Posthumous work of the Colombian poet born in Don Matias on January 20, 1948.
Welcome to this blog dedicated to the Posthumous work of the Colombian poet Francisco Luis Arroyave Tabares born in Don Matias on January 20, 1948-2011. Where I will be publishing each of the 170 sonnets from his unpublished collection 'Sonnets For The Twenty First Century And A Circadian Musical (1984-1987).' Analyzed with GPT4 artificial intelligence and illustrated with AI tools... I hope you enjoy this garden of words snatched from the solitude of a locked room.
Likewise, any enthusiast of the sonnet form is invited to conduct their personal studies of Arroyave Tabares' work, as it is a collection that, although registered since 1989, has not yet been published.
Frank Duna
Loneliness
I feel the orby loneliness get close
But it is a prelude of harmony
And a chance to lose the monotony
That always piles and is hard to dispose.
I will read the verses that I compose
And I will hear the purling symphony 6
Of fountains richer than gold or money
That in my mind of other times arose.
I will have time to reach elysian mirth 9
Bedded and snarked in my own fantasies
And I will listen to my muses that flirt.
While they create eternal ecstasies
I will breath perfume of roses that lilt
In a wind full of other fragances.
***
9-. Elysian mirth = sweetly blissful, beatific, pleasure.
6-. Purling = that moves in ripples or with a murmuring sound.
Analysis of Sonnet 5 "Loneliness"
Introduction
Sonnet 5 by Francisco Luis Arroyave Tabares, titled "Loneliness," is a Petrarchan sonnet, which is divided into an octave (the first eight lines) and a sestet (the last six lines). The sonnet explores the theme of solitude and its potential to foster creativity and inner peace.
Thematic Analysis:
In the octave, the speaker initially presents loneliness as an encroaching entity, but quickly reframes it as a "prelude of harmony" and a break from monotony. The speaker intends to use this solitude to read his own verses and listen to the "purling symphony" of his thoughts, which he values more than material wealth. The use of the term "purling" suggests a gentle, flowing movement, perhaps indicating the fluidity and richness of his creative thoughts.
The sestet delves deeper into the speaker's creative process. He anticipates reaching "elysian mirth," a term that refers to a state of perfect happiness, often associated with the afterlife in Greek mythology. This bliss is found within his own fantasies and the muses that inspire him. The speaker also mentions the "perfume of roses," which could symbolize the beauty and pleasure derived from his creative process. The final line, "In a wind full of other fragrances," suggests that while the speaker appreciates the beauty of his own creations (the roses), he is also open to other influences and inspirations (the other fragrances).
Overall, the sonnet portrays loneliness not as a negative state, but as a fertile ground for creativity and self-discovery. The speaker finds value and joy in his solitude, using it as a catalyst for his creative endeavors.
Structure and Rhyme Scheme
Sonnet 5 by Francisco Luis Arroyave Tabares follows the rhyme scheme of a Petrarchan sonnet, which is typically divided into an octave (the first eight lines) and a sestet (the last six lines). The rhyme scheme of a Petrarchan sonnet is usually ABBAABBA for the octave and CDCDCD or CDCDCD for the sestet.
Let's break it down:
I feel the orby loneliness get close (A)
But it is a prelude of harmony (B)
And a chance to lose the monotony (B)
That always piles and is hard to dispose. (A)
I will read the verses that I compose (A)
And I will hear the purling symphony (B)
Of fountains richer than gold or money (B)
That in my mind of other times arose. (A)
The octave follows an ABBAABBA rhyme scheme, which is typical of a Petrarchan sonnet.
I will have time to reach elysian mirth (C)
Bedded and snarked in my own fantasies (D)
And I will listen to my muses that flirt. (C)
While they create eternal ecstasies (D)
I will breath perfume of roses that lilt (C)
In a wind full of other fragances. (D)
Analysis of Aspects
While we've discussed the theme, rhyme scheme, and some of the imagery in Francisco Luis Arroyave Tabares' Sonnet 5, there are still several aspects that can be further analyzed, including its meter, use of enjambment, and deeper exploration of its imagery and symbolism.
Meter: Sonnets traditionally use iambic pentameter, a rhythmic pattern consisting of five pairs of unstressed-stressed syllables. However, this sonnet does not strictly adhere to iambic pentameter, which could be seen as a reflection of the poet's individualistic approach to creativity, a theme that is explored in the poem.
Enjambment: This sonnet makes use of enjambment, which is the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. For example, the sentence "I will read the verses that I compose / And I will hear the purling symphony" spans two lines. This creates a flowing rhythm and can be seen as mirroring the "purling" (rippling, flowing) thoughts of the speaker.
Imagery and Symbolism: The sonnet is rich in imagery and symbolism. The "orby loneliness" could symbolize the speaker's feeling of being enclosed or surrounded by solitude, while the "purling symphony" of fountains could represent the flow of creative thoughts. The "perfume of roses" and "wind full of other fragrances" could symbolize the beauty and diversity of the speaker's creative output. The "Elysian mirth" and "eternal ecstasies" suggest a transcendental, almost divine joy derived from the creative process.
Tone and Mood: The tone of the sonnet is introspective and serene, reflecting the speaker's contentment with his solitude and creative process. The mood is uplifting and inspiring, encouraging readers to view solitude not as a negative state, but as a fertile ground for creativity and self-discovery.
Alliteration and Assonance: The sonnet also uses alliteration (repetition of initial consonant sounds) and assonance (repetition of vowel sounds), which contribute to its musicality. For example, in the line "Bedded and snarked in my own fantasies," the repetition of the 'd' and 'n' sounds is a form of alliteration, while the repetition of the 'e' sound in "Bedded" and "snarked" is a form of assonance.
(GPT4)
Count the syllables of each line of the poem
(www.howmanysyllables.com)
Loneliness
10 I feel the orby loneliness get close
10 But it is a prelude of harmony
10 And a chance to lose the monotony
10 That always piles and is hard to dispose.
10 I will read the verses that I compose
10 And I will hear the purling symphony
10 Of fountains richer than gold or money
10 That in my mind of other times arose.
10 I will have time to reach elysian mirth
10 Bedded and snarked in my own fantasies
11 And I will listen to my muses that flirt.
10 While they create eternal ecstasies
10 I will breath perfume of roses that lilt
10 In a wind full of other fragances.
***
Sonnets For The Twenty First Century And A Circadian Musical Written By Francisco Luis Arroyave Tabares (1984-1987)
Analyzed by GPT4 and www.howmanysyllables.com Image by leonardo.ai
