Your Eyes

For Gee Ann

14th Feb 2013

Eyhm

I see you eyes glitter, beautiful and tantalizing

That none of high-tech bulbs compares

Though, they may be equipped with a thousand twinkling stars in the glowing skies

I for one--for sure, obsess the glitter in your eyes.

I see your eyes glitter beyond and above

And no one its beauty can ever share

Though birds and flowers boast their splendid colors; none of them will my heart move

I for one--for sure obsess your eyes o, endless love.

Lately, I went tapping in a nameless keyboard

That I tried to craft in my fingers boundless words

Though my words were soft and my love gentle--pretended sublime in the whole world

I for one--for sure; your eyes are incomparable that I truly adored.   

On Your Baptismal Day

Since the cask of vino aged and full

A decade past, it kept hidden scent.

The stopper burst to open and hoops fail

Then a thingy thing reeks up without hint.

The racy blood, hiding inside the shade

The soul awakes, waking her sleepy veins. 

The half-light of dawn streaking to unhide

God of light seemingly rules with no pain.

This you may or may not understand

I whisper these words in your untried ears

Incline to mutter gently as I can

Slow to be sure of getting by, pain and fears.

A decade past the cask lay ‘neath the viny

 Grapes with none but solemn peace; light and dark

Soul grows budding then goes pure and shiny

It is the day when spirit stands in her mark.

For Geemel

OFELIA (Ofel) 1500 Hrs. 25th of Oct. 2012 (Trada Onse?)

I like 'formed poetry' because it separates itself from other forms of prose. The ancient poets write it to distinguish their pieces by definite number of lines, a pre-plan rhyming scene and a definite number of lines, in so doing, a specific type of poem maybe known by the readers. Sonnet of Petrarch an structure is what I like most because of its challenging qualities in its rhyming scene and the difficulty on how to follow the pattern of end rhyme while aiming for an internal ones. A controlled number of lines for each piece in iambic pentameter (most often) per line--need some sort of not only poetic, but also, a flair in mathematics to succeed! A single idea successfully demonstrated in a fourteen-lined Sonnet is a good test of poetic capability. The spirit of old bards may got filled with delight when they know that I'm in the roster of their dwindling students.

Lately, I come across with beautiful Haiku. It has only a three cute lines where the first and the last line has five enchanted syllables while the mid-line has seven fairy-like syllables. It takes a genius to succeed in writing a real Haiku and the same, to read and understand it. It is by this assumption that I write seven of it for just one title with violations in the number of syllables per line. Anyway, I am not a genius. I pray the great bards of this type will not hold me in contempt--forever.         

  Diversion

Droplets and downpour

Mingle in bitter succession

When dark clouds crying.

Luna

Dark grayish faces

There, hang teary blackish eyes

 Chill and cold meet, mingle.

Iznart

 Byways and roadways

Endlessly, they too suffer

Tears over brim them.

J.M. Basa

Me, fingering keys

Of tottered keyboard

Cold like fingertips.

Ortiz

Unredeemed passions

Clutch mortal body and soul

Real or just a dream?

Gomez

All swim in darkness

Cold watery sepulchre

Death of warmth and light.

Maria Clara

Will howls, pelter quit?

And waken the warmth

Thereon, light ensues.