A Sketch
#1
Indeed, as young Elia was informed,
the girl around whom he too late discovered
much of his recent mental fight revolved
was already at home, already dressed
in what the lady of the house had lent
for evening rest. Against the door he knocked
unmindful of what other ladies slept
within the chamber, for he knew full well
such serfs and guests were elsewhere to be found
at such an early hour. "Will you not sup?"
he asked, and Anna faintly answered him:
"Pardon me but if all that yesterday
I faced had left me like an autumn apple
blemished by falling hard onto the earth,
today I am the selfsame fruit which time
has further softened. Still, my friend, come in:
I'm not so tired that I cannot converse."
The girl was lying on her back, arms crossed
over her chest, yet both her eyes were open,
just like her lower lip---the wound still fresh,
the bruises on her shoulders scarcely hidden.

Next, she inquired, “Were you from your own work
let go so late, that only now we meet?”
To which the novice shook his head and said,
"Rather, I had some business to attend
before I reached the inn." And here he spoke
of such bold feats as asking for his scrip,
approaching the magician, hiring him,
and through his aid divining what the dream
which had so bothered him the other night
likely portended, only he was moved
by fear of scandal not to share his vision
nor his conjectures over what it meant.

So Anna smiled. "If only what I faced
this day demanded as much strength of mind
than of this feeble body. I arrived
less than an hour past dawn, while everyone
was still with gruel and cuts of last night's bacon
breaking the evening fast. I was quite eager---
rather, I had my guess on what's to come,
so I partook of little what they offered,
and when they had wiped clean and sheathed their knives,
exchanging them for implements of war,
I knew I had guessed right. At first they tried
what yesterday they tried: how swift I ducked
or blocked their every blow, how well I aimed,
how deep into the flesh my blade might cut,
and if encumbered by a suit of mail
I moved apace, I struck as hard and sharp,
until---while yet so burdened by the suit
of many-layered wool and metal rings
they had me lent---their purpose seemed to shift,
trying instead the other pagan virtue
most precious to their ilk. Carmilla barked
command after command, and with such weight
I marched beside the city walls, I jogged,
I sprinted to and fro two posts, I matched
the gait of two of her lieutenants moving
one before myself, the other behind,
receiving when I lagged or overshot
a lash across the shoulders or a swipe
along my waist---I stood out on the open
when on the third bore down a heavy rain,
when on the fourth the dreary clouds were drained,
when on the fifth the muck and dew had faded,
when on the sixth the summer sun was roasting,
again this flimsy mass of flesh enduring
strikes at the merest turn or tilt or twitch---
and then, when they broke out the midday meal,
what they'd reserved for me instead they mixed
with what they fed their dogs. I was abused
and yet, just as before, with every smart
I felt myself move forward by a step
along the path to which I had been set
by coming here, by meeting with Carmilla,
by living through the life which my dear mother
lived long before she had me." Her smile deepened.

"But at some point your games were interrupted?"
Elia questioned her, and she replied,
"Indeed they were, by some unlikely guest
whose name I did not catch, though he was honored
enough by our commander to dismiss
most of us from the inn. Oh my dear friend,
pardon me how it never crossed my mind
that I should check the room where you were working
once I returned: I was full occupied,
first with the leavings or the half-prepared
ingredients that this house could offer me
between the proper mealtimes, then with this
nigh-catatonic state you find me in---"

"His name is Odo”, Elia intruded.
“He’s lord of all this country, and he came
calling Carmilla and her men to war.
I’m sorry, Anna, but this interruption
will far exceed tonight.” He bowed his head.

“Rather, the step extends into a leap!”
and Anna all the aches her muscles felt
she readily forgot as she shot up.
“A war, at last, a war! A stricter test
yet by such strictness better proving strength!
A beating bloodier, a lack more sure,
yet by such hardships making moderate!
A chance at fame and glory---or at death---
yet both ways surely lead to the same end!
A war!” Then to her messenger she turned
and planted on the lips one solid kiss
which she broke off at once when she espied
how much the evening twilight had dissolved.
“These streets are still too new to me---I’ll need
some sort of guide---Elia, come with me!
Take me back to Carmilla! To the inn!
She’ll know what I intend.” So Anna stood.

The kiss recalled the words Elia’s master
furnished him over his unsettling dream.
To think his vision passed through gates of horn
is surely Pride, to think through ivory
is surely Prudence, while the middle way
now seemed most likely: either that it bore
on Prudence which the novice coveted---
on Prudence he now figured Anna lacked---
or else he coveted some other thing,
some other subject than he thought he’d seen.
And even barely dressed, her hair a mess,
her eyes weighed down by bags, her lower lip
split just off center, patches black and purple
about her shoulders, callouses and scabs
peppered across her digits and her knuckles,
Anna was still more beautiful than ever.


Indeed, as Elia was told, the girl
around whom he too slowly realized
much of his recent upset did revolve
was already at home, already dressed
in what the lady of the house had lent
for evening rest. Against the door he knocked
unmindful of what other ladies slept
within the chamber, for he knew full well
such serfs and guests were elsewhere to be found
at such an early hour. "Will you not sup?"
he asked, and Anna faintly answered him:
"Pardon me but if all that yesterday
I faced had left me like an autumn apple
blemished by falling hard onto the earth,
today I am the selfsame fruit which time
has further softened. Still, my friend, come in:
I'm not so tired that I cannot converse."
The girl was lying on her back, arms crossed
over her chest, yet both her eyes were open,
just like her lower lip---the wound still fresh,
the bruises on her shoulders scarcely hidden.

Next, she inquired, “Were you from your own work
let go so late, that only now we meet?”
To which the novice shook his head and said,
"Rather, I had some business to attend
before I reached the inn." And here he spoke
of such bold feats as asking for his scrip,
approaching the magician, hiring him,
and through his aid divining what the dream
which had so bothered him the other night
likely portended, only he was moved
by fear of scandal not to share his vision
nor his conjectures over what it meant.

So Anna smiled. "If only what I faced
this day demanded as much strength of mind
than of this feeble body. I arrived
less than an hour past dawn, while everyone
was still with gruel and cuts of last night's bacon
breaking the evening fast. I was quite eager---
rather, I had my guess on what's to come,
so I partook of little what they offered,
and when they had wiped clean and sheathed their knives,
exchanging them for implements of war,
I knew I had guessed right. At first they tried
what yesterday they tried: how swift I ducked
or blocked their every blow, how well I aimed,
how deep into the flesh my blade might cut,
and if encumbered by a suit of mail
I moved apace, I struck as hard and sharp,
until---while yet so burdened by the suit
of many-layered wool and metal rings
they had me lent---their purpose seemed to shift,
trying instead the other pagan virtue
most precious to their ilk. Carmilla barked
command after command, and with such weight
I marched beside the city walls, I jogged,
I sprinted to and fro two posts, I matched
the gait of two of her lieutenants moving
one before myself, the other behind,
receiving when I lagged or overshot
a lash across the shoulders or a swipe
along my waist---I stood out on the open
when on the third bore down a heavy rain,
when on the fourth the dreary clouds were drained,
when on the fifth the muck and dew had faded,
when on the sixth the summer sun was roasting,
again this flimsy mass of flesh enduring
strikes at the merest turn or tilt or twitch---
and then, when they broke out the midday meal,
what they'd reserved for me instead they mixed
with what they fed their dogs. I was abused
and yet, just as before, with every smart
I felt myself move forward by a step
along the path to which I had been set
by coming here, by meeting with Carmilla,
by living through the life which my dear mother
lived long before she had me." Her smile deepened.

"But at some point your games were interrupted?"
Elia questioned her, and she replied,
"Indeed they were, by some unlikely guest
whose name I did not catch, though he was honored
enough by our commander to dismiss
most of us from the inn. Oh my dear friend,
pardon me how it never crossed my mind
that I should check the room where you were working
once I returned: I was full occupied,
first with the leavings or the half-prepared
ingredients that this house could offer me
between the proper mealtimes, then with this
nigh-catatonic state you find me in---"

"His name is Odo”, Elia intruded.
“He’s lord of all this country, and he came
calling Carmilla and her men to war.
I’m sorry, Anna, but this interruption
will far exceed tonight.” He bowed his head.

“Rather, the step extends into a leap!”
and Anna all the aches her muscles felt
she readily forgot as she shot up.
“A war, at last, a war! A stricter test
yet by such strictness better proving strength!
A beating bloodier, a lack more sure,
yet by such hardships making moderate!
A chance at fame and glory---or at death---
yet both ways surely lead to the same end!
A war!” Then to her messenger she turned
and planted on the lips one solid kiss
which she broke off at once when she espied
how much the evening twilight had dissolved.
“These streets are still too new to me---I’ll need
some sort of guide---Elia, come with me!
Take me back to Carmilla! To the inn!
She’ll know what I intend.” So Anna stood.

The kiss to Elia recalled the words 
his master gave upon his troublous dream.
To think his vision passed through gates of horn
is surely Pride, to think through ivory
is surely Prudence, while the middle way
now seemed most likely: either that it bore
on Prudence which the novice coveted---
on Prudence he now figured Anna lacked---
or else he coveted some other thing,
some other subject than he thought he’d seen.
And even barely dressed, her hair a mess,
her eyes weighed down by bags, her lower lip
split just off center, patches black and purple
about her shoulders, callouses and scabs
peppered across her digits and her knuckles,
Anna was still more beautiful than ever.

With last NaPM it should be evident that I want to try my hand at narrative poetry. I'm not done with the readings I've set for myself in writing down this particular story, for which the plot and the characters are mostly set, so I don't know if this sketch, with its somewhat antiquated form, will ever be extended, but I at least want to see if this snippet I hastily drafted yesterday makes as much sense to the general audience as it does to me.
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#2
It's surprisingly well executed, given that we're doing the anachronistic vernacular thing. 
What I don't get is why I'm meant to be motivated to read any of this.
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#3
This opening sentence:

"Indeed, as Elia was told, the girl
around whom he too slowly realized
much of his recent upset did revolve
was already at home, already dressed
in what the lady "

Is one of the clumsiest I have ever read. I didn't read all the way through mostly because of this, I would recommend reading through and making clear direct prose.

Thanks for posting.
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#4
(07-27-2026, 01:55 AM)milo Wrote:  This opening sentence:

"Indeed, as Elia was told, the girl
around whom he too slowly realized
much of his recent upset did revolve
was already at home, already dressed
in what the lady "

Is one of the clumsiest I have ever read.  I didn't read all the way through mostly because of this, I would recommend reading through and making clear direct prose.

Thanks for posting.

I agree, the grammar is very distracting and gives the whole poem an air of "costume," like every possible opportunity to invert syntax and subordinate has been taken so that we know we are "doing the thing"
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#5
Thanks for the feedback. I suppose when I come back to this I'd have to use a more modern-sounding form (and I'm determined to use a form, since at the moment I believe that sort of restraint will encourage creativity---I imagine accentual meter, rather than a strict pentameter, will do), but the "costume" aspect of it was fun to write.
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#6
On second reading, but still before opening the spoiler, I found this quite entertaining - in large part from imagining the rest of the story:  what came before, what was likely to come after.  The four characters (Elia, Anna, Carmilla, and Odo) are defined, those offstage (Carmilla and Odo) by implication as well as description.

There are high-quality lines, the kind that have come down (for example) from Shakespeare and become commonplaces.  There are also many that are by inversions clumsy made; IP is a five-edged sword.

One thing I noticed was that while there were quite a few variants of strict IP - few were particularly bothersome, just added a little spice - the variant stresses on the names stuck out.  Is "Anna" stressed on the first or second syllable, and - more significantly - is it e-LIE-ah, EH-lee-ah, or e-lee-AH?  Same, I think, with Carmilla.  Those, I think, should be invariant in meter, sort of like tent pegs anchoring the rest.

Would I read the whole implied work?  Amazons are always a draw, but time seems so short these days... probably not.  My loss, though.
feedback award Non-practicing atheist
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#7
(07-28-2026, 01:08 PM)RiverNotch Wrote:  Thanks for the feedback. I suppose when I come back to this I'd have to use a more modern-sounding form (and I'm determined to use a form, since at the moment I believe that sort of restraint will encourage creativity---I imagine accentual meter, rather than a strict pentameter, will do), but the "costume" aspect of it was fun to write.

I am not sure what form this is - if it is a form, it is one I don't recognize.  I do notice the meter randomly varying between 4 and 5 feet and sometimes slipping into blank verse.  Either way, I don't think it is the form that is giving it an issue so much as the convoluted phrasing - any of this should be able to be trimmed and rewritten to sound more natural in whatever form this is supposed to be.
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#8
Thanks again for the feedback.

RE milo, Wait, really? The only variations from "strict" IP in the first chunk are initial trochaic inversions (very common, eg 'Batter my heart three person'd God' or 'Now is the winter of our discontent') and feminine endings.

RE both milo and dukealien, Elia should be read e-li-ya, stress always on the first and sometimes also on the third---in retrospect putting it in the second syllable is standard, so I might edit this accordingly. I don't see where Anna should be read other than normal.

(Yesterday, 01:52 PM)milo Wrote:  
(07-28-2026, 01:08 PM)RiverNotch Wrote:  Thanks for the feedback. I suppose when I come back to this I'd have to use a more modern-sounding form (and I'm determined to use a form, since at the moment I believe that sort of restraint will encourage creativity---I imagine accentual meter, rather than a strict pentameter, will do), but the "costume" aspect of it was fun to write.

I am not sure what form this is - if it is a form, it is one I don't recognize.  I do notice the meter randomly varying between 4 and 5 feet and sometimes slipping into blank verse.  Either way, I don't think it is the form that is giving it an issue so much as the convoluted phrasing - any of this should be able to be trimmed and rewritten to sound more natural in whatever form this is supposed to be.

Altered some lines to use the more standard pronunciation "e-LI-ya" or "e-LYE-ya".
Reply
#9
(10 hours ago)RiverNotch Wrote:  Thanks again for the feedback.

RE milo, Wait, really? The only variations from "strict" IP in the first chunk are initial trochaic inversions (very common, eg 'Batter my heart three person'd God' or 'Now is the winter of our discontent') and feminine endings.


If I contort my way of natural reading I can force most of it to read IP - I honestly didn't even know you were shooting for that:

inDEED asYOUNG eLIa wasinFORMED - this is how I would read this first line, now if I promote WAS I can make it IP but that would not naturally occur to me and feels very awkward.  Without the first line, I just read it naturally
theGIRL aroudWHOM heTOO LATEdis COVered  - this is a metric mish mash.  You could force it into IP but you would need to read it theGIRL aROUND whomHE tooLATE discCOvered but that promotion on HE would be painful - if the first line was forced, I could see you thinking "Hey, predominant meter" (Iactually read this a few times and can see a way it could be read as pyrrhic/spondee substitution which is considered a rather clever way of spicing up your IP which would be theGIRL aROUND whomhe TOOLATE disCOVered - I just don't know if it would ever naturally fall like that without some more previous setup)
MUCHof hisRE centMEN talFIGHT reSOLVED - here is your trochaic inversion which of course would be fine in a perfect ip poem 
wasalREAD yatHOME alREADy DRESSED - 4 feet - unless you are doing something very strange with already I cant see any way to make this 5 feet - say "already at home"
inWHAT theLADy oftheHOUSE hadLENT - 4 feet - not sure where you can even find the extra stress here - I suppose if you promote OF, but that would be unnatural and you would have mo reason to do that

anyway - being that there is no real standard IP here I never force promoted anything and read it as a natural English speaking human would


So - anyway, I am not sure how you are getting PERFECT IP here - maybe give it another pass.
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#10
idk but not promoting "was" or "of" in those instances would just be ignoring meter entirely (again see that famous line, 'NOW is the WINter OF our DISconTENT', or---if is rather than was---'the QUAliTY of MERcy IS not STRAINED')

i see the already line may be not reading strict IP, if one reads "already" only the one way, but "already" happens to have two standard pronunciations one can use to have the line trip perfectly (was ALreaDY at HOME, alREAdy DRESSED)

(9 hours ago)milo Wrote:  
(10 hours ago)RiverNotch Wrote:  Thanks again for the feedback.

RE milo, Wait, really? The only variations from "strict" IP in the first chunk are initial trochaic inversions (very common, eg 'Batter my heart three person'd God' or 'Now is the winter of our discontent') and feminine endings.


If I contort my way of natural reading I can force most of it to read IP - I honestly didn't even know you were shooting for that:

inDEED asYOUNG eLIa wasinFORMED - this is how I would read this first line, now if I promote WAS I can make it IP but that would not naturally occur to me and feels very awkward.  Without the first line, I just read it naturally
theGIRL aroudWHOM heTOO LATEdis COVered  - this is a metric mish mash.  You could force it inot IP but you would need to read it theGIRL aROUND whomHE tooLATE discCOvered but that promotion on HE would be painful - if the first line was forced, I could see you thinking "Hey, predominant meter"
MUCHof hisRE centMEN talFIGHT reSOLVED - here is your trochaic inversion which of course would be fine in a perfect ip poem 
wasalREAD yatHOME alREADy DRESSED - 4 feet - unless you are doing something very strange with already I cant see any way to make this 5 feet - say "already at home"
inWHAT theLADy oftheHOUSE hadLENT - 4 feet - not sure where you can even find the extra stress here - I suppose if you promote OF, but that would be unnatural and you would have mo reason to do that

anyway - being that there is no real standard IP here I never force promoted anything and read it as a natural English speaking human would


So - anyway, I am not sure how you are getting PERFECT IP here - maybe give it another pass.
Reply
#11
(9 hours ago)RiverNotch Wrote:  idk but not promoting "was" or "of" in those instances would just be ignoring meter entirely (again see that famous line, 'NOW is the WINter OF our DISconTENT', or---if is rather than was---'the QUAliTY of MERcy IS not STRAINED')

i see the already line may be not reading strict IP, if one reads "already" only the one way, but "already" happens to have two standard pronunciations one can use to have the line trip perfectly (was ALreaDY at HOME, alREAdy DRESSED)

The 2 standards are ALLready and alREADy - never AlreadY - I challenge you to try saying ALreadY - the last syllable would bever get promoted that way.

[quote]

idk but not promoting "was" or "of" in those instances would just be ignoring meter entirely (again see that famous line, 'NOW is the WINter OF our DISconTENT', or---if is rather than was---'the QUAliTY of MERcy IS not STRAINED')

Shakespeare did not famously use predominant meter in the first line but rather the rule of threes - not letting readers awkwardly decide to promote or not promote

The second one I would read as a pyrhic/spondee

theQual iTY ofMER cyis NOT STRAINED which beautifully pushes the stress onto NOT which is the point of the line.  If I were to criticize this line it would be the unnatural stress forced on to the end of quality and thinking about it, there is probably some solution to that I am not thinking of because it is not good - I may look into it later with some deeper thought.


That being said, if you contort the way you naturally speak you could force most of them (not the already line sadly) but you would be forcing it, they would not naturally read IP.  Reading it through the first time I treated it as non-metric verse because - read naturally, that is what it is, so I had no reason to contort my reading into IP
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