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 things

Which 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]

via Sonnet: | David Emeron: Sonnets.

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A few changes…

…this morning’s rain-related offering. It occurred to me that It would be quite easy, quite nice, and quite wonderful to make the final couplet:

Older she, than land they rest; her crops
Are they; if brick, or straw–so unrequited.

be a compressed version of the other three quatrains. Continue reading

This latest…

addition to a sequence, comes at rather a late hour, in more ways than one.  I have been preoccupied with a trip I am planning to take at the beginning of April, 2013–the first of such travel in quite a long while for me.  I found myself avoiding everything–including thought.  Still, tonight I had to see if I could push through it.  I am pleased to see that I am able to do so.  I have posted tonight’s entry which is now scheduled to go up on the 28th.  So the “addition” link will not be live until then.  The “sequence” link is good, but will not include the new entry until then.

The newest entry is a Reverse Spenserian with alternating rhyme at the first of the line–alternating similar sounds.  Plus a few internal rhymes as well.  The Reverse Spenserian scheme has a slowly metamorphosing rhyme sound scheme.  So each new rhyme is related to the last in some way.  And each alternative rhyme is related to its former by an addition of an ‘R’ sound added to the final vowel syllable.

The Course:

This first round will be
the gradual evolution of one piece only.
I believe I shall show

the same or similar examples
But each one differing in subject matter
In the next short series.

I had originally written the above as the introduction to the first sonnet in the first series, both of which are mentioned above; however my sweetheart has written such a lovely piece–or, more accurately, I took down verbatim the naturally poetic words she quietly uttered when nearly asleep.  And for some reason, although I confess I had written it first–that is, before her lovely words I posted–here we have another moment of synchronicity wherein what is the first offering in the series is an answer of sorts.   I had originally intended to use a much more tame subject; however I tend toward perversity whether I intend it or not; and as usual, I have gone the other way.  In any case, I shall leave my sweetheart’s wonderful words where they are, as I have found that moving things about can have disastrous results for a number of reasons, not the least of which is that wordpress.com’s so called permalinks  are…  well…  not permanent.

In any case the “course material,” if such it can truly be called, is here:

I do not have…

…writer’s block, nor stage fright, for that matter.  I am not quite sure why that is, but still, sometimes it is difficult to bring myself to keep to my schedule.   Particularly now.  I know I could, for example use one of my developed techniques to write several sonnets in the next hour or two; but I can already tell, I am not going to.  I think tomorrow, I will do so.

Lately, I think I have have written a series of more serious and more heartfelt sonnets, and these do not necessarily need to be the norm.   When I started this project, I made a joke about not writing sonnets about trivial matters, still, there is something between writing about one’s sunburn during one’s vacation (in Majorca, I have always maintained) and writing a nice-sounding sonnet about a less trivial but still not a soul deafeningly deep matter.   I thought nothing of doing this at first, as I mentioned.  Still, I think I have been having what a dear friend of mine would call “a case of the blues.”  And I am disinclined to write about this case for the reason above.

Sometimes one gets to a point where one does not wish to delve.  I am after all, more–much more–a musician than a writer of any kind.  And even though music is more difficult than writing–as is practically every field of human endeavour–in the grand scheme of things, music comes rather more easy to me than writing.  So to compose a sonnet that sounds nice the subject of which is rather vague or even cryptic, is not a difficult thing to accomplish.  Still I do feel much better now that I “verbalise” this fact.

I can write, perhaps because of whatever musical, or one might say: “sound related senses,” I may posses, something rather quickly.  Some of these sonnets have ended up being quite nice to my ears; and, as often happens in such a case, capriciousness gives way to depth as one writes, arranges, and rearranges words in such an endeavour.  Sometimes of course the result may…  sound better than it means, or sound more clearly than its meaning is clear.  Still, more often than not, perhaps, these are nearly indistinguishable from those into which I invest quite a lot of thought and emotion and research of one kind or another.

Quite often, a very deeply held feeling can also roll off the pen, even when one is using a particularly difficult form.  Although my general “policy,” as it were, has always been to let the text dictate the best form to use.  I have very many to chose from, in sonnet writing.  When one realises there are:

  1. Shakespearean (abab,cdcd,efef,gg)
  2. Reverse Shakespearean (aa, bcbc, dede, fgfg)
  3. Interlocking Shakespearean (abab, cdcd, dede, fg — fg abab, cdcd, efef)
  4. Italian (1221, 1221, 6*{AB} | {ABC} (six final lines of two or three ephemerals which can vary in almost any combination))
  5. Reverse Italian: 1221, 2112, AA 4* {BA} | {BC} (two or three rhymes but beginning with a couplet.
  6. Spenserian (a1a1, 1212, 2323, bb)
  7. Reverse Spenserian (2121, 3232, 4343, [14][14])   one of my favourites.
  8. Emeronian (a1a2, b1b2, c1c2, [d1][d2])
  9. Reverse Emeronian (1a2a, 1b2b, 1c2c, [1d][2d])   another favourite.
  10. Sequential (1234, 1234, 1234, [12][34]) another invention
  11. unnamed (aa1a, bb1b, cc1c, [1d][1d])
  12. Canopian ([a-a]c[b-b]c, [d-d]f[e-e]f, [g-g]1[h-h]1, [j-j]1) extrapolation from “Roddenberry’s Couplet.”
  13. Unlucky ( ????????????? )

It is easy to conceive of the appropriate form to use given the idea one wishes to express.  So I must now pledge to continue in this way tomorrow wherein It may be easier to accomplish after some rest. : )

On the 17th…

…is sonnet IV of the Shakespeare reflected variety.  As usual, it is a reverse Spenserian.  Internal rhymes are all couplets (also as per usual) however this time, I used all of Shakespeare’s rhyming words for these.  I use these in the order in which they appear, excepting that they are rearranged to couplet form.  Mechanically this worked better than expected; however I feel the hairs on the back of my neck standing on end, as no doubt, Lucas is “gunning” for this one.