07-05-2022, 11:29 AM
I explain my poems, since I'm forcing sense.
When a character is killed from a show or fictional series, they're killed off. They're not simply killed, they're killed off.
I'm looking at things as tropes and concepts. And saying that righteousness is a trope or concept to explain away a need for aggressiveness. Humanly, rather than humanely, since humane implies morals and ethics. I'm talking about bodily reaction.
Right and Wrong are nouns, concepts or tropes. They are words and notions translating the raw aggressive bodily actions and reactions.
The are changes to is, the All is one play of these tropes.
The conceptual frameworks are as bodily fluids, as bodily drives. They is the same.
That's the prose version of the poem.
As for meter, I play the tempo and rhythm with what's being said. Giving eye and ear equal ground. Playing the length of time I want each line to be considered, as the poem is scanned with the eye-ear-mind, alongside the others.
As a poem like this isn't image-oriented, there's a rhythm of ideas and words themselves taking place of images, playing with the context in which the words are words and not bodily fluids and drives and reactions. Though I'm saying they are. At least, that's what's said. One thing about a poem is that you can say conflicting things at once. Although that might not be the case. Might be.
I did a silly usage with where'd. It easily means where would. In my ear, where swallows they, and where'd means where they'd.
The off. -off is easily aggressively sexual. In many connotations.
When a character is killed from a show or fictional series, they're killed off. They're not simply killed, they're killed off.
I'm looking at things as tropes and concepts. And saying that righteousness is a trope or concept to explain away a need for aggressiveness. Humanly, rather than humanely, since humane implies morals and ethics. I'm talking about bodily reaction.
Right and Wrong are nouns, concepts or tropes. They are words and notions translating the raw aggressive bodily actions and reactions.
The are changes to is, the All is one play of these tropes.
The conceptual frameworks are as bodily fluids, as bodily drives. They is the same.
That's the prose version of the poem.
As for meter, I play the tempo and rhythm with what's being said. Giving eye and ear equal ground. Playing the length of time I want each line to be considered, as the poem is scanned with the eye-ear-mind, alongside the others.
As a poem like this isn't image-oriented, there's a rhythm of ideas and words themselves taking place of images, playing with the context in which the words are words and not bodily fluids and drives and reactions. Though I'm saying they are. At least, that's what's said. One thing about a poem is that you can say conflicting things at once. Although that might not be the case. Might be.
I did a silly usage with where'd. It easily means where would. In my ear, where swallows they, and where'd means where they'd.
The off. -off is easily aggressively sexual. In many connotations.