Meters Workshop

So it’s been quiet here!! And I really would love it if someday I can understand meters :) The judges comment in weekly challenge thread, also Hellon and Luce discussion inspired this idea.

I would start with what in my opinion, is the most common meter, or what they’ve been kind of teaching us at school, The Iambic Pentameter.

“ Definition of Iambic Pentameter
Iambic Pentameter is made up of two words, where pentameter is a combination of ‘pent,’ which means five, and ‘meter,’ which means to measure. Iambic, on the other hand, is a metrical foot in poetry in which an unstressed syllable is followed by a stressed syllable. It means iambic pentameter is a beat or foot that uses 10 syllables in each line. Simply, it is a rhythmic pattern comprising five iambs in each line, like five heartbeats.”
Source:
https://literarydevices.net/iambic-pentameter/

So anyone who knows how to write this, could you please give us an example line just one line. So we can also try writing lines. If you go to the link, there are some examples. And as soon as I can I will try writing a line and sharing it here!

Also if theres any other meter anyone would like to share feel free, discuss whatever you want :)

Hi there, as suggested by the judge who has put an effort in writing the below, will share his comment as an anonymous post, again, here as well:

***Judge****:

There are various ‘styles’ of sonnets, as I have mentioned before this note. When I read a poem (this being the case of a sonnet) where in brackets or attached to the title, I will assume that it is an ‘English sonnet’

So I stress the importance of which form of sonnet a poet is referring to, as it is important when it comes to judging such a style.
The strict style and form contain the elements to qualify as a Sonnet

1) 14 lines, each containing 10 syllables
2) Structure can be written in 3 quatrains (abab/cdcd/efef/)
3) A rhyming couplet to complete the sonnet (gg)
4) iambic pentameter *
5) Metrical value*

I feel that the first 3 points are pretty self explanatory, however I will give examples as I go along.

At the end of each line the final word is an alternate rhyming word as follows:

abab (first quatrain)

...... here (a)
...... gone (b)
...... clear (a)
...... song (b)

The 2nd and 3rd verse can be the same but the rhyme scheme becomes:
edcd/efef
The final 2 lines are known as couplets (gg) where both end words rhyme.
Now the challenge and difficulty of a sonnet is the flow, rhythm and syllable count.

Syllable counts are from one word alone or a word that is broken down into each syllable:

One = 1 syllable
Twenty = 2 syllables this being twen/ty
Forever = 3 syllables this being for/ev/er

And so on... it is important to firstly understand syllable count, especially with ‘formed’ rhyming poetry. Having said that, if its not formed, then you can have your own rhyme scheme.

Then you have to think about how words come together to make a formed piece flow-
As all words are either ‘stressed’ and ‘unstressed’

For example: apple = 2 syllables (ap-ple). The first syllable is the strongest part pf the syllable, even though it contains the least amount of letters

So looking at ‘apple’ in a rhythmic line, you have to marry up an ‘unstressed’ word, like –

‘The apple in your/ eye is there for keep’

which brings in the *meter* and also the* iambic pentameter* which is 2 sets of five equal words that flow.
As in the example above, which also contains the 10 syllables required in a sonnet line.

If I change the line around a little as below

‘the lovely apple is kept in your eye
the line contains 10 syllables, however the meter is out, as too is the iambic pentameter

‘apple’ doesn’t flow with ‘is’ which makes apple ‘stressed’ and also ‘is’

So it is about bring words together that flow

So the use of ‘stressed’ and ‘unstressed’ words in ‘formed’ poetry is important for the continual flow, no matter where you put/use exclamation marks. It must flow!

I will use the first verse in the writers poem as an example, but more importantly as inspiration

First verse of “Orbit of love”

‘I can only compare you, to the sun
With all memories, I still hold of you
Just like its beauty, you always would shine
I would absorb you, whenever in view

Okay so, I will break this verse down and explain now with ‘meter’ and iambic ‘pentameter’

Although the verse contains 10 syllables per line, and at the end of each line words rhyme alternate (abab) which is correct for an English sonnet, however the most challenging and difficulty is the ‘metrical flow’

(I can only compare you) is out of meter because of the ‘stressed’ and unstressed words used, the ‘iambic pentameter’ doesn’t work because of this, thus losing flow and balance.
Once this continues, the whole verse becomes out of ‘meter’

So look at this in ‘iambic pentameter’ which is 2 sets of 5 syllables ( or 5 feet also a term)

This could be read with commas to help with the meter, but I really do not feel this was the poets intention:

‘I can, only, compare you, to the sun’ as it breaks it up too much and the meter isn’t correct for a sonnet. also as you continue to read, it loses its flow.

So finally I will change the vers around, but keeping the value of the verse and its meaning by using all that I have mentioned – ‘iambic pentameter’ using ‘unstressed’ and ‘stressed’ words together to demonstrate meter and flow:

I will have to alter words so they flow:

I can only compare you, to the sun
With all memories, I still hold of you
Just like its beauty, you always would shine
I would absorb you, whenever in view

I can com-pare you / only to the sun,
For all my mem /o / ries lie there of you.
Its beauty just rem / inds me how you’d stun
And how you would abs / orb me when in view

The other poem I read:

‘The heart of my dreams’ (sonnet)

which was under the ‘sonnet’ style, I must be honest is not a sonnet in my reading or that I have come across. Unless there is such a style of ‘sonnet’ however this is certainly is not an English sonnet

Like I mentioned before, I like the content and themes, however neither are ‘sonnets’ as they should be, and if I am judging a poem in a ‘style; or ‘formed’ it will be the flow I am looking for as well as the content/theme.

As an example for point structure:

1 point for content
1 point for syllable count
1 point for rhyming
The maximum points for flow, iambic pentameter and what a sonnet should be, and the ‘style’ whether an ‘English sonnet’ Italian (origin) French and so on, along with styles such as:

Quatrain
Rondel
Rondeau
Nonet
And many more.

This does not take away how well poets write, however a ‘styled’ poem is why it has a particular form Rondeau

Great Post. Does anyone know which type of sonnet this is? The meter doesn't seem right to me but I could be wrong...

Let me not to the marriage of true minds
Admit impediments; love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
O no, it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

Nice post Star.

Hellon:

Let see, I’m quickly going through while my daughter falls asleep.

Rhyme scheme is abab cdcd efef gg
Meter is iambic pentameter

It’s a Shakespearean Sonnet.

There’s some lines with 9 and 11 syllables but the iambic is right. Line 7 though is a bit off. However, it doesn’t sound too bad.

But the flow is good.

This line too it’s a bit off due to the word “even to”
but it’s not too bad because it manages to go back to iambic with “the” The word “out” is strong and kind of forces a pause … that’s neat.

“But bears it out even to the edge of doom.”

Yes Luce, you are correct...it is a Shakespearian sonnet (Sonnet 116), actually written by the man himself. Like you say, the syllable count is off in a number of lines if we are to stick with what the judge says about each line having 10 syllables. It's not the first of Shakespeare's sonnets that I've found to be off count and that is the very reason sonnets, in general, confuse me. I mean, who's going to argue with a sonnet guru?

Whoever the judge is thank you really for the elaborate explanation. Its really interesting!!!
I still need to understand the stress/unstressed syllables part.

Luce you really amaze me lol, how you write and understand sonnets!!

Well, as far as my understanding of meter goes
…

Meter is a combination of type and number of feet it contains.

There are different types of meter. The most common ones are: (there are more)

Iambs (unstressed-stressed)
Trochees (stressed-unstressed)
Spondees (stressed-stressed)
Dactyls (stressed-unstressed-unstressed)
Anapests (unstressed-unstressed-stressed)

The most common number of feet found in lines of poetry are:

Monometer (one foot)
Dimeter (two feet)
Trimeter (three feet)
Tetrameter (four feet)
Pentameter (five feet)
Hexameter (six feet)

So, when someone says “iambic pentameter”, they are referring to the type of meter “iambic” and the number of feet contained in the lines “pentameter” which is five.

So, if I see a line with 11 syllables, for example

“That looks on tempests and is never shaken”

that LOOKS on TEMpests AND is NEVer SHAKen

I see there are five feet in iambic with one unstressed syllable left. I still consider that line to be iambic pentameter, and I don’t see it as a big deal.

Now, when I see a line with 9 syllables, for example:

O no, it is an ever-fixed mark

o NO, it IS an EVer-FIXED mark

I can only count four feet in iambic and this line is not iambic pentameter is actually iambic tetrameter. However, there’s an unstressed syllable left and there’s room to make it into five feet. Also the flow is not interrupted, so, it’s not too big of a deal. If on the other hand there where 8 syllables, that makes that line immediately as iambic tetrameter.

In other words, at least for me, if I see 11 syllables I have no issue because I’m still having five feet in iambic. If I see 9 syllables, I have an issue but if the flow is good and I see that the rhyme is not force, I let it go. But if I see 8 syllables, then it’s a no no from me.
I will immediately say the line needs to be fixed.

As far as Shakespeare sonnet, thanks for sharing by the way, I though it was neat the way he wrote it. It showed skilled.

I don’t know about the judge but for me I don’t look for the ten syllables. I would preferred if there’s ten syllables because that gets closer to perfection but as long as flow, rhyme, and most of the specifications are followed, I would deem it a sonnet.

Hi all :)

this looks like an interesting thread STAR, particularly as I like formed poetry (my favourite being Rondeau) as for Sonnets I have struggled with these in the past, but thanks to the judge and Lucero it brings more light into the subject :)

I feel that rhyming poetry should have a nice flow. If I, ever do rhyming poetry, I try not to use words that are forced to rhyme just for the sake of it. I feel that rhyming is an art to itself in some respect, and I guess with all formed rhyming poetry as I know with a Rondeau as well as the story, the words used complement it.

Maybe we could all post an attempted sonnet, as this is the thread set by STAR here, then we can share our perspectives? Just an idea.. Lucero can be the Judge and jury ;))

Much love M.

Haha nice suggestion Michael. I’m okay with that. I love your rondeau’s by the way. I also kind of miss Mr. Darcy and Ben this thread remind me of them. Oh well, so we could do that. Would you like me to pick a winner? Or do we do it like a workshop? Or both? I mean, week one and week two, people post sonnets, I and anyone else can comment and give suggestions. Week three post edited poems? And submit for voting?

Hi Luce.

Yes there are members that are missed, but also leave a sort of legacy haha!

I'm happy to go with a competition and for you to collate the poems. It doesn't matter about winning, more importantly you could critique, comment and show where we have missed a beat, so to speak.
So a show of poets hands would be a good start, as long as you're happy with the tedious side of judging ; )

.. just to add that we have some great material from yourself and the judge to refer to as good pointers :)

Sounds like a plan. Just post them here and I’ll comment.

Okay, I will get the ball rolling...

I, Sonnet.
~~~~~~

I’m read in lines, that hold a rhythmic beat,
my form is strict, and rules are there to test,
I think about the tapping of my feet;
and feel the words, that beat within my chest.
My terms are stressed but also come unstressed
For words to link and keep a metric flow.
You must surmount your ink to meet your quest;
A laboured love that in the end will show.
Each stanza holds a metered line of four,
where syllables, are split down into ten.
You have to hold a flow without a flaw,
and finish with a stave to rest your pen.

Just like the sea that moves in ebbs and flows
fill up your quill with ink and dip your toes

Let’s see:

This is how I’m reading the sonnet. Capital letters are where I’m putting the stress.

I’m READ in LINES, that HOLD a RHYTHmic BEAT
my FORM is STRICT, and RULES are THERE to TEST,
I THINK aBOUT the TAPPing OF my FEET;
and FEEL the WORDS, that BEAT withIN my CHEST

my TERMS are STRESSED but ALso COME unSTRESSED
for WORDS to LINK and KEEP a MEtric FLOW.
you MUST surMOUNT your INK to MEET your QUEST;
a LAboured LOVE that IN the END will SHOW.

each STANza HOLDS a MEtered LINE of FOUR,
where SYLlaBLES, are SPLIT down INto TEN.
you HAVE to HOLD a FLOW withOUT a FLAW,
and FINish WITH a STAVE to REST your PEN.

just LIKE the SEA that MOVES in EBBS and FLOWS
fill UP your QUILL with INK and DIP your TOES

Now, rhyme scheme. I’m a bit conflicted. I’m not sure whether it is a Shakespearean sonnet.

Let me try to explain.

First stanza: “beat” rhymes with “feet” and “test” rhymes with “chest.” So rhyme scheme is abab.

Second stanza: “unstressed” rhymes with “quest” and “flow” with “show.” So technically, the rhyme scheme would be cdcd. However, “unstressed” and “quest” also rhymes with “test” and “chest.” That would make the overall rhyme scheme of the two stanzas to be abab bcbc.

Third stanza: to me “four” and “flaw” doesn’t rhyme. I mean, “four” could rhyme with “chore” or with “metaphor” but with “flaw?” (But then again I’m not the best with pronunciation so someone else can jump in and give their opinion.) for now, I’ll assume it does rhyme. Then we have “ten” rhymes with “pen”. So rhyme scheme is dede.

The couplet: “flows” and “Toes” rhyme so we have ff.

Overall this is the rhyme scheme i get: abab bcbc dede ff

We have to be very careful with our rhymes. The sonnet requires different rhymes in each of the stanzas. If not careful, we can change the overall rhyme scheme and come up with perhaps a different sonnet?

Iambic is good. I only have a doubt in third stanza the part “each stanza holds…” when I read it I feel like I put too much emphasis in “EACH”. So I’m not too sure about that part.

As far as content, I like that you are personifying the sonnet. You are giving the poem a voice of its own. So you got me hook up with the first line. The second line though, “and rules are there to test” sounds like a filler.

Perhaps say something like:

my form is strict with rules meant to be followed

And change the last line to something else?

Or

my form is strict with rules. I guess, I’m blest

Or

My form is strict. It’ll put you to a test?

Learning so much from this, already! Thanks for the awesome post, Star. And thanks to everyone else so far for the replies, too. I think sometimes I get stuck in my own head with meter. It seems complicated at times, but that's when I overthink what syllable of a word is stressed. Reading examples of Shakespeare is the first thing that comes to mind, and it's what we studied a lot in theater classes too when I was young. Just getting the rhythm of words down and delivering those monologues in a natural way that mimics regular speech, which already has a cadence I think. I think a lot of words lend themselves to being more identifiable - in terms of what syllable should be stressed based on what we usually say when speaking the word, yet for others, I've had to really think about HOW we say it. That's why meter has sometimes felt elusive to me. I don't actively think of words like "AM-bu-lance" where the stress is the first syllable... or the noun REB-el that changes stress when it's a verb to reBEL if I'm thinking about that correctly. Also, looked up some examples. BeWARE, comPARE, deSERVE sound better read aloud with the second syllable stressed, it's just not something I consciously think about unless someone points it out.

Come to think about it, iambic is the meter closest to the English language. I mean, it is more natural in terms of where the stresses are located. Im not sure how to explain it. I actually don’t think about where the stress goes. When I write I just write. Sometimes I don’t know where the stress goes, I just look it up in the dictionary. I think the more practice, the more in tune one becomes with the meter. It’s like everything else, practices makes better.

Here is what I wrote:

Today I wonder now and then again
If I should keep on posting on this thread?
It feels that it might as well be a pain
Since Sonnets are a subject often dread.
Just look at the discussion on this page
There’s Poet-on-the-Piano on one end
while at the other, there’s Star disengaged
I guess I just miss Ben, my Poet-friend;
his daughter, Keira; Mr. Darcy, too;
And Darren, Darren’s bravery above all.
I wish they’ll join me here. I really do.
I wish that Sonnets be like alcohol
Perhaps then many will enjoy them more
Perhaps then I would keep on posting more

P.s. by star disengaged I meant, (where’s the attempt at least give me one line) lol?

Luce I couldnt stop laughing after reading this, and even the explanation lol. I truly was excited for this thread, then my mind went blank I couldnt write anything, the unstressed/stressed part stresses me!

Here is my attempt line:
For you I wrote a line I knew is wrong.

^^

For me you wrote a line you knew was wrong
And here you had me thinking twice, nah thrice!
I read this line you wrote for very long
I read it fourteen times to be precise
I heard a rhythm as I read aloud
I scratched my head and rolled my eyes then sighed
You know, this site can gather a large crowd?
And all can see that you, my friend, have lied.
but oh, I dare to say this line is right
At least in terms of meter, it is fine
Yet meaning wise, it contradicts, alright
because this line you wrote is just divine
You think that line is wrong but it is not
Though it is wrong to garnish up that thought

How do you do that? I love how you can write a sonnet about anything!!! And I dont get how I got it right lol.
Should I graduate to a stanza then?

Nicely spotted Luce with the rhyme scheme, and the 'four' and 'flaw'

So a couple of alterations, and I enjoyed your last attempt on the sonnet :)

(a) I’m read in lines, that hold a rhythmic beat,
(b) My form is strict, and words all play their part.
(a) I think about, the tapping of my feet;
(b) and feel a pulse, that beat within my heart.

(c) My terms are stressed; but also come unstressed.
(d) My words must link, and keep a metric flow.
(c) You must surmount, your ink to meet your quest;
(d) a laboured love, that in the end will show.

(e) My verses hold, a metered line of four;
(f) where syllables, are split down into ten.
(e) I am a form to write but not a chore
(f) and two more lines and you rest your pen.

(g) Just like the sea that moves in ebbs and flows
(g) fill up your quill with ink and dip your toes

Star

How do I do that? I wait till I have some free time without any interruptions and I just let the emotion guide me until im inspired. I usually just have an hour and if lucky … two. So I have to make it count lol.

“For you I wrote a line I knew is wrong.“

For the most part articles (a,an, the) are unstressed. It will depend on the line though but the majority of the times they are unstressed.

for YOU i WROTE a LINE i KNEW is WRONG

^ that’s how I read it. Meter wise is fine. :) so definitely, go for the stanza!

Michael, I’ll get back to you. But a quick read and sounds better. There’s just one line that sounds a bit off but I’ll get back to you once I have some free time.

Wanted to post what I have so far, meaning anyone can add or edit or do whatever haha.

It's been a whole day and I haven't been able to add anything else to it. Seeing the stressed syllables capitalized in previous posts did help though, I just feel like when attempting at writing this, I overthink and force words, but that could also be because I don't usually try writing these so it would take lots of practice and exercises perhaps? I felt stuck even with these few lines, trying to get a flow,

What is the easiest way to start? I feel like I'm either focusing on the rhymes too much or the syllable count without actually creating meaningful content.

A The autumn wind uplifts my troubled soul
B A melody of gold and warmest hues
A An anchor with a message to console
B That challenges my deep and darkest blues

Hi MA. :)

It is difficult thinking of a subject to write about, let alone all the rhyming, syllable counts and the task in hand of formed poetry.

I definitely think you’re onto this. I kept reading your first stanza to think about where to go as a theme.

So I would say to continue thinking about what ‘autumn’ means to you.
I felt there is something in autumn that holds different emotions for you? Tough but also serene, dark but also relief?

A sonnet about your feelings of Autumn, great!
Because of the theme you set, I wrote a second verse, which may or may not help with a sort continued theme, but only where i'm coming from..

(c) A time of year when thoughts let in the cold
(d) but also keeps the ice thawed in my heart.
(c) Such beauty in mine eyes I do behold;
(d) but always know, that darkness plays a part.

Hope this helps, i am certainly no expert haha :)

This is how I read it.

a) I’m READ in LINES, that HOLD a RHYTHmic BEAT,
(b) My FORM is STRICT, and WORDS all PLAY their PART.
(a) I THINK aBOUT, the TAPPing OF my FEET;
(b) and FEEL a PULSE, that BEAT withIN my HEART.

(c) My TERMS are STRESSED; but ALso COME unSTRESSED.
(d) My WORDS must LINK, and KEEP a MEtric FLOW.
(c) You MUST surMOUNT, your INK to MEET your QUEST;
(d) a LAboured LOVE, that IN the END will SHOW.

(e) My VERSes HOLD, a MEtered LINE of FOUR;
(f) where SYLlaBLES, are SPLIT down INto TEN.
(e) i AM a FORM to WRITE but NOT a CHORE
(f) and TWO more LINES and YOU can REST your PEN.

(g) Just LIKE the SEA that MOVES in EBBS and FLOWS
(g) fill UP your QUILL with INK and DIP your TOES

Rhyme scheme: abab cdcd efef gg
Meter: Iambic Pentameter

Alright! You got the rhyme scheme and the meter. Now, something that i haven’t talked much about but that it is really important, what is the purpose of a sonnet?

A sonnet is not just having a rhyme scheme and getting the meter right. A sonnet needs to have a Volta (a conflict, a twist) too.

In your poem, you are personifying the sonnet and the sonnet is basically introducing itself. The sonnet is telling us what he/she is composed of. And In a way, with the couplet, it’s asking us readers to give birth to it, or at least that’s how I’m interpreting it. However, what is the conflict/twist? I’m not really seeing it. May be, it’s in line 11?

Michael! Thanks for the reply and encouragement. I'll see if I can work on this some more this weekend, and I love the lines you wrote :)

Luce, that's a helpful point about the theme too, having a conflict. Good reminder to not JUST focus on meter and rhyme, since that may make it technically a sonnet, but there is much more that's a part of it. I don't think I've heard of "Volta" before so that was interesting.

I have a question, doesnt the different accents/pronunciations change the way words are stressed and unstressed?

They do, that's why some of shakespeare's sonnets aren't 'sonnets' or don't rhyme anymore, as pointed out by hellon.

https://www.youtube.com/watch?v=tMwAHeAdL80 here's a reading of sonnet 116. Words like marriage, remove, fixed were pronounced differently back then. Then came the 'Great Vowel Shift' which changed how words were pronounced because of mixing of populations, borrowing from other languages, and such.

NPR article touching on it, https://www.npr.org/2012/03/24/149160526/shakespeares-accent-how-did-the-bard-really-sound

Thats soooooooo interesting!! And makes everything even more confusing lol

Mary Anne

Well, I have heard about the Volta but so far what I know about it is that each variation of sonnet may have the Volta/twist/conflict/turn-of-idea in a specific line. The Shakespearean usually have it at line 9 or at the ending couplet. So basically, I could start the poem as I am sad right now, and continue with that idea but then I change it towards the ending by saying something like “but I will not be anymore for now onwards… Etc “

Star,

Oooo, yeah. What Mark said. I found this link to be really interesting:

https://www.ravenboymusic.com/sonnet-more-like-shakespeare-five-things-he-does-youre-probably-not-doing/

I’m not too familiar with Shakespeareas works. I read a few poems of his, here and there, but haven’t really studied his writing. However, with the few I read I got the feeling he was experimenting and having fun. Lol
Also, I have always believed that we are a new generation of poets and that we should write according to how we speak day to day. If by chance, you are writing a form poem and turns out it doesn’t follow the rules of the poem, you can decide to leave the poem unedited or edited. Ultimately, you are the one writing it. So, it’s totally up to you. Just be mindful that if the poem doesn’t follow the rules, you are most likely going to receive a critique about it specially if you titled the poem with the specific name of the type of poem, example (sonnet).

And I lost my train of thought… kiddos

Be back later

Luce that does make sense and isnt that the beauty of poetry? Like if you mess up a form you still have a poem right!
I was thinking that I’m sure I may pronounce some words differently (maybe wrong too lol) thats why I asked. Also I know for a fact that accents can change pronunciation. So what if it sounds right to you but not for me when I read it. Or what if it sounds right to me when I write, but so wrong for you when you read it? I dont know if this makes sense :)

MA,

Sorry for the late reply.

I actually started writing in meter without knowing what it was. A fellow poet commented and told me that my meter was off but that it was a nice attempt. Haha I was clueless of what he was talking about. So I started searching for answers and eventually discovered more about it.

I initially would write by listening to the beat. I would start by feeling an emotion and thinking of a word, then I would read it in my head and I would feel some sort of melody. I just followed the melody and didn’t pay much attention to meaning.

So, when I learnt a bit more about meter, I wrote some poems focusing only on rhyme. Others focusing only on meter (getting the melody right without regards to meaning). I also wrote some only focusing in syllable structure without paying attention to stresses not rhyme. Then I finally try to put everything together.

As far as your attempt, this is how I’m reading it

the AUtumn WIND upLIFTS my TROUbled SOUL
a MELoDY of GOLD and WARMest HUES
an ANchor WITH a MESsage TO conSOLE
that CHALlengES my DEEP and DARKest BLUES

It’s good!

Star,

Well, if it sounds wrong to you, let the poet know. I did let Michael know that “four” and “flaw” didn’t rhyme to me but that I’m not the best with pronunciation. So, that lets the poet know and he/she can do research of their own if they disagree with me. Whenever I’m in doubt, I just check the dictionary. At least, we have that advantage over Shakespeare lol. If we don’t know how to rhyme, use a rhyming website. No biggie. What matters is the end product and how you feel when writing a poem.

True!!
Btw I didnt abandon the stanza writing challenge, it’s just not easy lol!

^the clock is ticking
but please be calm
you got the time
to make this count

tick …

I think I'm all over the place lol, but here you go my meter teacher:

For you I wrote a line I knew is wrong.
but when you ask when will I write this verse,
I shy from words now time I can’t prolong,
a chance I need to understand the stress.