This…  is evidently the way in which I avoid working on my poetry.  As well, this is evidently the way in which I avoid working on my sonnet site.  Am I the archetypal mismatcher–the quintessential oppositional personality?  I shall let you be the judge.

In any event, I offer up the following for your consideration:

1. C                                                1          (1
2. A                                 1                         (2
3. B                  1                                        (3
4. C                                                2          (4
   .
5. A                                 2                         (5
6. B                  2                                        (6
7. A                                 3                         (7
8. B                  3                                        (8
9. C                                                3          (9
   .
10. D            1                                              (10
11. E      1                                                    (11
12. D            2                                              (12
13. E      2                                                    (13
14. C                                                4          (14

Recently I have experimented with Italian varieties wherein the lines numbered 9 and 14 rhyme.  The above is an attempt to create a unique form specific to this idea rather than simply modifying the Petrarchan (Italian) scheme.  My only quandary now, is what to call it….  “Northwestern” perhaps?  “Portlandian?”  “455,” as in “four five five?”

In a variety of sonnet blogs and other writings, whether scholarly or casual, much is discussed about such a form, at least about that of the Italian variety.  The controversy tends to centre around whether one can actually “hear” such a rhyme when it is six lines away from its brother.  To that end, I have recently discovered that it works quite nicely if the 9th line completes the thought of the second quatrain–extending its length, if you will, and terminating in a full stop followed by a new thought, rhythmical idea, and/or “volta” line.  Doing so also has the effect of giving ease to the termination of the second quatrain allowing a more leisurely termination of its ideation.   In this way, the rhyme can be heard quite easily even when it is six lines away.

In any case, this is what happens when I make a resolution not to mess with the site until the new year.  I had happily posted ahead and even reposted some sequences which had been offered up in the past.  I have been doing that in any case, of late, as an attempt to work a bit less on the site.  But, as per usual, this type of resolution causes me to work, think, and generally obsess about the site in general and sonnets in particular more than I ordinarily would chose to do.

Since this is to be included in the “Etudes” sequence, I now also must devote some thought as to the “inverse” of this form, and what its impact might be, soundwise and/or balancewise.

I would drop my cravat in the soup if any of these articles were related:

• My Sweet Rose – Sonnet (irinadim.com)
• sonnet (migueljpimentel.wordpress.com)
• Prompt: “The 30 Minute Sonnet” (prismmagazine.ca)
• The Sonnet for Her~ (nottyson.wordpress.com)
• Just Say No Sonnet (mjbeats123.wordpress.com)
• Sonnet by Billy Collins (brookeinator.wordpress.com)
• Intro: I spent quite a long time… (davidemeron.com)
• Intro: Through Eternity I Hear (davidemeron.com)
• Sonnet: What Flows (davidemeron.com)
• Sonnet IX: Trapped (davidemeron.com)