[New-Poetry] terror dactyls
James Cervantes
cervantes.james at gmail.com
Sun Apr 6 12:30:52 EDT 2008
One of my favorite, other-species sonnets:
Sonnet Nabokov
Pathetic, how the stiff wings' final reflex
Mimics
A death struggle; how the brittle thorax
Clicks
As the pin penetrates; how the pin exits
Cracks
Riddle the chitin; how the aftershocks
Climax
In a foreleg's or an antenna's palsied metrics;
Facts
Carousel on a dark scrim of wax;
No music;
No music but a pulse make-believe makes
Relax.
- Daniel Bosch, Poetry, November 2005
On Sun, Apr 6, 2008 at 8:32 AM, <JforJames at aol.com> wrote:
> A form as universally successful as the sonnet is bound to attract
> artists who want to tinker
> with its formal constraints or those who just want play with the form. A
> true formalist like Mona
> Van Duyn did a series of 'sonnets' with one word per line while
> employing a rhyme scheme. Also,
> there's to consider the break from the Italian form toward the English
> sonnet form. What did
> practitioners of the former at the time say/think about the liberties
> taken by the latter?
>
> It seems easy enough these days to stick a modifier on the term if one
> needs to make clear
> distinction: 'traditional sonnet' or 'formal sonnet' would do the trick.
> Or one could put quotes around
> the non-traditonal sonnet, "In Ted Berrigan's 'sonnets' we see..."
>
> My philosophical side reminds me that poetic forms are not like Plato's
> 'forms'. There isn't a universal
> sonnet form/ideal that manifests itself in the language object we call a
> sonnet. All forms arose
> in some arbitrary fashion from a set of rules first laid down an often
> unknown ur-maker. So in that sense
> all forms are arbitrary and capricious. A certain14 line metered and rimed
> creation becomes habituated
> in the general practice of poets, while the twelve-liner or the
> eighteen-liner never caught on. Many claims have been for special qualities
> inherent in 14 lines (or the 8 + 6 mode), but most are specious.
> Finnegan
>
>
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