Go to wikihow.com>..>Works and learn in easy steps how to write a decent poem of any kind in no time at all. Good luck.

Try to read an in-depth analysis of the poem. This should inspire you with some ideas. Also, Google, How to write poetry in the style of *****, for further help.......Good Luck!

Memorizing just six lines of poetry isn't very difficult, especially if the lines use rhyme and/or meter, which give your memory some special things to hang onto. Start out by reading the lines out loud several times. Don't even try to memorize them at first. Just read them out loud maybe three or four times. Then try saying the lines without looking at the page. You won't have the whole thing memorized by that point, but you might be surprised by how much of it has stuck in your mind just from a few repetitions. Then you read it out loud a few more times, and try it without looking again. It won't take long to memorize the whole thing that way. Once you have the whole thing memorized, say it out loud several more times to really make sure you have it. (If there are words and phrases in the poem that you don't understand, be sure to look them up. It's possible to memorize something without knowing what it means, but it's much easier to memorize something you understand.)

To-night, a first movement, a pulse, As if the rain in bogland gathered head Those are the first two lines of Seamus Heaney's poem "Act of Union." To quote them in an essay, use a slash in place of a line break, like this: "To-night, a first movement, a pulse,/As if the rain in bogland gathered head" (If you quote more than two or three lines of a poem, it's best to set them apart from your prose text and lay them out with the poet's line breaks. But for a short quotation, replace line breaks with slashes.)

Many colleagues advise you nicely. Synopsis said something about avoiding "hugs" stuff. I agree 100%. Avoid being influenced by hens work and public relations. They do not understand that they damage people, and never help them. Your work will be substantial some day. Theirs, will be not. Milieu offers some good sites to receive useful stuff from. Copy those links in your I.E. or Firefox bookmarks column. AND: Visit posts like mine, Synopsis, Peter, LC, Iggy, Pandora, Milieu, Thingum Bob, Thomas, Danny R, Nancy and find the positive and negative things, make comments, challenge. Avoid those that are NOT poets. "Public relations" because of friendship in this site have harmed some newbies and more veterans. I love you and your poetry. Feel free to visit my posts, and comment. I smile to you, and you are a precious friend! I 'll never lie to you, and if anyone makes you upset, send me an e-mail about it! :) :)

From PFFA Blurbs: "Quick Lesson in Basic Scansion: Basic meter is based on the fact that all syllables in English are either stressed (at one of several different levels) or unstressed. In ordinary speech, we pay no attention to the patterns of stressed and unstressed syllables, so that no pattern emerges--the "pattern" is random. In metrical poetry, however, the poet takes syllables and arranges them so that the stresses that fall normally will occur in set patterns, as defined by the various feet (iamb, trochee, etc.). The basic meter in English is iambic pentameter, i. e., a line containing 5 iambs. "To strive, to seek, to find, and not to yield." "To STRIVE, to SEEK, to FIND, and NOT to YIELD." / iamb/ iamb/ iamb/ iamb/ iamb/ "When I do count the clock that tells the time" / when I/ do COUNT/ the CLOCK/ that TELLS/ the TIME/ / iamb/ iamb/ iamb/ iamb/ iamb/ "When I have fears that I may cease to be Before my pen has gleaned my teeming brain" / when I/ have FEARS/ that I/ may CEASE/ to BE/ / be FORE/ my PEN/ has GLEANED/ my TEEM/ ing BRAIN/ / iamb/ iamb/ iamb/ iamb/ iamb/ / iamb/ iamb/ iamb/ iamb/ iamb/ Certain substitutions are allowed which are not considered to disrupt the basic meter (iambic pentameter in this case), specifically the trochee and the spondee: "Thus is his cheek the map of days outworn" / THUS is/ his CHEEK/ the MAP/ of DAYS/ out WORN/ / trochee/ iamb/ iamb/ iamb/ iamb/ The first-foot trochee is the most common of all substitutions in iambic verse, although the trochee can be substituted in any foot (except possibly the last foot of a line). "Keen, fitful gusts are whisp'ring here and there" / KEEN FIT/ ful GUSTS/ are WHIS/ pring HERE/ and THERE/ / spondee/ iamb/ iamb/ iamb/ iamb/ The spondee can also be substituted anywhere within a line, including--unlike the trochee- the last foot. The important thing is that, as a general rule of thumb, there should always be more iambs in the line than substituted feet; otherwise, the iambic rhythm will be lost. There is, in addition, one further substitution which may occur, the combination of a pyrrhic foot followed by a spondaic foot; this combination is called the "double iamb" and is counted the same as two regular iambs in a line: "I summon up remembrance of things pasts" / i SUM/ mon UP/ re MEM/ brance of/ THINGS PAST/ / iamb/ iamb/ iamb{/ pyrrhic/ spondee/ = double iamb} "When all the birds are faint with the hot sun" / when ALL/ the BIRDS/ are FAINT/ with the/ HOT SUN/ / iamb/ iamb/ iamb {/ pyrrhic/ spondee/ = double iamb} "When to the sessions of sweet, silent thought" / WHEN to / the SES/ sions of /SWEET SI/ lent THOUGHT/ / trochee/ iamb {/ pyrrhic/ spondee/} iamb/ Since the "pyrrhic"/"spondee" is counted as two regular iambs, there are still 4 iambic feet in this line, despite the trochaic substitution."