…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
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 [7] E D F E G 14) 7 [x] [D] E [D] D [F] 15) 5 [7] 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.
This sonnet is part of a short sequence; click here to read it all:
Things in life evolve. I, now uncaught on
Detail, resolve that haiku, when planned more
Strictly, will not break a single thought on
Separate lines. On the other hand, for
Sonnets, great shrines more strict, more pursuing
Sound; the stricture of both could recombine
With pressure when mixed together. Doing
Round numbers of haiku, would misalign
Within a sonnet. It makes me sigh, too;
For, on my honour, I’d cry if that myth
Were true. Instead, there must be eight haiku
To see it through; and then I combat with
Four pale sounds. And its sextet, for a
Tail, sports “etcetera, etcetera.”
Things in life evolve
I, now uncaught on detail,
resolve that haiku,
when planned more strictly,
will not break a single thought
on separate lines.
On the other hand,
for sonnets, great shrines more strict,
more pursuing sound;
the stricture of both
could recombine with pressure
when mixed together.
Doing round numbers
of haiku, would misalign
within a sonnet.
It makes me sigh, too;
for, on my honour, I’d cry
if that myth were true.
Instead, there must be
eight haiku to see it through;
and then I combat
with four pale sounds.
And its sextet, for a tail,
sports “etcetera,
“etcetera.”
