Sestina Burlesque

It has been said solid alliteration
must not disturb the musical modulation,
and that a sure, set iambic meter
should syllabic two-step with rhyme,
providing that the connotation
does not interfere with denotation.

One could look at strong denotation
as supportive of subtle alliteration,
and concentrate the connotation
to amplify the import of modulation;
arranging stanzas to satisfy rhyme
with flagrant disregard to meter.

To use iambic panti in the meter
could elevate the cadence denotation
until it becomes unstable structured rhyme.
Utilize finer points of alliteration
to help emphasize tone of modulation
and try not to alter connotation.

But to rely heavily on conotation
could cause noticeable errors in meter,
not to mention lesson stressed modulation.
And assonance lends flow to denotation
as consonants do alliteration,
swaying the internal, external, substernal rhyme.

And should a showpiece refuse to rhyme,
will the strophes lose positive connotation
or gain distracting alliteration?
If the perfectly marching meter
declines to keep time with denotation,
will the whole thing rest on modulation?

One could selectively scansion modulation
irregardless of unsteady rhyme,
and place the denotation
squarely on the shoulders of connotation,
possibly pull the panti from the meter,
and upset the consistent alliteration.

So one could hope that connotation
will dance in rhythm with meter,
stressing unstrained sounds of alliteration.

1 comment:

The Guerilla Poetess said...

I love your writing. If you are ever interested in reading your poetry in a virtual world (Second Life) please contact me.

There is a thriving group of romantic and erotic writers in the platform that I would love to introduce you to.

Amazing stuff... thank you for the read.

Skylar Smythe
The Guerilla Poetess (c) 2009