Reversing Dates:

I have reversed the dates on the most recent sequence of four sonnets, and their introductions.  I believe I’ll do that with the rest as well.  They’ll still post in date order until a sequence is done.    Once I’m sure the next is not, or will now be, part of the sequence, I will reverse the dates so they scroll in order.  That should make things easier to read.

Update:

I have now done the same to all the old sequences.

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Haiku/Sonnet:

This was all about an experiment to see how haiku and sonnets would synchronize. This was very enjoyable, but certainly took quite more time than normal. Although it wasn’t as painful as some, because I constructed it in steps. What follows is the evolution of the project over six steps.  I have redone the dates on the blog entries so they scroll down the page, in much the same way as I make sure the intro is above each sonnet and not below it.  I think I may start doing that with sequences as well.  But not until tomorrow!

One Note:

Iambic pentameter, Sonnet form and Haiku form:

One Haiku has 17 syllables; 17 is a prime number. Sonnets have 140 syllables (in 14 lines) 140 has three prime factors: 2, 5, and 7. Therefore 8 Haiku will fit into a sonnet, but not evenly. There will be a remainder of 4 syllables. Due to 17 having no smaller factors than 17, (excluding 1) and certainly no common factors with 140 The only even occurrences of iambic pentameter (which has 10 syllables per line) with Haiku form will be in multiples of 170. Or every 17 lines of iambic pentameter. So a seventeen line sonnetesque creation could contain exactly 10 haiku. I may just write one of those; but not until I recover from this most recent exercise. Not exactly a sonnet, but similar, with three extra lines; Three quatrains with a quintet on or about the Volta, perhaps. Or even 4 quatrains and one solitary line, either not rhyming at all, or perhaps picking some ending in the last quatrain to rhyme.

  1. Step 1 was done first,
  2. Then reformatted as step 2
  3. Next I copied 1 and 2 to 3 and 4 respectively.
  4. After that, I pretty much had the two adjacent steps up at the same time in window, side by side.
  5. Next I removed the hyphenated words from both versions, taking care to make the same modifications to both.
  6. After that, copying both 3 and 4 to 5 and 6, I started adding the main rhyme scheme.  I didn’t preserve steps for that, although I probably have some revision history I could dig up, but I’ve worked enough on this one already.
  7. Then it was about changing words for better flow and internal rhymes as a way to tie it all more closely together.
  8. I usually revisit all my sonnets after at least one sleep period, and make a few changes and try to catch errors.  (I’m not the most observant editor, though, so it takes me a few cracks at it to find errors.  And in the meantime, A few word changes will occur to me as I’m doing this.

Haiku/Sonnet 1:

Things always evolve.
Without investigating,
it feels like haiku,

written more strictly,
don’t break up separate thoughts
on separate lines.

On the other hand,
sonnets can be much more strict
without doing this.

The stricture of both
would yield an intense pressure
when mixed together.

Integral numbers
of haiku would never fit
Inside a sonnet.

It’s really too bad
because it would be awesome
if that were the case.

Instead, you must write
eight haiku that are complete
and then you are stuck

with four syllables;
Unless you write a sonnet
Ending with the word

Etcetera.

Haiku/Sonnet 2:

Things always evolve. Without investi-
gating, it feels like haiku, written more
strictly, don’t break up separate thoughts on
separate lines. On the other hand, son-

nets can be much more strict without doing
this. The stricture of both would yield an in-
tense pressure when mixed together. Integ-
ral numbers of haiku would never fit

Inside a sonnet. It’s really too bad
because it would be awesome If that were
the case. Instead, you must write eight haiku
that are complete and then you are stuck with

four syllables; Unless you write a son-
net ending with the word “etcetera.”

Haiku/Sonnet 3:

Things always evolve.
Without much thinking on it,
it feels like haiku,

written more strictly,
don’t break up separate thoughts
on separate lines.

On the other hand,
a sonnet is much more strict
without doing this.

The stricture of both
would yield very great pressure
when mixed together.

But nice round numbers
of haiku would never fit
Inside a sonnet.

It’s really too bad
because it would be awesome
if that were the case.

Instead, you must write
eight haiku that are complete
and then you are stuck

with four syllables.
Then your sonnet has to end
with an extra word:

“Etcetera.”

Haiku/Sonnet 4:

Things always evolve. Without much thinking
on it, it feels like haiku, written more
strictly, don’t break up separate thoughts on
separate lines. On the other hand, a

sonnet is much more strict without doing
this. The stricture of both would yield very
great pressure when mixed together. But nice
round numbers of haiku would never fit

Inside a sonnet. It’s really too bad
because it would be awesome If that were
the case. Instead, you must write eight haiku
that are complete and then you are stuck with

four syllables; Then your sonnet has to
end with an extra word: “Etcetera.”

Haiku/Sonnet 5:

Things in life evolve.
I, now uncaught on detail,
resolve that haiku,

when planned more strictly,
will not break a single thought
on separate lines.

On the other hand,
for sonnets, great shrines more strict,
more pursuing sound;

the stricture of both
could recombine with pressure
when mixed together.

Doing round numbers
of haiku, would misalign
within a sonnet.

It makes me sigh, too;
for, on my honor, I’d cry
if that myth were true.

Instead, there must be
eight haiku to see it through;
and then I combat

with four pale sounds.
And its sextet, for a tail,
sports “etcetera,

“etcetera.”