.
THE DISCOMFORT OF DISCONNECTION
there is a deepening despondency
with the company of love's cessation.
time is fraught with horror of dejection
and sorrow throughout parting's duration.
bitterness perhaps fought with alcohol
taken in the hopes of sweet sedation.
there is memory of fits of delight
replaced now with an aching sensation.
with the missing then comes the hollowness
of complete emotional starvation.
fighting these flights of fanciful dreaming
somehow leading only to stagnation.
but even in these darkened times of woe
there is cause for hope and pure elation.
the knowing that this to shall someday pass
leads to finding of a new salvation.
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Ghazal
From: From Wikipedia, the free encyclopedia
(I suggest reading the full article at http://en.wikipedia.org/wiki/Ghazal for much more details)
The ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in 6th century Arabic verse. It is derived from the Arabian panegyric qasida. The structural requirements of the ghazal are similar in stringency to those of the Petrarchan sonnet. In its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central themes of love and separation. It is one of the principal poetic forms which the Indo-Perso-Arabic civilization offered to the eastern Islamic world.
MY SUMMARY ON FORM REQUIREMENTS:
* composed of five or more couplets
* a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain.
(usually illicit unattainable love?)
* In the first couplet, both lines end in the rhyme and refrain so that the ghazal's rhyme scheme is AA BA CA etc
* Each couplet must be a complete sentence (or several sentences) in itself.
* All the couplets, and each line of each couplet, must share the same meter.
PERSONAL NOTE ON THE PROCESS...
"A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain."
I can definitely get the pain of separation/loss part... the beauty of love in spite of, I haven't felt beautiful about separation since 2005-2006... Plus the requirement of the form? Yeah, this took a lot of researching to get the feel of what I was going to write.
I noticed in the ghazals written by English speakers, there was only the rhyme and not necessarily a refrain word or phrase. Plus in Wikipedia it did say not all ghazal forms (great, forms within a form) used the refrain, so that freed up my mind a little. I'll try to challenge myself to do a refrain later.
The rhyming is still the same for me. I use a single word for my main theme and then rhyming dictionary it into oblivion to figure out how to say what I want and still emote while at the same time fitting into the meter and rhyme of the form.So I decided on a theme of separation (without actually using the word in the poem) and a pentameter rhythm (NOT iambic, I hate that rhythm! :-P). I did a few more than the minimum 5 couplets. Challenge was to have each couplet be a complete sentence or sentences. I am still not so keen on rhyming and using meter because it feels so nursery rhyme like and is not the natural way I think these days... but... I did it and I hope it doesn't suck! :-P
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Showing posts with label form a day. Show all posts
Showing posts with label form a day. Show all posts
Thursday, May 19, 2011
CROSS POST: new form every day... French Sonnet (day 40 of 365 poems in 365 days) - 2011-02-09 19:33
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A LONG SLOW SWEEPING THING
sadness as a constant companion
drawn into the abyss
a heart's longing to dismiss
suspended over rifts and canyons
filled with woe and feeling abandoned
on better times to reminisce
the view of perfection is amiss
unrelenting and demanding
as if all happiness one must forsake
and no forgiveness for the mistake
the wrenching burden of the chasm
filling more and more with ache
crying simply for sorrow's sake
even if unreal, a phantasm
***************************************************************
From: http://www.thepoetsgarret.com/list.html
French Sonnet
By the time Wyatt and Surrey introduced Petrarch to England, sonnets were popular throughout Europe, including France where a group called "Pleiade" was dedicated to importing Italian poetry.
Despite the aggression between England and France, because of the closeness of the two countries is it logical to assume that there would be a secondary source of the sonnet form imported into England and that it be via France.
Realistically apart from the 14 lines, and an octave of two quatrains there is no obvious link of the English to the Italian Forms as the internal rhymes are different, and what is proposed here is that the French Sonnet is that link. Like the Italian and the English it has an octave comprising two quatrains, but unlike the Italian and like the English it has a sestet comprised of a couplet and a quatrain and it is possible that the English sonnet was derived from the French Sonnet form and not the Italian one. The difference being that the English grouped the Quatrains together and turned (Volta) with a couplet the last two lines, but the French turned with the sestet and used the quatrain to close.
The internal rhyme is still different, but that can be attributed to the differences of the "Romance" language which has its own natural rhythm and rhyme, compared to English and the more natural did dah line rhyme just as Iambic is considered to be "English Sing Song".
The form has exactly the same quatrain as the Petrarch - a. b. b. a ... a. b. b. a.
The sestet begins with a couplet - c. c., and like the Italian sestet, we have a choice of quatrains to play with.
- d. e. e. d.
or more French, - d. c. c. d.
or more English - d. e. d. e.
PERSONAL NOTE ON THE PROCESS...
Sonnets are NOT natural for me to write AT ALL. Any rhymed form is pretty hard most of the time and this was no exception. I wrote a few lines of what I was feeling and then took the main concepts from that to pick a few words to try to rhyme with and then looked up synomyms and rhymes off the base words to try to get it all to fit together and be somewhat pretty and in my style and voice even within the form. I'm not sure I succeeded but it is what it is. As I usually do, I got the rhyming words first and then came up with the lines 2nd. I don't know how other people do it but that seems to be my modus operandi.
One thing reading these assignment poems at open mics has shown me is when I speak them in my cadence, they feel real. It's the meters that require certain accent patterns (ie Iambic) that I have a bit of trouble with.
.
A LONG SLOW SWEEPING THING
sadness as a constant companion
drawn into the abyss
a heart's longing to dismiss
suspended over rifts and canyons
filled with woe and feeling abandoned
on better times to reminisce
the view of perfection is amiss
unrelenting and demanding
as if all happiness one must forsake
and no forgiveness for the mistake
the wrenching burden of the chasm
filling more and more with ache
crying simply for sorrow's sake
even if unreal, a phantasm
***************************************************************
From: http://www.thepoetsgarret.com/list.html
French Sonnet
By the time Wyatt and Surrey introduced Petrarch to England, sonnets were popular throughout Europe, including France where a group called "Pleiade" was dedicated to importing Italian poetry.
Despite the aggression between England and France, because of the closeness of the two countries is it logical to assume that there would be a secondary source of the sonnet form imported into England and that it be via France.
Realistically apart from the 14 lines, and an octave of two quatrains there is no obvious link of the English to the Italian Forms as the internal rhymes are different, and what is proposed here is that the French Sonnet is that link. Like the Italian and the English it has an octave comprising two quatrains, but unlike the Italian and like the English it has a sestet comprised of a couplet and a quatrain and it is possible that the English sonnet was derived from the French Sonnet form and not the Italian one. The difference being that the English grouped the Quatrains together and turned (Volta) with a couplet the last two lines, but the French turned with the sestet and used the quatrain to close.
The internal rhyme is still different, but that can be attributed to the differences of the "Romance" language which has its own natural rhythm and rhyme, compared to English and the more natural did dah line rhyme just as Iambic is considered to be "English Sing Song".
The form has exactly the same quatrain as the Petrarch - a. b. b. a ... a. b. b. a.
The sestet begins with a couplet - c. c., and like the Italian sestet, we have a choice of quatrains to play with.
- d. e. e. d.
or more French, - d. c. c. d.
or more English - d. e. d. e.
PERSONAL NOTE ON THE PROCESS...
Sonnets are NOT natural for me to write AT ALL. Any rhymed form is pretty hard most of the time and this was no exception. I wrote a few lines of what I was feeling and then took the main concepts from that to pick a few words to try to rhyme with and then looked up synomyms and rhymes off the base words to try to get it all to fit together and be somewhat pretty and in my style and voice even within the form. I'm not sure I succeeded but it is what it is. As I usually do, I got the rhyming words first and then came up with the lines 2nd. I don't know how other people do it but that seems to be my modus operandi.
One thing reading these assignment poems at open mics has shown me is when I speak them in my cadence, they feel real. It's the meters that require certain accent patterns (ie Iambic) that I have a bit of trouble with.
.
CROSS POST: new form every day... Eintou (day 39 of 365 poems in 365 days) - 2011-02-08 09:04
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Poems about Blackness in a Black form. Happy Black History Month...
THE N WORD
We be
like wild beasts then
we cattle not human
once princes, kings, and queens be we
then robbed of our true pride
less than others
niggers
HISTORY REMEMBERED
one month
we take the time
to remember ourselves as great again
uplift the goodness and ingenuity of our spirit
know that we were more than
that we were good
let's remember
***************************************************************
From: http://randomwriterlythoughts.blogspot.com/2010/08/eintou.html
Eintou
The Eintou is an African American poetry form consisting seven lines with a total of 32 syllables or words. The term Eintou is West African for "pearl" as in pearls of wisdom, and often the Eintou imparts these pearls in heightened language.
The Eintou developed as a means for African American poetic forms to take their place in the forefront of American poetry. Many African American poetic scholars and critics often attempted to mimic Euro-American forms as a means of demonstrating poetic expertise, or stood by "free-verse" as an African American form. It was rare to see serious examination of African American poetic forms; in fact most critics regarded African American poetry as "formless" or "mimicking."
The 2-4-6-8-6-4-2 structure of the Eintou is crucial in terms of African and African American philosophy. Life is a cycle. Everything returns to that from which it originates. The concept of a pearl, which is a sphere, and the cyclic nature of the Eintou's structure capture this. The life of the Eintou begins with two syllables or words, expands as though growing and then returns to two syllables or words. In this fashion the Eintou never escapes its beginnings or history. It flows from, through, and ultimately returns to that from which it came.
Structure:
Line 1 - 2 words/syllables
Line 2 - 4 words/syllables
Line 3 - 6 words/syllables
Line 4 - 8 words/syllables
Line 5 - 6 words/syllables
Line 6 - 4 words/syllables
Line 7 - 2 words/syllables
NOTE ON THE PROCESS...
The first poem is done in syllables and the second is done with words. Personally I prefer to do words because visually it looks better on page.
.
Poems about Blackness in a Black form. Happy Black History Month...
THE N WORD
We be
like wild beasts then
we cattle not human
once princes, kings, and queens be we
then robbed of our true pride
less than others
niggers
HISTORY REMEMBERED
one month
we take the time
to remember ourselves as great again
uplift the goodness and ingenuity of our spirit
know that we were more than
that we were good
let's remember
***************************************************************
From: http://randomwriterlythoughts.blogspot.com/2010/08/eintou.html
Eintou
The Eintou is an African American poetry form consisting seven lines with a total of 32 syllables or words. The term Eintou is West African for "pearl" as in pearls of wisdom, and often the Eintou imparts these pearls in heightened language.
The Eintou developed as a means for African American poetic forms to take their place in the forefront of American poetry. Many African American poetic scholars and critics often attempted to mimic Euro-American forms as a means of demonstrating poetic expertise, or stood by "free-verse" as an African American form. It was rare to see serious examination of African American poetic forms; in fact most critics regarded African American poetry as "formless" or "mimicking."
The 2-4-6-8-6-4-2 structure of the Eintou is crucial in terms of African and African American philosophy. Life is a cycle. Everything returns to that from which it originates. The concept of a pearl, which is a sphere, and the cyclic nature of the Eintou's structure capture this. The life of the Eintou begins with two syllables or words, expands as though growing and then returns to two syllables or words. In this fashion the Eintou never escapes its beginnings or history. It flows from, through, and ultimately returns to that from which it came.
Structure:
Line 1 - 2 words/syllables
Line 2 - 4 words/syllables
Line 3 - 6 words/syllables
Line 4 - 8 words/syllables
Line 5 - 6 words/syllables
Line 6 - 4 words/syllables
Line 7 - 2 words/syllables
NOTE ON THE PROCESS...
The first poem is done in syllables and the second is done with words. Personally I prefer to do words because visually it looks better on page.
.
CROSS POST: new form every day... Envelope Sonnet (day 38 of 365 poems in 365 days) - 2011-02-07 16:25:00
.
AS UNHAPPINESS TRAVELS
sadly the winds waft timeless over plains
contemplating regrets over choices
the days and nights of quickly made mistakes
and harshly judging turns the journey takes
talking in hushed tones in their quiet voices
describing in whispers the utter pain
in secret hush they gust in utter woe
carrying cries of lament as they blow
tarrying on memories far too sad
as though forever isn't long enough
to rage away the misery and grief
and yet they still gust to find a relief
they move as though purging with every puff
blustering this way to remove the bad
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Sonnet
This is probably a variation of the Italian or Sicilian sonnet by the French, The original sonnets used an octave composed of two quatrains rhyming abba abba or abba cddc. It was probably the French fondness for linking stanzas, that conceived the idea of creating two sestets and linking them with a rhyming couplet. This gives a rhyme sequence of
a. b. c. c. b. a. .... d. d. .... e. f. g. g. f. e. and each line is octosyllabic (8 syllables) or decasyllabic (10).
PERSONAL NOTE ON THE PROCESS...
I wrote the rhymed lines on the outer of the stanzas first and then the 2nd rhyme second and filled in the middle couplet inside the stanzas last. Also... on some of the rhymes I came up with the rhyming words BEFORE making the lines. I just find it interesting how my mind works when I am trying to fit into a rhyme scheme.
.
AS UNHAPPINESS TRAVELS
sadly the winds waft timeless over plains
contemplating regrets over choices
the days and nights of quickly made mistakes
and harshly judging turns the journey takes
talking in hushed tones in their quiet voices
describing in whispers the utter pain
in secret hush they gust in utter woe
carrying cries of lament as they blow
tarrying on memories far too sad
as though forever isn't long enough
to rage away the misery and grief
and yet they still gust to find a relief
they move as though purging with every puff
blustering this way to remove the bad
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Sonnet
This is probably a variation of the Italian or Sicilian sonnet by the French, The original sonnets used an octave composed of two quatrains rhyming abba abba or abba cddc. It was probably the French fondness for linking stanzas, that conceived the idea of creating two sestets and linking them with a rhyming couplet. This gives a rhyme sequence of
a. b. c. c. b. a. .... d. d. .... e. f. g. g. f. e. and each line is octosyllabic (8 syllables) or decasyllabic (10).
PERSONAL NOTE ON THE PROCESS...
I wrote the rhymed lines on the outer of the stanzas first and then the 2nd rhyme second and filled in the middle couplet inside the stanzas last. Also... on some of the rhymes I came up with the rhyming words BEFORE making the lines. I just find it interesting how my mind works when I am trying to fit into a rhyme scheme.
.
CROSS POST: new form every day... Envelope Quintet (day 37 of 365 poems in 365 days)
2011-02-06 09:49:00
.
MORNING REVELATIONS
as the sun shines I am found inside myself
quietly and contently contemplating my days
the quickly moving and increasingly complex life maze
yet things are so good my smile stays
found inside myself is truth with a little help
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Quintet
The Envelope Quintet is a natural progression of a four line poem to 5 lines. There are several ways this can be achieved and the Sicilian Quintain is an excellent one.
There are two other ways one of them is simply by turning the middle couplet into a triplet, giving a rhyming scheme of; a,.b,.b, b, a.
.
.
MORNING REVELATIONS
as the sun shines I am found inside myself
quietly and contently contemplating my days
the quickly moving and increasingly complex life maze
yet things are so good my smile stays
found inside myself is truth with a little help
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Quintet
The Envelope Quintet is a natural progression of a four line poem to 5 lines. There are several ways this can be achieved and the Sicilian Quintain is an excellent one.
There are two other ways one of them is simply by turning the middle couplet into a triplet, giving a rhyming scheme of; a,.b,.b, b, a.
.
CROSS POST: new form every day... Envelope Stanza (day 35 of 365 poems in 365 days)
2011-02-04 09:50:00
.
THE DREAM UNREQUITED
at night she sleeps in fitful dreams of him
holding tight the thought of true love returned
against reality affection spurned
so in fantasy she chooses to swim
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Stanza
This is a very interesting form and was probably created by Francesco Petrarcha when he moved from the Sicilian court. As well as being the building blocks of the Italian octave, the Spanish and French octave use it also. However, it is a poetry form in its own right, and probably the latter pair have set the precedence for the meter which if we look at the French or Spanish roots consists of eight syllables, or English purists insisting on Iambic Tetrameter. This gives a suggested pattern of:
x x x x x x x a
x x x x x x x b
x x x x x x x b
x x x x x x x a
.
.
THE DREAM UNREQUITED
at night she sleeps in fitful dreams of him
holding tight the thought of true love returned
against reality affection spurned
so in fantasy she chooses to swim
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Stanza
This is a very interesting form and was probably created by Francesco Petrarcha when he moved from the Sicilian court. As well as being the building blocks of the Italian octave, the Spanish and French octave use it also. However, it is a poetry form in its own right, and probably the latter pair have set the precedence for the meter which if we look at the French or Spanish roots consists of eight syllables, or English purists insisting on Iambic Tetrameter. This gives a suggested pattern of:
x x x x x x x a
x x x x x x x b
x x x x x x x b
x x x x x x x a
.
new form every day... Envelope Couplet (day 34 of 365 in 365)
2011-02-03 11:20:00
.
UNLIKELY ALLIES
in the face of opression a common enemy binds
moving stark differences to the back of minds
former debaters now hand in hand
bitter arguments dropped together as one to stand
against this root of unity the tyrant finds
useless is the ax that grinds
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Couplet
The Envelope couplet is a far stricter variation of the Stave Stanza, here the first and last line use the same refrain which starts and completes the stanzas of that poem. The second and fifth line of each stanza rhyme with the refrain lines. This leaves only the centre couplet to change its rhyme. The pattern for a three stanza work would be:
A1. a. b. b. a. A2.... A1. a. c. c. a. A2.... A1. a. d. d. a. A2....
PERSONAL NOTE ON THE PROCESS
For now I just did a single stanza... I may expound on this idea.
.
.
UNLIKELY ALLIES
in the face of opression a common enemy binds
moving stark differences to the back of minds
former debaters now hand in hand
bitter arguments dropped together as one to stand
against this root of unity the tyrant finds
useless is the ax that grinds
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Envelope Couplet
The Envelope couplet is a far stricter variation of the Stave Stanza, here the first and last line use the same refrain which starts and completes the stanzas of that poem. The second and fifth line of each stanza rhyme with the refrain lines. This leaves only the centre couplet to change its rhyme. The pattern for a three stanza work would be:
A1. a. b. b. a. A2.... A1. a. c. c. a. A2.... A1. a. d. d. a. A2....
PERSONAL NOTE ON THE PROCESS
For now I just did a single stanza... I may expound on this idea.
.
new form every day... English Sestet (day 33 of 365 poems in 365 days)
2011-02-02 23:41:00
.
TIME SPENT IN LOVER'S GRACE
for days we sat entranced with each other
such a lovely sweet poison that was us
accented bouts of bliss between lovers
rev'ling in skin, sweat, and pure nakedness
nothing too carnal for us to mention
nothing forbidden in our descretion
***************************************************************
From: http://www.thepoetsgarret.com/list.html
English Sestet
This sestet evolved from the popular Sicilian one and of course was made even more popular by Shakespeare who uses this sestet rhyme scheme in his sonnets. Iambic pentameter in the prefered meter for this form. Although it is mainly used as the turn or "Volta" in a sonnet, it can be used as a stand-alone vignette, or to consruct a ballad or a tale. The pattern is thus...
x X x X x X x a
x X x X x X x b
x X x X x X x a
x X x X x X x b
x X x X x X x c
x X x X x X x c
PERSONAL NOTE ON THE PROCESS...
this is pentameter yes, iambic not so much. And more near rhymes rather than perfect rhymes. Not self criticism but more observations in how I pulled this out of my butt at 11:36pm to get my form in for the day. :-P
.
.
TIME SPENT IN LOVER'S GRACE
for days we sat entranced with each other
such a lovely sweet poison that was us
accented bouts of bliss between lovers
rev'ling in skin, sweat, and pure nakedness
nothing too carnal for us to mention
nothing forbidden in our descretion
***************************************************************
From: http://www.thepoetsgarret.com/list.html
English Sestet
This sestet evolved from the popular Sicilian one and of course was made even more popular by Shakespeare who uses this sestet rhyme scheme in his sonnets. Iambic pentameter in the prefered meter for this form. Although it is mainly used as the turn or "Volta" in a sonnet, it can be used as a stand-alone vignette, or to consruct a ballad or a tale. The pattern is thus...
x X x X x X x a
x X x X x X x b
x X x X x X x a
x X x X x X x b
x X x X x X x c
x X x X x X x c
PERSONAL NOTE ON THE PROCESS...
this is pentameter yes, iambic not so much. And more near rhymes rather than perfect rhymes. Not self criticism but more observations in how I pulled this out of my butt at 11:36pm to get my form in for the day. :-P
.
new form every day... English Quintain (day 32 of 365 in 365)
2011-02-01 08:12:00
.
MUSCLE MEMORY
this feeling it does not fade with time
remembering a touch, a caresss
the pleasure and ecstacy sublime
moments in various states of undress
and pure carnal bliss
***************************************************************
From: http://www.thepoetsgarret.com/list.html
English Quintain
This is a popular form of Quintain having no set measure or foot and has a rhyming scheme of a. b. a. b. b.
The Quintain is an excellent base to work from for any longer poem (for example ballads). Two stanza, and we have a Sonnetina Cinque and several poets have added two couplets to two quintains in various ways and made a sonnet, although three Quintains could still qualify as a sonnet (with a tail).
.
.
MUSCLE MEMORY
this feeling it does not fade with time
remembering a touch, a caresss
the pleasure and ecstacy sublime
moments in various states of undress
and pure carnal bliss
***************************************************************
From: http://www.thepoetsgarret.com/list.html
English Quintain
This is a popular form of Quintain having no set measure or foot and has a rhyming scheme of a. b. a. b. b.
The Quintain is an excellent base to work from for any longer poem (for example ballads). Two stanza, and we have a Sonnetina Cinque and several poets have added two couplets to two quintains in various ways and made a sonnet, although three Quintains could still qualify as a sonnet (with a tail).
.
new form every day... Echo Sonnet (day 31 of 365 in 365)
2011-01-31 11:20:00
.
GRAY MORNING
when the night from sleep has been finally torn
to be greeted by soft light is a trick
that makes the slumber in the eyes to stick
the clouds they hide the sun this deep gray morn
a new day stifles trying to be born
but half shine makes for desire to sleep
the bed's warmth and covers shelter to keep
the clouds they hide the sun this deep gray morn
the nights shroud it is still partially worn
the sun not allowed to herald the day
cumulus and nimbus get in the way
the clouds they hide the sun this deep gray morn
although shreds of night still try to be shorn
the clouds they hide the sun this deep gray morn
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Echo Sonnet
This is a relatively new form devised by the well respected English Poet, Jeff Green. It takes its shape from three envelope quatrains and a couplet, the last line of each stanza is a refrain that links the quatrains and gives us a rhyme scheme of;
A, b, b, A1,…a, c, c, A1,…a, d, d, A1,…A, A1
The Echo Sonnet is based on French repeating forms, but unlike those forms which are normally syllabic, the preferred rhyme scheme is Iambic pentameter, or similar, and being a sonnet it should be presented as a 14 line poem.
(I write poems every day but don't always post them. I am a few days off on my form a day but I'M BACK again! :-P)
.
.
GRAY MORNING
when the night from sleep has been finally torn
to be greeted by soft light is a trick
that makes the slumber in the eyes to stick
the clouds they hide the sun this deep gray morn
a new day stifles trying to be born
but half shine makes for desire to sleep
the bed's warmth and covers shelter to keep
the clouds they hide the sun this deep gray morn
the nights shroud it is still partially worn
the sun not allowed to herald the day
cumulus and nimbus get in the way
the clouds they hide the sun this deep gray morn
although shreds of night still try to be shorn
the clouds they hide the sun this deep gray morn
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Echo Sonnet
This is a relatively new form devised by the well respected English Poet, Jeff Green. It takes its shape from three envelope quatrains and a couplet, the last line of each stanza is a refrain that links the quatrains and gives us a rhyme scheme of;
A, b, b, A1,…a, c, c, A1,…a, d, d, A1,…A, A1
The Echo Sonnet is based on French repeating forms, but unlike those forms which are normally syllabic, the preferred rhyme scheme is Iambic pentameter, or similar, and being a sonnet it should be presented as a 14 line poem.
(I write poems every day but don't always post them. I am a few days off on my form a day but I'M BACK again! :-P)
.
new form every day... Dizain (day 28 of 365 in 365)
2011-01-28 22:43:00
.
INVISIBLE
this friendship slowly slips away
or perhaps that is perception
maybe we just need a new day
to make another connection
and move in a new direction
I hold to hope like a life ring
wanting back the beautiful thing
the joy and comfort that was there
not this subtle disappearing
this gradual fading to air
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Dizain
Although the Decastich or Sonnetina is a popular form, this one seems to have become neglected in favour of the others.
This was originally a French form and initially would have been made up of eight syllable lines, but later ten syllable lines were also used. A few examples of this form in England did prefer Iambic Pentameter, but that's purely up to the poet.
The rhyme scheme is: a. b. a. b. b. c. c. d. c. d.
.
.
INVISIBLE
this friendship slowly slips away
or perhaps that is perception
maybe we just need a new day
to make another connection
and move in a new direction
I hold to hope like a life ring
wanting back the beautiful thing
the joy and comfort that was there
not this subtle disappearing
this gradual fading to air
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Dizain
Although the Decastich or Sonnetina is a popular form, this one seems to have become neglected in favour of the others.
This was originally a French form and initially would have been made up of eight syllable lines, but later ten syllable lines were also used. A few examples of this form in England did prefer Iambic Pentameter, but that's purely up to the poet.
The rhyme scheme is: a. b. a. b. b. c. c. d. c. d.
.
Tuesday, April 12, 2011
new form every day... Decuain (day 27 of 365 in 365)
2011-01-27 09:05
.
A PRIOR LOVER (2)
I long for very particular tryst
and all of the delight in which we lay
that special turn with a delightful twist
the hands' touch, the lips' kiss, and the hips' sway
in middle of night or brightness of day
a special attention to make me sigh
secrets whispered never openly say
extreme tittlation to make me high
all places on body carfully kissed
this is the passion that I have so missed
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Decuain
The Decuain (pronounced deck won), is 10 line (Decastich) form created by Shelley A. Cephas, and can be used for any subject.
The convention is iambic pentameter, and there are 3 choices of rhyme schemes
a b a bb c b c a a
a b a bb c b c b b
a b a bb c b c c c
***
PERSONAL NOTE ON THE PROCESS....
The rhyme scheme of this is the first one in the list. I sincerely doubt that the pentameter on this poem is iambic, but it's what I have for now. :-P
.
.
A PRIOR LOVER (2)
I long for very particular tryst
and all of the delight in which we lay
that special turn with a delightful twist
the hands' touch, the lips' kiss, and the hips' sway
in middle of night or brightness of day
a special attention to make me sigh
secrets whispered never openly say
extreme tittlation to make me high
all places on body carfully kissed
this is the passion that I have so missed
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Decuain
The Decuain (pronounced deck won), is 10 line (Decastich) form created by Shelley A. Cephas, and can be used for any subject.
The convention is iambic pentameter, and there are 3 choices of rhyme schemes
a b a bb c b c a a
a b a bb c b c b b
a b a bb c b c c c
***
PERSONAL NOTE ON THE PROCESS....
The rhyme scheme of this is the first one in the list. I sincerely doubt that the pentameter on this poem is iambic, but it's what I have for now. :-P
.
Monday, April 11, 2011
new form every day... Decastich (day 26 of 365 in 365)
2011-01-26 13:48
.
A PRIOR LOVER
he lives in the shadow just to the left of my right eye
a particularly persistent ghost of days past
that fleeting moment barely worth the carnage
barely, but... definitely not regrettable
there were too many pieces of joy in that heartbreak
so often that I smiled and called him friend
every second our hands touched was bliss
he became my favorite drug of choice
the one that I ran to in spite of myself
withdrawal has certainly been hell
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Decastich
According to Lewis Turco's "Book of Forms", the Decastich is any whole poem of 10 lines. There is no reference to meter or rhyme pattern and I would have thought because of its flexibility it would have encouraged experimentation of ideas. During further research into this form it was found that there was a plethora of variations to 10 line form. If Turco is to be taken literally this then means that the Decastich is 10 lines of free verse (Verse libre).
.
.
A PRIOR LOVER
he lives in the shadow just to the left of my right eye
a particularly persistent ghost of days past
that fleeting moment barely worth the carnage
barely, but... definitely not regrettable
there were too many pieces of joy in that heartbreak
so often that I smiled and called him friend
every second our hands touched was bliss
he became my favorite drug of choice
the one that I ran to in spite of myself
withdrawal has certainly been hell
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Decastich
According to Lewis Turco's "Book of Forms", the Decastich is any whole poem of 10 lines. There is no reference to meter or rhyme pattern and I would have thought because of its flexibility it would have encouraged experimentation of ideas. During further research into this form it was found that there was a plethora of variations to 10 line form. If Turco is to be taken literally this then means that the Decastich is 10 lines of free verse (Verse libre).
.
new form every day... Cyhydedd Sonnet (day 25 of 365 in 365)
2011-01-25 13:53
.
OF POSITIVITY AND LIGHT
we've healed hope in the face of trial
given self permission to smile
molded our times into delight
justification of the right
held ourselves to higher call
forgiven ourselves for the fall
gone forward in the positive
knowing our pain we will outlive
upward in the optimism
elevating to the wisdom
of a truth in its purest form
a perfect light to keep us warm
in times that seem to be so dark
we will ignite them with our spark
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Cyhydedd Sonnet
Who actually created this form is unclear as the cyhydedd fer couplet lends itself easily to the sonnet format. As the cyhydedd fer itself is an ancient form it is quite likely a series of 7 couplets was being used long before the advent of the sonnet.
However, the cyhydedd fer creates a different sonnet rhythm in the fact there is no meter requirement other than the rhyme every 8 syllables. The couplets allow the poet some flexibility in where to divide the poem with the pivot or volta which can be anywhere between lines 5 and 8 with the final couplet being a resolution.
The rhyme scheme is: a.a. b.b. c.c. d.d. e.e. f.f. g.g.
*****
Have I mentioned how I don't really like metered rhyme? Well, I don't. I rhyme sometimes but it has an ebb and flow to it that is not stuck in one set of beats. This metered rhyme thing will be the bane of my year with this form challenge I am doing. Trying to make it work though! :-P
.
.
OF POSITIVITY AND LIGHT
we've healed hope in the face of trial
given self permission to smile
molded our times into delight
justification of the right
held ourselves to higher call
forgiven ourselves for the fall
gone forward in the positive
knowing our pain we will outlive
upward in the optimism
elevating to the wisdom
of a truth in its purest form
a perfect light to keep us warm
in times that seem to be so dark
we will ignite them with our spark
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Cyhydedd Sonnet
Who actually created this form is unclear as the cyhydedd fer couplet lends itself easily to the sonnet format. As the cyhydedd fer itself is an ancient form it is quite likely a series of 7 couplets was being used long before the advent of the sonnet.
However, the cyhydedd fer creates a different sonnet rhythm in the fact there is no meter requirement other than the rhyme every 8 syllables. The couplets allow the poet some flexibility in where to divide the poem with the pivot or volta which can be anywhere between lines 5 and 8 with the final couplet being a resolution.
The rhyme scheme is: a.a. b.b. c.c. d.d. e.e. f.f. g.g.
*****
Have I mentioned how I don't really like metered rhyme? Well, I don't. I rhyme sometimes but it has an ebb and flow to it that is not stuck in one set of beats. This metered rhyme thing will be the bane of my year with this form challenge I am doing. Trying to make it work though! :-P
.
new form every day... Curtal Sonnet (day 24 of 365 in 365)
2011-01-24 15:58
.
OF BITTERNESS AND MELANCHOLY
times today seem very wistful
only bitter choice is to cry
no use in fighting severe ache
grabbing sadness every fistful
then to arid desert like dry
moments to wallow in mistakes
all the reasons and all the due
hollow in pit of lungs a sigh
cold air from depth of the soul makes
streaks of light through the clouds are few
huddling cold until the dawn breaks
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Curtal Sonnet
Some would argue as to whether it is a true sonnet, but I consider it to be just as valid as any other sonnet form. The Curtal is a curtailed or contracted sonnet, referring specifically to a sonnet comprising of a sestet with a rhyme scheme of
a. b. c. a. b. c. and a quintet rhyming, d. c. b. d. c.. or.. d. b. c. d. c. with the last line preferably a spondee (http://en.wikipedia.org/wiki/Spondee), but at least a tail shorter then the previous lines.
The form was devised by Gerard Manley who devised a metrical system known as Sprung rhythm; that has 1-to-4-syllable feet, each starting with a stressed syllable (sometimes a foot by itself), where the spondee replaces the iamb as the dominant measure, and rests and multiple non-stressed syllables discounted in scansion (http://en.wikipedia.org/wiki/Systems_of_scansion).
more info on Wikipedia...
http://en.wikipedia.org/wiki/Curtal_sonnet
I didn't do the special end line so I guess this may not be a TRUE Curtal Sonnet... oh well.
.
.
OF BITTERNESS AND MELANCHOLY
times today seem very wistful
only bitter choice is to cry
no use in fighting severe ache
grabbing sadness every fistful
then to arid desert like dry
moments to wallow in mistakes
all the reasons and all the due
hollow in pit of lungs a sigh
cold air from depth of the soul makes
streaks of light through the clouds are few
huddling cold until the dawn breaks
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Curtal Sonnet
Some would argue as to whether it is a true sonnet, but I consider it to be just as valid as any other sonnet form. The Curtal is a curtailed or contracted sonnet, referring specifically to a sonnet comprising of a sestet with a rhyme scheme of
a. b. c. a. b. c. and a quintet rhyming, d. c. b. d. c.. or.. d. b. c. d. c. with the last line preferably a spondee (http://en.wikipedia.org/wiki/Spondee), but at least a tail shorter then the previous lines.
The form was devised by Gerard Manley who devised a metrical system known as Sprung rhythm; that has 1-to-4-syllable feet, each starting with a stressed syllable (sometimes a foot by itself), where the spondee replaces the iamb as the dominant measure, and rests and multiple non-stressed syllables discounted in scansion (http://en.wikipedia.org/wiki/Systems_of_scansion).
more info on Wikipedia...
http://en.wikipedia.org/wiki/Curtal_sonnet
I didn't do the special end line so I guess this may not be a TRUE Curtal Sonnet... oh well.
.
new form every day... Cornish Sonnet (day 23 of 365 in 365)
2011-01-23 09:19
.
FRIENDSHIP'S PATH
we’ve been this route before
we’ll be this way again
traveling through these doors
knowing what we find there
not lovers but as friends
the beauty of life to share
hand in hand, side by side
through all the ups and downs
the ebb and flow of tides
holding on as we’re spun
this precious thing we’ve found
always better with someone
the beauty of life to share
always better with someone
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Cornish Sonnet
At the same time as travelers were influencing the courts and introducing the sonnet form to England, France and Spain, traders in the southern ports of England were also bringing in their own forms of poetry. These forms consisted of hybrid poetry influenced by those Arab traders who plied their trade with the ports along the Mediterranean and the tin mines of Cornwall. It is only natural that they would come into contact with the sonnet form and in time come up with a fusion of that form This sonnet form is similar to the hybrid poetry that emerged from that part of the world.
The form consists of two, three couplets stanzas and a refrain made up of the first line of each stanza.
A. b. a. c. b. c.... D. e. d. f. e. f.... A. D.
As an alternative, the last line can be used and gives a rhyme pattern of
a. b. a. c. b. C.... d. e. d. f. e. F.... C. F.
Although purists state all sonnets should be Iambic Pentameter, any meter or line length may be used, as long as all the lines are of similar length and meter.
***
OK so I skipped a few days there on the new form every day and just wrote free verse (most of which I did not post) BUT I'M BACK! :-)
PERSONAL NOTE ON THE PROCESS:
These rhyming forms get me when I am trying to fit into the syllable count or stay in a certain range plus this one had the rhymes mildly out of sync so that made it more challenging for me. In the end I did it and hopefully by the end of the year I will be able to write in forms in my own voice instead of this forced and stilted way that I feel the writing is coming off so far. Wish me luck! :-)
.
.
FRIENDSHIP'S PATH
we’ve been this route before
we’ll be this way again
traveling through these doors
knowing what we find there
not lovers but as friends
the beauty of life to share
hand in hand, side by side
through all the ups and downs
the ebb and flow of tides
holding on as we’re spun
this precious thing we’ve found
always better with someone
the beauty of life to share
always better with someone
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Cornish Sonnet
At the same time as travelers were influencing the courts and introducing the sonnet form to England, France and Spain, traders in the southern ports of England were also bringing in their own forms of poetry. These forms consisted of hybrid poetry influenced by those Arab traders who plied their trade with the ports along the Mediterranean and the tin mines of Cornwall. It is only natural that they would come into contact with the sonnet form and in time come up with a fusion of that form This sonnet form is similar to the hybrid poetry that emerged from that part of the world.
The form consists of two, three couplets stanzas and a refrain made up of the first line of each stanza.
A. b. a. c. b. c.... D. e. d. f. e. f.... A. D.
As an alternative, the last line can be used and gives a rhyme pattern of
a. b. a. c. b. C.... d. e. d. f. e. F.... C. F.
Although purists state all sonnets should be Iambic Pentameter, any meter or line length may be used, as long as all the lines are of similar length and meter.
***
OK so I skipped a few days there on the new form every day and just wrote free verse (most of which I did not post) BUT I'M BACK! :-)
PERSONAL NOTE ON THE PROCESS:
These rhyming forms get me when I am trying to fit into the syllable count or stay in a certain range plus this one had the rhymes mildly out of sync so that made it more challenging for me. In the end I did it and hopefully by the end of the year I will be able to write in forms in my own voice instead of this forced and stilted way that I feel the writing is coming off so far. Wish me luck! :-)
.
Friday, April 8, 2011
new form every day... Common Octave (day 18 of 365 in 365) - a day late :-/
2011-01-19 12:33
.
WAITING FOR LOVE'S RETURN
some days friends seem so far away
these are the wistful times
when love seems shunned for no reason
unnecessary crime
waiting for another new day
and new mountains to climb
hoping for a better season
bringing peace to its prime
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Common Octave
(aka Hymnal Octave)
This is a variation of Common Measure and consists of three rhymes with alternating meter, a and c with iambic tetrameter, (4 feet), and b with iambic trimeter, (3 feet), giving a rhyme scheme of:
x X x X x X x a
x X x X x b
x X x X x X x c
x X x X x b
x X x X x X x a
x X x X x b
x X x X x X x c
x X x X x b
.
.
WAITING FOR LOVE'S RETURN
some days friends seem so far away
these are the wistful times
when love seems shunned for no reason
unnecessary crime
waiting for another new day
and new mountains to climb
hoping for a better season
bringing peace to its prime
***************************************************************
From: http://www.thepoetsgarret.com/list.html
Common Octave
(aka Hymnal Octave)
This is a variation of Common Measure and consists of three rhymes with alternating meter, a and c with iambic tetrameter, (4 feet), and b with iambic trimeter, (3 feet), giving a rhyme scheme of:
x X x X x X x a
x X x X x b
x X x X x X x c
x X x X x b
x X x X x X x a
x X x X x b
x X x X x X x c
x X x X x b
.
new form every day... Common Measure (day 17 of 365 in 365)
2011-01-17 13:37
.
THE DREAM CONTINUES
One hundred years after freedom
Dr King shared his dream
set the standard for nonviolence
society redeem
A dream of peaceful harmony
this thing should not be strange
so now let's keep the dream alive
to bring permanent change
********************************************************
From: http://www.thepoetsgarret.com/list.html
Common Measure
This is a multi stanza form consisting of three rhymes alternating with Iambic Tetrameter, (4 feet) and Iambic Trimeter, (3 feet).
This gives a suggested pattern of:
x X x X x X x a
x X x X x b
x X x X x X x c
x X x X x b
From Wikipedia, the free encyclopedia
Common metre or Common measure[1], abbreviated C. M., is a poetic meter consisting of four lines which alternate between iambic tetrameter (four metrical feet per line, with each foot consisting of an unstressed syllable followed by a stressed syllable) and iambic trimeter (three metrical feet per line, with each foot consisting of an unstressed syllable followed by a stressed syllable), rhyming in the pattern a-b-a-b. It has historically been used for ballads such as Tam Lin, and hymns such as Amazing Grace and the Christmas carol O Little Town of Bethlehem. It has also been used for Advance Australia Fair, the national anthem of Australia.
.
.
THE DREAM CONTINUES
One hundred years after freedom
Dr King shared his dream
set the standard for nonviolence
society redeem
A dream of peaceful harmony
this thing should not be strange
so now let's keep the dream alive
to bring permanent change
********************************************************
From: http://www.thepoetsgarret.com/list.html
Common Measure
This is a multi stanza form consisting of three rhymes alternating with Iambic Tetrameter, (4 feet) and Iambic Trimeter, (3 feet).
This gives a suggested pattern of:
x X x X x X x a
x X x X x b
x X x X x X x c
x X x X x b
From Wikipedia, the free encyclopedia
Common metre or Common measure[1], abbreviated C. M., is a poetic meter consisting of four lines which alternate between iambic tetrameter (four metrical feet per line, with each foot consisting of an unstressed syllable followed by a stressed syllable) and iambic trimeter (three metrical feet per line, with each foot consisting of an unstressed syllable followed by a stressed syllable), rhyming in the pattern a-b-a-b. It has historically been used for ballads such as Tam Lin, and hymns such as Amazing Grace and the Christmas carol O Little Town of Bethlehem. It has also been used for Advance Australia Fair, the national anthem of Australia.
.
new form every day... Cinquain (day 16 of 365 in 365)
2011-01-16 10:31
.
TODAY, RIGHT NOW
today
this life comes forth
I fill myself with good
now I have become full of light
right now
*******************************************************
From: http://www.thepoetsgarret.com/list.html
Cinquain
A very popular five-line stanza. Originally it was a very casual French form where the lines could be of any length, and the form could have either any rhyme scheme or no rhyme.
Now, however, when anyone refers to a Cinquain, they usually mean the version of form set out by Adelaide Crapsey.
This form still consists of five lines, but now has a specific syllable count starting with a two syllable line, and followed by three lines which increase by two syllables each time and the final line reverting to a two syllable line again. The example below might explain it better.
In addition, the lines are usually iambic, that is, the stresses fall on every other syllable
(for now I am just doing one stanza... I may expound on this later)
.
.
TODAY, RIGHT NOW
today
this life comes forth
I fill myself with good
now I have become full of light
right now
*******************************************************
From: http://www.thepoetsgarret.com/list.html
Cinquain
A very popular five-line stanza. Originally it was a very casual French form where the lines could be of any length, and the form could have either any rhyme scheme or no rhyme.
Now, however, when anyone refers to a Cinquain, they usually mean the version of form set out by Adelaide Crapsey.
This form still consists of five lines, but now has a specific syllable count starting with a two syllable line, and followed by three lines which increase by two syllables each time and the final line reverting to a two syllable line again. The example below might explain it better.
In addition, the lines are usually iambic, that is, the stresses fall on every other syllable
(for now I am just doing one stanza... I may expound on this later)
.
new form every day... Choka (day 15 of 365 in 365)
2011-01-15 10:41
.
MINDFUL OF TODAY
this is a new day
filled with possibility
potential good things to come
not a guarantee
but it can be built by me
it can be created now
I am creator
maker of my own present
maker of my own future
the past is gone now
this is my special today
this is my special right now
******************************************
From: http://www.thepoetsgarret.com/list.html
Choka
The most intricate Japanese Poetry form is the Choka, or Long Poem.
The early form consisted of a series of Katuata joined together. This gives a choice of form structures of ..... 5 - 7 - 7 - 5 - 7 - 7.. etc, or .. 5 - 7 - 5 - 5 - 7 - 5.. etc.
.
.
MINDFUL OF TODAY
this is a new day
filled with possibility
potential good things to come
not a guarantee
but it can be built by me
it can be created now
I am creator
maker of my own present
maker of my own future
the past is gone now
this is my special today
this is my special right now
******************************************
From: http://www.thepoetsgarret.com/list.html
Choka
The most intricate Japanese Poetry form is the Choka, or Long Poem.
The early form consisted of a series of Katuata joined together. This gives a choice of form structures of ..... 5 - 7 - 7 - 5 - 7 - 7.. etc, or .. 5 - 7 - 5 - 5 - 7 - 5.. etc.
.
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