Jump to content
Poetry Magnum Opus

Search the Community

Showing results for tags 'illness'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Blogs

  • Tinker's Blog
  • PMO Members' Promotional Blog
  • General Discussion Blog

Forums

  • Members' Poetry
    • Showcase
    • Showcase (overflow)
    • Workshop
    • Playground
    • Longer Works
    • Promotions
    • Archive
  • Reference Section
    • Tools
    • Explore the Craft of Writing Poetry
    • Misc. Reference Material
  • Special Interest
    • World Poetry
    • PMO Audio
  • Prose
    • The Prose Forum
  • Reading
    • A Poem I Read Today
    • Favorite Poets
  • General
    • General Discussion
    • Literary Discussion
    • Articles
  • Art
    • Art - General Discussion
    • Photography, Drawing, and Painting
  • Welcome
    • Site Welcome, Philosophy, and Rules
  • PMO Community Matters ***MEMBERS ONLY***'s Feature Requests
  • PMO Community Matters ***MEMBERS ONLY***'s Special Requests
  • PMO Community Matters ***MEMBERS ONLY***'s How-to
  • PMO Community Matters ***MEMBERS ONLY***'s Visions for the Site
  • Mostly-Free Exchange of Ideas Club's Topics

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Found 3 results

  1. Explore the Craft of Writing Poetry Spanish Poetry Cuaderna Via (frame way) is a strict, syllabic stanzaic form that dominated most of the serious Spanish poetry for the 13th and 14th centuries until the 15th century when it was replaced by the more generic Art Major. The Cuaderna Via was the introduction of syllabic verse into Castillian poetry. It appears to have been originated by the Spanish clergy under French influence, hence the alternative names of mester de clerecía and nueva maestría. It is also known as alejandrino (14) since Spanish verse is often named for the number of syllables the lines contain, the alejandrino is now classified as a verse of Art Major. One of the earliest known Spanish poets to utilize the form was Gonzalo de Berceo 1190-1264 and some of the best known Cuaderna Via's were 14th century Juan Ruiz's Libro d Buen Amor and Pedro López de Ayala's autobiographic, Rimado de Palacio which was a satire of contemporary society. This stanzaic form is known for its "rigidity of form: syllables are counted carefully" NPEOPP. In addition to the rigid meter, only true rhyme is allowed. The defining features of the Cuaderna Via are: stanzaic, written in any # of mono-rhymed quatrains. syllabic, 14 syllable lines divided into hemistiches of 7 syllables each, often broken by caesura. There is no wiggle room in syllable count. mono-rhymed. The rhyme must be true rhyme, no slant rhyme, assonance or consonance. Rhyme scheme aaaa, bbbb etc. Apparently this is a form for purists. First Day of Chemo by Judi Van Gorder The morning chill waits for her, the cold arrived in the night, she lies beneath her down quilt, still as a doe before flight. The dreaded day has arrived, resolve mixed with fear holds tight. She knows it's what must be done and she swallows down her fright.
  2. Explore the Craft of Writing Poetry French Verse The Sestina, Sestine or Sesta Rima (a song of sixes), is an intricate verse that includes repeating end-words (teleutons) in a strict pattern throughout the poem. The repetition allows the poet to shift from past to present or to create layers of meaning. Words that can have multiple uses either by way of being of different parts of speech or have different meanings can give the ensuing stanzas a different perspective. In the Sestina at its best, the end-words should relate to each other as an expressed whole. The Sestina is generally attributed to Anault Daniel, ( - 1210) a French mathematician and poet. The troubadours of the 13th century adopted the form and it eventually became popular with the Italian poets, particularly Petrarch and Dante. This popular and well known verse form should not to be confused with the Spanish Sextilla which when written with a specific rhyme scheme is sometimes referred to as a "sestina". The elements of the Sestina are: suited to a narrative because of its length and lack of rhyme. It gives the poet room to tell a story. in English most often iambic pentameter but sometimes iambic tetrameter. In French and Italian the Sestina is composed as syllabic verse. (whatever meter employed, the lines should be of equal length). contained in 39 lines, grouped into 6, sexains or sixains (6 line stanzas) followed by a 3 line unrhymed envoi or tornada (a salutation or sending forth) The last 3 lines gather up and deploy all 6 end-words. composed with 6 unrhymed end-words which must occur in every stanza but in a changing order that follow a set pattern. (this is known as lexical repetition) The order seems to turn the poem inside out, the first end-word eventually becomes the last. The pattern of end-words shift from stanza to stanza is a mathematical equation from which, if one were to write a 7th stanza, the pattern of the 1st stanza would be repeated in the 7th. (I read that, don't ask me to prove it.) The set pattern of shifting end-words from stanza to stanza is: 1st stanza 1 2 3 4 5 6 2nd stanza 6 1 5 2 4 3 3rd stanza 3 6 4 1 2 5 4th stanza 5 3 2 6 1 4 5th stanza 4 5 1 3 6 2 6th stanza 2 4 6 5 3 1 L1 envoi 2-5 (even numbered end words incorporated internally into the line.) L2 envoi 4-3 L3 envoi 6-1 Tallinn sestina - an emigration of the heart by DC Martinson Where's Leigh? by Judi Van Gorder With sugar cookie tucked neatly inside the pocket of his blue plaid shirt, today is like all others now. He drives to the home where some of the ladies coyly watch for him while she sits staring mutely at her lap, mind grasping for an unremembered past. With eyes lowered he modestly walks past the ladies, pupils alter to the light inside, she sits where she always sits, hands on lap. There's a soft sun and a warm breeze today, he gruffly takes her into the garden with him, away from the ladies and the smell of the home. He fights the urge to take her back, back home, to whisper, yell and laugh as in the past. Her strange responses make no sense to him, he wants his bride, who has been locked inside the tiny aging body, to emerge today, to tease and play and snuggle in his lap. He used to juggle children on his lap, 'was often noisy at their country home. Some sixty years, he still lives there today, the house is hushed in conflict with the past. At times too lonely to stay closed up inside he walks to town with cap pulled down, just him. A simple working man, most respect him, she was fun, the social one, the one who'd lap up the attention from others, yet inside their private world he was the hub at home, he led their children, then grandchildren past the snares of youth, to become his pride today. Too fast the years flowed to bring them to today. Though memory is gone, she calls for him, he hears his name from her lips and the past is now. He reaches for a hand in her lap, puts the cookie in her palm, her smile is his home. He checks his watch, too soon they'll call her inside. She won't recall today, she'll sit hands on lap, she asks for him, "where's Leigh?" "it's time for home" He steps past the ladies, tucking tears inside. Sestina Sonnet is an invented sonnet frame found at Poet's Collective that uses the English Sonnet frame but uses lexical repetition of the end words of the first quatrain in subsequent stanzas. The elements of the Sestina Sonnet are: a lyrical meditation. a quatorzain made up of 3 quatrains followed by a couplet. metric, iambic pentameter. pivot at discretion of poet. rhymed abab baba abab (a)b(a)b. (a) internal in final couplet end words repeated in different order, in the couplet W1 and W3 are internal. stanza 1: 1 2 3 4 stanza 2: 4 1 2 3 stanza 3: 3 4 1 2 Stanza 4 (3)4 (1)2 A Double Sestina can be composed in one of two ways. Sidney's Double Sestina, named for English poet, Sir Philip Sidney (1554-1586), simply doubles the frame of the Sestina, creating 12 sixains, followed by an envoy tercet. After the Sestina repetitive pattern of the 6 keywords has been completed in the first 6 stanzas, the same pattern and keywords are repeated in the next 6 stanzas. The envoy appears at the end of the poem not at the end of the first 6 stanzas. stanza 1: 1 2 3 4 5 6 stanza 2: 6 1 5 2 4 3 stanza 3: 3 6 4 1 2 5 stanza 4: 5 3 2 6 1 4 stanza 5: 4 5 1 3 6 2 stanza 6: 2 4 6 5 3 1 stanza 7: 1 2 3 4 5 6 stanza 8: 6 1 5 2 4 3 stanza 9: 3 6 4 1 2 5 stanza 10: 5 3 2 6 1 4 stanza 11: 4 5 1 3 6 2 stanza 12: 2 4 6 5 3 1 envoi: 5/2 3/4 1/6 Ye Goatheard Gods by Sir Philip Sidney or Swinburne's Double Sestina attributed to Algernon Swinburne (1837-1909) writing 12 12-line stanzas with a 6 line envoi in the following pattern of end words. stanza 1: 1 2 3 4 5 6 7 8 9 10 11 12 stanza 2: 12 1 9 11 4 7 2 8 3 10 6 5 stanza 3: 5 12 6 4 7 1 2 3 10 9 11 8 stanza 4: 8 5 7 6 4 12 10 2 3 11 1 9 stanza 5: 9 8 6 10 1 2 7 4 3 12 5 11 stanza 6: 11 9 6 10 4 2 7 1 12 8 5 3 stanza 7: 3 11 7 8 12 1 2 10 5 6 9 4 stanza 8: 4 3 9 6 5 10 1 7 12 11 8 2 stanza 9: 2 4 5 1 3 8 7 10 9 11 12 6 stanza 10: 6 2 9 3 8 1 7 5 10 4 11 12 stanza 11: 12 6 8 4 3 5 9 10 2 1 11 7 stanza 12: 7 12 6 3 9 11 5 8 4 2 10 1 envoi: 10/8 9/7 4/3 6/2 1/11 5/12 French Rhymed Sestina is a Sestina with rhyme in the 1st stanza, rhyme scheme abcbca. The rhyme scheme will change as the end words change position from stanza to stanza but they will always remain some combination of the rhyme of the 1st stanza. Newman Sestina is an invented form of the Sestina introduced by Bob Newman at Vol Central. It is written as any standard Sestina would be written but the key or end words are anagrams, eg form/from ant/tan scared/sacred etc. Well there really isn't an Ocarina but as suggested by Bob Newman at Vol Central, if a sestina was written with a combination of 8 key or end words, it would probably be named the Ocarina. The thought of tracking the sequential changes with the added 2 lines boggles my mind, but I am pretty sure it can be done. Rhymed Double Sestina is attributed to Algernon Swinburne and follows the end word pattern of the Swinburne's Double Sestina and is rhymed. Stanza 1 is abcabcdefdef all other stanzas follow the end word pattern as designed unfolding a different rhyme scheme using the same 6 rhymes for each. Rhyme stanza 1: a b c a b c d e f d e f stanza 1: 1 2 3 4 5 6 7 8 9 10 11 12 stanza 2: 12 1 9 11 4 7 2 8 3 10 6 5 stanza 3: 5 12 6 4 7 1 2 3 10 9 11 8 stanza 4: 8 5 7 6 4 12 10 2 3 11 1 9 stanza 5: 9 8 6 10 1 2 7 4 3 12 5 11 stanza 6: 11 9 6 10 4 2 7 1 12 8 5 3 stanza 7: 3 11 7 8 12 1 2 10 5 6 9 4 stanza 8: 4 3 9 6 5 10 1 7 12 11 8 2 stanza 9: 2 4 5 1 3 8 7 10 9 11 12 6 stanza 10: 6 2 9 3 8 1 7 5 10 4 11 12 stanza 11: 12 6 8 4 3 5 9 10 2 1 11 7 stanza 12: 7 12 6 3 9 11 5 8 4 2 10 1 envoi: 10/8 9/7 4/3 6/2 1/11 5/12 The Complaint of Lisa by Algernon Swinburne Sonnetina is a sonnet-like form using repeating end words. It is also an invented 10 line form found on a separate page Sonnetina (10 line) here. The elements of this (14 line)Sonnetina are: quatorzain made up of 3 quatrains followed by a couplet. metered, preferably iambic pentameter. pivot at discretion of poet. unrhymed but employing repeating end words in the following pattern: stanza 1: 1234 stanza 2: 4123 stanza 3: 3412 envoi: 1/2 3/4 . . 1 and 3 internal / 2 and 4 endwords. Swinburne's Rhymed Sestina uses alternate rhyme and changes the end word patterns from the original Sestina pattern to maintain an alternate rhyme pattern. This is attributed to English poet Algernon Swinburne. Rhyme: a b a b a b End-word pattern: stanza 1: 1 2 3 4 5 6 stanza 2: 6 1 4 3 2 5 stanza 3: 5 6 1 4 3 2 stanza 4: 2 5 6 1 4 3 stanza 5: 3 2 1 6 5 4 stanza 6: 4 3 2 5 6 1 envoi: 1/4 2/3 5/6 The Tritina is a very short form of the Sestina introduced by American poet Marie Ponsot. The elements of the Tritina are: stanzaic, written in 3 tercets followed by a single line envoy. metric, iambic pentameter. written with an enfolding end word pattern of stanza 1: 1 2 3 stanza 2: 3 1 2 stanza 3: 2 3 1 envoi: 1 2 3 Aleluja - 1 by DC Martinson I talk with my God through my missal. I'm not friendly enough for banter. I can't get from liturgy to love. When will my heart be open to love? When will my head not need the missal? When will my lips feel free to banter? I envy those who with God banter. I despise those whose souls have met love. I refute those not needing missal. Missal, bid me banter God through love!
  3. Explore the Craft of Writing Poetry The Sonnet Sonnet Comparison Chart English Verse The Shakespearean, English or Elizabethan Sonnet By Shakespeare's time, (his works are believed to date from 1590 through 1613), the sonnet had already been established in English poetry, thanks primarily to Wyatt, Surrey and Spenser William Shakespeare utilized and popularized the sonnet with the declamatory couplet. His popularity springboarded the sonnet to a prominent place in English literature and become the 2nd dominant sonnet form along side the Petrarchan or Italian Sonnet. The Shakespearean Sonnet, sometimes called the English Sonnet or Elizabethan Sonnet, does not use the octave/sestet structure of the Italian Sonnet. It is usually found in three quatrains ending with a rhyming couplet. Although the Italian form often pivots between the octave and the sestet, the Shakespearean Sonnet pivots deeper into the poem, sometime after line 9 or 10. Shakespeare even delayed the pivot until the 13th line in his Sonnet 30. Wherein the Italian sonnet discloses the epiphany of the subject slowly, the Shakespearean Sonnet makes a swift leap to the epiphany at the ending couplet. Shakespeare knew well the sonnet sequence is not a way of telling a story, but exists for the sake of prolonged lyrical meditation. His thoughts, his dreams, his loves all playout in this musical form. The elements of the English or Shakespearean Sonnet are: a quatorzain made up of 3 quatrains and ending in a rhymed couplet. metric, written in iambic pentameter. Sometimes the opening line of the sonnet begins with the first foot, a trochee before the poem falls into a regular iambic pattern. composed with the volta (a non physical gap) or pivot (a shifting or tilting of the main line of thought) deep into the poem, varied but always well after the 2nd quatrain. developed so that each quatrain progresses toward a surprising turn of events in the ending couplet. The epiphany of the poem arrives in a swift leap at the end. rhymed with up to 7 rhymes with a rhyme scheme is abab cdcd efef gg. composed with an ending rhymed couplet which should be declamatory and the defining feature of the sonnet. This couplet is often the loudest, most powerful part of the sonnet. Twelfth Night Sonnet by Judi Van Gorder from Act I Scene IV by William Shakespeare Viola, shipwrecked, pretends to be a boy in the service of Duke Orosini. She falls in love with him. He, thinking her his male servant sends her on an errand to woo the fair Olivia for him. Her response as Shakespeare wrote it is: Viola:"I'll do my best To woo your lady:" Aside Viola says: "yet, a barful strife! Whoe'er I woo, myself would be his wife." Instead of Shakey's response, here is what I think she really said in sonnet form….. In your command I pledge I'll do my best To sing of you as hero, strong and fair and press the thought of you inside her breast that for your love, tis nothing she won't dare On your behalf with ruptured heart I meet To woo Olivia, the lovely lass and lay sweet blossoms at her dainty feet allowing all my hopes and dreams to pass Oh would that you could see beyond my dress No lad am I to tell your ribald jokes, A maid am I who pines for your caress and on your love for her, forever chokes. Alas I find this scene "a barful strife! Whoe'er I woo, myself would be his wife." For Pauline by Judi Van Gorder Again, brand new the acts of life unfold in chaos as her mind is purged and hurled. At every turn she must be watched and told, in vain she tries to comprehend her world. Before, she was a mother, now a child. Routine and care create dramatic masks when eyes look lost where once they probed and smiled. In fright she looks for him, Where's Leigh? She asks. Bewilderment and dread can lead to rage, Where's Leigh? her voice demands, the same refrain. Serenity and ease should come with age still, loyal friends and those she loved remain. The mystery delays instinctive tears while she resides unconscious of our fears. What Holds by A Baez For My Granddaughter by Judi Van Gorder Now for the real deal ..... XVIII. To His Love by William Shakespeare(1564-1616) SHALL I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd. But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wanderest in his shade, When in eternal lines to time thou grow'st:— So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. CXCVIII. "Bright Star! by John Keats(1795-1821) BRIGHT Star! would I were steadfast as thou art— Not in lone splendor hung aloft the night, And watching, with eternal lids apart, Like Nature's patient sleepless Eremite, The moving waters at their priest-like task Of pure ablution round earth's human shores, Or gazing on the new soft fallen mask Of snow upon the mountains and the moors:— No—yet still steadfast, still unchangeable, Pillow'd upon my fair Love's ripening breast To feel for ever its soft fall and swell, Awake for ever in a sweet unrest; Still, still to hear her tender-taken breath, And so live ever,—or else swoon to death. Burns Sonnet is named for Robert Burn's attempts at writing the sonnet form. He used the frame of the English or Shakespearean Sonnet form except, his Scottish burr shines through. Iambic pentameter was not natural to him and was therefore not attempted. The elements of the Burns's Sonnet are: a quatorzain made up of 3 quatrains followed by a couplet. written with lines approximate length, with the rhythm of a Scottish brogue. rhymed abab cdcd efef gg. pivot or volta late in sonnet A Sonnet upon Sonnets by Robert Burns Fourteen, a sonneteer thy praises sings; What magic myst'ries in that number lie! Your hen hath fourteen eggs beneath her wings That fourteen chickens to the roost may fly. Fourteen full pounds the jockey's stone must be; His age fourteen--a horse's prime is past. Fourteen long hours too oft the Bard must fast; Fourteen bright bumpers--bliss he ne'er must see! Before fourteen, a dozen yields the strife; Before fourteen--e'en thirteen's strength is vain. Fourteen good years--a woman gives us life; Fourteen good men--we lose that life again. What lucubrations can be more upon it? Fourteen good measur'd verses make a sonnet. Reversed English Sonnet is simply a Shakespearean or English Sonnet with a reversed order of stanzas and rhyme scheme. aa bcbc dede fgfg "Sonnet Reversed" by Rupert Brooke Hand trembling towards hand; the amazing lights Of heart and eye. They stood on supreme heights. Ah, the delirious weeks of honeymoon! Soon they returned, and, after strange adventures, Settled at Balham by the end of June. Their money was in Can. Pacs. B. Debentures, And in Antofagastas. Still he went Cityward daily; still she did abide At home. And both were really quite content With work and social pleasures. Then they died. They left three children (besides George, who drank): The eldest Jane, who married Mr Bell, William, the head-clerk in the County Bank, And Henry, a stock-broker, doing well. Returning to Italy Caudate Sonnet
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.