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Deborah Guzzi travels for inspiration: China, Nepal [during the civil war], Japan, Egypt [two weeks before ‘The Arab Spring’], and most recently Peru. First published at the age of sixteen, she writes articles for Massage and Aroma Therapy Magazines. Her poetry has been accepted in the Literary Journals of Western CT. University, Inclement Magazine, Pyrokinections, Jellyfish Whispers, Grey Wolf’s Summer Legends Anthology, The Germ, Wilderness Literary Review, The Anthology Sweet Dreams & Night Terrors, Bitterzoet Magazine, haiku journal, Contemporary Haibun Online, Bella on line, The Autumn Sound, Eskimo Pie, and Ribbons, The Inwood Indiana Review, Five Poetry, Tanka Society of America Journal, and 50 haiku. She has published two illustrated volumes of poetry, The Healing Heart and Heaven and Hell in a Nutshell.


Seamus Heany 'New School' Sonneteer


Blog Posted:10/23/2013 8:21:00 AM

Seamus Heany was MOST recent among us. He was born 1939 and died August 30th at 75, this year. He was an Irish poet, playwright, translator and lecturer, and the recipient of the 1995 Nobel Prize in Literature. Below you will see the first of the CONNECTED sonnets in his book of sonnets.



Glanmore Sonnets
By Seamus Heany                                         {syllable count}

1.  Vowels ploughed into other: opened ground.           10   
2.  The mildest February for twenty years                    10
3.  Is mist bands over furrows, a deep no sound           11  
4.  Vulnerable to distant gargling tractors.                    10
5.  Our road is steaming, the turned-up acres breathe.  12 
6.  Now the good life could be to cross a field                10
7.  And art a paradigm of earth new from the lathe        12 
8.  Of ploughs. My lea is deeply tilled.                            8
9.  Old ploughsocks gorge the subsoil of each sense       10
10. And I am quickened with a redolence                      10 
11. Of farmland as a dark unblown rose.                        9
12. Wait then...Breasting the mist, in sowers’ aprons,    11  
13. My ghosts come striding into their spring stations.   11 
14.The dream grain whirls like freakish Easter snows.    10


http://www.poetryfoundation.org/poem/178023

READ more of the poem there there's at least 8 more connected sonnets! 

*Note he does not divide the lines into quatrains
He does not use the constant traditional 10 syllables per line.

        His end rhyme pattern is [a,b,a,b - c,d,c,d - e,e,e,e - e,e]

He uses assonance and half rhyme to end rhyme in lines 2,4,6,8, 9,10,11,12,13,14.He goes completely out of any standard pattern for a sonnet in his last 6 lines.

Assonance is the repetition of vowel sounds to create internal rhyming within phrases
or sentences,  Assonance is a rhyme, the identity of which depends merely on the vowel sounds. Thus, an assonance is merely a syllabic resemblance. For example, in William Butler Yeat's poem, 'The Wild Swans At Coole', Yeats rhymes the word "swan" with the word "stone". Assonance is found more often in verse than in prose. It is used in (mainly modern) English-language poetry, and is particularly important in Old French, Spanish and the Celtic languages. * Wikipedia


Now let's look where he makes his TURN his VOLTA [very similar in concept to the  kireji, or cutting word in haiku] This is where the poets mind leaps, turn, FREE ASSOCIATES relating for him the similarities or difference as they see it between the 2 parts of the sonnet [before and after the VOLTA] TRADITIONALLY it is in line 9, and yes there is a mild shift there but I believe it is truly meant to be and felt in line 11, yes WOW, how modern is that!

The biggest thing to KNOW and to understand is, he KNEW how to write a metered traditional sonnet, and he CHOSE not to, he purposefully did what he did THERE IS NO CONSISTANT METER [the musical rise and fall in a pattern of your voice when you read it aloud] It is STACCATO  "detached, disconnected", past participle of staccare "to   detach, separate", aphetic variant of distaccare "to separate, detach" OR  is a musical term for notes that are played quickly   and sharply.

This was done FOR A REASON the topic called for it he speaks of his life and his writing connecting and disconnecting him from the land. So, his verse connects and disconnects YOU to IT, to him, and to the land.

Now, that was MY opinion jump in and argue if you like

ABOUT THE VOLTA about something in the structure of the poem QUESTION and together we will find answers FOR OURSELVES

 http://www.youtube.com/watch?v=uF0U0pVK0bk


Please enjoy the link to Seamus' verse

AND THANK Brian for making us aware of it!

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  1. Date: 10/24/2013 7:33:00 PM
    Wow Deb! You really topped yourself here...This stuff is WAY beyond my feeble little mind. I have written exactly one sonnet (Italian) and have not been able to write one since, and hello to Brian Strand, the Dean of poetry soup!!

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    Strand Avatar Brian Strand Date: 10/25/2013 4:13:00 AM Block poet from commenting on your poetry

    Hi Tim best wishes to you and your creative writing.My current interest is structured prose and aural( recited PHRASIS verse ) prompted by Heaney's work and Pinsky's books.
  1. Date: 10/24/2013 1:29:00 PM
    Thank you Brian it means a lot to me to hear that coming from you. I will do that this afternoon [I just walked 2 miles up and down a mountain LOL - nap time!]

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  1. Date: 10/24/2013 10:00:00 AM
    Debbie,Heaney's early poems are my favourites in his extensive repertoire..Mid -Term break is recited by him on youtube and is worth a listen..my especial favourite though his evocative 'The Guttural Muse' .No doubting his standing amongst 20th century Engish language poets. Another provocative blog Debbie, excellent its what PS should be about! Rgds Brian

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  1. Date: 10/23/2013 4:46:00 PM
    Yup Andie the [r's] have it I guess tractorrrrrrrrrrrrrrrs & yearrrrrrrrrrs [PS me either too much of a stretch but hey, who's shaking the Queen's hand there LOL]

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  1. Date: 10/23/2013 4:08:00 PM
    I have no problem with slight variation of syllable count. Shakespeare did it all the time! It would be cool to hear how this poet pronounced his words out loud. I bet they sound more like rhyme the way he is saying them in his mind: for example, Tractors rhymed with years! That's probably a rhyme I would never try for. However, I know many modern sonnets are depending more and more on assonance and alliteration to use "near rhymes" instead.

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  1. Date: 10/23/2013 3:13:00 PM
    Bly.....from my home state, has much work in assonance....cool Deb....

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  1. Date: 10/23/2013 2:11:00 PM
    Eileen the BIGEST point is to simply see ALL the options you have and if one doesn't work for you know how to try another ;)

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  1. Date: 10/23/2013 2:10:00 PM
    Becca NO problem we all know I could talk about this stuff... endlessly!

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  1. Date: 10/23/2013 11:55:00 AM
    Thanks ever so much, Debbie....This is a very informative and encouraging blog...I appreciate the time it took for you to get this information out to us. I'm not sure I'm sold on the idea, but who am I to argue with a Nobel Prize Winner's legacy? Will take time to come around. Hugs

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  1. Date: 10/23/2013 10:27:00 AM
    Becca that was from Wikipedia BUT we might consider that Yeats was English and perhaps with his dialect [ane & one] sounded more alike? Will do Becca

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