OK, Day 1 is all about being prepared for this intricate sequence, so to prepare for that, let’s remember the fun of rhyming, rhythm and repetition. Let’s assume you’re writing Shakespearean Sonnets, with a rhyme scheme of ABABCDCDEFEFGG, though there are other forms, here’s a few options with some info about the forms. But I’m going to be leading you through the English Sonnet Crown, or Shakespearean or whatever you want to call it. Let’s start out with standard sonnet rules:
1) Iambic pentameter. “The cow will jump again, the next mid-day.” It’s like a heartbeat- ba-Duh, ba-Duh, ba-Duh, ba-Duh, ba-Duh. Five poetic feet (metric units) of two syllables, the first un-stressed, the second stressed. As in: when in doubt, sound it out. Say the words aloud and find out where the stresses are. Many recent sonneteers have included lots of alternate metric plans, or a lack of plan, substituted for a syllabic line organization. What that means, if you don’t follow, is that instead of worrying about what syllable is stressed, they stress about making sure the line has ten total syllables, stresses be damned.
2) Rhyme Scheme: ABABCDCDEFEFGG- that simple. (A) rhymes with (A) , each letter represents a line’s ending word.
3) Turn: This isn’t an absolute necessity, but many sonnets have a turn around lines 8-9… just past what would be the first octave in the Italian sonnet. What is a turn? It’s when the poem takes what it’d done in the beginning of the poem and changes its direction slightly, it turns the poem so that it isn’t completely predictable. It’s the turning over of the leaf, the brilliant orange is brown underneath. If you want your sonnets to have a non-traditional approach to the turn, though, go for it!
Now, a Heroic Crown of sonnets is 15 related sonnets, usually dealing with slightly different aspects of the same subject. For the sake of this experiment, we’ll base our crown around an event. First, though, we have to consider the amount of rhyming we’ll need to do. Each poem’s ending line must have two other rhyming words within the surrounding poems (the final couplet’s pair, and the opening ABAB of the next poem) as well as having to rhyme in poem 15, which means that there needs to be 2 sets of that rhyme, with 3 separate combinations for that rhyme. We’ll do the actual crunching of numbers tomorrow.
As the rules of the crown say that there’s a repetition of last/first lines that links the poems to each other. This means that the last line of poem one is the same as the first line of poem two. then the last line of poem two is the first line of poem three and so on, poem 14 begins with the last line of poem 13, then ends with the first line from page 1. Poem 15 is a combination of all first lines. So it only makes sense to work backwards. To facilitate this repetition without seeming, well, repetitive, there is a lot of forethought required. Today’s task is research. Find 20 of the following: Homonyms (search Alan Cooper’s Homonym list free online here) Groups of 3 interesting rhyming words (my favorite rhyming dictionary is RhymeZone) which, if at all possible, have some sort of link between them besides rhyming; and also come up with 25 different possible perspectives for one event. Think the opinion of animals and inanimate objects as well as people, and don’t feel stifled by time or space or living or dead or anything. You’ll only need at most 15 of these for the final product, but having a surplus is nice when you’re narrowing down the larger implications and suggestions of the piece. You’ll find patterns in the rhymes, perspectives and homonyms that will hopefully drive a few of those earlier poems to their home. Work on that for now. We’ll begin working on forming Poem 15 tomorrow.