…slowly unfolding female series, is rather an interesting one technically. Composed, including its title, of word-count based haiku, which, as I have discovered lately can be written in iambic pentameter. 10 syllables per line, with 5 iambic feet, which consist of a feminine (unaccented) syllable followed by a masculine (accented.) I do love additional constraints, they almost always make for an interesting sound, even if clarity is an even greater challenge. Continue reading
…interesting and fun to write. Particularly sequences. However, a month or two ago, I rediscovered, by way of another poetry blogger, the non syllabic form of haiku. This using 5 – 7 – 5 word count, rather than counting syllables. I have been favourably disposed to doing those, however of late have discovered yet another way to meld my love for sonnets with my interest in Haiku. Continue reading
So beautiful. Ice brume, I had to look that one up. Lovely.
Rejoice I, thou hast, to these climbs return’d.
Thou art most welcome and hast been so misst….
Whatever Thy Perfection Doth Require
I close my longing eyes; envisage thee;
Reflection manifesting not mine hands;
Imprisoned lightning, countenanced with fire;
Shot through, withal, mine every wish commands’.
Extremity, thy tapered waist’s degree;
Impossible perhaps, if not sublime;
And yet, sublime, thy perfect form–admire
This hourglass, although confoundeth time.
Nor could reflected shadowing foresee
Such helplessness within, as now I feel;
Restrained, regarding mine embraced desire
Ensnaring; captor, caught without appeal;
This weal of metaphor thy warder barred;
Imprisonment inspired such a guard.
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 ----------------------------------------------- 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  E D F E G 14) 7 [x] [D] E [D] D [F] 15) 5  E [D] F [E] G ------------------------------------------------ .
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.
Extraordinary blooms, ye mustn’t fall,
Although bereft of you I plaintive sing;
Complete, your gifted dedication all–
For nothing–your renunciation; bring…
To me, my restlessness, one restful gift,
Another consequential tear, one ring…
Of truthful blossoming, cascading swift,
Of falling and of blowing, gently brave;
Traversing mountains, even oceans, lift–
Beyond torrential, gentle blossoms gave;
Beyond such starfields, drop and bloom perfect;
Away… beyond temporal counting, save…
Our loneliness, do each to us affect;
As petal-drops, alone, our days reflect.
- For Kanzen