It strikes me that the brevity of poetry can encapsulate and embrace a totality of an experience, as much as the lengthy characteristic of fiction. In just few words, the poet can spill out subtle details of human experiences – falling in love, fatal attractions, adultery, the pain of rejection or losing a loved one, in a sweeping sudden effect. Such is the pleasure of poetry, and I began to understand this more this semester.
Every time I come across with a good poem, or become entirely persuaded by the reality of experience that the poet is trying to channel to me (and to the readers) I realize that poetry is not wholly meant to be understood, per se, but it should be experienced. There is an inherent power in good poetry that enables the readers to feel the poet’s psychological state and emotional movements. As I read through good poems I can see the words dissipate in the page and only images stay behind, in their utmost clarity. A good poem can give us that undulating calm of mind, transcending, or the refreshment of freedom. Also, in poetry we are able to empathize with someone’s loss; thus we began to explore our own losses too, or rage against prejudice and social constructions.
The good thing about poetry is its aesthetic quality of rereadability. Our own understanding towards a certain poem is different throughout the years, thus it adds excitement and anticipation that renders it immortal. As what Wordsworth said, “Poetry is immortal as the heart of man.”
In writing poetry, I learned that words are precious word by word, and I began to examine the weight of these words and their functions when placed side by side with others. These words have different language textures, and they show to us different textures of reality. During the course subject I wrestled against the limitations of my English language, in terms of expressing what is originally thought in my mind. Nevertheless, undergoing workshops one after the other enabled me to exercise my own style of writing, and realized that it emanated from within my own consciousness, not imposed by external force.
Most of the poems I have written had undergone rigid revisions because of the lack of lucid expressions and mismatched metaphors. I fleshed out more of the speakers’ natures of their desire and did more extensive emotional explorations. I also learned that proper control of psychic distance between the speaker (as the central consciousness) and the reader/s attributes to the emotional quality of the poems.
The poems I wrote during the course of this semester were mostly about profound relationships and depictions of small moments of human interest.