Poetry and limerick forms

SlowHand

Iambic Pentameter

You will run into that combination of words a lot in poetry. Iambic refers to an iamb foot which is (ta TUM). The pentameter refers to the fact that there are 5 of these (ta TUM) short long syllables in each line of a poem that is written in Iambic Pentameter. Now you do not need, nor is it practical to use all two syllable (ta TUM words) five times to make up an iambic pentameter line/verse.
So, what you do is scansion the line and break it up into this iamb form and even then you are allowed some leeway (poetic license) with the way the line may end. There are feminine endings and male endings. That's a different topic but it's simple.
Of course it's sexual and using that fact can add some interesting subtle nuances to your iambic pentameter rhymes.

I'll talk about that some time later!

Another way to look at it is:
There is five of these two syllable words in an iambic pentameter line. Notice hello has one short syllable and one accented syllable so it's rhythm is ta TUM.

| hel-lo |hello|hello|hello|hello|

You can find a more detailed discussion of this kind of verse here:
Iambic Pentameter

You can download a .doc file of this HTML file here:
Iambic Pentameter http://www.ampka.com/SCI/Iambic%20Pentameter.doc.


Now there are two common substitutions of two other feet that are often found in an iambic pentameter line/verse.

In practice, the spondee may be used as an iamb or as a trochee; in
combination, we may have—
In head | -long flight
in which the word is used as a trochee;
He plunged ( head-long
in which the word is used as an iamb.

Absolutely natural iambic lines are rare:
And dwell | upon | your grave | when you | are dead.
The Comedy of Errors, William Shakespeare.
A repetition of such lines would be monotonous, unnatural and intrinsically
unpoetic.
To show a still further group of variations, the opening of Hamlet's
most famous soliloquy, commencing "To be or not to be," is theoretically
in the same iambic five-foot pattern: three lines, each consisting
theoretically of five ta-TUM's. The actual scansion brings in strange
and unusual feet, or groups of unaccents with one accent, and shows
that these three lines have only four actual feet apiece (a foot being, in
13 THE TECHNIQUE OF VERSIFICATION: RHYTHM
English, normally grouped around one accent), where the pattern
called for five in each line:
To be I or not to be. | That | is the question.
Whether | 'tis nobler | in the mind | to suffer
The slings | and arrows | of outrageous | fortune . . .
Hamlet, William Shakespeare.
Here are four feet of two syllables each (two iambs and two trochees);
four of three syllables each (three amphibrachs and one anapest); one
of one syllable; and three of four syllables each (two of one type, one
of another). And only four natural feet to each line.
This is acceptable five-foot iambic verse, in the hands of the
world's greatest master. In later plays, his variations became more
extreme, until at times his rhythms were less regular than Whitman's
typical free verse or polyrhythmic poetry.
What is desired, in metric poetry, is a regular pattern, with
restrained freedom and variety in its use. The poet should learn to
scan his poetry—that is, to mark the accented and unaccented syllables
as above, and then to divide it both into the natural speech
rhythm and into the artificial pattern rhythm. There is no need for
pride, if the poetry is excessively regular. As a rule, that means that it
is strained and unnatural in phrasing, and to that extent falls below
true greatness in technique.
In reading poetry aloud or to oneself, avoid most of all an unnatural
singsong. Never read the lines from Hamlet as if they had been
printed:
to BE or NOT to BE that IS the QUES tion.
v/heTHER 'tis M>bler IN the MIND to SUFfer
the SLINGS and Art rows OF outflAgeous FORtune . . .
Instead, read this and all other poetry as naturally as if it were unpatterned
prose. The pattern is there and will make itself felt. Excellence
in reading depends upon naturalness in expression.
Iambic Verse
The commonest line pattern in English verse is based upon the
iamb («-/). Many more words in English are trochees than iambs.
THE COMPLETE RHYMING DICTIONARY 14
Iambic is the preferred pattern because such trochaic words are normally
introduced by a one-syllabled unaccented article, preposition,
or the like. Normally lines do not open with the trochee hoping, but
rather with such a phrase as in hoping, for hoping, and hoping, this
hoping, if hoping, and so on.
Lines name the metric pattern and are described by the type of foot
and the number of feet to the line. Thus a one-foot iambic line could
be written:
All hail!
A two-foot iambic line would be:
All hail to you!
A three-foot iambic line would be:
All hail to you, my friends!
A four-foot iambic line would be:
All hail to you, my worthy friends!
A five-foot iambic line would be:
All hail to you, my wholly worthy friends!
Note how naturally trochaic words like wholly and worthy fit into this
iambic pattern. This line might have been:
In hailing friendship's wholly worthy sons,
in which case four words (hailing, friendship's, wholly, worthy) are
complete trochees in themselves, yet are transformed into word-split
units in the iambic pattern, by the introductory unaccented word in
and the concluding accented word sons. This is an entirely legitimate
following of the iambic pattern, which can be most easily remembered
as:
taTUM taTUM taTUM taTUM taTUM.
15 THE TECHNIQUE OF VERSIFICATION: RHYTHM
A word ending on an accented syllable is said to have a masculine
ending; one ending on an unaccented syllable, & feminine ending. The
iambic pattern may be used with a feminine ending: that is, with the
addition of an unaccented syllable to the last foot. A stanza of five
lines, successively one-, two-, three-, four-, and five-foot iambic lines
with feminine endings, could be manufactured easily:
Good morning,
Benignant April,
With all your rainbow blossoms,
With birds all carolling their rapture,
With love alive within the hearts of maidens.

Please note: scansion is not tremendously difficult but the computer does not allow for clean notation of long and short syllables when you copy scansion lines so it looks weird. The computer won't let you use a half moon mark for short syllables so it put in all this ward - /w/w -/-/ stuff and ~ ~ kind of stuff so just look at the words and know that a syllable is either scented ( long) or not scented or (short) If you want to mentally substitute a dash or underscore or ^ mark to indicate unscented syllables that will work fine just be consistent with your marks so you know which is which. The computer isn't consistent so it looks complicated.

I personally use: ^ for short and / for long and I divide the feet with | symbol which is called a pipe (its generally located just above the enter key and you use the shift key, it looks like two vertical dashes on the keys.

The scansion for this would be: .
Good morn-1 ing,
_ / w / w
Benig- nant A- pril,
_ / _ / w / w
With all I your rain-1 bow bios-1 soms,
~ / ~ / L / w / w
With birds | all car-1 oiling | their rap- |ture,
w / ,w / / w / / ~
With love I alive | within | the hearts | of maid-1 ens.
This is often described as if the first line, for instance, were a twofoot
line, with one syllable missing, and is called catalectic verse. The
reality is that of an iambic foot followed by a loose or unattached,
unaccented syllable.
Writing iambic verse is as easy as writing any form of verse. Get
the metrical pattern firmly in mind:
taTUM taTUM taTUM taTUM
and then proceed to let the words flow into this pattern.
Iambic verse may be altered into trochaic at any time, by adding an
accented syllable to each line's beginning or by removing the opening
unaccented syllable. The process may be reversed as easily, thus
changing trochaic verse into iambic. Start with this iambic version:
And then the little Hiawatha
Remarked unto the old Nokomis,
I know that hills are edged with valleys.

__________________

SlowHand

Limerick

Note:

Now look at this, this is no way to present limerick to anyone who is not aware of the names of the poetic feet and some idea of meter. Sure this is one of the limerick forms so now go back up at the beginning and start where I started you and build an mental rhyming dictionary and practice just rhyming the aabba format and use you built in sense of rhythm of words and write some limerick poems and enjoy doing it and learn as you go along!

Limerick: ( God help us all beginners)

This is a humorous 5 lined verse rhymed a-a-b-b-a in which the first, second and last lines are trimeters (an iamb plus two anapaests) while the third and fourth lines contain 2 anapaests.

The last word of the first line is typically the name of a person or a place and the last word of the last line often a pun on that name.

Now like I said, start at the beginning of the thread and enjoy yourself limerick poems are fun you can do it and in time you can do it as well as anyone. Be gentle with yourself have fun and enjoy the thrill of discovery as you write and think about this thread. Write some Limerick poems.

__________________

SlowHand

Now lets talk a bit about sonnet:
This is a good way to start and learn something about iambic pentameter.
Poetry Magazine - How to Write Sonnets

How to Write Sonnets
by Nancy Ness
http://poetry-magazine.com/poetry/poetry-005/10page.htm
Let's cover the basics. It's easy - you'll see!

Theme is of ULTIMATE importance in a sonnet. You must present a conflict of sorts in your opening stanzas and a resolution in your closing ones. Think carefully of what you want to write and how you want to develop your work before you begin writing.

The use of imagery is another important consideration. A sonnet is a very compact piece, and as such is a great format for extended metaphors. Try to incorporate some simile, metaphor, or other types of imagery into your work.

Let's move to the structure, starting with meter - This is the easy part.... A sonnet, properly written, is done in "iambic pentameter." That means that every line will consist of five "iambic" feet. Each line of your poem will follow this pattern....

da-DUM/da-DUM/da-DUM/da-DUM/da-DUM
"How do I love thee - Let me count the ways"

Elizabeth Barrett Browning's lines would read as


"how-DO/i-LOVE/thee-LET/me-COUNT/the-WAYS"

Ms. Barrett Browning loved her sonnets. Read this wonderful one in its entirety - It's just superb, isn't it? It's certainly understandable that it's so famous.
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of every day's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right;
I love thee purely, as they turn from praise,
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints -I love thee with the breath,
Smiles, tears, of all my life! -and, if God choose,
But I shall love thee better after death

__________________

SlowHand

Here is an explanation of the technical stuff in limerick poems verses the artistic presentation in practice.

Note: In poetry a verse is used interchangeable with a line, so, when you say a verse it's the same thing as saying a line of poetry for all practical purposes.


Now let’s take a closer look at the feet with in a line and their names and the types and number of syllables and order that are required by different kinds of feet in poetry. In Limerick poems we are talking about iamb and anapest. In the quatrain they just say try to keep the same number of syllables in each line/verse. Sounds simple but it's still an artistic challenge.


Quatrain:
A stanza or poem of four lines.
Lines 2 and 4 must rhyme.
Lines 1 and 3 may or may not rhyme.
Rhyming lines should have a similar number of syllables.

All poetry has lines which are referred to as verses because the different poetical forms talk about the number of feet in each verse/line. Each foot contains words classified into accented syllables and unaccented syllables. That’s what causes rhythm or cadence in the line and gives each poetical form its unique sound and characteristics. When you begin to write you rely on your general sense of the rhythm of the spoken English words you have heard all your life so you read several poems in the style you want to write to get the feel for the style of that kind of poem.

Notice the quatrain says the rhyming lines should have a similar number of syllables; okay you have some leeway to create your meaning and emotion in each line. At first glance it seams simpler than the line requirements for a limerick, At least they don’t use the vocabulary poets use to describe the syllables in English words which are named according to the number of unaccented and accented syllables and their arrangement with in a word.

Now let’s look at some technical poetic names for stuff mentioned in the technical description of a limerick. It says “ In the first, second and last line (that’s the (a) lines in the definition of a limerick) it says they are trimeters that’s three feet in each (a) line.
One iamb plus two anapests, what they are meaning here is some where in the three poetic feet is an iamb foot.

Well an iamb foot is one unaccented syllable in front of an accented syllable. The rhythm for that is ta- TUM like in the word delight ( de-light) accent on light so if you said three delights one after another the rhythm pattern would be ta-TUM, ta-TUM, ta-TUM that would be a trimeter but very boring if all three words had the iamb rhythm of ta-tum. It’s easy to here this in words your ear knows the sound of unaccented and unaccented syllables in a two syllable word if English is your native language. That’s what is meant by the poet’s ear the natural sense of the rhythm of the English words he has used and studied all his life. Well, you have such an ear too but it may need some more training. That’s why you should be reading poems in the form you are interested in writing (limerick poems).

So now we know that an iamb is the name for foot with this rhythm pattern ta-TUM. Note: this could be a two syllable word or two one syllable words but the first word would be unaccented and the second one would be accented.

Now lets look at words that are called anapest. The rhythm here is ta-ta-TUM like in appertain ap-per-tain putting the accented syllable on the last syllable. The definition wants the two of these three syllable words to make up two of the three feet in each (a) line. Again it’s easier to hear this with your ears than it is to explain it in writing. Note here too, you could have three one syllable words in the unaccented pattern of two and one word accented syllable.



That technical explanation takes care of the meaning of this part of the limerick description: In which the first, second and last lines are trimeters (an iamb plus two anapests). You still have some creative leeway in that you do not absolutely need to be that precise but that’s the ideal form. The artistic form of each limerick is what makes it unique in sound as well as in meaning.

Now let’s look at the technical part of the description for the (b) lines, that is the third and fourth lines of a limerick.

The third and fourth lines contain 2 anapests.

Two anapest feet would be a rhythm pattern of ta-ta-TUM, ta-ta-Tum, notice this the rhythm pattern does not mean you can only use words with three syllables. It means the rhythm pattern is two unaccented syllables in front of an accented syllable.

What’s happening here is the rhythm pattern allows you variety in choosing your words to use to make up the unaccented and accented syllables in the stated order of iamb, and anapest. Note iamb and anapest are names of kinds of feet that exist with in a line. Those feet are made up of the required syllables and order by their definition.

That’s the technical stuff; the artistic stuff is supplied by each writer working with in this general framework. That’s why poets say a line or poem has a tight construction (technically correct by the requirement's definition) and loosely constructed meaning that the poet writes to general guidelines not the technical definition.

We always need technical definitions for an art form but the execution of that art form is artistic not technical in most cases. The closer to the technical requirements you get the tighter the rhyme, that’s not to say that it’s a better poem. It’s just closer to the technical definition, so read the limerick poems in the limerick forum to get the artistic feel for the limerick art form in the limerick corner Limerick Corner--for those who love to rhyme . . .

Concentrate on the last word in each line to develop your sense of rhyme and mental rhyming dictionary. Then write some limericks, they don’t need to be tight rhymes by definition, they need to be an artistic presentation in the general limerick form aabba five line rhyming format.

That brings us to an understanding of the limerick description below.

Limerick:
A Limerick is a humorous 5 lined verse rhymed a-a-b-b-a
In which the first, second and last lines are trimeters (an iamb plus two anapaests) while the third and fourth lines contain 2 anapaests.

This is one of the technical forms of which there are three which exist with in the technical definition of the limerick discussed earlier posts in this thread.

Hickory Dicory Dock
Nursery Rhymes, Mother Goose.

Hickory, dickory, dock!
The mouse ran up the clock.
The clock struck one—
The mouse ran down,
Hickory, dickory, dock!
Nursery Rhymes, Mother Goose.

This is looser rhymed but artistic.

Coffee on My Mind
SlowHand

I got coffee on my mind.
She strokes me with her hand,
I shiver with coffee in my cup.
She’s found my zipper, what luck,
Her lips hit the spot, I pined.

In my throat I gasp and scream,
Her lips have found the cream.
The coffee, it’s hot,
Her lips have just hit the spot.
Feels so good, can’t be a dream!

Here is a classic one with variations.

Humpty Dumpty poem

Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall.
All the King's horses, And all the King's men
Couldn't put Humpty together again!

Alternative Words...

Humpty dumpty sat on a wall,
Humpty dumpty had a great fall;
Threescore men and threescore more,
Could not place Humpty as he was before.

Here are two by peppercorn which were posted in this thread.

My thanks to Slowhand for this lesson--
Now poems that we write won't be messin'.
I've learned quite a bit,
Now I write as I sit,
All this knowledge is really a blessin'!

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Poor Brian was missing his sweetie.
They met every day -- he was greedy.
But gone for a week,
Then, his girl, he did seek,
When he found her, he ran to her, speedy.
__________________

__________________

SlowHand

We always need technical definitions for an art form but the execution of that art form is artistic not technical in most cases. The closer to the technical requirements you get the tighter the rhyme, that’s not to say that it’s a better poem. It’s just closer to the technical definition, so read the limerick poems in the limerick forum to get the artistic feel for the limerick art form in the limerick corner Limerick Corner--for those who love to rhyme . . .

Here is three more Limericks just posted, Limerick Corner--for those who love to rhyme . . .

With Lust
By SlowHand

I shuttered and blushed.
His hand made such a fuss.
I’m so hot wit desire.
His phallus, it’s like fire.
With orgasmic emotion I blushed.

Love on hold
By SlowHand

His photo is laid on the bed.
I love you his letter it said.
The tea and the cups are waiting.
His phone call was so exciting.
He’s late, the weather is bad.

Inferno
By SlowHand

We cuddled in front of a fire.
My desire rages higher.
My hands felt her desire.
Her lips grew my phallus higher.
We burned with consuming fire.

__________________