Anyway, today I'm writing because I wanted to warn against a certain method of composing Scarlequain. As I've previously pointed out, I want this particular form to be short, succict, and conveying a message in as few words as possible. A good example would be something like the following:
Finer grammar,
Slight stammer,
You and I's,
It's just my's:
A whole nother.
Although extremely silly, I'm conveying a point: "a whole nother" is not good grammar (nor is "you and I's" or "my's." And yes, all of these were said by my professors.). Short, simple, and describing the fifth line in some way.
Yesterday I found myself toying with an idea that I wanted to convey in a poem. You've most likely heard of one's heartstrings being affected whilest watching a movie, a happy friendship, or reading a sad part in a book. Being a musician, I envisioned the heartstrings as an instrument and wanted to suggest that in a poem. However, being a difficult concept to encapsulate, I only came up with the following:
Another instrument to the list,
And one more girl kissed.
Practice: fingers bleed,
God what do I need?
Heartstrings played.
"Oh dear," you're saying. "He's gone and gotten all angsty on us, as all poetry eventually does." No, says I. I am merely trying to characterize a deeper subject that I've fiddled with. And I am by no means satisfied with the product. This is my warning: the poem I've shared with you is pushing the limits of Scarlequain. The first two lines are too long. The third and fourth lines are iffy; if any line is ideal in this poem, it is the third and the fifth (the fifth line is insteresting...it does not assert blame to any particular party in the playing of the heartstrings. The rest is up to interpretation.).
"What a waste of time," quoth thee to me through your screen. "I don't even care." I apologize if you're still reading and indeed could care less. Perhaps you should reevaluate your life choices. Go Google the word "nuances."
No comments:
Post a Comment