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
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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
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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.
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David Emeron: Sonnets 