I love it when a plan comes together…
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entangled-in-paradox….
I believe the poem which inspired this comment of mine to have a very dark message. Perhaps deconstructionist, perhaps marxist, perhaps even nihilistic. [though its author assures me not]
Some things pain me to read; because I know such things, such realities, seem true–and perhaps are true for many, at least in the present. And, although they may seem so; still, one should not proclaim such conditions, such realities to be changeless. No such condition is set in stone. Quite often our prison is of our own making; not bars set by our circumstances, but by those we construct by virtue of the way we think about them–the way in which we frame them in our minds.
This, perhaps, is too dark for me, I’m not sure I understand its message; However, I do know that I cannot exist–not in the same way, or in the same universe–without my truest love. I wonder, when I read such as this, if the author knows little else but hurt, and pain.
I would want to tell such a young man–or a young lady–that he should Know that it is not that way for everyone. If one claims it is so, then one tells a lie, and a very evil one at that, though perhaps, not intentionally.
There is great joy everywhere; and great joy in our mothers and our fathers, our sisters and our brothers, our husbands and our wives, our sons and our daughters. So very many of us, do not break them apart, but hold them together, keep them, as may many of them keep us, from breaking apart.
In this way am I kept. In this way, does my life have all the more meaning.
via entangledinparadox.
I thought up another: form of rhymescheme notation, and alternate of sonnet form….
The following is paraphrased as well as copy/pasted from the entry in question–see the link below for the original (which, by this time, may well have been lucased)
I came upon an old, unpolished work of mine. Not exactly in this form, but in tetrameter Originally there were 4 quatrains. The original rhymescheme was AAxA, BBxB, etc. where ‘x’ is non rhyming. I thought one could sonnetize that by Turning the non-rhyming ‘x’ into a rhyme that carries through. This was an interesting result:
At last, the dawn, in perfect form, I see
So formed, a positive reality.
It’s purple state, in perfect choir, unveil
To shine, inspiringly, its song on me.With form, and measure never void, it brings
A subtle mastery of the world it sings.
Without abash, I hear it tell a tale
Of majesty, and many more such thingsWhich burn with glory’s power, as they shine
Upon this shadow dappled world of mine.
My dreams are splendour, as they dance–prevail
With measure, and with form, and perfect line!And dance I shall, as light–as mirrors bright
Reflect–avail, ’til dark, ’til death, ’til night!
Once again, you see the compressed rhyme scheme in the ending couplet. I may post the original at some point; and I may post the altered sixteen line version, which is in iambic pentameter.
Also, on that note, I am beginning to think that, in order to more clearly describe rhymeschemes, one might perhaps use letters and numbers, or perhaps, upper and lower case letters, for different types of rhymes. And perhaps, ‘x’ might indicate lines that do not rhyme?
As an example, to describe the above, one could do the following:
AA1A, BB1B, etc. Or perhaps 11A1, 22A2, etc. Thus, one draws a distinction between the two types of rhymes–-as “ephemeral,” or immortal, or perhaps even better called, “perpetual.”
As such, one can clearly see delineated such rhymes which only last a short time, with those which carry through an entire piece, or, as may be the case, a larger part of a much larger piece.
It makes more sense to me when I look at it. What one usually sees would be AABA, CCBA, etc, but where “A” feels like a “first rhyme” “C” really feels like a “second” (or a B) but, in this kind of numbering, “C” generally means “3″ which makes the notation confusing, and one has to think about it a bit more, to decipher.
And as I think of it more, I think the appropriate version of the above would be:
AA1A, BB1B, etc.
This is because, while it is highly unlikely that there would be a large number of ephemeral rhymes, or at least those for which the alphabet could not be recycled, there could potentially be–in a very long piece–any number of perpetual rhymes. And using the lowercase ‘x’ makes sense for non rhyming lines as well.
And a compressed scheme (or lines with internal rhymes such as the final couplet here could be in brackets of some kind. For this, I have generally been using square brackets. This would give the above sonnet as:
AA1A, BB1B, CC1C, [DD][1D]
Yesterday’s sonnet…
…is a reverse of the form I invented not long ago. Rather than ABAC form with the final couplet a compressed version of the above, with the A rhymes being unique to each quatrain and hiding in each line of the final couplet, the reverse is done. For both the following examples, the unique rhymes are done in a shade of blue, and the rhymes that carry through the entire piece are in red and green. Here is the original form:
By any song, in night, that dost thou sing,
If with thy lips shalt sing, my dearest one;
Or make to sing my soul, thy touch doth bring;
Or strong thine arms surroundeth, sing my heart.And when thy smile doth sing, to heal, to rest;
And sing to fret the tyme away, undone
By song; yet still the finer am I blest
By music, by thy words, and by thine art.But only thus, thy song shouldst bid me sleep–
Thy song, my shelter, sweep away the sun,
I beg the promise of thy song, and weep
That shouldst thou hold mee fast, and ne’r us partUntil thy quiet fight–when hast thou won–
Requite the day, that thou expressed: Depart!
So the new form has quatrains of BACA form. This creates strong rhymes on the strong lines (lines 2 and 4 of each quatrain–or group of four lines) And also gives the compressed couplet a strong set of rhymes in the form EE, and where in B and C are internal to each of the two final line–or the couplet, as it is called, giving it the form (B) E (C) E.
Is it starlight–doth shimmer down from sky,
Bereft of cloud, that doth pretend such grace?
And is it moonlight, floating down, as show,
She doth, configuration’s subtle face–As though, to cover all, she doth thereby
Intrude, and douse these tiny candles–cool;
As her reflection, ripples undergo,
With counter-sparkle in a quiet pool?Is it lamplight–that she doth overfly
From out a window, for its calm, perform?
Or is it firelight, setting us aglow,
For which she doth abound, surrounding warm?Romantic, doth she try her hand, her charm
Protecting us, as though from storm, and harm.
Beloved Objects:
I wrote the following. I think it’s long enough to copy here. I also encourage anyone reading this to follow the link to Bjorn’s blog to read the original piece that inspired the following:
I am very sentimental about such things. I have aways wondered why I should be so reluctant to part with a favored old item. It was so from when I was very young. I have learned to overcome it, however, I remember well the old feeling, not so covered up by age and experience. Of sadness, betrayal, loss, loneliness. It was as though the objects themselves had souls, I thought much later on in adulthood.
Now, even much, much later, I have come to think that, closer to the truth is this: That in these objects we invest part of our own soul, and feel the loss as the object is ripped from it–away from us, that part of our soul remaining, yet feeling the effect of the beloved object torn from us–ripped away. So we feel the loss as though the object were an old friend.
I was not sure what to think about this piece at first, because it changes mood swiftly, and more than once–sometimes seeming deadly serious, and sometimes whimsical. I think I wanted–because of these feelings of loss that are natural to me–It to be serious, or whimsical in its entirety. However… one doesn’t always get what one wants, and this, too, is a lesson which should be refreshed from time to time.
I believe I am starting to recognize your unique voice as it resonates within your poetry, such that I might recognize a poem to be yours, or at least reminiscent of one of yours, when encountering it randomly.
And Bjorn Answers:
David, first of all thank you for reading through my entries. I love your feedback.
On the difficulties in parting with an object I think you are 100 percent correct. If it has seen daily use it become a part of you, and it doesn’t matter if it’s a tractor or a teapot.
On the poem I think you are right. I changed my own mood while writing it, at first I almost wanted to do something “comical”, but the sadness of the old machine grew on me just like it would have done if I had grown up with “him”.
We Want Non-Fish Sushi
In such cases, does one not wrap a piece of tofu and a few bean sprouts in a jacket of rice and seaweed, and douse it, ever so slightly with urine? Having been a server the better part of a century ago, I seem to recall that was the perfect solution. “Win-win,” as I believe the saying goes.
Silent sound
This is a most beautiful piece. You do such free verse very nicely. Inspiring to me. I love the spare feel. Particularly because when one is outside–among nature, as it were, one feels so small–so vulnerable. Yet, on the one hand, so much beauty surrounds us; on the other hand, it can harm, or even kill us. Part of nature’s charm is in its danger, and it is, I believe a good part of why we feel so satisfied when we tame a small portion of it.
