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Unaware


  • Unaware

     

    I have loved you a zillion ways, unaware,

    from infancy to aging days, unaware.

     

    You’re the life-force in a lover’s eyes while he

    spends his semen making babies, unaware.

     

    I see you in the Corella’s somersault.

    Your glee, in her screech as she plays, is aware.

     

    Hatching little fish in mangrove estuaries,

    you’re in the Moon’s every phase, unaware.

     

    You’re in the Sun’s photon rays that succour life

    and boil greenhouse gases in your gaze, unaware.

     

    You Big Bang. You atom. You dark matter. You,

    the energy that wields and weighs, unaware.

     

    I, Manna, love you a zillion varied ways,

    while you revolve in your displays, unaware.

     

     

    111 words
    © Manna Hart 7.11.19
    111 words @ 120 pm = 0.925 minutes / 1 minute


    I wrote this poem when challenged to write a poem on the theme of God. As an atheist, this is a nearly impossible feat - so I wrote instead about my love for the universe, existence and life - playing with the notion of consciousness and its role.

    I chose the poetic structure called ghazal (pronounced huzzle, with a gutteral h), because I thought it suited the theme.

    The ghazal originated in Arabia in the 7th century. It can be about anything, but it’s traditional themes are the pain of unrequited love, or loss or separation from the belovéd — and the beauty of love in spite of the pain. Frequently, especially among the Sufis, the belovéd is Allah. Rabindranath Tagore’s anthology Gitanjali brilliantly demonstrates this theme, (although only a few of the poems are ghazals.)

    A ghazal typically has between five and fifteen couplets (but can be much longer), which are independent, but linked like pearls on a string.
    They hold together loosely via their theme but cohere to a strict pattern of structure, rhyme and rules of form:
    Each stanza is a couplet. 
    Lines can be of any length, but each line must have the same number of syllables and a similar cadence.
    The last word of each line in the first couplet is repeated.
    Thereafter, only the last word of the second line repeats in each couplet.
    There is a penultimate rhyme in one to three syllables in the second line of each couplet.
    In the first line of the last couplet, the poet mentions his or her own name.

    Some are written by groups of poets, each contributing a couplet on a theme, often in a playfully competitive spirit.

    In the C12th, the form spread with the Sufis throughout the Middle East and India. Since then it has been picked up and used in many languages by many of the world’s best poets.

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