Phonological Parallelism

[kborsden]

When seeking alternatives to rhyme, for writing and composing rhyming free verse or lyricist poetry, looking for a method to add extra potency - or gaining fuller grasp of base rhyming aspects for formal rhyming or metric poetry - attention to phonology and the interaction of sonic nuance between words and verses is possibly the most important element to consider.

What is Phonological Parallelism?

Phonological Parallelism is the occurrence of similar (or repeated) sonic qualities within and/or between lines of poetry ( = assonance, alliteration, consonance and rhyme). There are monosyllabic phonological parallelisms and disyllabic phonological parallelisms to be taken into consideration separately, or used partially in alternation – and naturally, to the same extent polysyllabic phonological parallelisms.

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Schematic monosyllabic and disyllabic phonological parallelisms

Schematic here intends a specified location of one such syllable in a word (and recurring) – or a specified method for use in the parallelism. Rhyme is too general a term and we’d do well to break it into the component possibilities that it offers: reverse rhyme, frame rhyme, rich rhyme and common rhyme. It is also important to understand what it is that constitutes rhyme as a concept. Beyond rhyme, as mentioned already, there are also assonance, alliteration, and consonance. For rhyme in any form to occur, there only needs to be a joint phonological parallelism of alliteration, assonance and/or consonance between the accented syllables of the word(s) in question. If the unaccented syllable(s) don’t share this same word(s)’s architecture of phonology – then the rhyme is termed a monosyllabic rhyme, even if the word is disyllabic. Disyllabic phonological parallelisms can only be considered to occur if that architecture carries over both syllables – likewise if it carries over 3+ syllables for polysyllabic phonological parallelism.

I’m a strong believer in visual aids – so, below are pseudo-tabled elaborations of the concepts mentioned plus examples:

Monosyllabic schemes


Alliteration: a serial use of words beginning with the same consonant (or fused consonant sound, “th”, “ch”, “sh” etc.) – "ball", "bug", "boat", "bent"
Assonance: a serial use of words using the same vowel (or accented vowel sound) – "tag", "bat", "sad", "can"; “lord”, “corn”
Consonance: a serial use of words ending with the same consonant (or fused consonants) – "tag", "bug", "pig", "dreg"
Reverse rhyme: words using alliteration and assonance – "bat", "bag", "ban", "back"
Frame rhyme: words using a consonant frame (alliteration + consonance) around the accented portion (the vowel, but which does not contribute to the phonology) – "bat", "bait", "bite", "boat"
Rich rhyme: words that have the same sound but different spelling; applies to individual portions within words rather than the phonological correlation of the entire word (as opposed to other rhyme types) – "vein", "vain", "vane"
Common rhyme: words using consonance and assonance – “mail”, “bail”, “trail”, “snail”
Disyllabic schemes


Disyllabic alliteration – "priceless", "piglet", "padlock", "poplar"
Disyllabic assonance – "manhole", "lactose", "tax code", "backbone"
Disyllabic consonance – "mandate", "turncoat", "sunlight", "rainsuit"
Disyllabic reverse rhyme – "brainless", "bracelet", "brakeless"
Disyllabic frame rhyme – "mansion", "mention", "moonshine"
Disyllabic rich rhyme – "sighting", "citing"
Disyllabic common rhyme – "maddest", "saddest", "gladdest"
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Partial phonological parallelism

This is where the poet can really come out to play. Making use of the schemes of phonological parallelism previously mentioned, yet not meeting them exactly, or mixing one with the other, or when the phonology of independent words in series or repetition is only partially correct. I will handle systems of phonological parallelism in the next post which will add another possible dimension for partialism and experimentation.

For each syllabic scheme or method, the possibilities for partial phonological parallelism are endless, for all concepts excluding rich rhyme – as soon as rich rhyme becomes partial it defaults to one of the other schemes mentioned.

To elaborate, I’d like to take by example consonance and alliteration.

Partial alliteration

She seeks a shoreline

Partial consonance

Light bends inside as contrasted art

mixed alliteration and consonance (both partial):

She sells ceaseless lessons
of love sought in lightless seas
and lesser loss on sunken shorelines

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A good understanding of these offers the poet to create systems of nuance and alternatives to the commonly encountered end-rhyme and opens the door to using rhyme in free verse to full potential.

I'd like to use this thread for the experimentation of custom partial phonological parallelisms (anyone wanting to play about with what I've discussed is welcome to do so) - also for discussion on the possibilities available through partial schemes, and the conceptualization of rhyming alternatives for use in free verse etc.

More on rhyme in general (http://absolutewrite.com/forums/showpost.php?p=6305928&postcount=6)

[ajc]

Thanks for this, Kie.

[Perscribo]

Partial phonological parallelism

This is where the poet can really come out to play. Making use of the systems of phonological parallelism previously mentioned, yet not meeting them exactly, or mixing one with the other, or when the phonology of independent words in series or repetition is only partially correct.

Are you saying the styles can be patterned any which way by verse; or is the focus to create more elegantly formed stanzas? I imagine any experimentation growing more and more dissonant the more you try to mix and match.




I'd like to use this thread for the experimentation of custom partial phonological parallelisms


You usually lead by example. Can we have one? :)

[kborsden]

You usually lead by example. Can we have one? :)

Yes -- I was building up to that. The first post is intended as an intro (or a brush up on general concepts) to what I will be discussing next. I will handle classic and familiar systems of phonological parallelisms and then illustrate how experimentation can be used to flavour those and eventually move on to more experimentalism by way of partial phonological parallelisms in both ideologically metered poetry and free verse.

So, watch this space.

[kborsden]

Systems of Phonological Parallelism

“System” refers here to a designed or pre-designated use of phonological parallelism. The most commonly encountered is, of course, end-rhyme (more often than not using common rhyme or partial rhyme) – further referred to as end-line rhyme. There are other systematic uses of rhyme to consider also: in-line rhyme, start-line rhyme, line-mirror rhyme and syllable rhyme. Below are these concepts handled individually – and before anyone decides to slate me on the treatment of “mist/shift” as rhyme. Remember what it is that constitutes rhyme in theory and practice. The examples and elucidations below handle largely monosyllabic schemes, but the same principles apply for disyllabic and polysyllabic.

End-line rhyme: the final syllable(s) of each intended verse rhyme

her spectral imprint shifts
in folds of ghostly mist

Start-line rhyme: the first syllable(s) of each intended verse rhyme

shifted spectral imprints,
misted through ghostly folds

Syllable rhyme: the same syllable of each verse (but not final or first) rhymes

her mist folds – spectral
in shifts and imprints

In-line rhyme: where rhyme is featured in a single verse or across multiple verses (but not as the final or first syllable in repetition)

her imprint shifts as it drifts in mist and fog

Line-mirror rhyme: where the syllable(s) immediately before and after the caesura rhyme (caesura must occur directly central to the verse, i.e. a verse of 8s features the rhyme at the 4th and 5th syllable having been split at the caesura directly after the 4th syllable)

her spectral form shifts mist in ghostly folds

the concept of line-mirror rhyme itself offers an interesting take on rhyme if the line is broken at caesura (as is common in non-ideological metered verse) – offering, again, an alternative to end-line rhyme and something usable in free verse:

her spectral form shifts
mist in ghostly folds


As far as rhyme goes these same systems can be applied to all rhyming concepts (frame, reverse, rich) and to good effect. A few examples:

Syllable frame rhyme

within the dregs of moonlight
I sip the drugs of cloudscapes

Line-mirror reverse rhyme

her spectral form, forged in shadow


Combined Systems

There is no reason why combinations of systems can’t be used in either ideologically metric poetry or free verse, unless the use leads to an overly apparent regularity in the case of the latter. See here an example of syllable rhyme + end-line rhyme and in-line rhyme:

her imprint shifts as it drifts
in ghostly mist and fog that twists

And even the varieties of rhyme can be combined along with a range of systems:

Her spectral mist and chased whimpers -
winter's haste or slowing pace, milled
in ghostly shifts as ceased whispers, missed.

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There are further systems to consider with regards to other parallelisms that work as appealing alternatives. In-line alliteration, assonance and consonance are common place, but in theory we can apply almost any phonological parallelisms to the same systems mentioned for rhyme. A few examples (and I’m sure you can think of a few more yourselves):

End-line alliteration

her spectral form
hides ghostly folds

Syllable consonance

within the begging moonlight
I clasp the shrugging cloudscape

Start-line assonance

born in lesser moments –
lord of inner nightfall

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I’ve updated the initial post with a brief example of how partial phonological parallelisms can be made and mixed – and will handle the integration of such concepts into the systems mentioned here in my next post.

[kborsden]

We’ve handled schemes and systems and I’ve already touched, lightly, upon partials with a few lesser examples. We’ve also looked at how we can experiment with schemes through using partials and combinations of partials – also reviewing, briefly how systems can be combined and schemes such as rhyme (and related concepts) can be substituted with alternatives such as assonance, alliteration etc. I’ll now move on to partial schemes and experimentation with combined systems.

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Partial Phonological Parallelisms

A partial phonological parallelism is a scheme that does not meet the exact requirements or that deviates slightly from the concept, or that uses disyllabic words where the parallelism occurs on the second syllable but not the first whilst meeting monosyllabic parallelism elsewhere in the line/verse. I’ll handle each scheme individually first for clarity:

Partial alliteration

Pallid input boards the palace boat

The consonant “p” is a partial match with “b” and alliteration occurs in the second syllable of “input” whilst in the first of each other monosyllabic word (apart from articles) and final disyllabic word, “palace”. We also see full disyllabic alliteration in “pallid” and “palace” and the presence of in-line reverse rhyme. It is a common method to use some form of reverse rhyme in combination with partial alliteration in order to keep a degree of originating resonance and to steer the partial parallelism.

Partial assonance

Only yellow foals fall under fuller categories

The vowels marked in green are partial matches. You will also see frame rhyme. As with reverse rhyme and partial alliteration, it is a common method to combine frame rhyme with partial assonance for the same reasons, resonance (a controlled echo) and direction.

Partial consonance

Sandwiched, birthed between hushed Birches

The consonants marked in green are partial matches. Partial consonance works well with either alliteration or frame rhyme, or both.

Partial reverse rhyme - “bag/pan”; “cane/gate”; “doll/top”; “full; thumb”

Partial frame rhyme – “whisper/whimper”; “pull/bell”; “gun/gem”; “thug/fig”

Partial common rhyme – “mist/drift”; “whisper/winter”; “form/thrown”; “cane/game”

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Combined & Broken systems

When writing to ideological meter, we’re pretty much bound by the acknowledgement of the following concepts: accentuated metric feet, persistent rhyme and consistent rhyme. I’m not going to go into metric feet as there are plenty of threads which handle those (very comprehensive resource (http://www.volecentral.co.uk/vf/feet.htm)).

Persistent Rhyme: where the exact same rhyme (not the scheme but actual rhymed phonological parallelism) is used in the exact same place in every occurrence; most commonly end-line rhyme

e.g. (where x = syllable, letter = rhyme)

xxxxxxxx A
xxxxxxxx A
xxxxxxxx A
xxxxxxxx A

Consistent Rhyme: where a recurrent rhyme scheme (in our current terms, system) features a rhyme in a consistent location within the stanza construct; most commonly end-line rhyme, but can occasionally feature additional syllable rhyme as the B rhyme, or C rhyme

e.g. (where x = syllable, letter = rhyme)

xxxxxxxx A
xxxxxxxx B
xxxxxxxx B
xxxxxxxx A

But just because we are using an established system of parallelism does not mean we can’t introduce other parallelisms or partials by way of broken or combined systems. That is, as long as these don’t disturb the metrics or for so far as they actually add to the accentuation as they do with, for example trochaic meter.

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Free-verse embraces the natural cadence and recurring patterns in speech to formulate rhythmic flow without strict meter, and because of this is where broken and combined systems come into their own – in fact, they can be used to add the textured quality that you would expect from highly architectured ideological metric poetry and yet still be irregular and free. To use rhyme in free verse we need to acknowledge the avoidance of the regularity in persistent rhyme and consistent rhyme and instead make use of occasional rhyme or incidental rhyme.

Occasional Rhyme: where the rhyme is used in an inconsistent (sometimes hap-hazard) manner – think here aversion to end-line rhyme and the use of line-mirror rhyme, in-line rhyme and syllable rhyme as basic systems.

Incidental Rhyme: where rhyme is practically invisible and occurs seemingly very rarely – think here the subtleties of reverse rhyme and frame rhyme in either full or partial form, or using such systems as the previously mentioned line-mirror system where the verse was broken at the caesura.

I’ve already mentioned using other schemes in systems to substitute the various rhyming concepts – this is one way to either supplement rhyme in ideological meter or avoid end-line rhyme or the regularity of persistent/consistent rhyme in free verse. Other ways would be to break the convention of system or combine/merge systems. To do this effectively, it is useful to have a decent understanding of line structures and their purpose. A good, if somewhat incomplete, resource can be found here (http://www.absolutewrite.com/forums/showthread.php?t=115026). Or a general and short overview of the terms and concepts here (http://absolutewrite.com/forums/showpost.php?p=6391582&postcount=4). A few examples, and there are more possibilities when considering the combinations of rhyming concepts and other schemes (partial and full) that can be used as alternatives to any repetition:

End-line + syllable rhyme = broken end-line rhyme

her spectral imprint shifts
in folds of ghostly misted fog

End-line + syllable + in-line rhyme

I see her drift amidst
the early mist

start-line + in-line rhyme = broken start-line rhyme

shifted spectral imprints,
as misted through drifting folds

(broken)line-mirror + end-line + in-line rhyme

her spectral form shifts
mist in folds amiss

As I’ve already mentioned and exampled in a previous post– most schemes can be substituted with any other either partial or full – whether doing so is effective or not, is entirely a result depending on the poet.

There are also methods that use a degree of conceptualization with regards to established systems and schemes. Such a conceptualized system is referred to as a Harmony (not an official term, but one used by poets to name stylizations and applied experimentations). A favourite method of mine is one known as 'cross harmony' which uses consonance and alliteration offset by line-mirror rhyme broken at the caesura - the concept of the caesura being the mirror of the line is here used as a conceptual marker to reverse the consonance and alliteration preceding it in the verse that follows:

Cross Harmony

seminal seasons in sin sift
drifts of necessary nastiness

There is much more that could be added to this - think frame rhyme or a further incorporation of reverse rhyme. I'm sure you could invent similar methods, extend any already mentioned, or create your own harmonies.

Over the course of my next few posts, I'll be constructing a poem using the breadth and depth of everything mentioned up until now (annotated process) - using as many combinations of partial and full phonological parallelisms by schemes and system as I can imagine. I hope you'll stop by and join in - who knows maybe even critique.

Examples already written:

to form/ideological meter (http://absolutewrite.com/forums/showthread.php?t=221508); free verse (http://absolutewrite.com/forums/showthread.php?t=217081)

[Magdalen]

Guess we all need to be on the same page where phonemes are concerned:

language or dialect, a phoneme (from the Greek (http://en.wikipedia.org/wiki/Greek_language): φώνημα, phōnēma, "a sound uttered") is the smallest segmental (http://en.wikipedia.org/wiki/Segment_(linguistics)) unit of sound employed to form meaningful contrasts between utterances.[1] (http://en.wikipedia.org/wiki/Phoneme#cite_note-IPA-0)
Thus a phoneme is a sound or a group of different sounds which is/are all perceived to have the same function by speakers of the language or dialect in question. An example of a phoneme is the /k/ sound in the words kit and skill. (In transcription, phonemes are placed between slashes, as here.) Although most native English speakers don't notice this, in most English dialects, the /k/ sounds in these two words are actually pronounced differently: they are different speech sounds, or phones (http://en.wikipedia.org/wiki/Phone_(phonetics)) (which, in transcription, are placed in square brackets). In our example, the /k/ in kit is aspirated (http://en.wikipedia.org/wiki/Aspiration_(phonetics)), [kʰ], while the /k/ in skill is unaspirated.

http://en.wikipedia.org/wiki/Phoneme

Shall we also consider the "Perps" (perpendicular) to the "rhyme" sound ? Those jarring, contrasting sounds, sometimes rudely interspersed, and to me a hallmark of "modern poetry", such as it is, regardless of what you, I or others maintain as "modern poets"!?!

ETA: PS, I only posted because this thread was like a vessel, dry yet worthy of its place, still, dry, so I brought a little rain.

[kborsden]

Shall we also consider the "Perps" (perpendicular) to the "rhyme" sound ? Those jarring, contrasting sounds, sometimes rudely interspersed, and to me a hallmark of "modern poetry", such as it is, regardless of what you, I or others maintain as "modern poets"!?!


You could - but I was handling parallels here - was hoping to start a new resource thread on 'phonological obliques and perpendiculars' as they are something quite different. But hey, guess you can do that if you feel strongly enough about the dry nature (I'm guessing this means one-sided/biased?) of this thread and the immediate need to.

[Magdalen]

Well, I thought I'd throw something out there and see if it sticks. Dry, as in Martini, is good. I printed out the definitions, actually, and really appreciate your efforts to discuss the minutiae of interest to us poets, et al.

:)

You could - but I was handling parallels here

- was hoping to start a new resource thread on 'phonological obliques and perpendiculars' as they are something quite different.

snip

ETA: Whoops! Still very interesting thread I'm glad I stepped in and then later cleaned up the mess I made, even though now you'd never know it.

[kborsden]

Well, I thought I'd throw something out there and see if it sticks. Dry, as in Martini, is good. I printed out the definitions, actually, and really appreciate your efforts to discuss the minutiae of interest to us poets, et al.

:)

No - no -- thank you for reading and thinking along with me. I will be moving on to obliques, but I thought if I did one huge thread covering everything it may be information overkill... these are some pretty big terms for tiny things - hence why I've tried to structure my posts in a linear fashion and link elsewhere wherever possible.

[Smirkin]

I am pulling up a chair in the back of the class :)

[kborsden]

I am pulling up a chair in the back of the class :)

No need to go to the back with all the naughty boys and girls - come down to the front row.

I've edited my previous post (#6re: partial schemes and combined/broken systems (http://absolutewrite.com/forums/showpost.php?p=6466705&postcount=6)) to include information on Harmonies, which I forgot to put in last night.

[B.D. Eyeslie]

I am pulling up a chair in the back of the class :)
Me too.

[Smirkin]

(hand in back raises shyly)

How does caesura (just learned that word from you, not sure but I think it's a noun...?) relate to meter?

[kborsden]

How does caesura relate to meter?

Caesura is a natural pause/breath within the line and commonly where a line is broken. Most poets incorporate caesura by writing to a uniformed metric layout. e.g. if you are writing a poem in iambic tetrameter, then the easiest way to integrate caesura central to the verse would be to write each 8 syllable verse as 2 separate 4 syllable verses first:

written to caesura

as folds of fog
she drifts amiss

Verse as implemented as tetrametric line

As folds of fog, she drifts amiss.

In the example above, the caesura is further denoted by a comma, this is not always the case. You will nearly always find caesura as close to the middle of the verse as possible, especially in longer metric constructs - as it allows room to breathe without disrupting the rhythm established by recurrent metric feet, as is the goal in ideological metric poetry. Lines written beyond end-stop breaking methods will also use end-line caesura to break naturally before continuing on into the next verse, unless, enjambment is used - in such cases it's customary for caesura to occur earlier in the latter enjambed verse.

I don't really want to get into meter - and would rather stick to parallels etc. I have linked elsewhere for further explanation of line structures (http://absolutewrite.com/forums/showpost.php?p=6391582&postcount=4) and meter/metric feet. I mention them here, because line breaks are an essential part of where and how words occur - so with disregard for meter, as such, and looking solely at lines and how/where we break and why, the use of parallelisms and redirecting systems or schemes becomes a clearer concept.

[Perscribo]

Goodness. This certainly is a lot of minutiae. It's a hard (and somewhat resistant) study for me. My impulse has always been to not want to "consider" anything before composing (and this, in a nutshell, is probably why I never finished college, LOL). I can see how experienced poets could want to experiment with creative harmonies (thanks for your rep comment, Magdalen)--outside of the standards--like experienced musicians, but I am only just learning the scales!

I am not experienced, but would like to forge on with these difficult concepts later down the road. Right now I need to get back to Poetry 101 down the hall.

[kborsden]

You could also view this as something to be put in after you compose - I generally write what I call a splash, just a rough straight out of my head raw list of words and phrase. I then edit and revise, cut and trim - perfect and tighten. These concepts can be added in then, why not? I may also, if writing to form, intentionally use the aspects and elements discussed here as my starting pint - then again, also with free verse -- I guess it depends on my mood. :)

[Perscribo]

You could also view this as something to be put in after you compose

Much easier said than done. I've tried doing this to the last two free verse poems I posted and it was an agonizing experience. Anything I changed seemed like a sacrifice I didn't want to make. On the other hand, if I start with a form (and especially with a prompt to that form, such as in all the public games), it is infinitely easier to fill in the blanks afresh...as long as it's not too complicated! :)

[Debbie V]

I think I need the guided workshop/hands on version myself. Perhaps I'll take a class.

[kborsden]

It may seem I've been neglecting this thread -- but I've been busy. I will be posting very soon.

I think I need the guided workshop/hands on version myself. Perhaps I'll take a class.

The idea of this thread is that not only do I post the info and annotated processes, but I've also invited anyone/everyone who would like to get into this to get involved. By all means, post something and I'll work on it with you -- the guided hands on method.

[Ambrosia]

Kie,

Thank you for this thread. Interesting reading and much to consider. I do hope you will continue with your teachings.

[kborsden]

Interesting reading and much to consider. I do hope you will continue with your teachings.

I think I need the guided workshop/hands on version myself. Perhaps I'll take a class.

I think this is actually a better idea - possibly a better direction for the thread and resource. Why don't we make this a workshop? Post your pieces in whichever form, ideological meter, or free verse at any stage of composition (you wouldn't even need to post entire pieces, an excerpt r segment that you intend for use with these ideals would be enough) and I'll assist in the use of phonological parallelisms and harmonies - I hope others will also, with their individual takes on the methods available and which are best suited or offer the best results in the given circumstance/concept/context of the pieces being workshopped. Also, this way I can handle somewhat more in depth other concept mentioned and previously brought up in questions.

[Smirkin]

I think this is actually a better idea - possibly a better direction for the thread and resource. Why don't we make this a workshop?

I love this idea! I've been BUSY lately and have barely been on this site, though I've been writing more :0 :0 :0

I am still working on getting steady with my writing/baby/housekeeping routine, so these lengthy pauses in my participation might not make me a great workshopper at the moment though...but I do love the idea of that, it sounds fun and useful.

[Debbie V]

I think this is actually a better idea - possibly a better direction for the thread and resource. Why don't we make this a workshop? Post your pieces in whichever form, ideological meter, or free verse at any stage of composition (you wouldn't even need to post entire pieces, an excerpt r segment that you intend for use with these ideals would be enough)....

I'm not sure I'm at the stage where I can even state an intention to use anything. I know I use poetic constructs and language, but with intention? Not conscious intention, for the most part.

And yet, I may indeed post something. However, the kids are back to school and I'm hoping to be back to two novels in progress by the end of this week. If only time were limitless for me and not just itself.

[kdnxdr]

So, Kie....

Which classification would my poem fit into, if it would fit into any at all?

my fart

it's an innocuous innuendo,
a private joke imposed,
inoberservant inoculation
inoffensive, I suppose,
inordinate and inodorous;
inopportune for your nose

[Norman D Gutter]

Kie:

Good thread. Thanks for starting this discussion.

The concept of phonological parallelism is, I think, something the best poets do, whether or not they articulate it by that name. I've been aware of it since pretty much the beginning of my serious poetry writing (though I'm not, by stating that, saying I'm among the best), and have sometimes used it to good effect. The idea of mono-, di-, and polysyllabic is something I never thought of. It makes sense; I shall have to ponder it more.

I offer as an example of this a cinquain I wrote.

Daybreak
Arise.
Clear the clutter.
Shake off your sleepiness.
Adventure awaits all who claim
today.

One thing this has going for it is the circling around and repeating a sound from an earlier line in a later line. Lines 1 and 4 have the "a", lines 2 and 4 have the "cl" and "r". Line 3 stands alone with the "s" alliteration, though if joined with L1 has the "s" assonence.

I've always been a fan of wrapping back around at the end of the poem to something that came before.

But this isn't free verse: it's a cinquain, so it has lineal structure and meter (iambic). It contains no images and little metaphor. So it needs other poetic devices to carry the day. Hopefully the structure, meter, and sonic devices suffice.

Best regards, and sorry to be late to the party,
NDG

[kborsden]

Good thread. Thanks for starting this discussion.

The concept of phonological parallelism is, I think, something the best poets do, whether or not they articulate it by that name. I've been aware of it since pretty much the beginning of my serious poetry writing (though I'm not, by stating that, saying I'm among the best), and have sometimes used it to good effect.

That's right, I've always been aware of sonic interactions, as I believe most poets are, whatever they choose to call what they note or deploy. But it is interesting to know that there is a theory, or at least a defined practice surrounding it -- because that gives prevalence to experimentation and allows the further exploration of methodologies and ultimately something to discuss. Layering is very important to me in this sense and something which has become second nature, and something to fine tune afterwards.

The idea of mono-, di-, and polysyllabic is something I never thought of. It makes sense; I shall have to ponder it more.

This is the point where the theory kicks in, where the nature of natural ability starts to take to training to realize the phonic quality of words -- what in many formal pieces has led to the initial magic that drives the verse. You see this expansive understanding primarily in classical poetry - and especially in trochaic verse which would otherwise be incredibly difficult to be consistent without it. Think here Poe's The Raven in which the poly- (including di-) and monosyllabic nature of in-line schemes and systems, partialisms and end-resonance work to maintain the meter and pace. Also, Shakespeare when writing the parts of mystical and magical beings commonly used trochaic meter to give an immediate alien and un-human quality to their voices, without attention to this concept that would have been impossible. That's not to say that the only extension for higher parallel phonology theory (as it is academically known) is trochaic verse. There are many other uses and places for it in poetry, in both formal verse and free verse. The latter of which can benefit greatly as the loss of recurrent/established meter can become invisible through such device.

I offer as an example of this a cinquain I wrote.

Daybreak
Arise.
Clear the clutter.
Shake off your sleepiness.
Adventure awaits all who claim
today.

One thing this has going for it is the circling around and repeating a sound from an earlier line in a later line. Lines 1 and 4 have the "a", lines 2 and 4 have the "cl" and "r". Line 3 stands alone with the "s" alliteration, though if joined with L1 has the "s" assonance.

I've always been a fan of wrapping back around at the end of the poem to something that came before.

Your use of parallelisms is exactly what I was talking about when I began to discuss partials and mixing up systems and schemes - it's more common in poetry for alliteration to be echoed as consonance (or vice versa) than it is to have a steady and continuous string of either, yet most beginners and modern poets looking to try their hand at formal verse opt for the latter.

But this isn't free verse: it's a cinquain, so it has lineal structure and meter (iambic). It contains no images and little metaphor. So it needs other poetic devices to carry the day. Hopefully the structure, meter, and sonic devices suffice.

Poetry doesn't require to use exclusively imagery by way way of direct reference, imagery can also be present in the form of phonic resonance. If I write a poem about mail using the right sonics to give a chug-a-chug quality - it's not unthinkable that the poem conjures an image of a postal train...

I didn't start this thread solely for free verse - it's a resource for poets of all 'persuasions' (;)). Thing is, phonology in depth is a core element in most classical and formal metric verse, but something less common in contemporary verse and free verse, why? There is no rule to say that the irregularity of free verse excludes the use of phonological parallelisms, in fact, the irregularity would/could/should offer plenty of space for enhancement through it and because of it.


Which classification would my poem fit into, if it would fit into any at all?

my fart

it's an innocuous innuendo,
a private joke imposed,
inoberservant inoculation
inoffensive, I suppose,
inordinate and inodorous;
inopportune for your nose


Sorry I missed you post, Kid. It's not so much about classification as it about recognizing where phonic quality suits or how it works/enhances etc. For example you have a recurring A rhyme as your end-line parallelism served by way of partials and fulls. You then also have a B rhyme that features once in-line and then takes the place of where the reader expects the A rhyme and is pleasantly surprised, the similarity between the 2 rhymes makes the surprise all the more juicy. The polysyllabic alliteration is also a nice treat - but it is limited, hence the interesting spread of partial consonance to close each occurrence, yet despite the mixed consonance of it, you have a recurring start-line rhyme. Heavy layering, but fun.

[kdnxdr]

Thank you for that information.

Not the greatest of poems but one where I was intuitively playing with something I wanted to "tease out", not knowing what it was that I wanted.

I appreciate your teaching; lots to munch on!

[Smirkin]

(I'm still here, still reading, musing, learning)

[Debbie V]

Been meaning to do this for a while. Here's a prose poem that's never been critiqued. I'll try to post there too. But I'm curious about what I've done without realizing.

July’s Child

Born into the searing heat of sun unaware of what’s to come. You never understood what heat could do.

They took your heat out on you. Burned it on your arm with cigarettes. But still you chose to shine. They bid you smile, that’s why.

You grew, fed by all that warmth, until the cigarette stung your lungs. You were burning up inside.

What will you do with your fire? Smoke streaming from your soul. Turn your heat on me, your child, born in July?

[kborsden]

I'm curious about what I've done without realizing.

Let me break it down for you. The line-breaks are for theoretic expansion as I can't really approach much of the rhyming without a structure (but for the record, I'd like to say you could use them to make this less prose poem and work to the breaks metrically... should you feel the poem over the prose).

As prose it has a quality of wide and deep layering, but it's only approachable in the sense of parallelisms as in-line rhymes suited around sentences in paragraphs.


Born into the searing heat | I've broken here to reflect upon the caesura which offers a slight pause and to highlight that this portion offers no parallelism (I also don't like the reuse of 'heat' so many times, but that's a critique issue, not for this discussion -- unless you used another word which held parallelism with 'heat' instead)
of sun, unaware of what’s to come.
You never understood what heat could do(1).

They took your heat out on you.(2) <-- (1)+(2) = end-line-rhyme
Burned it on your arm with cigarettes.
But still you chose to shine(3). <-- line-mirror partialism
They bid you smile, that’s why(4). <-- (3)+(4) = partial end-line rhyme; in-line rhyme

You grew, fed by all that warmth,
until the cigarette stung your lungs. <-- in-line rhyme
You were burning up inside. <-- partial end-line rhyme with (3+4)

What will you do with your fire? <-- partial end-line assonance with (3+4)
Smoke streaming from your soul. <-- in-line assonance stretched from start-line to end-line (known as an 'assonant cage/frame')
Turn your heat on me,
your child, born in July? <-- in-line rhyme, echoes (3+4), partial disyllabic end-line in July with (3+4)

[Debbie V]

Thanks, Kie. I think I'm starting to get it. I see stuff that wasn't pointed out like "understood" and "could" - in-line rhyme. And took picks up that vowel sound in the next line to carry the reader through.

I'm still not sure I get the line mirror partialism at (3). I'm also not sure understanding the terms matters. I should clarify that. It helps for the discussion of poetry to have everyone on the same page, even in critiques, but it may not matter for the actual writing. Seeing what I've done lets me know that the ear and eye are more important than the terminology.

However, words are cool things. Perhaps being able to label the parallelisms does help one see them more clearly and seek to use them more consciously. It will be interesting to see if the poems of your students in this discussion change. Most interesting, indeed.

In any case, I'm moving this to SYW in a revised format.

[kborsden]

I missed the partial rhyme of 'could' and 'understood' -- it's a partial monosyllabic rhyme. Mono- because the rhyme is in 'could' as taken from a single syllable that doesn't carry over the 2 syllables from 'understood'. No excuse for my sloppiness there -- just missed it! And because of that missed 'took' too.

Line-mirror rhyme is when the 2 words central to the verse rhyme:

I am a man canned with baked beans

The partialism marked at (3) is you chose. However, it's a very partial partialism :)

[Debbie V]

I missed the partial rhyme of 'could' and 'understood' -- it's a partial monosyllabic rhyme. Mono- because the rhyme is in 'could' as taken from a single syllable that doesn't carry over the 2 syllables from 'understood'. No excuse for my sloppiness there -- just missed it! And because of that missed 'took' too.

Line-mirror rhyme is when the 2 words central to the verse rhyme:

I am a man canned with baked beans

The partialism marked at (3) is you chose. However, it's a very partial partialism :)

I'm glad you missed the rhyme. It gave me the chance to see for myself. Are you reading chose as choose? That would explain my confusion. Come to think of it, maybe it should be choose.

Thanks, again.