Who is? / Quien es?

Who gave me the solitude of these days
being dissolved beyond unfinished voices
echoing far away, such as that gray past
full of your silence, follower of my soul.

Who appears in my most intimate dreams
as foreign storm that goes seeking the dawn
unafraid to the signs of the voice of the night
whispering as you are gazing elsewhere.

Who told you to finish it not to conclude it
sheltered with that veil of uncertainties
allowing my darkness to take away your illusion
as your voice still begged me for solace.

Who will convince the night of her silence
to the unfinished solitude trapped in vertigo
meanwhile no light appears in my dream
ending with your voice pounding to my soul.
flourish-24503_640
Quien me regalo la soledad de estos días
disolviéndose mas allá de voces inconclusas
resonando lejanas, como aquel pasado gris
lleno de tú silencio, seguidora de mi alma.

Quien se aparece en mis sueños mas íntimos
como tormenta ajena que va buscando al alba
sin miedo a los signos de la voz de la noche
susurrándote al oído mientras miras a otra parte.

Quien te dijo que acabaras para no terminar
arropada con aquel velo de incertidumbres
que dejo que mi oscuridad se llevara tu ilusión
mientras tu voz todavía me pedía consuelo.

Quien convencerá a la noche de su silencio
a la soledad inconclusa atrapada en el vértigo
mientras tanto no aparezca la luz en mi sueño
que termina con tu voz golpeando a mi alma.

Gavriel Navarro© 2013
tears

Happy are… / Felices son…

Happy are the long nights of dreams,
passionate caress, as the voracious roar
of the raging wind beneath tense waves
giving a breath of life to the surf.

Happy are the noble turns of fate,
a fleeting embrace holding me up
over the cusp of a sudden death
that is giving a new meaning to all.

Happy are the days when feathers fall
just drenched with weeping from rain
and nothing else falls, nothing but eternity,
swaying silently on shattered footsteps.

Happy are gray flowers in the fields
awakening only within my dreams,
and while fate crowns your absence
I diluted taciturn, where the feather fell…
flourish-24503_640
Felices son las noches largas de sueños,
caricia apasionada, como el rugido voraz
del viento furioso bajo las olas tensas,
dándole un soplo de vida a la espuma.

Felices son las vueltas nobles del destino,
un abrazo fugaz que me sostiene en pie
sobre la cúspide de una muerte repentina
que la va dando un nuevo sentido a todo.

Felices son los días donde caen las plumas
empapadas solo por el llanto de la lluvia
y nada mas cae, nada mas que la eternidad,
tambaleándose silentes sobre pasos rotos.

Felices son las flores grises en los campos
que despiertan solamente en mis sueños
y mientras el destino corona tu ausencia
me diluyo taciturno, donde la pluma cayó…

Gavriel Navarro© 2013
Summer dreams

Poetry form: Threefold Mesh / Triple Malla

Threefold Mesh

This is a poetic form that is all about dualities between extremes and Balance. The rules are relatively simple and yet is quiet a challenge to keep up with the concept idea.

The first rule is that there must be 16 verses (non negotiable)

The second rule is that there is no rule for rhyme but you must use other poetic devices to create a water like rhythm and flow.

The third rule is that the poem must read like a poem as a whole but you must create a line break on each verse that will cut through the poem as a river. There is no rule for the amount of spaces that the break will have.

Rule four is the most complicated. Once you cut through out the poem with the breaks, you should have two columns, and here is where duality and extremes come to play. each column must read as an individual poem opposite to the other! My recommendation is that you work the poem line by line and read the whole poem at each line end to check that makes sense as a whole and then the individual poems/columns and compare to the other to maintain the duality.

The last rule is quiet simple and has to do with geometry. the poem must have a quadrilateral shape so you will also create a visual flow within the poem with the line breaks.
the best tip I can give is to craft line by line and do not worry about the line break so much until you finish. Use your longer line as reference and at the line break use three spaces and then align the rest of the poem with it.

The name of this form came for the three different poem you can read into one entwined mesh of poetic exercise.

Here are links to examples of this form:

- Gradually the night…

- Dualities…

- Diurnal dancer

Hope to see more poems in this form emerging in perfect equilibrium!

flourish-24503_640

Triple Malla

Esta es una forma poética que tiene que ver con la dualidad entre los extremos y el equilibrio. Las reglas son relativamente simples y sin embargo es todo un reto de mantenerse al día con la idea del concepto.

La primera regla es que debe tener 16 versos (no negociable)

La segunda regla es que no hay ninguna regla para la rima pero hay que usar otros recursos poéticos para crear un cierto ritmo como el flujo agua.

La tercera regla es que el poema debe leer como un solo poema, como un todo, y deberás crear una ruptura de línea en cada verso que cortará a través del poema como un río. No hay una regla para la cantidad de espacios que la ruptura tendrá.

La cuarta regla es el más complicada. Una vez que se corta a través de la poema con las rupturas de línea, deberías tener dos columnas, y aquí es donde la dualidad y los extremos vienen a jugar su papel. Cada columna debe leerse como un poema individual opuesto al otro! Mi recomendación es que se trabaje el poema línea a línea y que leas el poema entero en cada fin de línea para comprobar que tenga sentido como un todo y cada poema/columna individual también tengan sentido y puedas mantener la dualidad a lo largo del poema.

La última regla es muy sencilla y tiene que ver con la geometría. el poema debe tener una forma de cuadrilátero por lo que también se creará un flujo visual en el poema con del saltos de línea.
el mejor consejo que puedo dar es de elaborar línea por línea y no te preocupes por el salto de línea tanto hasta que termines. Utiliza tu línea más larga de referencia y en emplea un salto de línea tres espacios y luego alinear del resto del poema con él.

El nombre de esta forma poética se deriva del poema como un todo (uno) y los dos poemas individuales que se entrelazan formando una malla poética.

Aquí están tres ejemplos de poemas en “Triple Malla”

- Paulatina la noche….

- Dualidades

- Bailarina diurna

Espero que les halla gustado y que lo intenten!

_____

This form was created and developed by Gavriel Navarro© 2013

How to write a “Navarrette Quatrain”

Here is a  clear explanation how to create “Navarrette Quatrains” a poetic form I developed. This takes you step by step showing you the precise construct of this poetic form:

First you create a line like on this naverrette:

“Now you’re mine, and am no longer but your master”

__________

then you copy paste 4 times:

Now you’re mine, and am no longer but your master
Now you’re mine, and am no longer but your master
Now you’re mine, and am no longer but your master
Now you’re mine, and am no longer but your master

___________

the next step you change the final part of the first 3 verses:

Now you’re mine, so do not hurry
Now you’re mine, come to live in my dreams
Now you’re mine, give me the gift of thy light
Now you’re mine, and am no longer but your master

notice that each line now is different and the Original line becomes the first verse of the last stanza

_____________

then the first 3 stanzas are free to write without rules:

Now you’re mine, so do not hurry
take your time on my bosom
while the skyline is dawning
and the birds spin out their destiny

Now you’re mine, come to live in my dreams
life brought you to me with certainty
mounted on its invisible fugitive wings
at this Alhambra that I built for you

Now you’re mine, give me the gift of thy light
your hands are not blind to my body
and your lips are not foreign to my taste
I am fire you wear and take you to my heart

Now you’re mine, and am no longer but your master

_____________

Now notice that the last stanza has a singularity. I used the original words I replaced after the repetition to construct the 4th stanza:

first verse, first stanza I used:
Now you’re mine, so do not “hurry”

first verse, second stanza I used:
Now you’re mine, come to live in my “dreams”

first verse, third stanza I used:
Now you’re mine, give me the gift of thy “light”

forth stanza:
Now you’re mine, and am no longer but your master
forever your destiny safe and without “hurry”
“dream” of your dream in the eternity of time
filling up with our “light”the shadows of the Universe…

Notice the words used to change the lines created to make different starts for each stanza are remarked. you must use those words in the following order to make sense and create the last stanza:

The first verse, first stanza word matches with a word in the second verse, fourth stanza

the first verse, second stanza word matches with a word in the third verse, fourth stanza

the first verse, Third stanza word matches with a word in the fourth verse, fourth stanza.

__________

now the poem read like this:

Now you’re mine, so do not hurry
take your time on my bosom
while the skyline is dawning
and the birds spin out their destiny

Now you’re mine, come to live in my dreams
life brought you to me with certainty
mounted on its invisible fugitive wings
at this Alhambra that I built for you

Now you’re mine, give me the gift of thy light
your hands are not blind to my body
and your lips are not foreign to my taste
I am fire you wear and take you to my heart

Now you’re mine, and am no longer but your master
forever your destiny safe and without hurry
dream of your dream in the eternity of time
filling up with our light the shadows of the Universe…

___________

the 4th stanza is the major problem to resolve but once you crack it, should finally read like this other poem:

When we are…

When we are eternal, we are airborne
taking flight on my trembling feathers
a faint act of faith that leaped forward
to reach a desired height and then stop

When we are eternal, we are stillness
whispering divine Argos of ice and fire
the innerspring of ardent voices to the wind
beyond the veils of tranquil warm nights

When we are eternal, we are vacuum
absorbed by lucid inequities and mute faces
lost in the emptiness of space untamed
in the absence of Sunlight, airless drowning

When we are eternal, we are timeless
airborne souls, we are not extinguished
within the stillness of immortal darkness
nailed deep into the vacuum of the sky….

Gavriel Navarro© 2012

___________________

The purpose of the form is displayed at the last stanza and I believe this formula opens a channel to the subconscious… Have fun if you decide to try!