Editor's Note: In a comment the other day on "Persimmons in sestina," I gently cajoled my contributing editors for their lack of enthusiasm for the trestina form of verse. I told Neophyte that until his kind comment came along—"You all have crafted a fine poem, a minimalistic tour de force"—I was amazed at the extent to which my efforts had fallen with a thud on Moristotle's readers and on the other members of its editorial staff.
Well, wasn't I delighted, then, to receive from Contributing Editor motomynd the moral tale told in trestina below, with the cover note: "Your cajoling about your editorial staff's lack of effort on their trestinas finally goaded me into action."
I really appreciate motomynd's taking the time to commit his clever crime in rhyme*; it had not occurred to me to choose a set of end-words that rhyme.
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| This Saturday's voice belongs to Contributing Editor motomynd |
Though it isn’t technically a crime,
The questionable sin of the forced rhyme,
Will punish the abuser in due time.
Why would people think sentence ends must rhyme,
Forcing form to follow function takes time,
Neutering a mind is surely a crime.
Think what I could have done with this much time,
Instead I committed a heinous crime,
Good effort ill spent in search of a rhyme.
_______________
* A trestina is a brief form of sestina, of Morris Dean's devising, in which three (rather than six) end-words appear in a prescribed order in the poem's title and its three three-line stanzas, as exemplified above—in the three stanzas, if not in the title—for the words crime, time, and rhyme. (In the strict form, the words would have appeared in the title in the order, time, crime, rhyme.)
Copyright © 2012 by motomynd
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