Bardic Sonnet

Form introduced by William Kenneth Keller, aka Shades of Bill on Allpoetry
Uses the Shakespearean sonnet form.  (iambic pentameter: abab cdcd efef gg rhyme scheme)
However the form is constrained and enhanced with the following requirements:
1.)The rhyme is to be INTERNAL CROSS RHYME,  not end rhyme. 
This is formally know as INTERLACED RHYME.
The interlaced rhymes should occur within the first 3 feet of the line.
2.)Rather than end rhyme, I would like you to employ a type of alliteration used by Irish poets – 
Which is strict CONSONANT RHYME.
Keep EACH consonant sound the same. (you can ignore the letter, ‘N’.) 
For example: carnage and carpet would NOT alliterate, but carnage and carriage would: 
the ‘K’ sound and ‘R’ sound and ‘G’ sound in ‘carnage’ is reproduced in order with the ‘K’ sound and ‘R’ sound and ‘G’ sound in ‘carriage’ (the letter ‘N’ in ‘carnage’ is ignored.)
3.)The Rhyme scheme is for both cross rhyme and alliteration.


Restated Specifications:
Uses Shakespearian Sonnet format with end-rhyme being replaced by strict consonant rhyme.
Requires Iambic Pentameter.
Requires Interlaced rhyme.

End-Rhyme scheme:     abab cdcd efef gg
Cross-rhyme scheme: abab cdcd efef gg

My failed example:

You Ask Too Much

A poet asked the wizard for some rhyme
and for a metronomic type of mind.
“Just why am I now tasked to let rimes roam
where they’d not roamed before, to just what end?”
“For sake of sex as Miller* postulates,”
the poet answered back.  And rhyme was there. 
A metric text removes the irritants.
“I know it,” the Wizard said, “You’ll find it’s here. 
“Can you make me more consonant aware?”
I cried,  “So Welsh and Irish I might write?”
Then he did grumble, “You keep wanting more.
If you decide that skill is worth your vote
I think you’ll earn it. Go away, be gone.”
I’ll try to learn it. Here I go again.

© Lawrencealot – July 6, 2013

*Evolutionary psychologist Geoffrey Miller hypothesizes that rhyme is a form of sexually selected handicap imposed on communication making poetry harder and more reliable as a signal of verbal intelligence and overall fitness.[2]
From Wikipedia
This was supposed to be a Bardic Sonnet, but failed to use all of the consonant sounds in the end-rhyme.  I post it merely to show how you can go astray on this complex if your attention waivers as mine so frequently does.



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This was the contest winner.   Not only does it have perfect compliance with all of the requirements, but those who pay attention will notice that is is also an acrostic.






Curtailed Quaintrelle

A further development of (D.D. Michaels)  Quaintrelle form by Marcy Jarvis, aka ea on Allpoetry.com
it is a sonnet written as follows:
* Three four-line stanzas with syllable counts of 8, 8, 8, 6 in each stanza, written in iambic meter.
* The third line in each stanza contains internal rhymes on the 4th and 8th syllables in that line.
* The rhyme scheme for the first two stanzas is aa(bb)c dd(ee)c.
* The rhyme scheme for the third stanza is ff(gg)h. (Alternatively, the h line may rhyme with the c lines.)
* The final two lines have 8 syllables each, are in iambic meter, and rhyme as a couplet: ii.
Example Poem
Volta Optional     (Curtailed Quaintrelle)
What twisted thinking must I use
to try this form yet not abuse
the notion held that sonnets meld
a volta, or a twist?
I boldly pound this keyboard now,
I think I’ve found the lee just how
allowing me, somehow the glee
I’m apt not to resist!
I’ll let this sonnet, as it should,
meander through here looking good,
then without fail, right here, curtail
a volta!  Pound my fist!
The Nevada Sonnet: is the same.
Internal rhyme with sonnet name.
© Lawrencealot – April 23, 2012
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