To be a bit more accurate, regarding poets in any case, a few such men have gone here before.
And for the inverse, I offer up the following:
- C 1 (14
- A 1 (7
- B 1 (8
- A 2 (5
- C 2 (9
- B 2 (6
- A 3 (2
- B 3 (3
- C 3 (4
- E 1 (13
- D 2 (12
- D 2 (10
- E 1 (11
- 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.
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:
- C 1 (1
- A 1 (2
- B 1 (3
- C 2 (4
- A 2 (5
- B 2 (6
- A 3 (7
- B 3 (8
- C 3 (9
- D 1 (10
- E 1 (11
- D 2 (12
- E 2 (13
- 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?”
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!
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:
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]
This is a most beautiful piece. You do such free verse very nicely. Inspiring to me. I love the spare feel. Particularly because when one is outside–among nature, as it were, one feels so small–so vulnerable. Yet, on the one hand, so much beauty surrounds us; on the other hand, it can harm, or even kill us. Part of nature’s charm is in its danger, and it is, I believe a good part of why we feel so satisfied when we tame a small portion of it.
…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
So sweet, that dreameth she, when dark the night,
Of he, her sweetness knew, and were as sweet
His understanding, patient of her thought,
That grew, to her remembrance, by the hour.
In these, as felt within her heart, requite;
So he, her longing knew, as made to beat
As beat his own, though she, her heart dore not–
At rest, so lonely she, within her bower.
And dreameth she, as he, of her delight;
That he, her sweetness, doth partake, when meet
They next–when they their final meeting sought–
An this be soon, so dreameth she, empower,
As so it might, our lives to make complete–
That ought, my love, with untold blessings, shower.