Séadna, an Irish quatrain stanza, alternates octosyllabic lines having
disyllabic endings with heptasyllabic lines having monosyllabic endings. Lines two and four rhyme; line three
rhymes with the stressed word preceding the final word of the fourth line. In the second couplet there are two
cross-rhymes, and there is alliteration in each line, the ultimate word of the
fourth line alliterating with the preceding stressed word. The ultimate syllable of the first line
alliterates with the first stressed word of the second line. As in Irish tradition, the poem ends
with the same first syllable, word, or line with which it begins. A simplified rhyme scheme: [(xa)]
[b] [c(xc)] [bcb]; note that lines
are enclosed in brackets, disyllabic endings in parentheses. Here is a diagram:
lines syllables
and rhymes
1. x
x x x x x xa
2. x
x x x x x b
3. x
x x x x x xc
4. x
b x c x x b
This
example poem has been adapted from the original of the Ulster-Scottish poet Sir
Samuel Ferguson (10
March 1810 – 9 August 1886) and cast
into the medieval Irish form séadna
by Wesli Court:
CEAN DUBH DEELISH
Put your head, darling, my darling,
Your black head my heart above —
Mouth of honey, thyme for fragrance,
Who
would dare distance your love?
Other girls for me are pining,
Letting locks of gold blow free
Into the cold wind’s wild bellows —
I’ll
share pillows but with thee!
Put your head, darling, my darling,
Your black head my heart above —
Mouth of honey, thyme for fragrance,
Who
would dare distance your love?
Sir Samuel Ferguson
Séadna
mór (sháy-na moor) is identical
excepting that lines two and four end in trisyllables.
COMMENTS
Lew,
What a fascinating form -- and completely new to me. I
loved the sample you gave, and I'm going to give the form a try. In the
meantime, I also need to send you the info re: the form created by my friend
(the late) Robert Dunn, poet/editor from NYC, who created a few forms, but one
especially that you might want to add to the samizdat "Book of Forms"
online. I'll mail it to your AOL email as soon as I find the article about it.
Warm regards to you!
Leigh Harrison
Actually, Leigh,
The form has always been
in The Book of Forms, but
there’s been no example until now. For modern models of most of the Irish and
Welsh forms I had found Medieval poems that I could adapt and cast into the
forms I needed, but I found none for séadna until the other day when I saw Sir
Samuel Ferguson’s 18th-century poem on The Writers’ Almanac on-line and noticed that it would be perfect for an
adaptation by “Wesli Court.” I’m delighted to hear that you like it.
Lew
Recent Comments