Facing Jewell in a Nightclub
Just having thought once again about the overpowering Jewell who once was I had a vision and a couple of words now I have to say. Firstly let me just speak that I thought of seeing her at a nightclub and instantly I asked myself what to do. Without more than a thought my mind told me that I would not speak but turn away my cheek and pray she does the same.
Jewell is no longer part of me and part of me has gone where another has come back to take its place. I am now back together and the thoughts in my head no longer have to do with lust or even love with Jewell. If she was to speak with me I would only tell her to leave me alone and walk away, probably even out of where I was.
I just have one more comment to speak about this matter then I am done. ‘Jewell, I have the rest of my life to resent your actions and the rest of your life to avoid your actions. If our eyes ever do meet across an area of space expect emptiness in my eye as if you were to me a stranger, lost in eternity’.
A Sonnet Format of My Own
Since we are still on the topic of poetry I will take this opportunity to speak of my new style of Sonnet invented by me. As I’ve suspected and have learnt over the past couple of days Sonnets can come in variations of the truth, the truth being 14 lines and ten syllables per line. Adjustments are made to these to suit the poet and usually it is for the better.
Saturday night or the exact same night that I wrote down that poem from the Macedonian Movie on Channel Two I came up with my own format. Helped by those three lines of poetry a spark flew in my head and I devised a fourteen line Sonnet. Split into five sections there are four adjoining triplets and then a couplet at the end as all Sonnets finish with. There are two styles of triplets each being three lines long but here is the exact format of the poem in syllables…
Line 1: 11 syllables Rhyme D
Line 2: 13 syllables Rhyme A
Line 3: 11 syllables Rhyme Z
Line 4: 12 syllables Rhyme A
Line 5: 11 syllables Rhyme B
Line 6: 12 syllables Rhyme Y
Line 7: 11 syllables Rhyme B
Line 8: 13 syllables Rhyme C
Line 9: 11 syllables Rhyme Z
Line 10: 12 syllables Rhyme C
Line 11: 11 syllables Rhyme D
Line 12: 12 syllables Rhyme Y
Line 13: 10 syllables Couplet Rhyme
Line 14: 10 syllables Couplet Rhyme
Why the Rhymes Matter
Alright now, as this diagram shows there are 7 different rhymes in this Sonnet so obviously two lines each compose a rhyme leaving nothing unrhymed. Now the last two lines are synonymous with all Sonnets meaning it is a couplet line and both lines rhyme with each other. The proper start of each rhyme begins with Rhyme A which Rhymes in every second line of each other.
In other words, every middle line of the four triplets (Lines 2,5,8 and 11) coincide in rhyme with every first line of the four triplets (Lines 1,4,7 and 10) where Line 11 actually loops back to rhyme with Line 1 being the only rhyme out of order but in order.
Then there are the mirroring rhymes of each last line in the triplets (Lines 3,6,9 and 12) where lines 3 rhymes with line 9 and line 6 with line 12. Thus, this creates a certain order within the seeming chaos of such an order. With every line rhyming with another you can hardly say it is chaotic and with the split into five sections where four are triplets there are certain breaks and different outlooks meant for each break.
There is also more order when you realize that each triplet has the same amount of syllables as each other triplet. Not only that but the middle line of each triple could be seen with the most power as you could subtract or add two syllables evening these calculations into another triplet to make them the same.
Thus a 11/13/11 triplet can change into a 12/11/12 triplet if you subtract two syllables and disperse them evenly across the rest of the triplet. The same can be accomplished if you add two into the middle of 12/11/12, you would get 11/13/11. Thus, the equidistant of the triplet is one of most power and where the power should be worked towards.
A Poem for a Bleeding Sun
Now that I’ve finally got that out of my way I can work on lesser parts of my thoughts still in point form on this Diary. Let’s now bring those points to life shall we in this fifth hour of the morning. That last line has once again given me inspiration to write and once again, in my normal routine of Sonnet formation being 14 lines of ten syllables. Well, this one I have to admit must top the last poignant poem of mine, here I shall recite thee.
Heaven doth herald a fallen wound that man produce
In this, our fifth hour of morn the sun bleeds,
Fire’s teeth grip hastily upon earth’s skin,
Anon, In our morning shall mourning feed,
‘Tis fire’s breath that famished shalt famished bring,
Hither stands over, thy glorious Lord,
Gilding with red upon thy battlefield,
A tear drops from such a ravenous sword,
And ruins not the earth’s crimson painted shield,
These endless foothills dost hide heaven’s eye,
That seeps ruby wounds to which must but yield,
For the dead wounded that plucketh the sky,
‘Tis From heaven’s womb plucked many a child,
Such travail this bloodstained Earth hath endured,
Of Man, Which all the elements hath Lured,
Explaining the Battlefield
Now what is only left is to explain the poem that I think remarkable has been made of meaning. Once again we will use the old (1.1 to 1.14) measure for this Sonnet which I have rightly named. The setting is at five in the morning (1.1) where the sun is still hiding somewhat behind the hills of earth (1.9) not having risen for morning yet. Because of this the sky appears to be red and it is shown that the sun is bleeding (1.1).
The sun does bleed so and does hide behind earth’s mountains to spy for heaven which awaits to pluck (1.11) the dead and the wounded towards the sky and towards heaven. There is a battle on earth between mankind and one army has seized another and burned down the villages disintegrating them to the ground (1.2). It is with this burning of villages and the spilling of blood with weapons (1.7) that comes sad only to the killed and falls onto a battlefield that is already thick with blood (1.8) that it could resemble a bloodied shield.
Because of this death and bloodshed the fallen shall shortly be mourned (1.3) with grave importance as the fire which is all that is left of cold war is doused or rather famished (1.4). It is with this fire that was so famished to burn (1.4) that it also brought famish to the land and the fallen dead. Nature stands above (1.5) gloriously with the sun still hiding behind earth’s foothills and peeking through the cracks does coat the land, the distinguishing fire and the bloodied floor with a coat of red (1.6).
The use of ‘Ruby Wounds’ (1.10) explains the rich value of the bloodied battlefield that the sun does cover with a coat of red and in so examines the ‘Ruby Wounds’ or the fallen dead for heaven. Thus, heaven plucks the souls of the wounded towards the sky (1.11) which are rich in abundance to him compared to the unborn child from (1.12) heaven’s womb plucked to replace the lost lives into new ones.
The last two lines (1.13 and 1.14) explain how such a great and arduous battle was fought on an enduring earth, a battle which was created by man who used all the elements to gain victory. That of fire for his eagerness, that of air for which heaven subsided in its sanguine nature to deal death with newborn life. Remorseful earth that was used to spill blood upon so great that blood was thick upon thick. And, the emotional water which did cry continuously from tips of swords whenever someone’s life was taken. There you go, there is my explanation and now, I don’t know what to do…
Diary Of A Mad Chaos is a daily diary written from March 1996 until today, of which individual books and book series have been created, namely “The Lost Years” an exploration of young, entwined love, the “Wubao In China (猎艳奇缘)” book series which provides an extensive comparative analysis of the cultural differences between Eastern and Western societies, and the book titled “Foreigner (华人)” an exploration of race relations in Australia.
