To Rhyme Or Not To Rhyme

To rhyme or not to rhyme that is the question… to suffer poetic arrows of lines too narrow… ok,… I’ll stop!

Anyone familiar with my work knows that I am an ardent addict of anything that has to do with assonance or internal rhyme. If I could feed bleeds of rhyme intravenously I’d have an English lit drip right here on my desk!

However… Steve Wheeler put it best in his last blog to refine, define, and stretch your skills as a poet by stepping out of your box into that big wide world of what for and try something new. He illustrated a sweet timeline of historic writing styles to draw from. Howeever, this article is not about semantics. I’ll leave that to the experts! This is about the “world of what for”…

Too much rhyming can get rather absurd, obtuse, and downright annoying. Just like Dr Suess or a crazy tongue twister…. not many people enjoy poems about silly Sammy slurping down slushies by the seashore… are flavored ice drinks called slushies outside of the United States?! Just curious…

Anyway, I’ve fell prey to this so many times I’ve made paper airplanes out of my supposed masterpieces just to see how far they would go! Usually, they would nose dive before they even made the open window… they were SO HEAVY with rhymes.

I’ve come to find that rhyming is much like cooking… you tend to pepper your dish to taste, not just douse it on there! Many simple quatrains or octave stanzas are of the ABAB or AABB or ABBA variety, which is conservative enough. 

Yet when you mix those forms with internal rhyming, or setting words that rhyme continuously next to each other… that’s a whole different beast.

It can slap you out a beautiful word salad,, with nothing but limp lettuce. No crunchies in there to provide zest, no veggie messages, nothing nutritious… just a blubbering politician on a same old stump speech bobbling right down the middle of the road. Boringsville. Nothing burger.

                                    —

However… with a proper method, incorporating little clever wordplay and a calculated flow, internal rhymes can be incredible…! Consider these zingers by our very own Steve Wheeler in an exert of his poem entitled “I Poet”…

I wright fiction 

I write suction 

I kick up a ruction 

I cause friction 

with my diction 

it's poetic abduction. 

I create propaganda 

proper scandal and banter

like a candid backhander 

to the casual bystander. 

I'll write ya more slander 

than you'll care to handle 

so just take a gander

at the verses I land ya.

You can't hold a candle 

to the substantial anvil 

of my written write-angle

I'm a pen wielding vandal. 

Steve Wheeler © 21 June, 2023

Clever wordplay, eh?! An inspiration to rhymes everywhere, Steve can really kick out the jams when it comes to internal rhyming, making it enjoyable, smooth, and cognitively assessable all the the same time.

                                     —

On the flip side of this confederate coin, dissonance in poems works as well, making the words work against themselves to create a feeling of disorder and anarchy. This can really  sculpt themes relating to madness, war, confusion or even death. I offer a few lines from one of my own as an example here entitled “Evocative Dissonance”..

innocents bombed without remorse dissonant explosions! 

political analytical meat for a course; collateral damage to the eyes

of buildings once filled with laughter and cheer insidious incredulous explosions!

now desolation mutilated tombs of fear-castigated with impunity 

trespassing outlasting suppression of loss for fumigant transference of misery

pushing on for survival no matter the cost… oh, maleficent malignancy 

missiles like thistles ripping into the air those sequentially random aneurisms 

bemoaning homes in hopes of someone is there creating fractures inequitable 

©️Matthew Elmore 

Ok… so I threw a few of my trademark rhymes in there! I told you,… it’s an addiction!! So this is not a true example of dissonance. However, notice how some words work against each other… “remorse/dissonant explosions” “fractures/inequitable”… nothing fits here … except they compliment each other in a strange way. Funny… there were NO RHYMES in this originally… I had to sprinkle a few bits of assonance and rhymes the piece was so corse. Too corse! Yet that, of course, is just a matter of taste. I prefer a spoonful of sugar with such a bitter subject.

                                    —

Some poems do not use rhymes at all to get a point across. Take this piece of a poem out of my recently published book Constellation Road called “Rumors Of Wars”…

snarling fires burn wicked tounges unclean

such miscommunications lead to world wars

launch enervating embers in unknowing eyes

destitute of delight to negotiate indignation

situated in instability floating on despair 

©️ Matthew Elmore

Nothing about that rhymes. But it works somehow.

 

                                     —

Whether or not rhyming works for you is really just a matter of style. I love it! Rhyming sings to me like music. Yet music is known to have its random crescendos, blurps and bleeps as well. That is what makes this world interesting… because if it were all the same,… how boring would that be? Try it sometime! Vive la difference! 

Please feel free to leave your comments below. I always appreciate hearing from you! Write on poet…

Matt Elmore

Where do you sit?

Poetry writing styles can be a bit like sitting in a classroom. You generally know your place. You usually sit in that place, and only change when you are asked to do so, or circumstances demand a move. Sitting in the same place gives you a unique perspective on the view, but it is only one view. To gain alternative perspective in the room, a move is necessary. Where is this leading? The clue was in the first sentence. 

We become comfortable with our place in a classroom (or a lecture hall, or a social club, or a church service) and frequently sit there. We don't welcome change. And that's analogous to our poetry writing style. Some can be eclectic and move around and switch between styles and themes. Others are comfortable writing from the same perspective time and time again. Both are cool. Poets write what they care about and if they care, they will write with a passion. 

But... here's the twist. Sometimes you can lose your passion, motivation, muse ... whatever you care to call it. Then the blank page begins to taunt you, and no matter what you try to do, that page remains blank, or repeatedly ends up as a screwed up ball in the trash can. Frustration upon frustration. Then it's probably time to change your seat. Adopt another style, take on another theme - try something new. The image above is a timeline depicting the evolution of literature in the western world. It is quite useful because you can attach specific writing styles (and even authors and poets) to each period of time. 

But the best question is... where do you sit in this time line? Are your writing in a modernist style, or one of the other styles? Do you have your feet planted in the dark romantic era, or are you delving into the fallow depths of Renaissance poetry? And are you prepared to venture into unknown territory to try something new? For the sake of creativity.

Steve Wheeler 

Image from this source

Writing Sentimental Poetry

This writing gig is getting personal. But hey, when you’re a poet… what isn’t personal?!

Love assumes many forms. It can be hurtful to healing, vulnerable to impregnable, intimate to stone cold, longing to “get away from me!”… it is the most diverse dichotomy in our emotional repertoire. 

Love love love… it is both the answer to a question and a question to an answer. Like the old adage… can’t live with em, can’t live without em… it presents quite the confusing allure that haunts us all. 

We are not meant to be alone.

This theme provides the very fabric of a poets being… whether professed for nature, a person, a place, or even a thing… I’ve written love poems about ice cream for heavens sake! Yet is also has a dark side, that potent fault that pricks our very souls. Yes, the love to hate. 

Dark poets love Lord Byron… he is always one of my go to poets for dark inspirations with a glimmer of light. His poem “Darkness” illustrates this perversion of all that beautiful and true, yet remains a draw upon us all… take the ending of this magnificent blast…

“…the waves were dead; the tides were in their grave, 

The moon, their mistress, had expir'd before; 

The winds were wither'd in the stagnant air, 

And the clouds perish'd; Darkness had no need 

Of aid from them—She was the Universe. “

Byron takes cruel manifestations of the human condition … mankind’s passions, selfishness, death, evil intent, war… mixed with elements of nature, and formulated a hope for love defined as the infinite range of texture it weaves.

William Shakespeare was never one to miss a poignant dart no matter how sweet its intention… demonstrated within this excerpt form “Sonnet #40”…

“I do forgive thy robb’ry, gentle thief,

Although thou steal thee all my poverty;

And yet love knows it is a greater grief

To bear love’s wrong than hate’s known injury.

    Lascivious grace, in whom all ill well shows,

    Kill me with spites, yet we must not be foes.”

Master at turning a phrase, the immortal bard knows his damage control! He’s saying we have to talk it out before it destroys us! 

Intricate poet code… this is what we use, isn’t it? I often have to explain what I’m writing about when my writing may throw my woman into fits… saying one thing meaning another. 

Of course there is the drippy, sappy, overtly romantic poetry that is reminiscent of the sunsets, candle light dinners, and sweet professions our hearts desire. Love poems. So many of them. But they all go to the same place… the heart. Let’s look at “A Red Red Rose” by Robert Burns and prepare for the collective “Awwwwwe!!!!”…

O my Luve is like a red, red rose 

   That’s newly sprung in June; 

O my Luve is like the melody 

   That’s sweetly played in tune. 

So fair art thou, my bonnie lass, 

   So deep in luve am I; 

And I will luve thee still, my dear, 

   Till a’ the seas gang dry. 

Yep… works every time!! Who can resist?

Yet there are so many forms… so many loves. It can go so many places that as poets I am not sure we can ever find the shore of where it all ends as to what can be written of this feeling. “In My Heart Leaps Up”, William Wordsworth sets his adoration to existence itself within the ultimate cinemascope of life itself within his beautiful references to awe inspiring aspects of our natural world…

My heart leaps up when I behold 
   A rainbow in the sky:
So was it when my life began; 
So is it now I am a man; 
So be it when I shall grow old, 
   Or let me die!
The Child is father of the Man;
And I could wish my days to be
Bound each to each by natural piety.

I myself hit upon this vein as I realized it is my mothers birthday today, and in haste scribbled her out a poem addressed within a birthday card I had bought as a just in case affair. I placed it on her favorite chair to be found when she wakes up. Direct and simple, when she read my book, she said she liked the poems that meant what they said and said what they meant. Easy to understand. This was fine by me because I’m not Wordsworth! So I wrote this out before I hastily headed out the door to work this morning…

you are the music to my song

always here and never gone

for in my mind it’s you I see

and in my heart you’ll always be…

Simple, direct, and to the point. No poetic code there… just a simple statement of a tender hearted son to his sweet mother on her 83rd birthday. 

Sentimental poetry remains one of my favorite to write. Its surface simplicity hints at the complex currents that run so deep at the water’s edge. It is there always, as a constant muse in its many shapes… inviting poets of all ages, classes, and colors to dive into the universal beauty and even ugliness of its universal truths.

Matt Elmore

Pull up a Pantoum

I've shown you around the Villanelle and taught you how to use the Triolet, now let's have a look at how to pull up a Pantoum. What on earth is a Pantoum I hear you ask? It's a poem of any length that is comprised of four line stanzas (quatrains), but there is an interesting little feature in the format.  The second and last lines of each stanza become the first and third lines of the next stanza! More often than not, the poem is concluded by the last line being the same as the first - you go full circle. 

The name Pantoum, might make you think that this type of poem originated in an Arab country. That would be incorrect. Pantoums first emerged in Malaysia in the 15th Century, and a variety of well known writers such as Charles Baudelaire and Victor Hugo were proponents. 

I would like to offer you an example, so to avoid any copyright issues, here's one of my Pantoums:

Once Upon a Time

Could this be us in once upon a time?
Is this a nightmare or a wild dream?
I feel like I’m performing in a pantomime
Is this as crazy as I think it seems?

Is this a nightmare or a wild dream?
My heart is racing like an untamed horse
Is this as crazy as I think it seems?
I need to get back to the source

My heart is racing like an untamed horse
I feel like I’m performing in a pantomime
I need to get back to the source
Could this be us in once upon a time?

Steve Wheeler © 31 March, 2022

As ever, your comments are welcomed, and also any of your own work in Pantoum form - please share in the comments box below. I promise to comment.

Steve Wheeler

Image from Wallpaper Flare shared under a Creative Commons Licence

Melody

Melody is an essential component of poetry. It is the musical element that gives a poem its rhythm, tone, and emotional impact. Melody can be created through a variety of poetic devices, such as rhyme, alliteration, and repetition. In this blog, we will explore the importance and effectiveness of melody as a writing option in poetry.

Firstly, melody can help to create a memorable and emotional experience for the reader. A poem with a strong melody can at times be more powerful and impactful than one without. This is because melody can create a mood or tone that resonates with the reader and stays with them long after they have finished reading the poem. For example, the poem "Annabel Lee" by Edgar Allan Poe has a haunting melody that adds to the poem's eerie and melancholic tone. Sometimes just as we get musical notes in our head, the musical flowing of words can generate this as well. 

Secondly, melody can help to unify a poem and give it structure. A well crafted melody can tie together different parts of a poem and create a sense of coherence. This is particularly important for longer poems or poems with multiple stanzas. For example, in the poem "The Waste Land" by T.S. Eliot, the repeated refrain "April is the cruellest month" helps to unify the different sections of the poem and create a sense of continuity.

Thirdly, melody can help to convey the meaning of a poem. By using poetic devices such as rhyme and repetition, a poet can emphasize certain words or ideas and create a deeper meaning. For example, in the poem "Do Not Go Gentle into That Good Night" by Dylan Thomas, has the repeated refrain "Rage, rage against the dying of the light," which emphasizes the poem's central theme of one fighting against death.

Finally, melody can make a poem more enjoyable to read and listen to. Just as a good melody can make a song more enjoyable to listen to, a well-crafted melody in a poem can make it more enjoyable to read. This is particularly important for spoken-word poetry or poetry that is meant to be performed. A strong melody can capture the attention of the audience and make the poem more engaging.

In conclusion, melody is an important and effective writing option in poetry. It can create a memorable and emotional experience for the reader, unify a poem and give it structure, convey the meaning of a poem, and at times make it more enjoyable to read and listen to. Poets should consider experimenting with different melodies as a tool to enhance their poetry and create a deeper connection with their readers.

Brandon Adam Haven 

Image by: Brandon Adam Haven 

Shocks and Stares

This is Steve Wheeler at his creative lunatic best. If the crazy cover doesn't convince you, then read on.... He claims that this collection of poetry has been twenty-five years in the making. Although all of the poems are new, the concept goes back to 1995. He began to conceive of the idea when he was playing with words (as he often does) and came up with the spoonerism Shocks and Stares (see what he did there?) It made a lot of sense to him, because it spoke of weird and wonderful things that compel people to stop, and stare transfixed at what is happening right in front of them. The poems in this collection are fast moving, hard hitting, hilarious, emotional, and at times quite visceral. They will make you stop and stare.... Containing 90 poems and an end-piece, Shocks and Stares covers a plethora of themes and is written in a variety styles, including freeform, standard metre and rhyme, villanelles and pantoums.

Some pieces are strangely epic, including 'Orchestral Stabs' about an orchestra that goes on a murderous spree, 'I ate a planet' (which rivals the bizarre Monsieur Creosote sketch from Monty Python) and 'Villain' which features an ex-East End villain who finally gets his comeuppance on the Costa Brava. There are strange visions and dreams presented - 'I ordered an Uber and a Hearse showed up instead' is an account directly lifted from a psychology study in which dreams and nightmares during the pandemic were analysed, while 'Vinyl Blare' contains the titles and lyrics of more than 40 popular songs, crafted together into a poetic narrative. See if you can spot them all! This poet does not pull his punches, taking pot-shots at everything from opulence and the causes of poverty, homelessness, addictive behaviour, through to the pomposity of organised religion and the stupid and thoughtless acts that have driven us the brink of global catastrophe and the destruction of our planet. If you like strange, imaginative and positively off-the-wall verse that is at once both entertaining and challenging, Shocks and Stares is the book of poetry for you. What they said:

Anyone who is familiar with Steve’s work will know that he’s a man who aspires to inspire, and for those new to his work, I assure you that you too will be inspired. “Shocks and Stares” is a very difficult read to put down, so full of very relatable poetry touching on life’s ups and downs (and everything in between). It’s an absolute winner!! - Jason Cunningham (Founder, Poet’s Corner).

I imagine a glint in the bard's eyes as I read the wonderful poetry. There’s something for everyone, a great sense of dark humour with an added pleasure of reading the world put to rights! You get to know the character writing with the wonderful words he’s written in each poem. A pleasurable experience from start to finish, once picked up, very hard to put down. A clever, well organised book. - Charlene Phare (Founder, Pure Poetry).

Well I have to say this has been my favourite up to now, from all of the other books that I have in my possession from the amazing Mr Steve Wheeler. His poetry provokes a lot of emotions from laughing out loud to reflecting on the inequalities of the world. This is different from his other books, which are also of a very high standard. I look forward to reading more of his work. Definitely buy a copy. You will not be disappointed. - Pureheart Wolf, Poet and writer.

Steve Wheeler is an artist who paints with words leading to the introspection of imaginations. His poetry can surely cause shocks and stares. His reaching of definitions bring vocabulary to life and his words leave shadow to paper. Of more than good humor, his integrity shows through, as the greatest material expressed is the truth of one's life. Steve's exposé of literary gems exposes inner questions of life, similes of simplicities and metaphors of magnificence marinated with love lifted with laughter. As his mechanism is of pen, his writes are more than entertaining; his flights of lyrical fancy leave you wanting for more and lead you to an anticipation of his next conception. - Eric Aguilar, Poet

You can purchase your copy of Shocks and Stares in paperback, Kindle or hardcover editions by following the link to the Wheelsong Books Website.

Image copyright Wheelsong Books 2023

Using the Triolet

What on earth is a triolet? Sounds a bit French yeah? Well, it is.... a bit French. But it's also a bit of other countries too, because although the poetry form originated in France, it has evolved and has been adapted so many times it's now positively cosmopolitan. 

A triolet is almost always a poem of eight lines - an octave if you will - but it can be seven or nine lines too. Take your pick. The distinctive feature of the triolet though, is its repetition of lines. Three in fact, hence the moniker.  I won't go into all the crappy details and boring technicalities of the triolet. Instead, I will give you an example from my own portfolio of poetry: Here's one of my triolets called Angels without Wings:

There in the depths of the eternal soul
There is a wondering beyond finite things
We ponder in our hearts a God-shaped hole
There in the depths of the eternal soul
We deeply yearn for something to console
And thus we fall as angels without wings
There in the depths of the eternal soul
There is a wondering beyond finite things

Steve Wheeler © 25 June, 2022

You can see that the first and second line are repeated in lines seven and eight. But the first line is also repeated before that, in line four. Lines 1, 3, 4, 5 and 7 have end rhymes, while 2, 6 and 8 also rhyme. And that's about it, apart from the rhythm of the lines, which can be in iambic pentameter (10 syllables) or just about any other iamb combination. 

So go forth and multiply - write your own triolet and share it here. I will be sure to comment on it.

Steve Wheeler

Image from Pixabay via a Creative Commons Licence