance the impression he or she wishes to make on the reader. Poe here assumes the great capacity of the authors to manipulate the emotions of the readers. For Poe, those poems that make readers cry are the best... What do you think? Choose the tone of the work Poe states that "melancholy is therefore the most legitimate of all poetic tones." Poe employs, and recommends, the use of words that are forceful for the work itself. An example of quite forceful words is "never again", as he himself would use in his poem entitled "The Raven".

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Determine the theme and characterization of the work "The death of a beautiful woman", and "the most suitable lips for this subject are those of a late lover"; Poe chooses these lines to represent the most melancholic death. Contrary to the methods of many writers, Poe moves from the abstract to the concrete, choosing characters as spokesmen for ideas. Set the climax In "The Raven" Poe says, "Now he had to combine the two ideas, that of a lover mourning the death of his deceased and a crow continually repeating the word" never again. " To bring them together, he composed of the third to the last stanza first, which will reach the rhythm, the beat and the general organization of the rest of the poem. As in the planning stage, Poe recommends that writing "start at the end." Determine the stage Although it seems an obvious step that the writer takes before starting the play, Poe leaves it until the end, after

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he has decided why to place certain characters in that place where they will say certain dialogues. Only when you have clarified your purpose and outlined in advance how you intend to achieve it do you place the characters on the set stage.

How to write, by Umberto Eco

When it comes to writing, to find a method and sources of inspiration, there are no laws, there are no recipes, there are no tricks that work for all writers alike. Each writer must find his own rules, the ones that work for him and with which he feels comfortable. But there is only way to find them and that is by writing. Writing and making mistakes, writing and researching, writing and analyzing our writing. In “How to write”, a lecture included in his book, Confessions of a young novelist, Umberto Eco talks about the process of writing his novels, which is not always the same, because in reality, as he himself says, “the important thing is start". When interviewers ask me, "How did you write your novels?" I usually cut off this line of questioning by answering, "From left to right." I believe that it is not a satisfactory answer, and that it may cause some amazement in the Arab countries and in Israel. Now I have time to give a more detailed answer. In the course of writing my first novel, I learned several things. First, that "inspiration" is a dirty word that cheating authors use to appear intellectually respectable. As the old saying goes, genius is ten percent breaths and ninety percent sweats. They say that the French poet Lamartine often described the circumstances in which he wrote one of his best poems: he claimed that it had come to him completely composed in a sudden illumination, one night he was walking in the forest. After his death, they found in his studio an impressive number of versions of that poem, which he had been writing and rewriting over the years. The first critics who reviewed The Name of the Rose said that the book had been written under the influence of a luminous inspiration, something that, given its conceptual and linguistic difficulties, happened only to a lucky few. When the book achieved remarkable success, selling millions of copies, critics themselves wrote that there was no doubt that I had followed a secret recipe to the letter in crafting such a popular and entertaining bestseller, he had followed a secret recipe to the letter. Later, they said that the key to the success of the book was a computer program, forgetting that the first personal computers with programs capable of writing texts did not appear until the early 1980s, when my novel was already in print. In 1978-1979, the only thing you could find, even in America,

were those cheap little computers made by Tandy, which no one would ever have used to write more than one letter. Some time later, somewhat disturbed by such computer accusations; I formulated the real recipe for writing a bestseller on the computer: First of all, obviously, you need a computer, which is an intelligent machine that does the thinking for you. That would be a great advantage for many people. All you need is a program of a few lines; even a child could do it. Then you have to put the content of about a hundred novels, scientific works, the Bible, the Koran, and a handful of telephone books (very useful to find names of characters) in the computer. Let's say about 120,000 pages. After that, using another program, you have to randomize everything; in other words, mixing all these texts, adjusted a little —for example, eliminating all the es— to get not only a novel, but already a kind of lipogram of Perec. At this point, press "print" and, since you have deleted all the is, just under 120,000 pages come out. After reading them carefully several times, underlining the most significant ages, take them to an incinerator. So just sit under a tree with a sheet of carbon paper and another of good drawing paper and, letting your thoughts flow, write two lines. For example: "The moon is high in the sky / The forest creaks." Maybe what comes out at the beginning is not a novel, but rather a Japanese haiku. But the important thing is to start. Speaking of slow inspiration, I wrote The Name of the Rose in just two years, for the simple reason that I didn't have to research anything about the Middle Ages. As I said, my doctoral thesis was on medieval aesthetics, and after presenting it I continued studying the Middle Ages. Over the years, I visited a lot of Romanesque abbeys, Gothic cathedrals, and so on. When I decided to write the novel, it was like opening a large closet where I had been stacking my medieval archives for decades. All that material was at my feet, and I just had to select what I needed. For the following novels, the situation was different (although if he chose a certain subject, it was because he was already somewhat familiar with it). For this reason, my later novels took me a long time: eight years Foucault's Pendulum, and six years The Island of the Day Before and Baudolino. I dedicated only four to The Mysterious Flame of Queen Loana, because it deals with my reading as a child in the 1930s and 1940s, and I was able to use a lot of

old material I had at home, such as comic strips, recordings, magazines, and newspapers. In short: my entire collection of mementos, nostalgia, and trivia.

Annex "Learn to write poetry"

Glossary of literary

− Acataléctic: Greek, Latin verse that has all its feet right. In the old meter the verse in which no syllable was missing. − Accent: Upper tone that is printed on a syllable distinguishing it from the rest of the word. − Acrostic: Poem in which the initial, middle or final letters of each verse, read vertically, form a word or expression. − Adagio: A short expression that synthesizes a general observation or a moral principle. − Adynaton: Enumeration of impossible things. − Adónico: Verse of Greek and Latin poetry, consisting of a dactyl and a trochee. Eg soft zephyr. − Affix: Morpheme that is added to the lexeme or the root of the word. If it is added in front, it is called a prefix (e.g., stirs). If it is added, it is called a suffix (milkman). − Agnition: (From the Latin "Agnitio": to recognize) In the dramatic poem, recognition of a person whose identity was unknown. − Albada: Traditional song of probable troubadour origin that expresses the sadness of the lovers when they arrive at dawn. − Alborada: Song similar to the dawn, but that expresses the joy of the lovers at dawn. − Alejandrino: verse of fourteen syllables; many times, it is divided into two hemistichs of seven syllables, marked by a pause called caesura. − Allegory: a literary work with two parallel levels of meaning in which the characters represent ideas or concepts. − Alliteration: repetition of the same consonant sound in ssequence.

− Amebeo: Recitation in which two or more people take part alternately, frequent in eclogues. − Americanism: Voice, meaning or turn of the Spanish-speaking American peoples, collected in the Dictionary of the Spanish Academy. Court, potato, hammock, etc. − Amphibology: (From the Latin "Anphibology": ambiguous, equivocal) Double meaning, vice of the word, which can be given more than one interpretation. − Anacoluto: Break of the syntactic construction or omission of the conclusion of a sentence. − Anacreóntico: Generally anonymous poems of a light, funny, bacchic style, exalting pleasures in the manner of the Greek poet Anacreon (560-478 BC). Widely used in the lyric of the 18th century. − Anacrusis: Syllables that precede the rhythmic period of a verse, which begins with the first accent of the verse and reaches the unstressed syllable immediately before the last accent of the verse. − Anadiplosis: Reduplication. It consists of the repetition of one or more words of a verse at the beginning of the next verse. − Anagnórisis: See Agnition. − Anagram: Word or words formed by the rearrangement of the letters that constitute another or other word. − Analepsis. Anachrony consisting of a leap into the past in the TIME OF HISTORY, always in relation to the basic timeline of the novelistic DISCOURSE marked by the PRIMARY STORY. − Anapesto: Footer of Greek and Latin poetry composed of two short syllables and the last long one. − Anaphora: (From the Latin "Anaphora", from the Greek Anafora: repetition) Use the text with implicit mentions through demonstrative pronouns. See also Aráfina.

− Anastrophe: Reversal of the order of the words in a sentence to achieve an effect. Eg Cross country. − Andalusianism: Voice or own turn of the way of speaking Spanish in Andalusia, collected in the DRAE. − Annotation: a playwright's note in a play to indicate the action or movement of the characters. − Antanaclasis: Word game in which the same words are repeated but with different meanings. (Resource widely used by satirists, especially Francisco de Quevedo (1580-1645). See also Amphibology. − Anthology: (From the Greek words "Anthos": flower; and "Legein": choose). Selection of literary texts from various works or authors, under a common criterion. For ex. Anthology of Spanish poets. − Anthropomorphic: Attribution of human qualities to natural or artificial things. Eg The engine is the heart of the car. − Antipasto: Greek and Latin poetry caption that contains two long syllables between two short ones. (Iamb and troqueo). − Antiphrasis: It consists of designating people or things with names that mean the opposite of what they are, or an expression that ironically means the opposite of what is meant. Eg "What a little angel!" − Antistrophe: In Greek poetry the first part of the lyric song is the stanza and the second the antistrophe. − Antithesis: (From the Greek compound word "Antithesis": contradiction). It consists of opposing two ideas of opposite meaning. Eg Happy bastard. − Antonimia: Relationship established between two words whose meanings are opposite. − Antonomasia: Synecdoche that consists of substituting the proper name for the appellative or vice versa. − Apheresis: Deletion of one or more letters at the beginning of a word. Eg

Norabuena and noramala for congratulations and congratulations. − Aphorism: It is a short maxim that expresses a standard of life or a philosophical sentence (Zingarelli). − Apocope: Deletion of one or more letters at the end of a word. Eg Some for someone. − Apocryphal; (From the Greek "Apokryphos": hidden, secret). Unauthentic work, regarding the author or the time to which it is said to belong. It comes from the sacred books that did not appear to have been inspired by divinity. − Apologist: A short fable or allegorical story that serves as a vehicle for a moral doctrine or contains a useful lesson. − Apology: Speech in which a person or a cause is praised or defended. − Apostrophe: Cut off the speaker's speech to vehemently invoke someone present or not in the audience or an imaginary being. − Apotacsis: The opposite of hypotacsis. Short phrase. Azorín's style can serve as an example. − Apothegma: (From the Greek "Apóphtegma") Short and sententious saying, commonly a person of prestige or who acquires it by saying it. Diogenes de Sínope is known for his apothegms collected by Diogenes Laertius. − Arabism: Spanish voice from Arabic; It is estimated that some four thousand Castilian words come from Arabic. E.g., I wish, mayor, pillow, carrot., Etc. − Arcadia: Peloponnese region that the classical poets turned into the land of innocence and virtue. Metaphorically, the primeval place of happiness. − Arcaism: Use of old-fashioned words or phrases. − Archetype: Character or situation, original and primary, that becomes a model of behavior or literary symbol. For ex. "Don Juan Tenorio". − Argó: (From the French "slang") Way of speaking or writing using words typical of a profession, age, situation (for example, in prison). Jargon.

− Aristophanic: Farce or satirical work, in the style of the Greek poet Aristophanes (445-386? BC). − Aráfina: Use a preceding text with demonstrative pronouns. For ex. Juan and Pedro went fishing, the latter caught nothing and the former only some trout. It is used only in the written language. − Ascetic: (From the Greek "Askeetees": athlete, the one who exercises). Literature that seeks Christian perfection. In the 16th century, a distinction was made between ascetic and mystical, the first being through self-effort to achieve the second, which was a divine gift. − Asclepiadeo: Greek or Latin verse that consists of a spondee, two choriambs and a phyrrihic It owes its name to the poet Asclepíades (3rd century). − Aside: Words of a dramatic character spoken as if to himself or addressed to the public, pretending that others do not hear him. − Asinartético: Free verse. − Assonance: Identity only of the vowels, from the last stressed syllable, in the rhyme of two verses. Assonance rhyme Where only the vowels of two or more verses are equal from the last stressed vowel. − Assonant: The assonance rhyme is based on phonetic identity only in vowels specifically from the last stressed vowel: e.g., legend / offer; place / marry; hand / beloved. − Astheism: Lead a praise with the appearance of rebuke. − Astraván: Comic theatrical subgenre created by Pedro Muñoz Seca (18811936). Familiar: astracanada. − Asyndeton: It is the opposite of popolysyndeton. A resource that consists of omitting the conjunctions to give greater force to the phrase. Eg Go, run, fly...! − Atonic: Phoneme devoid of intensity accent.

− Atticism: Elegant and delicate style characteristic of the Athenian classics. − Author: Person who has written a literary work. − Auto: Brief theatrical composition on a biblical or religious theme, of medieval origin. The Auto Sacramental is called the one whose fundamental theme is the exaltation of the Eucharist; one of its highest representatives was Pedro Calderón de la Barca (1600-1681). − Autobiography: Written where the author tells his own life. − Automatism: Technique that the surrealists used to create literary works supposedly free of logic. Its poetic manifestation was Dadaism. − Avant-garde: term used to indicate the aesthetic doctrine of the first half of the 20th century that advocates experimenting with new themes and new techniques in order to innovate literary expression; cubism and ultraism are experimental movements of the avant-garde. − Back verse: It is the verse that announces with its rhyme the total or partial repetition of certain verses throughout the entire poem. Resource widely used in Christmas carols. − Background: Meaning of a literary work, regardless of its expression. − Ballad: Poetic composition divided into equal stanzas, generally intended to sing sentimental legends and popular traditions; its origin is a certain type of medieval French lyric poems. Epic - lyric poem originally from Anglo Germanic literatures. − Ballads: a collection of romances; the romances of the oral tradition were compiled in the seventeenth century under the title of "General Romancero". − Baquio: Footer of Greek and Latin poetry composed of the first short syllable followed by two long ones. − Barbarism: misspelling or pronunciation of a word, e.g., Haiga to haya (Spanish grammar error). Also, use of foreign words, existing their Spanish equivalents, e.g., Link by link. (They can be Anglicisms, Gallicisms, etc.).

− Bard: Poet. Originating in the ancient Celts. − Baroque: a literary Golden Age movement characterized by excess or accumulation of ornamental elements. − Baroque: cumbersome and ornate style. By extension, bad taste. − Batology: Pleonasm. Inclusion in a phrase of words that mean the same thing or that are implicit. For ex. Go up. − Best-seller: (In English, "best seller") A work usually of fiction and of poor literary quality but of great editorial success. − Bibliography: Collection of books that refer to a topic or an author. − Biography: Narration of a person's story. − Bisyllables: Verses composed of two metric syllables, rare in Spanish literature, although used in the Romantic era. − Bizarre: Text that is difficult to understand due to its lack of order and often of logic. − Black: In a figurative sense, a person who lends himself to anonymously write texts to be published under the signature of another known author, receiving in exchange an amount of money or a service of another type. − Blocking (stage): (From the Greek "didascalia": teaching) Instruction given by the poet, in ancient Greece, to a choir or actors. Catalogs of theatrical pieces in ancient Greece. In Latin literature, notes that, placed at the beginning of some comedies, inform about their representation. − Bohemia: Life that is carried out regardless of social conventions, generally due to dedication to art or literature. − Bordón: Broken verse repeated at the end of each stanza. − Broken end verses: rhymed verses, but with the last syllable suppressed. For example: "Notice that the tile is unattached / being made of glass / take stones in the MA / to throw at the neighbor /".

− Broken foot: the combination of eight-syllable verses with four-syllable verses. − Bucólica: (From the Greek "Boukolos": shepherd of oxen). Poetry that deals with country life. They are usually in dialogue. − Byzantine novel: Adventure novel, which was developed in Spain during the 16th and 17th centuries. Its sentimental theme where a couple in love goes through the most diverse circumstances until they are able to meet happily. − Cacophony: Combination of words that is unpleasant to the ear. Eg "There was unanimity on a trifle."

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− Cadence: Distribution of sounds and accents in a literary text. − Calambur: (From the French "Calambour") Word game produced by two different combinations of the same phonemes. Eg "Isabel will bequeath her house; / and she know how to get home". − Calectic: Greek or Latin verse that is missing a syllable at the end or is imperfect on its feet. − Calligrama: Term taken from the work of the French poet Apollinaire, Calligrames. It is the poem where the arrangement of the verses suggests a graphic form. − Cantar de gesta: Medieval epic poem of popular or anonymous origin, within what was called the mester de juglaría. The first known in Spanish literature is the Cantar de Mío Cid (1140). − Cantata: Poetic composition written to be accompanied with music. − Carmen: Poem of Arabic origin. − Cartoon: Generally short narration of little literary value. Comic. − Cartoonist: Author of comic strips. − Cataphora: (From the Greek: leading don) Word (deixis) that anticipates a part of the speech. For ex. "What he proposed is this: stop him." − Causality: Cause-effect relationship established between the constitutive events of the story that the novel tells. It is, logically, related to the ordered temporal sequence of the same, so that any alteration of this implies a determination for the IMPLIED READER. − Cesura: Pause that divides a verse into two hemistichs, without it being necessary to indicate it with punctuation marks. A metric syllable will be counted more or less as each hemistich ends in an acute or esdrújula word, as if it were independent verses and there may be an internal

rhyme. Therefore, the caesura, which is ultimately a special type of middle pause, due to its rhythmic value is equivalent to verses pause, e.g. "The swan used to sing... only to die" (Rubén Darío, Nicaragua, 1867-1916. swan). − Chiasmus: Literary figure that consists of ordering two phrases with crossed elements. Eg "... so many white banners of blood red shine". (Poem by Mío Cid). − Chirigotas: satirical poetic compositions to be sung in the choir at carnivals, originally from Cádiz. − Chorus: lines that are repeated in a poem, sometimes at the end of each verse. − Christmas Carol: Popular composition of minor art, similar to zéjel, usually directed to the baby Jesus to be sung at Christmas. − Chronicle: Narration of historical events as they happen, in which the author participates or obtains data from sources very close to the events. − Circumloquium: Phrase with which it is avoided to allude directly to the subject of the speech. See also Periphrasis. − Classic: (from the Latin "classicus": upper social class) Author or work that is considered a model worthy of imitation in any literature or art. − Climax: the climax of the action of a story or drama. − Coda: Final part of the structure of the Renaissance song. − Codex: Manuscript prior to the invention of the printing press. Eg The Poem of Mío Cid. − Comedy: Poem of entanglement and denouement, which is usually a satire of customs, to be performed in public.

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− Comic: (English word) Comic cartoon whose protagonists are men or animals with the power of reflection and human attitudes. − Consonance: Uniformity of sound in the termination of the verses. Consonant rhyme: Where all the phonemes of two or more verses are the same, starting with the last stressed vowel. Also, unpleasant repetition of consonant sounds in a sentence. − Copla: a minor art verse consisting of four or seven verses; it is used a lot for popular songs and in some cases lyrical poetry. The best-known example is "The verses to the death of his father" by Jorge Manrique from the 16th century. − Coreo: Footer of Greek or Latin poetry composed of the first long syllable and the second short one. − Coriambo: Foot of ancient poetry that consists of a choreography and a iamb. − Cosmogony: Text that deals with the origin and evolution of the universe. − Costumbrismo: the name given to the literature dedicated to the representation of customs of a region or a particular country at a certain time; it was widely practiced in the 19th century. − Counterpoint: Explicit contrast of characters, ideas or situations in a literary work. − Creationism: Poetic movement of the early twentieth century. Its first representative was the Chilean poet, Vicente Huidobro. − Cryptography: (From the Greek words "Kriptos": hidden; and "Grafia": writing). Writing with cryptic or secret symbols. For ex. The writings of the alchemists.

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− Cuaderna via: Stanza used in the 13th and 14th centuries composed of four Alexandrian verses, monorrimos with assonance rhyme (AAAA). Also called Monorrimo Tetrastrophe. An example is the Book of Good Love (Juan Ruiz, Archpriest of Hita. Early years of the 14th century). − Cultalatiniparla: Burlesque expression referring to those who use an affected and laborious language in the manner of the culteranos. − Cultism: Word or expression of a classical language used in a modern text. Culteranistas like Góngora included many cultist neologisms in their work. For example, use "insular" instead of "island". − Cursed: It is said of the writer that he is considered a threat to the morals of his time because he writes on subjects that are considered obscene, blasphemous or that make an apology for evil. For ex. Baudelaire (Paris, 1821-1867) author of "The florwers of evil". − Cántigas: Medieval troubadour compositions typical of Galician-Portuguese lyric, written in Galician. − Dactyl: (From the Greek "Dactylos": finger). A Greek poetry caption that contains a long first syllable and the remaining two short ones. − Datism: Unpleasant repetition of synonymous words. − Decasyllable: Verse made up of ten syllables. Uncommon in Spanish literature. − Deixis: Signaling through adverbs or demonstratives, such as here, today, then, these, etc. that indicate a person, place, thing or time. It can refer to other elements present in the speech or only in memory, such as: "Those days were magnificent." − Deprecation: I beg or plead. − Description: Statement of the characteristics of objects, beings or circumstances. In the realistic literature of post-war Spain this narrative resource was used abundantly.

− Dialefa: The opposite of synalepha. It is rare. − Dialogue: See Amphibology. − Dialogue: Direct representation in the novelistic discourse of the verbal exchange between two or more characters. − Diastole: (From the Greek "Diastolee": dilation). Poetic license that allows a short syllable to be used as long. − Diatribe: violent and insulting speech or writing to criticize people or events. − Dicoreo: Greek or Latin poetry footer, composed of two choirs. − Diction: Manner of speaking or writing, qualified as good or bad literary considering only the use of words and their construction. Figures of diction. They are based on a special arrangement of words, so that if it is altered, the figure disappears. The figures of diction can be achieved by various means, the main ones are epithet, asyndeton, ellipsis, anaphora, polysyndeton, alliteration, onomatopoeia, palindrome, and hyperbaton. − Diegesis: The fictional world in which the characters, situations and events that make up the HISTORY narrated by a novel are located. − Dieresis. (From the Greek "Diairesis": division). Use of the orthographic sign as a poeVersetic device to undo a diphthong and form a hiatus, converting a grammatical syllable into two metrics. − Discourse: the set of linguistic and formal elements that make up the narrative work. Exhibition on a topic that is read or pronounced in public. − Disphemism: Contrary to the euphemism, substitute the usual expression for another that accentuates pejorative, humorous or burlesque aspects, widely used by satirists. Eg stretching the leg, to away. −Disposdeo: Greek or Latin poetry caption that contains two spondees. − Distinctive: Very brief poetic composition that with only two verses expresses

a concept. − Dithyramb: (From the Greek "Dithyrambos", alias of Bacchus, nickname of Dionysus) Poetry in honor of Bacchus, God of wine. Composition of an excessively laudatory character. − Diyambo: Greek or Latin poetry foot composed of two iambs. − Dodecasílabo: Verse of twelve syllables, especially cultivated in the fourteenth and fifteenth centuries and in modernism. Normally it is a verse composed of two hemistichs of six plus six syllables, or of seven plus five syllables, separated by a caesura. − Dolora: Sentimental and philosophical poetry, invented by Ramón de Campoamor (1817-1901). − Donaire: Funny and sharp saying. − Drama: Theatrical genre between comedy and tragedy. Literary work where numerous misfortunes ensue, but which does not reach the degree of tragedy. − Duration: For some authors, the set of phenomena linked to the mismatch or equivalence relationship between TIME OF HISTORY and TIME OF DISCOURSE. − Dysemia: Double meaning of a word. − Dystopia: Negative Utopia. It implies a future society worse than the current one. Commonly used in science fiction literature. Eg 1984 by George Orwell. − Echo: Poetic composition in which part of a word is repeated, or a whole word, especially if it is monosyllable, to form a new meaningful word and that is like an echo of the previous one. − Eclogue: a pastoral poem; traditionally it consisted of an idealized dialogue between pastors in imitation ofVirgil's Eclogues. − Ecstasy: Poetic license that allows to lengthen a short syllable to get the measure of the verse.

− Edition: Printing or reproduction of a work. Set of copies of a work published by the same media within a specified period of time. − Editorial: Company dedicated to publishing. An article that expresses the opinion or position of the editors of a newspaper or magazine. − Elegy: a lyric poem in praise of someone who has died or that expresses melancholy or longing. − Ellipsis. Omission of an element of the logical structure of the sentence. − Encyclopedist: An Enlightenment writer or philosopher associated with the doctrine of Diderot's Encyclopedia; in a more general sense the term refers to someone who follows 18th century rationalism. − Endecasyllable: a verse of eleven syllables; it is the verse used in cultured poetry. − Eneasyllables: Verses of nine syllables. It appears in choruses of poems and popular songs from the 15th to the 17th centuries, although its use increased in later centuries. − Engagement: It occurs when a phrase does not end in a verse, but in the next. − Enneadecasyllables: Verses of nineteen syllables. − Entremés: brief theatrical piece of a humorous, burlesque or satirical nature, which used to be performed during the intermission of the comedies of the Golden Age. − Epanadiplosis: rhetorical device consisting of starting and ending a sentence with the same word. Eg "Last tie, my last anxiety crunches in your." (Pablo Neruda. "Twenty love poems ..."). − Epic: Poetry that narrates heroic events. Eg Poem by Mío Cid. − Epic: Extensive poem based on heroic events. For ex. The Odyssey, or La Araucana. − Epigone: (From the Greek "born after") The one who follows a school or style

of a previous generation. − Epigram. (From the Latin "Epigramma": inscription) A short poem that generally comprises a clever note in four or five lines. There are satirical, erotic, manners, etc. Etymologically the term epigram is used to refer to compositions engraved in stone; the first epigrams were funerary in nature. − Epilogue: (From the Greek "Epi": on, and "logos": treatise. Also "Epilogues": conclusion) Final words of a work as a conclusion. − Epiphonema. Final exclamation that sums up a previous idea. − Epiphora: Repetition of one or more words at the end of the verses of a stanza. − Episode. Stage of the novel ACTION endowed with a certain partial unity that allows it to be differentiated from those that precede and follow it. − Epistle: Letter or message of a literary nature. − Epitalamio: (From the Greek "Epi": on, and "Thalamos": nuptial bed) Lyrical composition in commemoration of a wedding that is usually sung to the bride and groom. − Epitaph: Phrase destined to be written in a grave, normally devised by its owner for this purpose, and which has to do with his vision of the world. − Epithet: adjective or descriptive phrase that accentuates the meaning of the noun; It appears repeatedly in epic poetry to describe a characteristic of the hero. For ex. "The black night or the white snow". − Epithet: Greek or Latin verse footer composed of one short syllable and three long ones. − Epodo; Originally, lyrical curse and injury, poeticization of insult. − Erotic: Literature that exalts sensuality in its sexual aspect. − Erotic novel: It is the one whose main subject is sexual pleasure. Depending on the moral conventions of each era, it can be considered pornographic.

− Esperpento: Literary form in which the ugly, the grotesque and the absurd dominate. Narration that presents deformed reality, reaching the grotesque, in order to highlight objectionable aspects of society. A resource created by Valle Inclán. − Espondeo: Greek or Latin verse footer composed of two long syllables. − Essay: Literary composition that exposes one or more theses on a subject. It usually consists of an approach and conclusions. − Estancia: Verse made up of more than six hendecasyllable and heptasyllable verses that rhyme in consonant and whose structure is repeated throughout the poem. − Estrambote: Verses that are added to the end of a poem, generally to sonnets. − Estribote: It consists of an initial couplet or chorus where the theme is stated which is later glossed in several sextinas. − Estro: Poetic or artistic inspiration. − Etopeia: Description of the character, actions and customs of a person. − Etymology: Origin of the words. − Euphemism: Substitution of one word or phrase for another to disguise the harshness or the seriousness of the original. − Eutrapelia: (From the Greek "kind joke") It is applied to literature for exclusively recreational or entertainment purposes, as opposed to a testimonial or knowledge. − Fabiana: See Fabian Society. − Fable: (From the Latin "fabula", from the verb "Fari": to speak, since they were recited). Story that frequently uses animals to dictate, by way of example, advice or moral recommendations, and the lesson is expressed at the end in a "moral". − Farce: Generic dramatic work, preferably comic.

− Farándula: Environment related to theater. − Fiction: An of a STORY that has never happened in homologous to those in which a true story would be told. − Figures: There are various figures, including figures of speech and figures of speech (See Rhetoric and diction). − Flashback / flashback: a scene in a narrative or drama that represents something that took place before the main action of the plot. − Folletin: A story of exciting intrigue, with characters representing elementary feelings. − Foot: Unit of measure of the classical metric. The feet are formed by combinations of long and short syllables. Each of the meters used in Castilian poetry. − Form: Aspect of the literary continent. Opposite and complementary to the background or content. − Free verse: a poetic form characterized by the lack of rhyme and regular meter. − Free verses: Those that do not have rhyme or meter. Much of modern poetry is written in free verse. In these verses the rhythm is achieved through the arrangement of words, syntactic structure, etc. − Futurism: Literary and artistic trend that emerged in Italy at the beginning of the 20th century. − Gay: Art of the troubadours in Provençal language. − Generation of '98: group of Spanish writers whose work expresses the reaction to political, social and historical events at the end of the 19th century; His work is characterized by personal introspection and concern for the future of his country. − Genetlíaco: This is the name of the poem that sings the birth of a person. − Genre: Each of the classes or categories in which literary works can be

ordered. The main ones are lyrical, epic and dramatic. − Gliconio: Verse of Greek or Latin poetry composed of three feet: a spondeus and two dactyls. − Glosa: Octosyllabic verses consonants. The theme is usually exposed in the first stanza (called text) and developed in the following (called gloss), repeating in these the verses of the first. − Gnomic: (From the Greek "Gnoomoon": indicator) sententious poem. − Golden Age: Stage of artistic and literary plenitude in Spain that began in the 16th century with the Renaissance, and that lasted until the end of the 17th century with the Baroque. − Goliardesca: Literature written by clergymen or vagabond students of the Middle Ages, given to gluttony and a happy and licentious life. Its main theme is the exaltation of love and sensual pleasures. Under the name of Archipoeta de Colonia one of the most important Goliardic poets of the 12th century is hidden. − Gongorism: literary style based on the poetry of Góngora (1561-1627) characterized by the hermetic and the use of mannerisms and refinements; for example: neologisms, cultisms and rhetorical games. (See Culteranismo). − Grapher: Person unable to write. − Greguería: Brief prose compositions, based on word games, invented by Ramón Gómez de la Serna (1888 1963). Eg "The brain is a bundle of wrinkled ideas that we carry in our heads". − Hagiography: Stories of the lives of saints. By extension, laudatory composition about a character. − Hallelujah: (From the Hebrew "Allelu Yah": praise Yahweh) Prosaico and repetitive verses of little value. Paired verses of minor art. − Harassment: Military or political speech that is pronounced with the purpose of inflaming the listeneqrs. − Hemistich: Each of the parts of the verse cut by the caesura, without the need

for punctuation marks. − Heptasyllable: Verse of seven syllables. Very used in the Renaissance in combination with verses of eleven syllables and later in the 18th century. − Heptmeter: Greek and Latin poetry verse composed of seven feet. − Hero: Main protagonist of a novel. − Heteronym: fictitious person that corresponds to the pseudonym of a writer. − Heteronymy: Lexical differentiation of words that have great semantic proximity, but that come from different roots. Eg Horse - mare, son-in-law daughter-in-law, bull - cow. − Heterostychium: Hemistichs with unequal number of syllables. − Hexadecasyllable: Verses of sixteen syllables. Also called octonaries. − Hexameter: Verse of Greek or Latin poetry composed of six feet. − Hexasyllable: Verse of six syllables. It has been used since the Middle Ages. − Hiante: Verse. − Hiatus: In literature, an unpleasant sound that occurs when pronouncing two words in a row, when the second begins with the same vowel that ends the first, even if it contains a silent h. For ex. Poor female. (In grammar, a sequence of two vowels that do not belong to the same syllable, such as theater, or kernel. Vowels may not belong to the same syllable because they have an H interleaved, like pillows or because they are diphthongs broken by an accent, like a lookout or howl). − Historical novel: Novel that aims to recreate events from the past using the alternate history. − History: Real or fictional events narrated in a literary work. − Homography: Phonetic and graphic coincidence of two different words. Eg lead (noun) and lead (verb).

− Homonymy: Graphic coincidence of two words that have different meanings. Eg Tarifa (the Andalusian city) and rate (of prices). − Homophony: Phonetic coincidence of two different words. Eg leafs and browsing. − Homérica: Poetry related to the Greek poet Homer (9th century BC) and his works "The Iliad" and "The Odyssey". − Hypálage: Rhetorical figure that consists of attributing a complement to another word other than the one that should correspond logically. Eg "The man was tired in the sweaty afternoon." − Hyperbaton (el): Alteration of the logical syntactic order of the sentence. Eg "From the living room in the dark corner". − Hyperbole: Poetic exaggeration. Rhetorical figure that disproportionately presents the facts or situations, characteristics, attitudes, etc. either by excess or by definitions. − Hypotacsis: A form of baroque literature, probably born in the istrative prose of the Indies. − Hypotypes: ionate description of a person. − Iamb: Greek and Latin poetry footer of two syllables, the first short and the second longest. Injurious poetry created by Archilochus of Paros (Ha. 650 BC). − Iambic: Verse whose pure foot is a yambo. In the Spanish and French meter, it is said to be a verse composed of feet that have an unstressed syllable after a tonic. − Idyll: Bucolic poem with a tender and delicate character. − Illustration: intellectual movement of the 18th century characterized by faith in reason and progress and by interest in science, empiricism, rationalism and the rejection of traditional religion. − Image (the): the way a thing is represented; the poetic vision of something.

− Imprecation: Rhetorical use of a curse. − Incunabula: (From the Latin "in-cunabula": cradle) Book published by means of the printing press before the year 1500. − Indigenism: Latin American cultural trend that highlights the values of indigenous cultures. In literature, one of its main exponents was José María Arguedas. − Inquiridión: Book that in a small volume contains a lot of theory. − Interrogation: Resource made by means of a question from which an answer is not expected, in order to increase the attention of the listeners of the speech. − Intertextuality: Set of relationships that a literary text can maintain with others. − Intonso: Book bound with the beards of the sheets without cutting. − Intrahistory: history conceived as the experience of the individual or the community in the face of their historical circumstances. − Intrigue: The inner plot of a STORY. − Irony: rhetorical figure that consists of implying the opposite of what is said, The word "irony" is also used to talk about a situation in which the opposite of what is expected happens, it may have a humorous or sad accent. When used in a bitter or cruel way it is called sarcasm. − Isochrony: Two or more events that happen simultaneously in the course of the story. − Isostiquio: Hemistich that has the same number of syllables as its complementary hemistiquio. − Isosyllabic: A form of verses that assigns the same number of syllables to the verses. − Jácara: Romance of a festive nature.

− Jarchas: Medieval poems written in Arabic or Hebrew, originating in Andalusia. It is one of the first Spanish literary expressions (10th and 11th centuries). − Jargon: Way of speaking or writing using words typical of a profession, age, situation (for example, in jail). Argó. − Jitanjáfora: Rhetorical figure that consists of an ingenious construction and in which, usually, there is a semantic incompatibility between the elements that compose it. Eg "Your feet sing to you." − Juggler: Medieval character who earned his living reciting and singing deed songs in the public square or in the palace of the lord. He was both an acrobat, a musician and a reciter. At first, they were itinerant and later they settle in populous cities. By extension, poet. − Juxtaposition: Asyndeton. − Kabbalistic: Enigmatic value of letters and numbers. Eg The literature on alchemy is Kabbalistic. − Latinismo: Latin word or expression that is used directly in Spanish. Eg "Ad hoc". − Lay. Romance of verses of medieval origin of seven syllables. − Leaflet: Stanza of eight verses of minor art with consonant rhyme and a variety of rhymes. − Legend: Narration of fantastic events, which are considered as part of the history of a community or place. A Fictional story based on history. − Leit motiv (el): another term for "motive"; a repeated element in a literary work. It can be a sound, an image, a symbol, a situation, etc. − Leonino: Latin verse used in the Middle Ages, whose final syllables are consonant with the last of its first hemistich. − Letrilla: A short verse poem written to set yourself to music; generally, it

consists of a few stanzas followed by a chorus that repeats the theme, generally of a humorous or satirical nature. − Lexeme: An invariable part of a word, in which its fundamental meaning resides. Eg Book after book, bookseller, bookstore, bookish, book, etc. − Lexis: Vocabulary. − Libel: Satirical writing, generally short, where a person or group is injured. It can take on the appearance of a serious study. − License: Freedom that the poet has not to adhere strictly to grammatical or prosodic rules.

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− Literatization: Quotations by authors, in some cases parodying them. − Literature: It is the art that is expressed through the written or oral word. − Litotes: (From the Greek "Litos": small, tenuous) Attenuation, a rhetorical figure that consists of softening what one wants to express or attenuating the expression using a negative form. Eg "You are not right" instead of: "You are wrong". − Loa: A short poem that celebrates the benefits of an event or the virtues of a person. − Logogrifo: Enigma that consists of combining the letters of a word to form a different one. − Lyre: Poetic composition of five verses of different sizes: the second and the fifth, hendecasyllables, and the rest heptasyllables (7a-11B-7a-7b-11B). − Lyric: Literary genre that deals with feelings, affections or ideas. It is opposed to epic. − Macarronea: Burlesque composition where classical Latin is mixed with a vulgar language to which Latin endings are applied. − Madrigal: Tender and gallant poetry of hendecasyllable and heptasyllable verses. − Major art: Poetic compositions of verses of more than eight syllables. The Minor Art is made up of verses of eight or less syllables. − Mannerism: 16th century literary trend of Italian influence, characterized by its metaphorical richness and its artificiality. − Maximum: Sentence or apothegm that serves to guide moral actions. − Meaning: the concept or idea indicated by a linguistic sign; the sign itself is called the signifier.

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− Meiosis: Incomplete mention of something to ironically suggest what is silent. − Melodrama: Drama that was represented, accompanied by instrumental music. Literary or cinematographic work loaded with vulgar sentimentality. Comedy without humor (Carlos Fuentes. Panama, 1928. "Geography of the novel"). − Metabasis: Phenomenon caused by a grammatical category when it functions in discourse with a different function than the one assigned to it at the level of the language. Eg Converting the adjective "green" into a noun: "Greens defend ecology". − Metaphor: Trope or rhetorical figure consisting of the combination of ideas to enhance their perception, generally through implicit or explicit contrast or comparison. − Metaplasm: Alteration of a word by deleting, adding or changing some of its letters. − Metatheater: the theater within a theater; a drama whose main technique involves the idea that reality is only a dramatic representation and real people are like characters in a theater. − Metathesis: It is the change of place of a phoneme within a word. Eg Cocretas for croquettes. − Meter: the rhythmic pattern of a verse or poem. Metonymy: (From "meta": behind and the gr. "Onoma": name) Trope or rhetorical figure that consists of figuratively designating one thing with the name of another related; for example, "The agile pen of the journalist". Also in classical literature, metaphorical use one word for another; for example, "Liber" for wine. − Metrics: Art of structuring the verses, according to their measure. Study of the poem, the stanza and the verse. The metric units are: the metric syllable, the phonic group, the verse, the stanza and the poem. The unit of measurement for the classical metric was the foot.

− Milesios: When Cervantes says "fables, which are absurd tales, which serve only to delight," as opposed to apologues that not only delight but also teach. − Minimalism: Denomination of a contemporary artistic trend, which uses the elementary geometry of the forms, in a close relationship with the space in which the work is inserted, since it considers that "everything is part of everything". Minimalism focuses only on the object and removes all possible connotations, avoids any reflection of the artist's interiority. − Modernism: Poetic current born in America at the beginning of the 20th century, which had a significant impact in Spain. Its main characteristic was the musicality of the verse, and its most prominent representative was Rubén Darío. In Peru it was José Santos Chocano. − Mojiganga: Small drama with comedic purposes with outlandish ridiculous characters. − Monema: minimum logical unit of the language. It can be lexical (lexeme) or grammatical (morpheme). Eg In books, Libr- is the lexical moneme of books, bookseller, etc. and the os is the grammatical moneme. − Monograph: Treatise on a specific topic, generally part of a more general one. − Monologue: Work, or part of it, in which only one character speaks. It can be internal (if not expressed) or narrated. − Monophthongation: It is the phonetic reduction of a diphthong to a single vowel. Eg "Until logo" instead of "see you later". − Monorrima: Series of verses with the same rhyme. − Monorrimo Tetrastrophe: Quaderna Via.

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− Moorish novel: Prose narratives written, between the 15th and 16th centuries whose plot and spirit correspond to border and Moorish romances. − Morpheme: Grammatical Moneme. − Motif: a repeated element in the literary work. It can be a sound, an image, a symbol, a situation, etc. It is also called a "leitmotif". − Motto: Sentence that aims to regulate human behavior. Phrase adopted by a group or organization as a basic rule. − Mozárabe: Dialect spoken by Christians who lived under the Arab domination of the Iberian Peninsula, which gave rise to Mozarabic literature. − Murgas: satirical poetic compositions that criticize current events or characters to be sung in chorus at Carnivals, originally from Tenerife. − Mythology: Narration or study of myths. − Narratario: A figure within the literary work that serves as the receiver of the narrative. − Narrative: A speech that refers to a succession of events. − Narrator: The one who narrates the action. You can do it in the first, second or third person, in singular or plural number. − Naturalism: Literary movement of the second half of the 19th century characterized by the portrait of the human being and his circumstance determined by heredity and the environment; in the naturalistic work, the ugly and gloomy aspects of the human being who struggle uselessly to survive are exaggerated; in naturalism reality is presented in a detailed way influenced by scientific research and a desire for social reform is noted.

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− Neoclassicism: Literary and philosophical current of the 18th century, restorer of classical taste. In literature, it is based on the imitation of the classics and the predominance of reason, serenity and moderation as a reaction against the excesses of violence and imbalance of the baroque. Neoclassical art has an educational purpose to uphold the ethical, moral and aesthetic ideals of classical antiquity. The artistic base of neoclassicism focuses on unity, clarity, order, decorum, symmetry, and the rational. − Neologism: New word in a language. It can have its origin in the transformation of an existing one, or in a foreign language. For example: exemplary or garage. − Neorealism: literary movement of the mid-twentieth century that seeks a social testimony in the renewal of realistic forms. − Noir novel: Heiress of the 18th century Gothic novel that took pleasure in reproducing morbid or sinister events. It is also called the detective novel. His argument is made up of dark stories. For example, "Frankenstein" by the writer M. Shelley, and "Sherlock Holmes" by Conan Doyle. At present, M. Vázquez Montalbán is one of the most prominent growers of this genus in Spain. − Novel of chivalry: Medieval narratives published in the early years of the printing press, which are intended to entertain by recounting the unlikely exploits and adventures of legendary and invincible heroes. It is said that "Don Quixote" was the last chivalric novel or the first modern novel. Some of the most popular were: "Book of the hard-working knight Don Tristán de Leonis and his great deeds in arms" and the fourteen books of "Amadis de Gaula".

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− Novel: Narrative work of fiction written in prose of variable length; If it does not exceed approximately one hundred and fifty pages, it is called a short novel. − Objectivism: impartiality, disinterest; in the literature it refers to an independent perspective of the subject being observed. − Octave: a stanza of eight hendecasyllable verses of which the first, the third and the fifth rhyme with each other; the second, the fourth and the sixth; the seventh and the eighth. − Octodecasyllable: Verse of eighteen syllables. Eg "Up on a platform in the spring morning." (Sons of anger. Dámaso Alonso). − Octosyllable: a verse of eight syllables; it is the verse of the romance widely used in popular poetry. Medieval romanceros are written in eight-syllable verses. − Ode: highly developed lyric poem dedicated to a person of high birth, an object, or an abstract concept. − Onomatopoeia: the use of words that imitate the sound of things named by them. Spanish is not a very onomatopoeic language, however, in English there are abundant examples: ring for timbre, splash for splashing, etc. − Orphic: Greek Orphic poetry is composed of religious hymns in the manner of litanies, dedicated to different deities (2nd and 3rd centuries AD). It takes its name from the mythical Orpheus. − Outcome: How the argument is resolved. In drama, the denouement refers to what happens after the climax and how the action is resolved. − Ovillejo: Poem of ten verses in which three couplets appear, each one formed by an octosyllable and a broken foot verse. The couplets are followed by a round, which follows the rhyme of the last couplet and

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the final verse brings together the three broken verses of the couplets. − Oxymoron (Oxymoron): Rhetorical figure that multiplies the meaning of a sentence by using two opposing . For example: "My books are full of voids" (A. Monterroso), or "The Gnostics spoke of a dark light" (J.L. Borges). − Paired: Two-line stanza consonant rhyme. When they are verses of minor art it is called hallelujah. − Paleography: Science that studies writing or writing from ancient times. − Palimpsest: ancient manuscript that has traces of an earlier writing. Old tablet where you could erase what was written to reuse it. − Palindrome: Phrase that can be read backwards without undergoing changes. For ex. "Adam is not silent about anything." − Palinodia: Composition in verse in which the author retracts something. − Panegyric: Composition in which someone is praised − Panic: Artistic movement founded in 1963 in Paris by three playwrights: the Spanish Fernando Arrabal, the French Roland Topor. Based on the philosophy of the god Pan, it accepts all tendencies, "it is anti-movement, it is the rejection of 'seriousness', it is the song of fatal ambiguity..." (F. Arrabal). − Parable: Narration of a fictitious fact that, by similarity, shows a truth or moral teaching. Much used by evangelists in the New Testament. − Paradigm: (From the Latin "paradigm") Paradigmatic. Exemplary action. − Paradox: (From the Latin "Paradoxos", which goes against public opinion) Apparent contradiction that is

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reached through reason. Eg "The miser, in his wealth, poor." − Paragofe: Metaplasm that consists of adding and / or changing a letter at the end of a word. For ex. Felice for happy. − Parallelism: the repetition of syntactic or sound patterns that indicate some relationship of meaning between them. − Paranesis: Word used by Schopenhauer to present a kind of advice about life in his work "Art of living". − Paranomasia: Phonetic similarity between two very similar words, but with different meanings. For. example: adopt and adapt; lake and lego, jícara and jácara. − Paraphrase: Colloquially, repeat phrases of a well-known author. − Paraphrase: Explanation of a text through amplification. Free translation in verse. − Parasynonymy: Synonymy. Accumulation of synonyms to emphasize an idea. For ex. "Satisfaction, pleasure, content..." − Parasynthesis: Creation of neologisms by composition and derivation. Eg Radiotelegrapher. − Paremiology: (From the Greek "proverb"): Treaty of sayings. − Pariambo: Footer of Greco-Latin poetry that consists of a short syllable and two long ones. Classical poetry caption with one long syllable and four short ones. − Parnassianism: poetic school of the late nineteenth century that practiced art for art's sake. Parnassian poetry is characterized by its objectivity and impersonality and care for form. Favorite themes of Parnassianism are classical cultures and exotic landscapes and objects represented through static plastic images such as marble or ivory statues or the swan, etc.

− Parody: Burlesque imitation of a literary work or an author's style. − Paronym: Word that forms paranomasia with another. − Paronymy: Set of words that form paranomasia. − Pastiche: (From Fr. Pastiche): Imitation or plagiarism that consists of taking certain characteristic elements of an artist's work and combining them, so that they give the impression of being an independent creation. It is what would be called a plagiarism, for example, of a song to present it as its own when it uses parts of others. Write poetry using the words and texts of famous poets and assign them as your own. − Pastoral novel: Novel that narrates love affairs and misadventures in bucolic environments. It had great acceptance in the 16th and 17th centuries. − Pastorela: A kind of eclogue of Provençal poets, used in Galician literature. − Pause: Brief silence between two words. Estrophic pause occurs at the end of the stanza. Versal pause is the one that coincides with the end of the verse. Middle pause occurs inside the verse and may or may not appear. Pause caesura occurs in a verse (always composed) and divides it into two equal parts or not, so that each one behaves almost like an independent verse. − Pentadecasyllable: Verse of fifteen syllables. − Pentameter: Verse of Greek or Latin poetry composed of a dactyl or a spondeus, another dactyl or another spondeus, a caesura, two dactyls and another caesura. − Pentasyllable: Verse of five syllables.

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− Periphrasis: Rodeo to express an idea. Circumlocution. For ex. Say "the prince of the mills" instead of Miguel de Cervantes. − Perpeteia: In any literary composition, sudden and unforeseen event that involves a change from the previous situation. − Perqué: Ancient poetry based on the use of questions and answers. − Personification: Attributing human qualities to inanimate or irrational beings. Much used by fabulists. See Prosopopeia. − Perspectivism: the use of diverse points of view within the narrative in order to show the complexity of what is trying to describe. − Petrarchism: Imitation of Petrarch in European literature of the 15th and 16th centuries. − Philology: Science that deals with the study of language and literature. − Phonetics: Branch of linguistics that deals with sounds. − Picaresque novel: Spanish narrative mode that appears in the Golden Age with "El Lazarillo de Tormes" by an anonymous author and is cultivated until the end of the 17th century. − Picaresque: See Picaresque Novel. − Plagiarism: (From the Greek "plagiarism": misleading, through the Latin "Plagium": sale of someone else's slave). The text belonging to an author posing as his owner. See: PSU: Language and Communication. − Pleonasmus: Sentence in which one or more unnecessary words are used because they are obvious. For ex. "I went upstairs, or I went inside." In some cases, they reinforce the meaning or give it a certain grace. For ex. "I saw her with my own eyes". Vicious redundancy of words. − Plot: also called "fable" or "story"; the sequence of actions or events that occur

in a narrative. − Plot: Structure of the plot. − Poem: Literary composition belonging to the sphere of poetry. It can be written in verse or prose; in the second case it is called poetic prose. − Poem: In a broad sense, ideality or lyricism that arouses an aesthetic feeling through any art. − Poetry: Manifestation of beauty or feelings through the word, which generates certain emotions in the reader or listener. − Poliptoton: Literary figure that consists of the repetition of the same word in different grammatical functions or with different morphemes. − Polymetry: Versification system that uses verses of different metric structures. − Polysemy: It is when a word has several meanings. Eg "insoluble", which cannot be dissolved and also a problem that has no solution. − Polysyndeton: Rhetorical figure that consists of repeating the same conjunction in a sentence to give greater force to the expression. Eg "I neither love you, nor am I your wife, nor are you going to convince me." − Polysynthetic: It is said of the languages where different parts of a sentence come together to form a single word. Many Indo-American languages are polysynthetic. − Prolepsis: Phrase in which a later event is anticipated by altering the order of concepts. Eg "Let's die and jump in the middle of the fight". − Prologue: (From the Greek "pro": before and "logos": speech): Text that precedes a work, in order to present or explain it. − Prose: Natural form of language to express ourselves. − Prosody: Part of the grammar that teaches the correct pronunciation of words. − Prosopopeia: Attribution of human qualities to inanimate beings or animals.

Resource generally used in the fables. See Personification. − Prostasis: Exhibition of the dramatic poem. − Prosthesis: Metaplasm that consists of increasing letters at the beginning of a word. For ex. "Borrow". − Proverb: Sentence, adage or saying, expressed in a few words. Dramatic work based on a proverb. − Proverb: Phrase that collects popular wisdom and serves to alert about something or illustrate social behavior. Eg "Shrimp that falls asleep is carried away by the current." − Psalm: Composition containing a praise to God. − Pseudonym: false name that an author uses when g his works to hide his identity. − Pun: A play on words, generally swapping places in the sentence. Eg "We forget the body, but the body does not forget us. − Pure poetry: poetry interested in achieving total aestheticism through the exact expression of the meaning of words. The term is associated above all with the poetry of Juan Ramón Jiménez and his ideal of a poetry that reflects the pure meaning and form to express the most intimate of the poet's soul. − Quartet: Verse containing four eight-syllable verses, which rhyme the first with the third and the second with the fourth, just like the serventesio (ABAB). − Quartet: Verse that contains four hendecasyllable verses, with consonant rhymes of the first with the fourth and the second with the third (ABBA). It arrived in Spain in the middle of the 16th century. − Quintet: Verse of five consonant major art lines, rhyming to suit the poet, with the following limitations. No single verse can be left. They cannot rhyme more than two verses in a row. The last two verses cannot form a couplet. − Quintilla: Stanza of five verses of minor art. The Double Limerick is the meeting of ten eight-syllable verses, whose rhyme is close to the tenth of the

sixteenth century. − Real Octave: Stanza of eight hendecasyllable verses that rhyme the first six and the last two, forming a couplet (ABABABCC). / It is called Octava Italiana when the eight hendecasyllable verses have other rhyming variants. − Realism: literary or artistic school that seeks to represent the reality of everyday life through observation and objective description. One of his main followers was Dostoevsky. In postwar Spain a literature called "social realism" developed. − Redondilla: Verse of four minor art verses that rhyme the first to the fourth and the second with the third (ABBA). − Redundancy: Repetition of information already given in the message, without literary intention. − Regionalism: literary current to which the traditional works belong. − Renaissance: European cultural movement that triggers the age from the Middle Ages to the Modern Age, in which humanism predominated. − Reticence: A rhetorical figure that consists of suspending the statement because it is considered obvious. Eg "So and so is a winner, while I... you just have to look at me." − Retrospective: flashback. − Rhetoric: Art of saying well in order to give the written and spoken language efficiency to persuade, describe or represent. − Rhetorical figures: the poetic resources established by the poet or by tradition, e.g., metaphor, metonymy, hyperbole, simile, epithet, rhyme, prosopopeia, apostrophe. − Rhyme: Partial or total acoustic coincidence between two or more verses of the phonemes located from the last stressed vowel. Consonant or total rhyme, if it includes consonants and vowels. Assonance or partial rhyme if only the vowels coincide. By extension, poem.

− Rhythm: It is the rhythmic order in the succession of the words of a literary work. In the verse it is produced by the periodic repetition of pauses, accents, and certain phonemes located at the end of each verse. − Ripio: Useless word that only serves to forcefully complete a verse. − Romance: popular poetry of eight-syllable verses with assonance rhyme in the even verses, leaving the odd ones loose. Several 20th century authors also use the form of romance for cultured purposes. − Romancillo: Romance of hexasyllable verses. − Romanticism: Literary movement of the late 18th century, which is an expression of individualism and liberalism. It is characterized by exalting everything subjective in general and feelings in particular. The poet Gustavo Adolfo Bécquer is one of its main representatives. − Saeta: Composition dedicated to the Virgin or Christ that is sung at Easter, mainly in Andalusia, with "grave, slow, gloomy and almost monotonous intonation, leaving the final cadence in suspense" (José María Sbarbi). − Saga: A fictional story that covers the vicissitudes of more than two generations of a family. − Sainete: humorous play in an act about popular Spanish customs, which was usually performed as an intermission of a performance or at the end. It could also be performed as an independent work, and in this case, it included several acts. − Satire: (From the Latin "Saturae"): The origin of the satirical genre is found in the Greeks, mainly the cynical philosophers who used literary mockery to criticize the customs and in the early theater in Rome with the "dramatic saturations", that mixed songs, music and mime. − Satirical novel: See Satire. − Say: Medieval poetic composition not intended for singing. − Scene: each of the parts into which the act of a dramatic work is divided.

− Scenic setting: the where and when of a dramatic work. − Scholia: Note or observation that is put in an ancient book to explain it. − Science fiction novel: Its main argument is fantastic stories, freely interpreting scientific findings to project them into the future or in current times but in unknown situations. One of the creators of the genre was Jules Verne. − Seguidilla: Poetic composition from the 15th century, which consists of a couplet of four verses of which the first and third are seven syllables and the second and fourth are five syllables, with assonance rhyme abab. − Sequence: Identifiable intermediate unit in a narrative SPEECH, endowed with internal coherence but not autonomous, but integrated into a superior set. It is usually related to the logical articulation of the story, and thus some authors such as Paul Larivalle distinguish five fundamental sequences: Initial situation, Disturbance, Transformation, Resolution, and Final situation. Frequently, however, it is used in narratological analysis in its cinematographic sense. − Serranilla: Poetic composition of minor art of popular theme. The Marquis of Santillana cultivated the genre. − Serventesio: Quartet of major art, which rhyme the first with the third and the second to the fourth (abab). − Sestina: Composition of six hendecasyllable verses that rhyme in consonant alternating the first four and the last two forms a couplet. − Seventh: Composition of seven verses of major art used in the Middle Ages. − Sextet: Verse of six verses. − Sextilla: Stanza of six verses of minor art. − Significant: the linguistic sign that confers the meaning. − Silepsis: Phrase where agreement is established according to the meaning and not to the grammatical rules. For ex. Your Majesty is wrong (gender). A figure

that consists of using a word in a straight and figurative sense. For ex. You will get fresher than a flower. − Silva: Series of verses in which those of seven and those of eleven syllables are combined, linked by consonant rhyme and free verses. − Simile: A logical resource to express thoughts with all their nuances, through comparison; the word "like" is always used to establish the comparison. − Sing of loneliness: Composition of three eight-syllable verses, rhyming the odd ones. − Single verses: Poems where all the rhythms appear (quantity, intensity and tone), except for the rhythm of the timbre, it has no rhyme. It began to be used from the 16th century. − Skulls: Mexican poetic compositions, brief, satirical style, whose characteristic is to criticize current figures. − Soap opera: Telenovela where the complexity of the ions of love, hate, disappointment and revenge are excessive. They usually consist of many chapters and have recursive characters that appear and disappear cyclically endowed with different personalities or revealing a past that substantially modifies the relationships with the rest of the characters. − Soleá: Verse of three verses of minor art. The first rhymes in assonance with the third, leaving the second free. Flamenco singing. − Soliloquy: Reflection aloud and alone. − Sonetillo: Variant of the sonnet consisting of the use of minor art. − Song: Poem with a complex structure, which varies according to the poet and the time. Basically, it is a combination of heptasyllable and hendecasyllable verses in stanzas, called stays; where the distribution of the rhyme is to the liking of the poet, but once it is fixed in the first stanza, it must be respected in all subsequent stays. Its origin is Italian, and it came to Spanish poetry in the Renaissance. − Songbook: Compilation of love poems. Its origin dates back to medieval deed

songs. − Sonnet: Poetic composition of fourteen hendecasyllable verses divided into two quartets and two triplets; generally, the rhyme is consonant with ABBA in quartets and CDE in triplets. − Spinel: (see Tenth). − Story: Very brief text, with expectant content, whose action intensifies and clarifies in its outcome. − Structuralism: Scientific-philosophical current of the XX century applied to Linguistics by Saussure. − Subjectivism: predominance of personal reaction; defines the object in of the observing subject. − Summary: Technique related to the narrative RHYTHM by means of which a broad period of the TIME OF THE HISTORY occupies, by synthesis, a reduced dimension in the TIME OF THE DISCOURSE. It is also called, among some authors, PANORAMA. − Surrealism: literary and artistic movement of the 20s and 30s that tries to express a pure thought to the exclusion of any logic or ethical concern; the surrealists sought to go beyond conventional reality to explore the boundaries between the rational and the irrational. To externalize the reality of the subconscious, his poetic art includes the free association of unexpected, disordered and apparently incongruous images in a way that reflects the casual succession of events and memories of dreams. − Syllable: Letter or set of letters in whose pronunciation a single voice emission is used. − Symbolism: poetic current of the late nineteenth century characterized by the vagueness of the subject, subjectivism, the use of symbols to evoke emotions, free verse and musical effects; it arose as a reaction to realism and naturalism and to the objectivity of Parnassianism. − Synalepha: It occurs when a word of a verse ends in a vowel and is followed

by another that begins in a vowel, constituting a single metric syllable. − Syncopation: Metaplasm that consists of deleting one or more letters from the central part of a word. Eg "Christmas", instead of Nativity. − Synecdoche: Trope that consists of referring to the whole by mentioning a part or designating the matter that forms a thing or one of its attributes instead of the thing itself. For ex. Refer to the soccer ball as the ball or the leather. − Syneresis: Dip the vowels of two syllables of the same word or of contiguous words into a single syllable. For ex. (In South America) to-a-lla for "toa-lla", (which may sound like "Tualla" when pronounced). In poetry it is considered a poetic license. − Synesthesia: trope or rhetorical figure that consists of the description of one sensory experience in of another; for example, "the yellow smell of chloroform". − Synonymy: (From the Latin "Synonymia"): Figure that consists of using synonyms followed to amplify or reinforce the expression of a concept. For ex. "Pretty, pretty, gorgeous." − Synopsis: Summary of a literary work. − Table: Each of the parts into which the acts of the theatrical works are divided. − Taboo: Socially censored subject that is alluded to through circumlocution and using euphemisms. For ex. Sex − Tail: Verses that are added to the end of a poetic composition. See also Estrambote. − Tautogram: Composition in which all words begin with the same letter. For ex. "My mom pampers me a lot." − Tautology: unnecessary repetition of the same concept. − Telenovela (Acronyms): Video series scheduled to be broadcast on television in the form of periodic installments, in which the plot is based almost exclusively on ionate feelings of love, hatred, disappointment and revenge.

(See soap opera). − Tenth: stanza of ten eight-syllable verses with the following rhyme: ABBA, AC, CDDC. It is also called Espinela, as it was used for the first time by the Spanish poet Vicente Espinel (1550-1624). − Tercerilla: Poem of three verses of minor art. − Terceto: Stanza of three verses of major or minor art. A combination of three hendecasyllable verses that rhyme the first with the third, leaving the second loose (ABA) − Tetradecasyllable: Alexandrian verse. − Tetralogy: Set of four dramatic works. − Tetrasyllable: Four syllable verse. − Theater of the absurd: plays from the second half of the 20th century whose theme is related to existentialist philosophy; they are characterized by the abandonment of logic in of form, characterization of characters and dialogue to represent the absurdity of human existence. − Theme: the central idea of a literary work or the message of the text. For example, religious, warlike, police, philosophical, etc. − Thesis novel: It is the one that is written to demonstrate or illustrate a certain theory or to provoke an ideological debate on a certain subject, which can be social, political, moral, etc. The greatest exponents of the thesis novel in Spain are Benito Pérez Galdós and Emilio Pardo Bazán. − Title: Fundamental element of the PARATEXT of a novel, insofar as it is its first sentence and usually provides key signs for the understanding of its structure and meaning. − Tmesis: Division of a word by means of a final pause of verse. Eg "And while miserably- / the others are burning /". (Fray Luis de León. Belmonte, "A la vida solitaria"). − Togatae: Comedies with Greek technique and Latin plot.

− Tonadilla: short and light theater piece that was sung during intermissions or party ends. − Tonic: Phoneme with an accent of intensity. − Topic: Topic or subject. − Tradition: Events transmitted orally from generation to generation. − Tragedy: (From the Greek "Tragoodia", in turn from "drinks": a male goat that was sacrificed, and "Oodee": a song that was performed in honor of Bacchus) Dramatic poems about famous people to be represented in public. A dramatic genre with a serious theme that provokes terror and comion in the public and in which the hero is usually killed. − Tragicomedy: Tragedy with comic incidents, usually ending in comedy. − Tremendismo: a literary trend of the 40s in Spain characterized by the desire to bear witness to the gloomiest aspects of social reality through the description of grotesque and violent scenes. − Treno: Funeral song. − Trilogy: Set of three tragic works submitted for competition in classical Greece. Set of three works by the same author between which there is a relationship or deal with the same topic. − Trimeter: Verse formed by three different meters (measurements). − Trisyllable: Verse of three syllables. − Trope: a rhetorical exchange in which a word is used with a different meaning than it usually has; figurative expression. The main tropes are: metonymy, synecdoche, metaphor, allegory, and symbol. − Troqueo: Footer of Greek and Latin poetry of two syllables, one long and the second short − Troubadour: Medieval courtly singer-songwriter. They differed from minstrels in that troubadours usually performed lyrical compositions composed by

themselves, had a higher culture, better social position, and did not make a living from their troubadours. − Trova: Song composed and sung by medieval troubadours. − Ucronía: Logical reconstruction of historical episodes, assuming events that did not happen, but that could have happened. A procedure used in the historical novel. − Ultraísmo: literary trend started by Jorge Luis Borges and other Latin American and Spanish writers that favored a radical renewal of poetic technique and spirit and sought a poetry based on images, lacking rhetoric and sentimentality. − Vate: Poet. − Verse: Verse that lacks rhyme and regular accents. − Verse: the unity of the versification; A word or set of words subjected to a certain measure and rhythm; each of the lines of a poem. − Verse: (From the Greek "Strophee": turn, turn, because in tragedies the choir sang its verse taking a turn), a unit of verses in a poem. − Writing: The word writing, comes from the Latin "Redigere": put in order, organize. Act and effect of writing.

Bibliography

Alonso, Dámaso: Contemporary Spanish Poets. Gredos, 1978. Aristotle: Poetics, Ed. Gredos, 1988. Muzzle, Valeriano: The artistic language. Peninsula, 1970. Brines, Francisco: Writings on contemporary Spanish poetry. Pretexts, 1994. Calvino, Italo: Six proposals for the next millennium, Ed. Siruela, 1999. Campo Villegas, Gabriel: How to learn to write literary. Ariel 1985 D’Addario Miguel. How to write your own stories. 2017. De Luque, María: I can write poetry. Ministry of Education and Science of Malaga. Eliot, T. S.: On poetry and poets, Icaria, 1992. Kohan, Silvia Adela: How to write poetry, Readers' Circle, 2000. Lapesa, Rafael: Introduction to literary studies. Chair, 1981. Moreno, Víctor: Va de poetry: proposals to awaken the desire to read and write poetry, Pamiela, 1999. Navarro Tomás, T.: The poets in their verses: from Jorge Manrique to García Lorca, Ariel, 1983. Rilke, Rainer María: Letters to a Young Poet, Alianza Ed, 1980 Rojamaro, Rosa: Poems about writing poems. Málaga digital, S.L., 2000. Complete anthology of Spanish poetry of the s. XX. Castalia, 1997. Today's Spanish Lyric, Cathedra 1975. Anthology of the poetic group of 1927, Chair, 1976.

Written expression, Alambra Library of teaching resources, 1987. Yurkievich, Saúl: Founders of the New Latin American Poetry, Ariel, 1984. Julio Casares: Ideological Dictionary: Ed. Gustavo Gili, 1994. María Moliner: Dictionary of the use of Spanish, Madrid, Gredos. Dictionary of synonyms and antonyms, Madrid, Espasa Calpe, 1999. Roland Barthes and others: Write why? For whom? Monte Ávila Editores. Roland Barthes: The pleasure of the text, Ed. Siglo XXI (Mexico) Bioy Casares: At the time of writing, Tusquets Editores. Jorge Luis Borges and Osvaldo Ferrari: Dialogues, Ed. Seix Barral. Ray Bradbury: Zen in the Art of Writing, Ed. Minotaur. Daniel Cassany: The kitchen of writing, Ed. Anagrama. Marguerite Duras: Writing, Ed. Tusquets. Ricardo Gullón: García Márquez or the forgotten art of counting, Ed. Taurus. Cicero: Rhetoric, Ed. Bosch. John Gardner: To be a novelist, Ed. Ultramar. Augusto Monterroso: Journey to the Center of the Fable, Ed. Era Vladimir Nabokov: European Literature Course, Editions B. Fernando Pessoa: On art and literature, Ed. Alliance. D. H. Lawrence: A model of narrative technique, University of Salamanca.

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How to write your poetry Techniques, methods, and recommendations

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Miguel D' Addario

First edition CE 2021