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More erotic musings about a fedora hat:

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Apr. 18th, 2003 | 03:46 pm

For [info]leylinewalker, [info]benpeek, and [info]coldecho:



The compliment:

The seduction of a fedora hat:

The couplet:

A trembling, a beating fedora hat:
What is, pray tell, more erotic than that?

The triplet:

You think of bodies and lovers entwined?
Or bondage, or bracelets – a rosy behind?
No: let hats – a fedora! – fill your mind.

The quatrain:

It can work as a mask,
or a frame for the face
and allow you to bask
in a lover’s embrace.

The paradine:

A fedora need not be on your head –
find another intriguing place instead.
Do not merely rest at the foot of your bed:
Find another intriguing place instead.
A fedora need not be on your head.

The triat:

Imagine it there, between your thighs –
with nothing else, not even a hand
To help you distract a lover’s eyes.

Your lover will be at your command
(That is easy enough to surmise.)
Now, slowly finger the firm hatband.

The hexadine:

Do not make your actions too covert.
Simply allow
Your lust to show somewhere, somehow.
Your lover may tremble. Remain alert.

And if you are still wearing your shirt --
Remove it now.
Do not make your actions too covert.

The triolet:

The hat should tremble between your thighs
as your fingers trace a silent dance.
Allow the hat to fall, then rise.
The hat should tremble between your thighs.
But do not rush this vital advance:
Focus on your lover's sighs.
The hat should tremble between your thighs
as your fingers trace a silent dance.

The novet:

Slowly sit up, and watch your lover
Regard the sites where the hat has clung.
Keep the hat as a fragile cover –
At least for now. It’s a time for tongue –

Whisper it: love. Want. This.

And your lover's lips, and fragile words –
Meaningless, perhaps, beyond this night:
as restless as the flight of seabirds
or the twice-told tales of a night-bound sprite.

The decalet:

Isn't that why you chose to wear this hat?
Because you could not trust more words, more lies?
But wearing this is a lie, not a kiss
(Even as you open your thighs, you must
remember that, whatever may ensue.)

Love has been combat, a foe to subdue,
a stolen prize allowed slowly to rust,
a brief bite of bliss that you can dismiss,
a pile of dust, a shadowed disguise.
Or at least for you. Now, remove the hat.

The baroline:

But do not toss the hat aside.
Not yet. Like a maddened satyr
who, drunk, tiptoes lightly beside
a fallen fairy, and trips upon
her outstretched foot, crying out
and blinking, finds the fairy gone,
you strike at love, lacking all doubt,
shattering that heady icon.
Oh, trust not your heart, that traitor,
that torturous, deceptive guide
Keep the hat, for now and later.

The pantoum

Imprison your lover's eager gaze,
while twisting the fedora on your head.
Gracefully enter love's twisted pathways:
this fragile moment should not be sped.

While twisting the fedora on your head,
surrender to the sultry touch of suede.
This fragile moment should not be sped:
the rhythms of war should still be obeyed.

Surrender to the sultry touch of suede.
Imprison your lover's eager gaze.
The rhythms of war should still be obeyed.
Gracefully enter love's twisted pathways.

The Welsh chain:

Start this next round with a graceful stroke:
stoking your lover’s trembling skin,
pinning arms and legs down to the bed,
readying your lover for this assault.
Halt but once – to bring the hat
that tool of seduction, that concealing weapon,
pinning it onto your lover’s head,
spreading your fingers through your own hair
bare, for now, of hat and deceit.
Meet your lover's lips, and raise your body up,
cupping your legs together in a graceful chain,
draining your soul like a hushed amen,
penetrating, perhaps, your lover's heart.

Sonnet

Your thoughts on love could be reduced to this:
Love is but a shadowed path, or a war,
or a pain-wracked moment of doubtful bliss,
a fleeting halt on a cold fragile shore.
Yet why is love so difficult for you?
This terrorizing rush of awesome heat,
this hot loss of breath, this cold wish to pursue –
Now is no time for you to be discreet.
Tell me now – or if not me, tell yourself
Why love has been something that you dismiss,
while searching for answers in a bookshelf
yet taking conscious delight in a kiss.
Still unwilling to speak? Then reclaim the hat.
If nothing else, you will always have that.



Now, to get back to playing with various sonnet forms...and, oh yes, the writing work that actually pays...

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Comments {3}

Cold Echoes

Triolet Variation

from: [info]coldecho
date: Apr. 21st, 2003 05:03 pm (UTC)
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Oddly enough, in more than one location, I found an alternate pattern for the Triolet. It used the ABaAabAB scheme, rather than the ABaAbaAB format you represented in both of these. (where the capital A's and B's are the repeated lines, and the lower case are the rhyming lines.)
I have 9 out of 14 completed. I did the first through the eigth, and the pantoum. (Ah loves da pantoumses!) That means I have the Novet, Decalet, Baroline, Welsh Chain and Sonnet to go. Admittedly, some of those are the hardest. The Novet and Baroline should be easy enough. I wrote 7 out of 14 on the first day I started it, because I was on a delicious roll... but then couldn't find any rules on some of the structures! By the time I had the rules, I had lost a lot of steam... figuratively and.. figuratively! Both figuratives. Grobble.

Of course, I wrote a damned 7 line poem (quatrain+tercet) before I looked at my notes and remembered the damn thing needed the 1st and 5th lines to be the same! Gah! I wrote a whole different one. I think I can cannibalize some of the lines from the failed one for the sonnet or decalet, though. They had the right syllable/meter combo. The imagery has to shift, though. To quote Homer J. Simpson, "Stupid poetic justice!"

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Mari Ness

Re: Triolet Variation

from: [info]mariness
date: Apr. 21st, 2003 05:41 pm (UTC)
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With the exception of the villanelle, which is a very structured poem indeed, I've found some form of variation in every poetic form I know of. Even in my beloved sestinas some form of variation exists, mostly revolving around quarrels of the shaping of the envoy -- must it really have all six words? Should the envoy rhyme? What is the order of appearance of the words, and so on. The variation in sonnets is immense: beyond the "major three" listed in standard poetry anthologies, I've seen nine other sonnet forms -- and that's not even counting George Meredith's Modern Love sonnet sequence, where each sonnet has 16 lines. (They're apparently sonnets because Meredith said they were sonnets, in itself a statement of the fluidity of language.)

Many of these formal styles of poetry were brought over in pieces, or through multiple routes at the same time, leading to general disagreement on certain forms -- the sonnet, pantoum and ode unquestionably being the major examples of this. But for fun, try looking up ghazal some day on the web or in any major library and marvel at the massive arguments over a poetic form that has really not been massively used in English. Poets can fight over anything.

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NanoSpleen!

(no subject)

from: [info]invadersteven
date: Apr. 2nd, 2005 12:59 am (UTC)
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::applause::

Oh, and remind me to hit you with a bit o' Small World Syndrome again. Much more detailed than the one we talked about last weekend. It involves the number 13.

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