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I'd never thought of ASL poetry in terms of accrostics before.  I'd always
considered it more analagous to alliteration, but it *does* have
accrostic-like features, now that you mention it.

Adam

On Wed, Nov 16, 2011 at 1:02 PM, Leland Kusmer
<[log in to unmask]>wrote:

> I'm not sure where the sestina form fits in your list of parameters  it
> determines actual words used, so isn't quite rhyme. Also consider acrostic,
> where the first letters of the lines spell a word. (This is a form much
> used in ASL poetry  basically, forming a pattern among the handshapes of
> successive words, either having them spell a word in English or having them
> simply follow a known pattern, like a segment of the alphabet or the
> integers.)
>
> Luc bat looks awesome! Thanks for finding that.
>
> On Wed, Nov 16, 2011 at 1:50 PM, Adam Walker <[log in to unmask]> wrote:
>
> > Interesting.  I'll look at that one.  I just learned about Burmese yada
> > which uses something called climbing rhyme where the rhymed words drift
> > backward through succeeding lines.  And luc bat is an interesting
> > Vietnamese form.  Though both of these depend on rhyme in some form.
> >
> > So far it looks like poetry depends on one or some comination of the
> > following:
> >
> > rhyme -- ending words the same
> > alliteration -- begining word the same
> > parallelism -- contrasting/comparing ideas
> > syllable counting
> > stress or tone paterning
> >
> > Are there other structures?
> >
> > Adam
> >
> >
> > On Wed, Nov 16, 2011 at 12:39 PM, Leland Kusmer
> > <[log in to unmask]>wrote:
> >
> > > The oddest poetic form I've ever encountered in English is the
> > sestina[0],
> > > which prescribes not rhymes but literally the words used to end each
> > line 
> > > the final words of the lines in the first stanza must reappear as the
> > final
> > > words of the lines in the later stanzas (but in a strictly defined
> > changing
> > > order). Examples that I've seen in English often feel free to
> substitute
> > > either homophones or differently-inflected forms; this could be really
> > > interesting in a highly inflected language (where only the word *root*
> > must
> > > recur). It could also be interesting to create other patterns
> > > of recurrence, or to integrate line-internal constraints of some sort.
> > >
> > > -Leland
> > >
> > > [0] http://en.wikipedia.org/wiki/Sestina
> > >
> > > On Wed, Nov 16, 2011 at 1:11 PM, Adam Walker <[log in to unmask]>
> wrote:
> > > > I'm doing NaNoWriMo this year (first time for me) and my novel
> already
> > > > includes bits of Tvern El, Trelkairni, B-G-2-3 (after a fasion),
> > > Grravgaaln
> > > > and English heavily laced with Fthsaisthf idioms.  Now I am preparing
> > to
> > > > compose a poem that will be rather important to the plot, though I
> > > haven't
> > > > decided which charcater will get to speak the poem (and thus haven't
> > > chosen
> > > > the language in which to compose it) but I want to use a, well exotic
> > for
> > > > lack of better term, poetic *form*.  I am familiar with rhymed verse,
> > > > metered (blank) verse, free verse, alliterative verse,  parallelism,
> > > haiku,
> > > > and know that Somali verse includes some rather arcarne internal
> > > > constraints that I can't recall the operation of atm, but I'm sure
> > there
> > > > must be other poetic forms out there that would be managable, but
> quite
> > > > strange to a standard average reader of SF.  Does any one have
> > > suggestions
> > > > for forms I should research?
> > > >
> > > > Thankees all around in advance
> > > >
> > > > Adam
> > > >
> > >
> >
>