On March 2 I invited a
sonnet with the fewest words, the Dehydrated Sonnet. I can’t remember where the
impulse came from.
Plutarch wasn’t
interested. With good reason. Poetic rules are easily explained, poetic
obligations are something else again. Opportunities for betrayal occur between
every syllable. Imposing an artificial – irrational - restriction as I had done
corrupted the whole process.
Thus: you write a decent
line. Then try to compress the wordage, making it indecent. Your options shrink.
You become obsessed with long words
I am lucky in that I
write verse not poetry (In soccer terms: the conference vs. the championship). My
effort appears tomorrow. However here are entries from two bloggers who take
poetry more seriously. Both get prizes.
Note 1: To legitimise the
project as a TD post, a musical reference was required.
Note 2: Shakespeare’s “Shall
I compare thee…” is 114 words.
Lucy: (Untitled). 56 words
Inspirational daPonte, that
tirelessly charming persiflager,
luminary of my commentariat,
proposes playfully a wager:
tirelessly charming persiflager,
luminary of my commentariat,
proposes playfully a wager:
reductionistic sonneteering
- make,
Italianate Petrarchan, or Miltonic,
Wordsworthian, Spenserian or Shake-
spearian form - example most laconic.
Italianate Petrarchan, or Miltonic,
Wordsworthian, Spenserian or Shake-
spearian form - example most laconic.
Yet minimalising
semantemes, while meeting
pentametrical demands - conjunctions,
prepositions, articles, pronouns deleting -
linguisticality, alas, malfunctions.
Syllabic prodigality alone
provides excessive flesh, deficient bone.
pentametrical demands - conjunctions,
prepositions, articles, pronouns deleting -
linguisticality, alas, malfunctions.
Syllabic prodigality alone
provides excessive flesh, deficient bone.
Lucas: Riding the Sonnet. 72 words
…started with microcosmic
excitation,
one introverted thought at
liberty,
choosing relaxing
camaraderie,
not the controlling baton’s
orchestration –
initially a steady
undulation,
pre-propagating through the
qwerty
keyboard, a salon’s
tripping melody
melodiously rippling,
building, spinning on
until its music flooded,
overtaking me
accelerando. A crazy
streamer,
stream-lined, concert-hall
high, broke free,
roguishingly ascending and
getting weightier
above my clipped peaks.
Diminutively
The salon swam, landfall ever
h a z i e r.
Tempting to say the extra 16 words make all the difference but I think there's more to it than that...
ReplyDeleteThanks for the exercise!
Lucy, the control of multisyllabic verse, and sonnet-argumentation with which you launch and sustain this poem is further intensified by the final rhyming couplet. I enjoyed it very much.
ReplyDelete