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I reminded him and sent a message ... he did say afternoons were difficult because of ankle biters. He knows we await.It seems like Remec would've appeared before now. Maybe he's trying some psychological tactic.
It could have been worse.terrible acident![]()
I''m looking forward, as well.Now THAT'S an awesome challenge!
you've a fiendish mind, mwahahahaha
i can't wait to see what they come up with. really!
now i'll eat my fish n chips![]()
Feel free to join up as a challenger for the next gunfight, then.I was hoping for some form action. boooooooo!

I was hoping for some form action. boooooooo!
The Ghazal should be five or more couplets, the second line of each couplet emds with the repitition of a refrain of one or a few words. In the first couplet both lines end in the rhyme and refrain so the end word should be the same. You have got the end word being the same all the way through but the word preceding it should rhyme through each couplet too. So if you are going to have 'my bones' in your first couplet then every couplet after that must have something to rhyme with 'my'
Sorry don't know what a pastoral rondelet is the closest I can see to that is a Rondeau
they do say that familiarity with form brings the freedom that allows expression within it, rather than a sense of restriction.
who the f*** THEY are, of course, is a mystery to me![]()
You gotta think about where the forms came from. The only 'true' forms are established meter, stressed and unstressed syllable orders. Someone wrote in magic numbers of stressed and unstressed along the way, then more people did it in imitation and it became a standard, sometimes disassociated from the person's name. The sonnet isn't known as the Pistoian or Lentini Sonnet, while the sonnets Shakespeare wrote are associated with his name. Some forms have more mercurial derivations, but we can assume one person invented what we know of for each form.
So the restriction really is there. It sounds like your imitating another poet when you write in a popular form. These things were invented and practiced while new forms were being invented. We don't invent new forms now, so the dated ones make for dated poems. The last form to be invented, that I know of, is Billy Collins' paradelle. He did it as a joke, but people are still writing paradelles, and the joke's become a modern form.
I knew where the rhyme was supposed to be once I looked up ghazal, but I just ignored it because I liked how the poem read. Is there a reason why it has to be five or more couplets?
I think a triolet is a form of rondelet(roundelay). Now that I think about it I probably would have struggled if the challenge was to write a rondeau or villanelle. I used to use the forms as starting points, new ideas for poems when I was stuck, then I'd sorta morph the form into a more contemporary sounding poem. Maybe it's laziness on my part, but I couldn't write a strict form and submit it for print and be happy with it.
oh, I like to think there are poets out there still 'inventing' forms, even if they don't make them public enough to catch the imagination of other writers. creativity finds a way
personally, the mercurial part appeals to me - if it makes a better poem, go for it. because, for me, ultimately that's what counts. so many poems that adhere strictly to form become tortured convolutions of language and speech-patterning that end up squeezing the life from a writeto excel in a form is a marvelous thing. i don't tend to do marvelous often, if at all, hahahaha, but DO recognise others doing it when i see it!