Sonnet I | RL King:A Written World

Does your world spin wild through black of night?
Do you crave my hold, my kiss, my embrace?
Do you ache in desire, my lips to trace?
Do you look and see, my flicker of light?
Do I touch your soul, does it burn, ignite?
Could you have loved this splinter of my grace?
Would you hold me…if tears streamed on my face?
Tell me you would not, else, what a sad plight.

For, I would love thee, ever and a day,
What fool threw away this one that I see?
Did they not see the strength of your fierce heart?
To feel your breath as it moves upon me,
Caress your soul with mine, ever there stay…
You are my passion…you, dear love, my art.

via Sonnet I | RL King:A Written World.

Sonnet: More Luck

Canst not thou fascination herewith see;
With fascination whereunto I saw;
That once herewith so simple, and with awe,
That actually such as this might be?

Art thou, to look upon, as fine as she?
Canst thou, as fine a work of art–or draw
A thing–as this, unveiled, without flaw?
Doth it pale in comparison to thee?

And art thou one, of which were only two?
Or art thou one, if such were only three?
Hast thou, among so many, seen, as  me,
Perfection, took to pen, to sculpt? Or drew,
For, such a thing is finer still; to be
So fine, that redefined a thing, as true.


Sonnet: (template) (Haiku/terza-rima/tanka) Coming (perhaps) soon to a website near you

This pattern occurred to me several days prior. I have experimented with sonnets containing word-wise or word count haiku in one form or another. And have made some notes regarding some that I might soon attempt.

I have never, on the other hand, written a sonnet in terza-rima which at that time a few days ago, also struck me as an ideal rhymescheme for embedded haiku. But even more recently, yesterday evening on my way home from running a few errands, it suddenly made some sense to me that if I concluded the sonnet with an embedded tanka, I would not need to include a 15th line or include an extra line representing a rather long title (in iambic pentameter.) In this way, I believe I might combine these two oriental forms with sonnet form seamlessly.

Furthermore, having considered the fusion of the two and/or three forms at some length, I have devised five differing rhymeschemes as shown in the diagram below:

line     words      Rhymescheme: 1  2  3  4  5
 1)        5                     A  A  A  A  A
 2)        7                     B  B  B  B  B
 3)        5                     A  A  A  C  A

 4)        5                     B  B  A  A  C
 5)        7                     C  A  B  C  B
 6)        5                     B  C  C  D  C

 7)        5                     C  A  C  B  D
 8)        7                     D  C  D  C  E
 9)        5                     C  D  C  D  D

10)        5                     D  C  C  B  F
11)        7                     E  D  D  D  E
12)        5                     D  E  E  E  F

13)      5 [7]                   E  D  F  E  G
14)      7 [x]                  [D] E [D] D [F]
15)      5 [7]                   E [D] F [E] G

In all cases, I believe line 14 (the one with the ‘x’) would be omitted in favour of the tanka termination. This would give a 7 word concluding couplet rhyme to end each piece regardless of which of the five rhymeschemes I might use.

I therefore am getting a bit closer to writing something specifically for Kanzensakura–something I would very much like to do.


Sonnet: Lucky

How can it be that three such friends are blest
With symmetry sublime, doth fit with grace?
What joy, when maketh bonds, that do they see
Such lives so delicately interlace?

So beautifully sinful are they pressed
As each to one another, as they dance;
Yet faithful, and sublime felicity,
Doth somehow over all and each advance.

When first I saw them, to myself, professed
That they, with all my strength, would I protect;
And swore, to this, an oath of secrecy
An any, give me aid, must needs respect;

And thank Whate’er professéd deity
Who brought to light these blesséd, lucky, three.