I'm A Dirty Cowboy
That is awesome. I remember that from a collection of such things I had in my youth.
The Hunting Of The Snark is a good one, too. A Nonsense Narrative poem.
I have an affection for Ogden Nash's stuff as well...
Isabel met an enormous bear,
Isabel, Isabel, didn't care;
The bear was hungry, the bear was ravenous,
The bear's big mouth was cruel and cavernous.
The bear said, Isabel, glad to meet you,
How do, Isabel, now I'll eat you!
Isabel, Isabel, didn't worry.
Isabel didn't scream or scurry.
She washed her hands and she straightened her hair up,
Then Isabel quietly ate the bear up.
Once in a night as black as pitch
Isabel met a wicked old witch.
the witch's face was cross and wrinkled,
The witch's gums with teeth were sprinkled.
Ho, ho, Isabel! the old witch crowed,
I'll turn you into an ugly toad!
Isabel, Isabel, didn't worry,
Isabel didn't scream or scurry,
She showed no rage and she showed no rancor,
But she turned the witch into milk and drank her.
Isabel met a hideous giant,
Isabel continued self reliant.
The giant was hairy, the giant was horrid,
He had one eye in the middle of his forhead.
Good morning, Isabel, the giant said,
I’ll grind your bones to make my bread.
Isabel, Isabel, didn’t worry,
Isabel didn’t scream or scurry.
She nibled the zwieback that she always fed off,
And when it was gone, she cut the giant’s head off.
Isabel met a troublesome doctor,
He punched and he poked till he really shocked her.
The doctor’s talk was of coughs and chills
And the doctor’s satchel bulged with pills.
The doctor said unto Isabel,
Swallow this, it will make you well.
Isabel, Isabel, didn’t worry,
Isabel didn’t scream or scurry.
She took those pills from the pill concocter,
And Isabel calmly cured the doctor.
Some of his rhymes are really pushing it, though.
Thank god. Full rhymes have their place but really, that place is in song or in song-like poems.
SERIOUS FACE AHEAD DO NOT READ IF YOU DO NOT WANT TO SERIOUS FACE
The days when every poem had to have a complete rhyme were, I think, marked by a notable scarcity of successful (or at the very least of wholly successful) poems. We have a glut of great poets now, so many in fact that it's tough to keep track of them all, and I think that's very much because of the fact they are free to use structures and forms if they fit the poem, and abandon them all together if they don't.
In the Renaissance, when poets were consistently using rigid structures with repeated success, and it was some kind of socio-cultural norm to use rigid structure of some kind with a poem, there were two features that I believe 'explain away' the success of these poems: the forms were new forms, or new variations on song forms, adapted so they fit the language and diction of the time or specific poet perfectly well, the forms were old but the language (especially English) was, or perhaps merely appeared to be, much more fluid than it was today, allowing for greater flexibility in supposedly very rigid forms.
dun serious mode now, if you disagree with any of that i guess i dunno maybe something something something
EDIT: ahaha format fail
edited 26th May '11 5:29:07 PM by mmysqueeant
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edited 26th May '11 5:34:55 PM by MidnightVelvet
My problem with half rhymes is when they feel out of place. Like, you have it all rhyme, then you crap out on the last rhyme of the third verse. Either make it less restrictive or find a better rhyme. You're aiming to make everything full rhyme, stop masquerading that one rhyme as one (Ogden Nash doesn't really apply in this case).
Eh, sometimes, it's true, a half-rhyme seems a cop-out. But often the half-rhyme is used as a joke, speshully in Ogden Nash, or more commonly to soften the end of a stanza which can be ridiculously harsh.
I 100% agree that if you're obviously committing to a full-on moon/spoon/June thing, adding something else seems weird. Sometimes that weirdness works for you, sometimes it doesn't. The best rhymes are, I think, the ones that you don't even notice on your first read through of the poem. I once read a sonnet four times before realising it was a sonnet.
Someone once said that "poetry is the art of forcing knife to rhyme with fork". Obviously, they were being facetious, but there's a serious point in there, that rhyming is about picking up and emphasising meaning and of course sounds, more than it is about some technical aspect of language.
That seems rather specific. Is it someone's incredibly long drive or something? Why would they even need that
edited 26th May '11 5:44:16 PM by mmysqueeant
From what I understand, US 89 turned off that road a while back, but a lot of people miss the turn. So they have a big "THIS IS NOT US 89" so people find out their mistake before they get too far off track.
A similar sign with a different design
◊
I don't think so. It just seems to be a special case for what's apparently an especially confusing route.
Heapers’ HangoutI'd almost make a forum game of this, but I'd want to title it "This Is Not US 89", and only the four or five of us would get that.
Heapers’ Hangout
