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
And 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.
Kandahar
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:
Entranced (Pentibrach)
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 awake me from
this trance.
© Lawrencealot -
February 15, 2014
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