WE’VE BEEN EVERYWHERE, MAN!

AND SO OUR WORLDWIDE JUNKET HAS COME TO AN END. IT IS GREAT TO SEE THE WORLD, BUT EVEN MORESO TO COME HOME AGAIN!

 

But it appears “HOME” has taken on a different look with fewer faces around the neighborhood. We’ve completed our third PAD during July, but I wonder if there will be a fourth.

So I ask, “Where do we go from here?” Do we continue with our pursuit to rise to heights with our poetry? Or should we cut our losses and say we gave it a shot?

I will post prompts and such for a few more weeks and see if it was just a “summer” thing, or if our poets have gone to greener pastures. If so, good luck to them and I wish them all a fruitful muse!

I will then choose to rethink how to continue in this poetic life. Thank you all for all you’ve done here at Poetic Blooming/Creative Bloomings/Phoenix Rising!

 

THE REASON FOR RHYME – BREAKING THE MOLD

This week we will depart from routine and pay heed to those who choose NOT to celebrate rhyme. We will give you a break and give sway to the Anti-Rhyme. We have Anti-Heroes, Anti-freeze, Anti-acid, Anti-Oxidants, some speak of the Anti-Christ. There is an antithesis, Auntie Mame (had to throw that in) and twice a year (one coming up soon) a Two-for-Tuesday call to the Anti-Love poem. So, if you are against using rhyme, write your anti-rhyme poem. Anything that you are against is fair game. Against the Designated Hitter in baseball, give it a whirl. Anti-Reality TV, that works as well. Break the mold this week, and rail against your anti-whatever. But, there is no need for rhyme in your poems (unless you truly are driven by it!) We will get an early jump on April Poetry Month next week. I will assemble a calendar featuring a different form each day. Try to use it in at least one of your efforts in whichever P.A.D. Challenge you undertake.

THE REASON FOR RHYME – RHYMING POETIC FORMS

These pages are “learn as you go”. It is not to say these are new “lessons”. They are more of a refresher course. And of course, those who make a habit of being “free-spirited” and steer away from rhyme, have challenged themselves in these exercises and of that I am most grateful of the efforts being made. You ladies and gentlemen are awesome/awe inspiring!

This week, we will concentrate on specific poetic forms that rely heavily on rhyme or have it woven into certain rhyme patterns with great effect. These will include: Alouette, Constanza, Dizain, Rondeau and Triolet. More examples and more concise reviews of these forms can be found at the Poetic/Creative Bloomings link here: 

http://poeticbloomings.com/poetic-bloomings/in-form-poet/

ALOUETTE: 

The Alouette was created by Jan Turner.

It consists of two or more stanzas of 6 lines each, with the following set rules:

Meter: 5, 5, 7, 5, 5, 7
Rhyme Scheme: a, a, b, c, c, b

“Alouette” is a French word, which means ‘skylark’, and this form is reminiscent of the lark’s song-like expression as presented here. The word ‘alouette’ can also mean “a children’s song” (usually sung in a group). This poetry form is not necessarily for children’s poetry (although can be applied that way), as it works through that style with short lines.

CONSTANZA:

The Constanza, created by Connie Marcum Wong, consists of five or more 3-line stanzas. Each line has a set meter of eight syllables. The first lines of all the stanzas can be read successively as an independent poem, with the rest of the poem weaved in to express a deeper meaning. The first lines convey a theme written in monorhyme, while the second and third lines of each stanza rhyme together.

Rhyme scheme: a/b/b, a/c/c, a/d/d, a/e/e, a/f/f………etc.

DIZAIN:

Ten lines rhymed; usually (though not by definition) iambic pentameter. This is originally a French form and initially would have been made up of eight syllable lines, but later ten syllable lines were also used. The few examples of this form in England did prefer Iambic Pentameter, but that’s purely up to the poet.

The rhyme scheme is: a-b-a-b-b-c-c-d-c-d.

RONDEAU:

A rondeau (plural rondeaux) is a form of French poetry with 15 lines written on two rhymes.  It makes use of refrains, repeated according to a certain stylized pattern. It was customarily regarded as a challenge to arrange for these refrains to contribute to the meaning of the poem in as succinct and poignant a manner as possible. The rondeau consists of thirteen lines of eight syllables, plus two refrains (which are half lines,  four syllables each).

The traditional rondeau looks like this:

A-A-B-B-A

A-A-B-A(R)

A-A-B-B-A-A(R)

TRIOLET:

The triolet is a very brief, tightly rhymed poem that, like the pantoum, takes part of its structure from the repetition of entire lines. A triolet is eight lines, as follows:

1st line A
2nd line B
3rd line a (rhymes with A)
4th line A (entire 1st line repeated)
5th line a (rhymes with A)
6th line b (rhymes with B)B)
7th line A (entire 1st line repeated)
8th line B (entire 2nd line repeated)

 

Using one of these forms (or as many as you feel fit to write), allow the rhyme to drive your poems. Although we are working with rhyme this month, the form becomes important this week. And in seeing that we welcome Spring by the end of the week and say goodbye (somewhat) to Winter, we will be writing to one of these topics: A Farewell Poem, A Birth or Rebirth Poem, or a Poem about returning to something. All in good form! 

THE REASON FOR RHYME – DIFFERENT STROKES; DIFFERENT FOLKS

So as we see, the placement of rhyme can interject different moods and inflections into what it is we want to say. Some say it is as important as the rhyme itself. When I began writing poetic verse (back in the day) my impression of what constituted poetry was purely the sing-songy (moon, spoon, June) end rhyme. I learned quickly there was more to it than that. But still, I considered rhyme important!

Rhymes (sound pairs) fall into some specific categories, all of which can achieve varied effects no matter where they are placed. Wherever possible, I’ll try to provide examples.

By definition:

Perfect rhyme. (Also true rhyme, full rhyme) The initial sound is different no matter how many syllables rhyme. Examples: true/blue, money/sunny, happily/snappily,…

Also considered Perfect rhyme:

  • Strong or Hard (masculine) rhyme – Perfect rhymes occurring on a single, stressed syllable. Examples: prize/wise, prize/despise (this two syllable word is iambic)…
  • Weak or Soft (feminine) rhyme – Perfect rhyme that begins on a stressed syllable, ending on the final unstressed syllable. When the word involves three syllables, it is called triple rhyme. Examples: darling/starling, reference/preference…
  • Mosaic rhyme – A perfect rhyme formed by combining shorter words to rhyme with a multi-syllabic word. Examples: poet/know it, spirit/hear it, Longfellow/strong fellow…
  • Broken rhyme – A perfect rhyme formed by hyphenating (or breaking) a word across the end of a line. Examples:

x x x x x x fate

x x x x x x x await-

ing x x x x x x x

Identical rhyme. (Also called autorhyme, null rhyme, self-rhyme) These rhyme words are identical. It is called rich rhyme if the words are homonyms. Examples: cheer/cheer, seat/seat, ideal/ideal,…

Near rhyme. (also called off rhyme, slant rhyme, half rhyme) These are approximate rhymes that are picked by the poet to convey a certain effect. They are deliberate rhymes and not failures to achieve perfect rhymes. Not to be confused with close rhyme which refers to location or placement of the rhyme. Examples: seal/seat, foot/fault, hearing/herring,…

Also considered Near Rhyme:

  •  Wrenched Rhyme – The pronunciation or spelling of one or more words is manipulated to force a rhyme. It can also be done by changing the sound or shifting the stress. Usually used to express surprise, cleverness or humor. Examples: element/elephant, defunct/elephunt, wench/mensch…
  • Eye Rhyme (or printer’s rhyme) -Two words with homographic endings of different pronunciations. Examples: move/love/stove, good/food, bough/cough/through, pants/wants,…
  • Assonance – Only the vowel sound is repeated. Examples: but/stud, sad/back, mold/soda,…
  • Consonance – Only the final consonant sound is repeated. Examples: hat/shot, school,hall,…
  • Pararhyme (frame rhyme) –  The first and last consonant sounds are repeated, but the vowel sound between is different. Examples: soup/shop, bolt/best, meant/mint,…

The kinds of rhymes available to us are widely varied. They all serve a useful purpose in our daily expression and poemic endeavors. Now in March, we will be celebrating St. Patrick’s Day and the arrival of Spring (Be strong my East Coast Brethren and Sistren (near/wrenched rhyme) Spring WILL arrive someday!).

Using the idea of either or of a parade, or the color green, write your poems with an eye toward including some of these rhyming techniques. Of course, you can go off base and write any poem on any subject using rhyme. And have a good time!

Walt

THE REASON FOR RHYME

In February, under the guise of love we had explored the use of various devices to inject “sound” into our poetry. The results were wonderfully expressed and presented, giving us a broader scope of how poetry stirs the senses.

If you were to ask someone what a poem is, it would elicit a number of responses. As poets, we have learned that poetry can be found in pretty much any place we look. A laundry list could inspire a poem, etc.

But to a general reader, they may say a poem is something that rhymes. We work with words, but sometimes despise the use of rhymes, yet surely they are not less important nor effective as any of the sound devices we used in February. Rhymes are certain sounds that help convey out thoughts. In March, we will delve into the use and reason for rhyme.

So, what are rhymes? Rhymes generally are words that differ only on their initial sounds. Sounds like true and blue, or leg and beg. Looking at that, we find that some words do not have an English word with which it rhymes: orange, month, circle, purple are some examples. Even a word that poets use a lot in our work, LOVE, has a limited number of rhyme words. There are subtleties to the rhyming process. These will be dissected during March.

The first thing we will incorporate in our works are the placements of rhyme. We are familiar with end rhymes. These words obviously come at the end of our lines.

Initial rhymes conversely come at the beginning of the lines.

(Free xxxx xxxx xxxx.
See xxxx xxxx xxxx)

Medial (middle) rhymes are a bit more complex. They can be “internal”, a rhyme between a medial word and the end rhyme.

(xxx thou xxx cow).

A “close” rhyme is an internal rhyme between words that are in close proximity to each other, neither at the end of a line.

(Smug xxx bug xxx).

“Interlaced” rhymes are words that appear internally in two consecutive lines.

(xxxxx door xxxx,
xxxx floor xxxx)

Be mindful of these rhyme placements as we use as many instances as we can in our poems this week when we take time to rhyme. Any subject; any form! Good luck!