The cross roads demon stared at him and cupped his weary face,
souls for stealing kisses seemed a simple, carefree trade-off
his plea the usual, to make sweet music and erase
records in his name were bound, filed, held tight by a jerk off.
The first of many millions came rolling in a week,
money poured like water through his eager greedy fingers
and fame and glory tainted left him wasted in its wake,
sleep became a dreadful memory that slowly lingers,
a bad metallic taste within his mouth began to wake
notes once pure began to slip and lose intrinsic rhythm
that demon sloped one night to claim his soul just like a snake
sucking life once sacred in a fatal cataclysm.
A stress matrix sonnet, and yep it was stressful to write!
14 lines, 14 syllables per line – aBaB cDc DcD eF eF
where lowercase are iambic heptameter (7 beats/stresses per line), and uppercase trochaic heptameter. This yields a perfect ‘checkerboard’ of stressed and unstressed syllables (14 x 14, equalling 196 syllables).
Depending on where the Volta arrives (the ‘turn’ – resolution, or at least, change in tone, crucial aspect to a sonnet), there are 3 different stanza layouts (the rhyme-scheme stays the same). My turn quite obviously arrives with the last two lines, as is traditional in English Sonnets, hence the layout with a couplet to end on.
If the turn comes after the first eight lines, as it does in Italian Sonnets, the layout is
aBa BcDcD cDe FeF.
If it comes after line ten (unique!), then it’s aBaB cDc DcD eFeF (same as English but ending on a quatrain rather than the two couplets).
Who’s up for writing one? 🙂