@Hoss@CobaltSasquatch I've been rewatching it lately. It has aged extremely well almost in a Calvin & Hobbes kind of way, and it really captures the essence of mid-to-late 20th Century Americana. Antonucci was a genius with a great writing team, and knew when and how to favor funny visuals and surreal slapstick over ivory tower jokes (and vice versa).
@Hoss@CobaltSasquatch I really liked the bit where he pulled on Eddy's wallet chain as a crank for Eddy's helicopter hair and Double-D told him to show how he did that sometime.
1. I'm a Christian, so I consider all creative endeavors to be practice for when God has me do larger projects after my time on Earth. 2. Many of my favorite authors are people who are and were unpopular, especially in the mainstream. Edmund Spenser, George MacDonald, Lord Dunsany, Clark Ashton Smith, and William Allen are only known in literary or very niche circles, but their respective contributions to literature are broader today than most people realize. Consider that the Beowulf poet, the Gawain poet, and the Rood poet are each anonymous, but their works are widely read by English scholars. Beowulf spent a good five centuries in obscurity before someone rediscovered it in a noble's personal library, and now it's often required reading for any serious English scholar. My point is that your work may not be recognized immediately or even in your lifetime. The point is to leave something timeless or fun or insightful for people to ponder and to look to for inspiration long after you're gone from this world.
@BowsacNoodle Please help me understand: what qualifies as a 2×4? Is it where the end of the board is 2" by 4"? If so, then why do so many 2×4 boards look so flat?
Also, I don't want to string together several stanzas and would prefer to limit things to the butterfly or strict mirror. The idea is to keep the spell airy and light in weight.
I use rhymezone often, but I don't like it because I consider it cheating.
To be clear, I don't want to use haiku specifically. I was looking for a short form from the western European tradition for air elemental spells. After discovering both the American cinquain and the Spanish quintilla, I decided to combine them. With the cinquain, there are longer forms which involve mirroring the structure:
2 4 6 8 2 8 6 4 2
^ for "butterfly" mirror
2 4 6 8 2 2 8 6 4 2
^ for strict mirror
What's getting me is the final two syllable line. It's difficult to finish off an idea. Perhaps I should use iambic commands on both the first and final lines. I have to play around with it.
Decided to combine the American Cinquain and the Spanish Quintilla into a "new" poetic form.
Five lines Iambic 2 syllable first line 4 syllable second 6 syllable third 8 syllable fourth 2 syllable fifth Two end rhymes, no ending couplet (e.g. ABABAB, ABBAB, ABBBA, ABAAB)
It's difficult to get something good. Maybe I should try haiku principles.
What poetic form would you associate with the classical Greek and Classical Chinese elements (earth, water, wood, metal, fire, and air)? And which form would you associate with "light magic" or "divine magic"?
Here's what I'm thinking:
Fire - Petrarchan sonnet (ABBAABBACDECDE); lay a foundation of quatrain wood for an enlightening conclusion
Metal - Villanelle; repeating refrain and solid structure emulates the solidity and geometric nature of refined metals
Air - not sure yet...
Earth - not sure yet...
Wood - Spenserian stanza; sing-songy and easily fashioned into a multi-stanza poem like a forest pushing out its borders
Water - Shakespearean sonnet; ebb and flow in first three quatrains finishing with a couplet like the break of a wave on shore
Divine - not sure...
Other poetic forms to consider are rhyme royal, haiku, and alliterative verse like early Anglo-Saxon and later Scandinavian poetry. I was thinking Air would be Haiku (light and transient). I was also thinking of using Rhyme Royal for Divine/light and possibly using the perfect sonnet form (ABBAABBACDCDEE) for water.
I would prefer to keep this to forms that work well in English; I'm hesitant to use Haiku or other forms measured by syllables instead of metric feet like Chinese poetry. I would also prefer to steer clear of super complex forms like the rondeau.
C.S. Lewis personified lust as "brown girls" in his Pilgrim's Regress. He based it on two things: a dream he had and an allusion to a work by William Morris. In the dream, Lewis encountered a naked bronze-skinned girl on a carriage giving him a smug look that said "Yes, I know; isn't it a scream". In the Morris work, the protagonist has several encounters with lusty women in the countryside and describes the women as tanned or bronzed.
@BowsacNoodle an old jewish couple did this to me once. It was like I'd told them I would kill their firstborn. I've never seen someone get so angry and pugnacious so quickly.
As the race war begins, so, too, does my Christ-centered sword and sorcery series.
Thanks to @BowsacNoodle for the feedback. I shall edit my first story and send it in to see if any magazines want it. Pray to the Lord of the harvest for the ultimate salvation of those on both sides of the race war and for the victory of the righteous in it! The harvest is plentiful, but the workers are few!