Should I alter the criteria for the partenza represa?

Question

Originally I used an 8,6,8,6 beat which was pre partenza represa. I then decided to make the line all 8 beats to provide more structure, but still allow more freedom and creativity so rewrote my poem using 8 beat lines and decided to call the criteria good. However, I'm beginning to wonder if I should allow any number of beats provided they maintain a pattern because I still like the 8686 beat and I think that 5 foot lines would work nicely too. So, since I respect y'alls opinion, do I maintain a 8 beat line or allow any beat that maintains a pattern?

Answer 1

I think this challenging, and like the 8.6 as well.  If the 8 beat line is the pattern, that should be the main form, but as Haiku by the Masters do not always go 5,7,5, there might be some leeway.

[Neonman you're right, Common Metre, 86.86. That's why it's so easy to me.]

Answer 2

Maybe you should have a variation, one stands as it is now and the other that allows more flexibility... maybe a "partenza represa atropa belladonna"... it just sounds cool and makes everyone say "what's that?".

atropa belladonna - deadly nightshade.

Answer 3

Personally, I love the all eight beat structure, that is because my mind thinks very easily in eights. Normally I can attempt that structure without much counting.

However, since it is your form, definitely alter the criteria if you like. If possible, give it the best of both worlds, and let it have all 8's or 8/6. But, as Elaine said before me, It's your call, and we follow your lead, the form will still be beautiful.

Answer 4

Really it is your call, I find both the 8686 and 8888 a challenge and I appreciate the discipline required to write one.

Answer 5

Clearly the novelty of the form lies in the wrapping structure of its lines, and beat, as in other structured poetic forms, must be consistent; however, great poetry has been written with a variety of beat patterns so it is indeed liberating for the poet to establish his or her own accentual syllabic flow.  I would like to point out something that I think is an equally important consideration, and that occurred to me when I last posted a poem in this form, viz. the loss of syntactic authenticity when too many words are looped from one line to the next.  My partenza arose from two Onegin sonnets that were combined, in Trigee form, then split into seven four-line stanzas to nominally satisfy that part of the partenza's definition.  I felt that the sonnets were moderately strong as stand alone pieces (they were composed in great haste) but when combined, they gave a weaker partenza.  The reason was that too many words were occasionally looped. The poem did not hold together syntactically when the two sonnets were combined.  Of course, this raises the question of how much we should be wrapping around, and the "right" amount clearly depends on the syntax of the abutting lines. It is also an aesthetic consideration for the poet, but it bothers me that I made no effort to be more imaginative with regards to the product formed when sonnets were braided.  Does anyone else have a similar feeling about this problem and if so how would you rectify it?  Just curious.

Answer 6

On the seventh day she created the Partenza Represa and saw that it was good, and said "Alrighty then".

So is it official, any beat pattern as long as it's consistent?

(I know I came in late--you wouldn't believe the traffic)

Answer 7

It is yours to decide and everyone else to copy.  Somewhere I once read that the 8,6 lines were called the hymn beat as a lot of hymns use that structure.  

Answer 8

This is entirely your call. You are the creator of the form and we will follow you.