I think I really must merge all my blogs into one.

I say this because of the follow I received from the reference below.  And… because I feel it might make more sense in a logical and procedural way.

Considering the nature of my own site, this offering was most enjoyed. Although… I confess I feel most able to express myself in the strictest of forms such that I do not mind at all burdening such a form with additional constraints. You must judge for yourself if my words are elucidative or obfuscatory.

A word, then two, a fountain like a stream…

This is #5 in a sequence of seven (so far) oddly germane to this post of yours, which I very much enjoyed.
#6 of the same sequence features even more constraints as well as a generous helping of metaphor (given that my background is in the hard sciences) to which perusal of the entire sequence might offer some small illumination.

Of these seven, five are, as is the one above, in the (English version of the) Italian style, #4, as is yours above, in the Shakespearean style, and the one I mention, #6, is in a form which I call “reverse Spenserian,” a form of my own devising–although I may well not be the first to invent such a form. In any case, I have found that most sonnet forms reverse well, although in some cases, one needs to expand ones definition of reversal for such a thing to work.

via How Do You Sonnet? | The Poetry Question.

Sonnet II: At Rest

At last, the dawn, in perfect form, I see
So formed, a positive reality.
Its purple state, its 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–avails, ’til dark, ’til death, ’til night!

This sonnet is part of a short sequence; click here to read it all:


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. : )

Never fear, I have not…

…disappeared.  I shall be resuming after a much needed respite.  I have, as some here know, been ill; although not seriously, still lingeringly!  Still it seemed an appropriate reward for my sixth month mark having been achieved–actually taking time to recover without undue stress on my body or mind.

I plan to resume tomorrow–or later this afternoon–with a new sequence.  This is the proposed “gateway to sonnet form,” or one might term it “gateway drug to sonnet form.”  I myself have so termed it .  My plan is to start with freeverse constrained only by being limited to fourteen lines and proceed from there, toward blank verse, and then lyrical couplets and onward from there.

I have not yet decided if it will be one piece continually evolving, or a series of pieces either related in subject, or progressing in a particular direction.  We shall see….

Sonnet XI: The Art of War

How strangely opposite our sameness then,
My friend; although I know thy form–as hard
As mine–not pliant, nor as soft, we men;
Nor sweet, as  fond our distaff we regard.

With toil, these untendered limbs are scarred,
That reach for thee, though laughingly, with force
To equal thine, as though we will have sparred–
Yet battle merely reticent remorse.

And, having long since made our peace, the source
Of this reserve has fuelled our desire;
And brought us far along our wicked course!
That we, forbidden wickedness, conspire.

And–battle, artistry, or sin–we choose
This contest both would win, or wish to lose.

This sonnet is part of a short sequence; click here to read it all: