If a foetus could talk... |
Crypt of Flesh From the start I knew my fornicate- hated fate. Stripped away, just torn out from my own genesis. No wake, no funeral, no last rite, thrown away. Choice is yours, come what may, to have me die like this: Encased in cold darkness, my casket's made of fear. I'm malice growing inside of you as death's day's drawing near. The face of my killer, never to pass my eyes. It's murder, slaughter, carnage and death... embryonic demise. Conscious bitch! (How can you) lie awake (while they) rip apart my life? Forced to die, (I'm being) Mutilate(d. Why) can't you see? I am a(live!).... Verse Form: A complex self-elegy or lament. The first four and last two quatrains are 3-3-3-3 These are to mimic a heart-beat and have a prolonged caesura which is actually an enjambment at the end of each line. 1-2-3-// 1-2-3-//... The result is a two foot catalectic line. The parts of lines that are in parentheses in the last two quatrains are read over the caesura - between beats, so to speak. Ideally, each quatrain should contain two end-rhyming lines and one "opposing" vowel sound. Placement is open for maximum emotive effect. Word play, slant(near) rhymes, the mixing of iambic, trochaic, anapaestic, and dactylic meters, and internal rhymes are encouraged or may be ignored, again, with the most attention to emotive effect. The fifth and sixth quatrains are 6-6-9-6 The first two and last lines of these quatrains form Iambic Trimeter, while the third should be written in headless Iambic Pentameter. Assonance, consonance, alliteration, internal direct and slant rhymes are all encouraged to heighten emotional power. Quatrain 5 should be highly metaphorical. Quatrain 6 should be concrete reality. a,b,c,d and f = normal end-line/end quatrain rhymes i = internal rhymes with-in a line. e = end rhymes within a quatrain oe = opposing or converse sibilance to ending rhymes within a quatrain ie = internal and end rhyme combinations [y] = variants within brackets denote further rhymes Line1: - - - Line2: i - i[oe] Line3: - - e Line4: i - ie[a] Line5: - - - Line6: - - e Line7: - - e Line8: - - oe[b] Line9: i - i[e] Line10: - - e Line11: - - oe Line12: - - a Line13: - - eo Line14: - - e Line15: - - e Line16: - - b Line17: -- -- -- Line18: -- -- -c Line19: - -- -- -- -- Line20:-- -- -c Line21: -- -- -- Line22: -- -- -d Line23: - -- -- -- -- Line24: -- -- -d Line25: - - oe (---) Line26: - - e (--) Line27: - - e Line28: - f Line29: - - - (---) Line30: - - - (--) Line31: - - - Line32: - - -(f) * Please note that there are many more recurring rhymes and slant rhymes but to show them and their relationship to each other makes this explanation a bloody mess* |