Post Series: The Dragonfly Series: Experimental Poetry Form: Dragonfly

There may be a traceable reason as to why dragonflies are called dragonflies.  There may be some noted origin of the term.  M. Sakran doesn’t actually know.

That being said, one hypothesis might be that dragonflies are large flying insects that are long and colorful.  One could imagine someone saying, “That colorful fly was as big as a dragon.”  A similar notion might be with horseflies (“That fly was as big as a horse.”).

Using this as an idea, there are two elements that can be drawn from dragonflies for the purpose of creating an experimental poetry form.  First, dragonflies are a large version of something small (they are big for something little).  Second, they fly.

With these two elements in mind, an experimental poetry form can be made.  It has the following elements:

Stanzas: 3

Lines per stanza: 3

Syllables per line: 12

Indention pattern:

  Stanza one:

    Line 1: no indent

    Line 2: indented 20 spaces

    Line 3: indented 10 spaces

  Stanza two:

    Line 1: indented 30 spaces

    Line 2: indented 20 spaces

    Line 3: indented 25 spaces

  Stanza three:

    Line 1: indented 50 spaces

    Line 2: indented 10 spaces

    Line 3: indented 20 spaces

Line breaks:

  1 between each stanza line

  2 between each stanza

 

The idea is that the stanzas are relatively small, with only three lines, but the lines within them are relatively long, with twelve syllables.  This reflects the idea that dragonflies are small and large at the same time.  Additionally, the varied indentions are meant to reflect the flying of the dragonfly.

The form looks like this:

Line

                    Line

          Line

 

                              Line

                    Line

                         Line

 

                                                  Line

          Line

                    Line

 

Bilingual Poem: heat

heat
  searching for
                                                  a cool puddle

calor
  buscando para
                                                  un charco fresco

 

As a note, both the English and Spanish versions of this poem use the experimental Poetry Form: Indention and word counts.

Poem Series: Experimental Poetry Forms: Rhyming and Indention: Bird Not-Watching

The jays and crows do hide,
and none of them do chide,
as time they do so bide.
  The sky is clear and blue,
   and none of them do fly,
   with wings in air so high,
   in wind that does move by,
  right through the soft blue hue,
  that looks empty and new.
The cardinals cry out,
with hawks that do so shout,
  but they cannot be seen,
  the sky above is clean,
  their hiding skills are keen,
and this they do so tout.
   Though eyes do seek their sight,
   the birds are not around,
   and though this is a plight,
   at least one hears their sound,
   out in the morning light,
   when none of them are found.

 

(24/40) Experimental Poetry Form: Rhyming and Indention

 

P.S. M. Sakran has a poem pending publication with Blue Bonnet Review.  Blue Bonnet Review can be found at www.bluebonnetreview.com.

Poem Series: Experimental Poetry Forms: Indention: The dog squeaked

      The dog squeaked,
      so went outside,

      and for the first time,
     in months,
    it was cool.

                                                  And then,

          there was a wave of cuteness,
          dogs wanted to be petted,
          wanting attention,
          happy.

   Then,
     to relieve the reason for the squeak,
             a canister was opened for food,
       uh, oh, almost empty,
             a dilemma.

(19/40) Experimental Poetry Form: Indention

Experimental Poetry Form: Rhyming and Indention

Stanza: 1
Lines: 21
Meter: iambic trimeter
Rhyming and indention pattern:
A
A
A
 B
  C
  C
  C
 B
 B
D
D
 E
 E
 E
D
  F
  G
  F
  G
  F
  G

This experimental poetry from is based on two ideas: rhyming and indention.  The rhyming and indention patterns are there to connect ideas internally, set ideas apart and connect ideas together.

The first set is the three A rhymes.  These lines are not indented and form one complete set.  The idea in these lines is self-contained.

The second set are the B and C rhymes.  Each of B rhyming lines is indented one space and each of the C rhyming lines is indented two spaces.  The first B line is indented to set it apart from the A lines.  The C lines are indented to set them apart from the B lines.  The B and C lines form one set.  The first B line starts an idea, the three C lines move from the idea in some way, and the last two B lines come back to the idea.  For example, if the first B line was about a tree, the three C lines might be about birds in the tree, followed by the last two B lines that would focus on the tree again.  The B and C lines are set apart from the A lines, but they all relate to each other.

As a note, all the lines in the form, form one stanza.  The idea, is that while there are sets of ideas, they all connect together.  The one stanza gives the impression of one cohesive idea, rather than detached ideas put together.

Additionally, all the lines have the same short meter.  This is done to let the lines have flow and to have the focus be on the rhyming.  The short lines are meant to increase the noticeability of the rhyming.

The third set are the D and E rhymes.  The lines of these rhymes mirror the B and C rhymes.  In this case, there are two D rhymes, followed by three E rhymes, followed by one D rhyme.  Also, the indention of these lines is one less than with the B and C lines.  This is to help differentiate them.  The idea with the D and E lines is the same as with the B and C rhyming set, except in this case, the idea of the D rhyme gets a longer initial expression and ends with a shorter expression, which is the opposite of the case with the B lines.  The idea is to express an idea, move away from it, and then come back to it briefly.

The last set are the F and G rhymes.  These lines are indented two spaces to set them apart from the previous set.  Also, these lines only have one indention, which is also the case with the starting A lines.  This helps to close the poetry form.  The rhymes of these lines alternates.  This is the only set in the form that has that.  The idea was to change the sound from the previous set.  These lines are also a self-contained set like the previous ones.

As an example of the form, here is a poem about looking at stars at night:

Above the earth at night,
the stars shine with their light,
and seem to glow so bright.
 Beneath the dark night sky,
  out in the cool night air,
  when cold does cause a care,
  and warmth does feel so rare,
 one turns their look up high,
 and does not wonder why.
The thought does then occur,
and seems without a blur,
 of all that is so vast,
 of looking in the past,
 and light that moves so fast,
and thoughts leave where they were.
  When looking to the stars,
  at night when things are cold,
  the thoughts do leave their jars,
  at what does shine like gold,
  like breaking through some bars,
  they leave what once did hold.

Experimental Poetry Form: Indention

This experimental poetry form is based on indentions.  The idea of the form is to see how different indention patterns can affect a poem.  The poetry form looks as follows.  The number of indention spaces for each line is noted in parenthesis.

      Line A (6)
      Line B (6)

      Line C (6)
     Line D (5)
    Line E (4)

                                                  Line F (50)

          Line G (10)
          Line H (10)
          Line I (10)
          Line J (10)

   Line K (3)
     Line L (5)
             Line M (13)
       Line N (7)
             Line O (13)

 

The first stanza has lines that are indented six spaces.  The purpose of this is to see how a poem is affected by having the first lines indented a significant amount.

The second stanza has lines that progressively decrease in their indention.  It may be more traditional to see lines increase in their indention, and so the purpose of the indention pattern in this stanza is to see the effect of the opposite pattern.  The first line of the stanza has the same indention as the last line of the stanza before it, to make the transition between the two easier.

The third stanza is one line and is indented fifty spaces.  The point of this indention is to see how a large single indention can affect a poem.  The effect may be more dramatic because of the decreasing indentions of the previous stanza.

The fourth stanza has four lines, that are each indented ten spaces.  The purpose of the indention is to see how an indented block of lines affects a poem.

The fifth stanza has a random indention pattern.  This pattern was formed by selecting the top five playing cards in a shuffled deck and indenting the lines to match the values of the cards (13 was for kings).  The point of this stanza was to see how a random indention pattern in a stanza affects a poem.

Other than the stanza and indention pattern, there are no other restrictions on the form such as meter or rhyming.  Other restrictions though, such as line length, could have an additional impact on how an indention pattern affects a poem.  For example, indenting one word or the last word in a sentence may have an additional affect.

As a note, there will be no blog posts posted to M. Sakran’s blog of and about poetry and poetry related things on Thursday November 27, 2014 – Sunday November 30, 2014.