I'm not quite sure what you mean. The vowels are grouped and treated as equivalent when they are the stressed sounds (e.g. "Into the (u)tter (e)ast / the (a)rmy marched"). None of the stressed words in those lines begin with vowels, so I would just scan them as chyming on the initial consonants:
(R)unning fast / the (r)ain had past
Running (p)ast / the sun was (p)ale
(or, if we want to obey the 4th stress rule, Running (p)ast / (p)ale was the sun)
Maybe I am missing something, but hopefully this answers your question.
No, that makes sense. As a musician, you could ignore or elide the consonant.. in Spanish music this is sometimes a first practice feature of the written work. So "run" beginning with r as a stressed syllable might not matter if you sing the vowel long.
No need to rewrite it, I'd say – that is an example of a blank-verse form of the meter, which keeps the fundamental beat of four stresses. That is what I plan to use to translate South Slavic oral poems into English (when I get a better hold on the language), because insistence on structural chyme would break up the formulaic phrasing.
Thanks for writing this, I love digging into the technicalities of poetry, though Anglo Saxon verse is something I'm unfamiliar with. After reading this I'm going to have to try my hand at chyming verse!
I would wonder about preferring to group some vowels in chyming; my guess is one would rely on the ear.
What is the rule by which you determine if you're rhyming (chyming) the vowel or consonant?
i.e.
"running fast / the rain had past" vs
"running past / the sun was pale" seem like they could go either way.
I'm not quite sure what you mean. The vowels are grouped and treated as equivalent when they are the stressed sounds (e.g. "Into the (u)tter (e)ast / the (a)rmy marched"). None of the stressed words in those lines begin with vowels, so I would just scan them as chyming on the initial consonants:
(R)unning fast / the (r)ain had past
Running (p)ast / the sun was (p)ale
(or, if we want to obey the 4th stress rule, Running (p)ast / (p)ale was the sun)
Maybe I am missing something, but hopefully this answers your question.
No, that makes sense. As a musician, you could ignore or elide the consonant.. in Spanish music this is sometimes a first practice feature of the written work. So "run" beginning with r as a stressed syllable might not matter if you sing the vowel long.
Interesting. Do you have a video or audio example of that? Just trying to imagine what it would sound like with this form of verse.
It's common in Italian art music as well. Can't think of a tune off the top of my head, been too long
Ah, no worries. I will have a look around.
I was not aware of the alliterative rules and requirements for this kind of verse when I wrote this poem in saxon meter; now I'm thinking I might want to rewrite it to "chyme." https://chieflylyrical.substack.com/p/november-evening-23-observing-the
No need to rewrite it, I'd say – that is an example of a blank-verse form of the meter, which keeps the fundamental beat of four stresses. That is what I plan to use to translate South Slavic oral poems into English (when I get a better hold on the language), because insistence on structural chyme would break up the formulaic phrasing.
Thanks for writing this, I love digging into the technicalities of poetry, though Anglo Saxon verse is something I'm unfamiliar with. After reading this I'm going to have to try my hand at chyming verse!