Dear Don, Has anyone ever proposed a definition for the difference between a bump and a intentional foot substitution? Point me there if you know. I surely don't and that's why I don't enter contests or make much effort to be published. Some thoughts: On first reading I do it sing-songy and therefore believe I'm more sensitive to bumps than most. On second reading I read more in monotone and many bumps disappear. As I have read aloud to the aged, many hearing-impaired, slow, carefully pronounced delivery also makes a difference. So when is there a bump? It may be similar to that falling tree. As I read your scansion, I found several cases where I read differently from your guidence: My style is to emphasize repetitious meter more than yours and so, here are some thoughts. line 2- is "free" necessary? line 3- I pronounced "bound" as an offbeat (SKY-bound) line 5- "on the deep/on deepest"? line 6- (SQUARE-rigged)? line 7- ("from foulest fate to blissful state")? line 8 - could faerie be punctuated to be pronounced as FARie? how 'bout "aflit"? line 9- "reMAINing SANE? line10 -"so SAIL/SAIL NOW" I see much alliteration in this piece. It is big in my style too and I believe it has impacted the cadence. I overuse alliteration and I fear I've foisted it on you. Fear not if it's too much for you. Your lines 7,8 &9 make me smile and have motivated this last hour! Don, I don't like to critique to this degree, but as we share intense views about cadence, I think the devil made me do it! Cheers, Ron jgd
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