It is so named because of the unique metric foot proposed by its creator Glenn Meisenheimer, known on Allpoetry as gmcookie.
He proposed a five syllable metric foot with only the center syllable being accented. Because of its resemblance to an amphibrach with an unaccented syllable affixed to each end, I named this the pentibrach. If scholars find a precedent we will of course bow to an established usage.
The poem is stanzaic, consisting of at least two quatrains.
It is syllabic: 10/9/10/7
It uses external rhyme, rhyming the last line of each stanza. (xxxa)
I realize there are alternative options to provide a metric schema, but I shall use the authors own presentation, and define here the metric feet to be used:
The pentibrach: da da DUM da da
The secundus paeon: da DUM da da
The iamb: da DUM
Each stanza is formed thus:
L1 & L3 two pentibrach feet
L2 a pentibrach followed by a secundus paeon
L4 a pentibrach followed by an iamb
The author’s original poem.
As the shadows fall and the daylight fades
And the owl flirts with the whippoorwill,
In that twilight time when the nightingale
Sings his love songs to the stars,
You will find me here in the umbral dark
As I wend through trees and monuments,
In the gloaming dusk when the sunlight fades
And when Jupiter joins Mars.
It is only then, from this cursed ground,
There is strength in my soliloquy,
As I raise my voice on the evening breeze
And I sing my ghost-thin bars.
It’s an ancient tune yet a timely one
Of a sailor washed ashore near here
Who was buried deep in this Christian soil
Far away from Kandahar.
My Attempt at one:
As she stretched her arms to the morning’s dim
and her curvature delighted me
I assumed that I’m just a blessed guy
who was honored here by chance.
The is nothing that would predict that I
should be met on earth by goddesses
or be catered to by the likes of her.
Don’t disturb me from this trance.
© Lawrencealot – February 15, 2014