One line poems are also known as monostich. They could also be titled in some cases; read brief but deep and meaningful poetry.
The first poet to produce monostich in the modern Western tradition was Guillaume Apollinaire, since then it has become a convention.
language shares a common tongue
huddled masses with socks
arriving on time and late
wonder where width went
me or it – either way you jump off
just over that hill: the one one wants one
my legs cramp, my head moves its mouth
do get simultaneous animals
strip language of emotion, end up with operate
predicate, pontificate, travel long distances and speak truth
it as do be it he me or
in a short while craft – not much to do about it
turn a single letter – it becomes a bird or later
a string pulled out of a word endlessly, never snaps
disabled and detained, probably dispelled
place it on a stump
fragment detachment
nature speaks to those who disappear into it
all the images my eyes have seen now memory?
dumped ashtray on bed when pulled down covers
limited potential so must rely on hope or help
olfactory workers on break
Benedict knew God loved him
my stupidity, lack of care, laziness, impatience, all endearing to someone
genus, genius, genous, generous, degenerate, disingenuous
how many meals in a lifetime?
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gangrenous tooth defection or flesh encumbrance
acid of sword blade on the road of crushed petals
sound of someone long gone
aware of trauma in room, mild sinking
where there’s sentence there’s attention
violin passion on the derangement of purse
Jabes mentions book, desert, God, Jew, nothing
mentioning blossoms cements poetic mood
insurance reimbursement, worrisome
taxtrick (who’s arbiter of right and wrong)
everyone there is dying – you should think of that
long heat of happiness, stiff eyeball
wires and beams, stray dog
everything brown in the room
imitation of poet no longer warm for life
horticultural tour of parlor
hold onto music: not possible
release pit or point… quite occurring
spent pine needles scattered in cypress tree
stone poem about puddles on step
red sweater of yesteryear, worn, now, worn?
all those books, lamentation, song, punctuation
career dependency//sky diving// careen and float
flat flaot flout finally
self’s impossible, listen to rain
all stopped “ “ some light is bright
beyond the body limit disturbance
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wonderful dilemma, icy decisions open into view
trees above trimmed bushes, sentinels
walking among red leaves looking up
car (mind) break down
long winter’s night: distasteful lamplight
phone: lost and forgot
having a baby, knowing what to do
sex in middle age (nice to know you)
sound of door, voice, wind
our house, our house, our house (another’s)
parts of worlds, words, boxes left unclaimed
record, bow, praise, lament, offer, decide, fade…….
fountain and tree attract duck
heron in field tip-toes silent
music in the way one goes on
where’s blend of folk, rhyme’s reason
one fixed idea broken
one’s fixed idea (one is)
why not gather, determine(contradiction)
who knows interrogative tone, tentative gesture
Mexican people see Mary at night
turning the bad dead over in the coffin
jar in Tennessee (unlikely to be in Memphis)
not going to Paris – see it best (tasting name)
foot at end of ankle, hand at wrist
art an end of rankle, sand in fist
(whew! air in air out)
going slowly one goes further
you and I could refer to same
pages, like beaches, wet
translation: pushing the stone aside
these and those (lips and teeth)
mystery image at life’s end
which; happily family laughter
stormy eruption at civilization’s end
words turning noisy, snarl
sprig snapped, a life, crushed blossom
Benedict’s love, to glide (elision)
my disinclinations, thirsty root
light wanes but sky’s still
one repeat (death makes soil)
hardy (be slow my heart) tidy
which, whither, whether, wither, with, weather, willy-nilly
someone everyone anyone wondered
open mouth, close doors, speak, stay warm
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When they crumble gently as they leaf
The house flutters like the membrane that it is, tentative
Gesture like a lump humping up from the earth then falling back
As the planet continues with its breathing
Is death returning home some way no one imagines
Setting down the spines and fibers of the flexible material
Till all is level and true finally beyond conceptualization and concatenation
Or is there just the ongoing disturbance of more and more life
Blot on the sheer fabric of nothing?
Night occurs dimmer each time with the pieces of light smaller and squarer
A blue anchor grains of grit in a tall sky sewing
The wedding was enchanted everyone was glad to be in it
Four skinheads stand in the streetlight rain chatting under an umbrella.
Taxi ghosts at dusk pass Monoprix in Paris 20 years ago.
Crescent moon, girls chatter at twilight on the bus ride to Ankara.
Put on my tie in a taxi, short of breath, rushing to meditate.
That grey-haired man in business suit and black turtleneck thinks he’s still young.
Rainy night on Union Square, full moon. Want more poems? Wait till I’m dead.
White noise carries too many messages.
Night gathers across the river.
Relax. I kept my word, burned the negatives.
Memories of the bomb still mushroom within us.
Somewhere in Texas, farmhouses are burning.
I have climbed inside Siberia, and now await you.
Hours later, the ashes stirring by themselves.
There are more than fourteen stations of the cross.
Ravens outdate us, but we still forget.
It can feel really weird to see one line poems, as such compilation could be amusing, but this is the most easy form of poetry to really enjoy and connect with. Share our post to other communities and help us have more reach.
Dailytime Poems.
I am wondering about this request to say something about «a word.» As a person of many words, I find the singular form of that noun somewhat daunting as a subject for thought. A word by itself seems to me like the proverbial lost ball in tall weeds. Where to begin looking? A proper noun, like the name of a city on a station sign, or a ball player’s name on the back of his shirt, seems like cheating, since to name a place or a person is to have a world open from it automatically, like an unfolding fan.
A word in isolation: perhaps a foreign word, which has a singular identity in an English line, and its very strangeness is its seduction, but also its risk; for instance, shantih, which, in a poem of hers, Sujata Bhatt chided T. S. Eliot for using as he did with such solemnity, since, she wrote, it was an everyday word in India, one her mother used when she wanted the children to quiet down. Then, too, giving prominence to a single word invites magnification, makes the shadow of the looming Capital Letter darken the scene, arousing fear of The Word—of which in the Beginning there was supposedly but One, and from which notion follow a thousand exclusions and the sanction of countless crimes.
So, how to circumvent this army of objections, this resistance that rises in me from a nevertheless intriguing request? What word, what improper noun, like Walt Whitman, could contain multitudes? And that is when I think of a word that recurs, in poem after poem, like a perennial in a garden, but is, by both definition and connotation, so protean that it never seems to be the same thing twice and yet, changeable as it is, is connective in its essential nature, requiring, in its most abstract and mathematical definition, more than one point, and frequently a multiplicity of them.
The word is line, which, yes, is also, obviously, the unit of verse prosody; and that, however obvious, is one of the points, giving the word a kind of punning reflexiveness back to the linguistic action in which it is used, and to which meaning is inextricably bound. Line is one those words whose complex nature poetry requires; that is, it has abstract meaning and concrete presence, so that it can (pace Archibald MacLeish) both mean and be. And both its concrete and abstract meanings are multiple and variable with context; when the world in which the word takes shape alters, so does the meaning.
Years ago a British editor objected to my repeated use of a rather blatant enjambment, calling the words «elbows» that were broken off from their syntactic units and sticking out at the end of a line. (Get your elbows off the table, a voice echoes from childhood.) At the time, partly to deflect criticism (I was young and in those days it still stung), and partly for the sheer pleasure of talking back to such a man in a language I associated with English literature and the traditional «feminine arts,» I made, inadvertently, what amounted to a discovery (which is to say, before I insisted on defending what I have since decided was a failure of craft, I hadn’t seen how supple, substantial, and curvilinear the poetic line was for me). I answered him, affecting the voice of a nineteenth-century woman that, my dear sir, before I had picked up the pen, I had worked with needle and thread, and thus think of the line not as a unit or bar of type in a gridlike series, but rather as a thread, a flowing, sinuous and continuous thread of connection—the end of a line resembling a bend in a river, the noticeable break in syntax meant to mime that flow around the bend, from there to the next line in the poem.
Kidding or not, it seemed that I had articulated a formal intention of which I’d been unaware. Indeed, checking with the OED, I discover that the etymology of the word was the very material I had invoked: line coming from the same root as linen, both coming from the Latin, linea: «linen thread,» beneath which was the root linum, or «flax,» from which thread is spun. And I was, in fact, in the poetic business of turning a grid line into a thread, and that thread, which had been, like the nineteenth-century woman I invoked, part of a condition and a design into which so many of us had been bound as surely as a figure is sewn into a tapestry—a line which I was anxious to cut, free the bound subject from the elegant, tight design, and turn that line, in a manner of speaking, and (as my metaphor of the river bend had already announced) into a stream: syntax a connective, open-ended flow, medium and message an inseparable pair, and, if I may play one more change on the word: a lifeline.
This essay is included in One Word, an anthology edited by Molly McQuade.
More One Word
One Line Poetry is best way to express your words and emotion. Check out the amazing 1 line quotes in urdu collection of express your feeling in words. This section is based on a huge data of all the latest one line quotes in Urdu & urdu one line caption that can be dedicated to your family, friends and love ones. Convey the inner feelings of heart with this world’s largest one line poetry in urdu compilation that offers an individual to show the sentiments through words.
One Line Poetry
No one can deny the importance of poetry as it is a perfect medium to express our feelings and emotions. When talking about the one line quotes, it is the shortest format of conveying a message. One Line Poetry in Urdu Text has normally five to ten words. However, their impact can never be undermined.
The tradition of 1 line poetry in Urdu text is too old and from hundreds of years, one line quotes in urdu is utilized to elaborate different key issues in the short format. It is a reason that a lot of people do Urdu one line poetry copy paste and send to the people they love the most.
On our website, there is a vast collection of One line Shayari from famous poets. You can easily read the one line poetry in Urdu text caption related to the different aspects of life. You can also share it with your friends and family members through WhatsApp and other social media applications.
User Reviews
The life poetry section of this website features a collection of poems that reflect on the various aspects of life, from birth to death. The poems can be thought-provoking and inspiring, encouraging readers to reflect on their own experiences and values.
- Jahanzaib , Islamabad
- Thu 13 Apr, 2023
I like this type of poetry on this site. very good and intresting content is here.
- Ghulam Murtaza , Kamoke, Gujanwala
- Wed 22 Feb, 2023
Poetry on Life is difficult to find that actually relate to my life history. I am glad that i found this page that is actually very amazing and relatable.
- Nasir Khan , Larkana
- Thu 08 Dec, 2022
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Autorank orders poems based on how similar they are to professional poems. Do not trust this for detailed ordering. Scores differences under 2 points have low meaning. Details
- Our computer studied hundreds of thousands of amateur and professional poems in a variety of ways including word choice, word ordering, line length, punctuation use, etc.
- It compares your poem to a large set of words and phrases that more often used by professional poets.
- It also looks at how many words are easy to picture (professional), or are abstract (amateur).
- This is a rough rank — computers are bad at nuance and meaning. In a list of 100 poems, 80% of professional ones will be in the top half — but 20% may still be ranked poorly for unusual use of language, or they have assets that far outweigh their less professional aspects. Reading a poem is a deeply personal experience, use your own judgement.
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