Speaking in Fibs . . .

     Syllable-count patterns often are used in poems--helping to give a rhythmic tempo to the words.  As I mention often, syllable counts -- and other word-patterns -- help me to discover new and special meanings to convey. When I start to write, my thoughts are scattered and need to be gathered and focused -- and a poetic form helps this to happen.  The sonnet and the villanelle have long been valued examples of poetry patterns.  More recent -- and more simple -- is the Fib.  Introduced by poet Gregory Pincus back in 2006, the Fib is a six-line poem whose syllables are counted by the first six Fibonacci numbers:  1, 1, 2, 3, 5, 8. (Each succeeding Fibonacci number is the sum of the two that precede it.)

     Since 2006, a journal aptly named The Fib Review has offered (available at this website) more than 40 issues of poems, all of whose lines have syllable-counts that are  Fibonacci numbers.  Here is a portion of one of the poems -- by Washington-based poet Sterling Warner --  (the complete poem is found here).

Here is a link to another blog posting that features poetry from The Fib Review.

And lots more FIBS may be found here.

Shaping a Poem with Fibonacci numbers

      One of my favorite websites to visit is this varied and thoughtful "Poetry and Mathematics"  collection of postings by Marian Christie.

     Throughout history, people who write poems have often been aided by constraints.  When we sit down to write, writing the words that first occur to us -- then shaping the word into extended meanings but following a pattern of rhythm or rhyme or word-count . . . or . . .  .  For many poets the sonnet, for example, has been a poetic structure that shapes thoughts into special arrangements of words.

     In long-ago days, when print and screen versions of poems were not easily available, rhyme schemes were an important aid -- helping one's memory to keep a poem in one's head.  Now, aided by widely available print and online visibility, poetry has moved into new forms -- including a variety of visual arrangements.  

Choosing the GEOMETRIC SHAPE of a poem

      Structural constraints often govern the patterns we find in poetry -- well-known in poetic history are rhythm-and-rhyme patterns including the sonnet and the villanelle and the limerick, and the syllable-counting pattern of some Haiku.  Because many poems were shared orally, rather than in writing, patterns of counting and sound helped to ease the challenges of remembering.

     For me a wonderful source for learning about new poetic forms is the blog of poet Marian Christie -- a writer and scholar, born in Zimbawe and now living in England , who has studied and taught both mathematics and poetry.  In her very fine blog, Poetry and Mathematics, found here, Christie explores many of the influences that mathematics can have on poetry -- including, here in a recent posting, some effects transmitted by the SHAPE of a poem.

Struggling to create -- slave and master . . .

      In the sonnet below, Edwin Arlington Robinson (1869-1935) speaks of the enslavement of a writer of poetry in the effort to explain ideas in a perfect form . . . an enslavement perhaps (or not) also shared by mathematicians.     Food for thought!

       SONNET     by Edward Arlington Robinson

       The master and the slave go hand in hand,
       Though touch be lost.  The poet is a slave,
       And there be kings do sorrowfully crave
       The joyance that a scullion may command.
       But, ah, the sonnet-slave must understand
       The mission of his bondage, or the grave
       May clasp his bones, or ever he shall save,
       The perfect word that is the poet's wand.

       The sonnet is a crown, whereof the rhymes
       Are for Thought's purest god the jewel-stones;
       But shapes and echoes that are never done
       Will haunt the workshop, as regret sometimes
       Will bring with human yearning to sad thrones
       The crash of battles that are never won.

From Robinson's COLLECTED POEMS:  THE CHILDREN OF THE NIGHT, CAPTAIN CRAIG (Macmillan, New York, 1915)

A Sonnet by William Rowan Hamilton

     Despite their similar lifespans, it is said that British mathematicians William Rowan Hamilton (1805-1865) and George Boole (1815-1864) had no significant interactions; however, both wrote poetry.  Back in my posting on 9/12/2022, I offered a sonnet by Boole.   Below, a sonnet by Hamilton -- found, along with a rich supply of poetry and science, at this MIT website.

A sonnet by William Rowan Hamilton

 

 

The Poetry of Mathematician George Boole

      One of the interesting poetry collections on my shelves is The Poetry of George Boole by Desmond MacHale (Logic Press, Ireland, 2020 -- and published in the USA for Logic Press by Lulu.com).  This is not simply a poetry collection -- but poetry with commentary.  MacHale includes more than seventy surviving poems by the Irish mathematician Boole (1815-1864) -- and he also discusses Boole's views of the connections between Science and the Arts with an initial chapter is entitled "Poetry and Mathematics."  

     It is quite appropriate that Boole should relate poetry to mathematics since he was, primarily, a mathematician; his Boolean algebra is basic to the design of digital computer circuits)   Boole's own poetry, however, found most of its inspiration outside of math.  Here is his Sonnet 20 (Sonnet to the Number Three); written in May 1846 and suggesting that belief in the religious Trinity is connected with our interpretation of space in three dimensions.

Build a Poem using a Fano Plane

     Many of the mathematical poetic forms introduced in this blog are structures that can be used to build a poet's fragmented thoughts into complete and poetic form.  The Fib, for example, gives a syllable structure to help a writer shape an idea. Syllable-squares are another simple structure and -- familiar also but much more complex -- the fourteen-line Sonnet in iambic pentameter.

     Math Professor Dan May of South Dakota often works with an interesting and more complex structure called the Fano Plane -- a finite projective plane of order 2 -- and composed of 7 vertices with 7 connecting lines, each joining three vertices: 

Celebrate Pi -- and Poe

     Recently I came across a link I had saved to an article from last June in the Washington Post -- an article that considers Edgar Allan Poe (1809-1849) and the scope of his influence.  Poe's poem "Sonnet -- To Science" was posted in this blog at this link back in October, 2013 but today, as Pi-Day (3.14) approaches, I am thinking of his poem, "The Raven."  Mathematician Mike Keith has written a version of "The Raven" in Pilish, an arrangement of words whose lengths follow the digits of Pi (when the digit 0 occurs, a 10-letter-word is used);  the complete Pilish version is found at this link.   Here are its opening lines:

3.14159265358979323846264338327950288419716 . . . .

 My own attempts at Pilish are much more modest and today I quote from a posting in March, 2018:

     Hug a tree, I shout -- hungering to defend trees
                    and every creation . . .

     In San Francisco, the Exploratorium Museum -- which reports that it invented Pi Day to honor not only Pi but also to remember Albert Einstein's Birthday -- will celebrate the holiday with programs that feature John Sims, a mathematical artist (and also someone who has been previously noted in this blog).

February -- National Haiku-writing Month

     Whether to satisfy particular constraints when writing a poem is an idea that is very important to poets.  Some think that following strict constraints (such as building 14 lines of iambic pentameter to achieve a sonnet) is a process that leads the mind to discovery of new ideas.  Others think that constraints unnecessarily inhibit poetic ideas.

      Over time, the single-stanza poem called "Haiku" has been held to a variety of different standards.  Often the Haiku was expected to have three lines and seventeen syllables -- in a 5-7-5 pattern.  But this year as we now (in February) celebrate National Haiku Writing Month, relaxation of the syllable constraint is encouraged -- and the challenge of writing one-Haiku-per-day also is encouraged. 

Here, using syllable-counts, is a "no-seven" Haiku (offered on the seventeenth)!

               one two three four five
               six eight nine ten eleven
               twelve, thirteen, fourteen

And this link leads to lots of more-imaginative Haiku in earlier blog-posts.

Write to learn ... follow constraints ... find poems

     Some people (myself included) take lots of notes during a lecture or other program -- for it seems that the physical activity of placing the words on the page is part of the process of installing the ideas in memory.  For me, also, the creation of a paragraph or a poem depends on the teamwork of hands and brain.

     One of the ways that poets engage themselves in creating new thoughts is by accepting the guidance of formal constraints -- creating the fourteen lines of a sonnet or the nineteen lines of a villanelle with strict patterns of rhythm and rhyme and repetition.  Below I consider the question of what I want for my birthday  --  and use that in my struggle to write a sonnet:

You asked me
      for a birthday gift suggestion . . .  by JoAnne Growney    

After loss we have nothing--which is something ...

     A poet whose work I much admire is A. E. Stallings -- born in the US, in Georgia, but now living in Greece.  This poem -- a sonnet -- deals with the paradox that nothing is something -- as with the integer zero and with the absence of a loved one.  The poem was written for her father who taught statistics at Georgia State University.

     Sine Qua Non     by A. E. Stallings

       Your absence, father, is nothing. It is naught—
       The factor by which nothing will multiply,
       The gap of a dropped stitch, the needle's eye
       Weeping its black thread. It is the spot
       Blindly spreading behind the looking glass.
       It is the startled silences that come
       When the refrigerator stops its hum,
       And crickets pause to let the winter pass.

       Your absence, father, is nothing—for it is
       Omega's long last O, memory's elision,
       The fraction of impossible division,
       The element I move through, emptiness,
       The void stars hang in, the interstice of lace,
       The zero that still holds the sum in place.

"Sine Qua Non" is found in Stallings' collection Hapax (Northwestern University Press, 2006) and also in the anthology Strange Attractors:  Poems of Love and Mathematics (AK Peters/CRC Press, 2008).

 A wonderful collection of Stallings' poems is available at the PoetryFoundation website -- and more about this poet and her work is may be found here at her at Stallings' website.

A Hundred Thousand Billion Poems

 Celebrate Raymond Queneau (1903-1976).

     In a recent posting, mathy blogger Ben Orlin noted (here in Math with Bad Drawings)  that 2021 is the 60th anniversary of an amazing poetry collection, One Hundred Thousand Billion Poems, by Raymond Queneau.  The collection consist of 14 sonnets, with each line of each sonnet on a separate strip of paper -- allowing formation of a poem using any of the 14 first lines, any of the 14 second lines, and so on.  Here is an link to a earlier blog posting that introduces Queneau's collection and includes and interactive way to create a sonnet from the collection.

Here is a link to other postings from this blog that include Queneau.

JHM -- a rich source of mathy poems

      Every six months the Journal of Humanistic Mathematics offers a new online issue and includes a generous offering of mathy poems.  Here is a link to the current issue (Vol, 11, No, 2, July 2021) and I offer --after a sample, which features a type of algebra problem -- the titles, authors, and links to JHM mathy poems.

    Train Algebra      by Mary Soon Lee

     Do not use a calculator. Show your work.
     Haruki leaves Chicago Union Station at 10:42 pm
     on a train traveling at 60 miles per hour.

     At 10:33 pm, Haruki boards the train.
     He’s abandoned his job,
     his collection of cactuses;
     has only his cell phone, his wallet,
     and a dog-eared paperback.
     He walks through two carriages
     before finding an open seat,
     apologizes as he sits down
     beside a woman his mother’s age.
     The woman glares at him. 

Distance Melts . . . between math and poetry . . .

      One of my early math-poetry connections was with applied mathematician John Lew (1934-2006) who contributed often to the Humanistic Mathematics Network Journal (predecessor of the Journal of Humanistic Mathematics -- in which this blog finds frequent math-poetry gems.)  With a doctorate in physics, Lew worked in applied mathematics for many years at the IBM Watson Research Center -- and maintained interests in literature and music, serving for a time as poetry editor of the Mensa Bulletin.  His sonnet below comes from his 1996 HMNJ article, "On Mathematics in Poetry."  Lew's complete article is available here.

      The Comet      by John Lew

      Near from infinity I came
               Drawn to your strong, unmoving light
      By some ascendance of its flame
              That charms the planets through their night.
      The distance melts, my spirit thaws,
              Sublimes, and in your radiance flies
      Soon, by the old, unchanging laws,
             An exhalation through the skies.
      Sweet perihelion!  May we touch,
            Our auras intermingle?  No,
      The impulse of my flight too much,
             I must again to darkness go;
      While you may stand, and watch my face
             Dwindle through trans-Plutonian space.

 An interesting controversy arose between Lew and me -- here is a link to a letter he wrote about a math-poetry "quiz" that I developed that had appeared in the American Mathematical Monthly (quiz available here).

Pi-ku Contest in Australia -- deadline Two Pi Day

     Using syllable counts to help to craft poems has been with us since the sonnet and this blog has often presented square poems and Fibs and Pilish and . ..  and today we again focus on the digits of  π.  On Pi-Day (3/14) Australia's Cosmos Magazine opened a Pi-Ku Contest which asks for brief Haiku-like poems whose syllables-per-line are counted by the first six digit of the decimal value of  π.  (Contest information is available at this link.)  Entries must be submitted by 2Pi-Day, or 6/28.

     Here are two mathy samples from the Cosmos contest-information site:  

        Learning STEM
        is
        necessary.
        Do
        remember science,
        technology, engineering, maths.     by Jennifer Chalmers

        To say safe,
        Keep
        an area
        of
        Pi times one point five
        metres squared around yourself always.       by Lauren Fuge  

Other poetry forms shaped by the digits of  π include π-ku and Pilish.

Celebrating Ada Lovelace

     Today, 13 October 2020, is  Ada Lovelace Day -- celebrated each year on the second Tuesday of October and an international celebration of the achievements of women in science, technology, engineering and math (STEM).  Born to a famous father, poet Lord Byron -- and first known as Augusta Ada Byron (1815-1852), Countess of Lovelace — this talented woman became far better known as "Ada Lovelace" (1815-1852).  Lovelace worked on an early mechanical computer, "the Analytical Engine" -- and, because of her recognition of the varied applications of this machine, she is often regarded to be one of the first computer programmers.

Here is a link to a poem, "Bird, Moon, Engine" by Jo Pitkin that celebrates Ada Lovelace (with opening stanzas offered below) and this link leads to some of Lovelace's own poetic words.  At this link are the results of a blog search using "Ada Lovelace" that leads to the aforementioned works and lots of other poems about math women.

Another Fibonacci poem . . .

     Through many years of the history of poetry, the sonnet has been a treasured form -- as poets strive carefully to match the iambic pentameter rhythm and some pattern of rhyme, this concentrated thinking leads to careful word choices and memorable poems.  (Here is a link to a mathy sonnet by a math teacher's son, John Updike.)
     Modern poetry has many "free verse" poems that follow no particular form AND ALSO a variety of new forms.  One particularly popular format (appearing often in this blog) is to count syllables-per-line using the Fibonacci numbers   Here an interesting example by poet Marian Christie which describes increasing complexities of crocheting using Fibonacci syllable-counts.

"Crochet" -- a FIB by Marian Christie

 Christie's poem was first published in here in Issue 36 of The Fib Review.

Try it -- you'll like it -- write an ACROSTIC poem!

     When solving problems in mathematics, the constraints that are imposed on the solution often are helpful in solving it. As a simple example, if we are given the lengths of  the two shorter sides in a scalene triangle, the problem becomes easily solvable if we know that the triangle is a right triangle.
     Poets also often find constrains helpful in shaping their words into special meaning.  For example, the rhythm and rhyme scheme of the poetry-pattern called a sonnet have led to many notable poems.  In this blog, in earlier postings, we have celebrated the FIB -- a six line poem whose syllable-counts obey the Fibonacci numbers. A popular form of poetry for calling attention to a particular idea is an ACROSTIC poem -- a poem in which the first (or other) letters of each line spell out a word or phrase.  Here is my sample:  MATH POEMS HELP US SEE.   

     M     My
     A      algebra
     T      teacher
     H      has   

Playing with permutations of the nouns of a poem

     Founded in 1960, OULIPO  (short for French: Ouvroir de littérature potentielle) has been active in the exploration of the effects of constraints or arbitrary rules  in the production of literature.  
          Developed in the 13th century, the sonnet 
                   (with 14 lines, 10 syllables per line and a prescribed rhyme scheme) 
                       is a well-known member of these "constrained" forms.  The Haiku is another.
     Published in 2005, the Oulipo Compendium, Revised and Updated (edited by Harry Mathews and Alastair Brioche, Make Now Press, Los Angeles) contains definitions and examples of a large variety of rule-following writing.  On page 173 we find some interesting comments about language by French poet Jean Lescure (1912-2005):
     " . . . Lescure remarks that we frequently have the impression 
          that language in itself  'has something to say' and that nowhere 
          is this impression more evident than in its possibilities for permutation.  
          They are enough to teach us that to listen we must be silent; 
          enough to transform a well-oiled bicycle into a well-boiled icicle."   

Using poetry to open dialogues with science . . .

     Recently I have obtained a copy of Sam Illingworth's book, A Sonnet to Science:  scientists and their poetry (Manchester University Press, 2019)  -- a collection of essays-with-poems that features these six scientist-poets:  Humphrey Davy, Ada Lovelace, James Clerk Maxwell, Ronald Ross, Miroslav Holub, and Rebecca Elson.  
       A dust-jacket blurb describes the author:  
            Sam Illingworth is a Senior Lecturer in Science Communication, where his work involves
                   using poetry to develop dialogues between scientists and non-scientists, 
                   especially amongst traditionally under-served and under-represented communities. 
             Illingworth also is a poet -- with a poem-a-week-blog available at this link.
From Rebecca Elson (1960-1999), an astronomer and poet whose life was cut short by cancer, we have these math-linked lines (written in 1998 and on page 168 of A Sonnet to Science):

     Is there any language, logic
     Any algebra where death is not
     The tragedy it seems