Regarding “Etudes” 11 and 12:

Rather than rearranging what I have scheduled to post, I shall delay #11, which will post on January 3rd, 2014.  Number 12, which is not yet completed will most likely be done this morning(ish) and will therefore post on January 4th, 2014, or perhaps shortly thereafter.

Sorry to make all-y’all wait this long ; )

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The Inverse:

And for the inverse, I offer up the following:

  1. C                                                    1             (14
  2. A                                     1                            (7
  3. B                     1                                            (8
  4. A                                     2                            (5
  5. C                                                    2             (9
    .
  6. B                     2                                            (6
  7. A                                     3                            (2
  8. B                     3                                            (3
  9. C                                                    3             (4
    .
  10. E           1                                                      (13
  11. D     2                                                            (12
  12. D     2                                                            (10
  13. E           1                                                      (11
  14. C                                                    4             (1

Interpret it as you will!  No, I relent.  As in the previous example, the columns are:

  • line number,
  • lettered rhymescheme,
  • numbered instance of each rhyme, staggered for easier reading,
  • and finally, a number designation of each discrete rhyming word.

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Sonnet: (template) ((More “Etudes” comming))…

This…  is evidently the way in which I avoid working on my poetry.  As well, this is evidently the way in which I avoid working on my sonnet site.  Am I the archetypal mismatcher–the quintessential oppositional personality?  I shall let you be the judge.

In any event, I offer up the following for your consideration:

  1. C                                                1          (1
  2. A                                 1                         (2
  3. B                  1                                        (3
  4. C                                                2          (4
    .
  5. A                                 2                         (5
  6. B                  2                                        (6
  7. A                                 3                         (7
  8. B                  3                                        (8
  9. C                                                3          (9
    .
  10. D            1                                              (10
  11. E      1                                                    (11
  12. D            2                                              (12
  13. E      2                                                    (13
  14. C                                                4          (14

Recently I have experimented with Italian varieties wherein the lines numbered 9 and 14 rhyme.  The above is an attempt to create a unique form specific to this idea rather than simply modifying the Petrarchan (Italian) scheme.  My only quandary now, is what to call it….  “Northwestern” perhaps?  “Portlandian?”  “455,” as in “four five five?”

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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.

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

Same word rhymes:

Sometimes they sound wrong; sometimes they sound right.  Does that about sum it up, so to speak?

I was reading over this sonnet recently reposted as one of a sequence of four.  In the third quatrain you will see:

But the Knights of the Copybook Headings
Show… that our apathy caused you to win;
We will never forget that beheadings,
Though… were the wages of this kind of sin.

I had originally changed this third rhyming word because of the identical or same word rhyme.  I realised after some time of reflection that it sounded fine the way it had been.  Why, I wondered, was that.  I believe the answer lies in the odd or feminine lines containing the duplicate word or sound.  This understanding opens up possibilities.  One has to do some thinking though regarding forms other than ABAB types, wherein the feminine lines are easily understood as such.  What about an Italian sonnet?

Hmmmm….   Does this not bear more thinking?

Sonnet VII: Helpless

So dark within this place, what is this grey
Like velvet fire that would my hand subdue?
Can this–such sweetest pliancy as may
Command my strength to helplessness–be true?

What should I from this helplessness construe
That further took my senses night from day?
Though ne’er would I this mastery through
Any means demand, excepting I obey.

I take what is demanded and delay,
As valiantly I must, what is my due;
And all this tempest, bid me on its way,
Is great in all it promiseth anew.

Much more thou knew’st than wouldst thou ever say;
Thy sweetness grew that burned my will away.

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

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