The triolets in this collection were composed between the spring of 2000 and January, 2006. They are not arranged in chronological order. “Ad Perfidiosam” was the first to be written, and “Nero’s Perspective, 64 A.D.” the last. All were written in Calipatria, California; hence, the title.
The triolet (pronounced “tree-oh-lay”)—which rhymes with “cabriolet” rather than with “violet”—is believed to have originated in the lyric poetry of Provencal, France, in the High Middle Ages. From there it has spread to all European languages and been recognized ever since, though it has known periods of greater and lesser popularity.
Despite both a lifelong love of poetry and a longstanding knowledge and appreciation of lyric forms, I did not give serious thought to the triolet until 1989, when, at the age of forty, I read the “Kharkov Triolet” by the Russian Symbolist poet Fedor Sologub (1863—1927). I found out that in both English and Russian literature the triolet enjoyed great popularity in the Eighteenth Century, but then sank into obscurity until the early Twentieth Century. Sologub’s “Kharkov Triolet” of 1913 I translated into English as follows:
Day’s only lovely when approaching eve. The closed death, the clearer life becomes. Trust in the law of wisdom and believe: Day’s only lovely when approaching eve. The morning hours sadden and deceive— Their demon swarms oppress; the tumult numbs. Day’s only lovely when approaching eve; The closer death, the clearer life becomes.
From this example we can observe the essential form of the triolet: (1) The lyric consists of a stanza of eight lines. (2) The first line is repeated as both the fourth line and the seventh. (3) The second line is repeated as the eighth line. Line #5 must rhyme with lines #1, 4, and 7; line #6 must rhyme with lines #2 and 8; line #3 may rhyme with either the first group or the second.
Both the charm and the challenge of a triolet lie in its curious formal combination of freedom and predetermination. Once the first two lines are established, lines #4, 7, and 8 are already predetermined; thence there are only three free lines remaining to complete the composition of the poem. The trick of a successful triolet is to combine the verses in such a way as to make the “free” lines provide irony, nuance, or some other enhancement to the repetends.
The triolet can convey quite powerfully any of several effects: humor, philosophical reflection, outrage, and heartbreaking sadness. The range and potential are immense. Moreover, this form invites—even within the constraints detailed above—many subtle and charming variations. For example, while iambic tetrameter is the commonest scansion, neither iambic nor tetrameter is obligatory. Of the 154 triolets in this collection, their distribution by meter is as follows: 82 iambic; 65 in trochaic; 4 in anapestic; 3 in dactylic. Their distribution by scansion is as follows: 14 in pentameter; 133 in tetrameter; 7 in tetrameter/trimeter combination. Furthermore, triolets XXVI, XXVIII, and CXLIX are constructed with more than one stanza, thus expanding the form to twenty lines in one instance, sixteen in the other two.
Quite a few of these triolets were inspired by famous statements, historical figures and events, literary characters, folklore, etc. In many of these instances notes and/or epigraphs are provided for the reader’s amusement, convenience, or both. Additional information is furnished in endnotes.
Vassar W. Smith January 26, 2006
THE CALIPATRIA TRIOLETS
By Vassar W. Smith
PROLOGUE
1. C.S.P. CALIPATRIA
Is Hell beside the Salton Sea? No: Crucible for wrong and wronged. With temperatures like Tripoli, Is Hell beside the Salton Sea? They took my home, my liberty— All that, by right, to me belonged... Is Hell beside the Salton Sea? No: Crucible for wrong and wronged.
2. IMPERIAL VALLEY
This is the Valley of the Shadow Despite the burning heat by day. Deliver me, O Lord, I pray! This is the Valley of the Shadow. But, even were it El Dorado, All those I love are far away... This is the Valley of the Shadow Despite the burning beat by day...
3. “B” YARD
I walked the yard within the Wall: I shared their talk and company. Most treated me with courtesy. I walked the yard within the Wall. But I was not a criminal Like them ... They’d know eventually... I walked the yard within the Wall: I shared their talk and company...
4. EVENTUALITY
I knew someday the blow would come: Some angry fist, some sharpened blade. Such words are passed; such deals are made. I knew someday the blow would come. I only hoped it left me numb And put an end to this charade... I knew someday the blow would come: Some angry fist, some sharpened blade...
THE CALIPATRIA TRIOLETS
I. AD PERFIDIOSAM
Because you’ve taken from me what you took I cannot wipe your memory from my mind. Some mention of you in my verse you’ll find Because you’ve taken from me what you took. Though, henceforth, on your face I will not look, And words about you won’t be mild or kind, Because you’ve taken from me what you took I cannot wipe your memory from my mind.
II. BACKGROUND
Aubrey and Eve had Van, their son; They did not want another child. Their hopes were bright, their hearts beguiled: Aubrey and Eve had van, their son. A second child was born; this one, A daughter, grew up rude and wild... Aubrey and Eve had Van, their son; They did not want another child.
III. IMPRESSIONS
She charmed me in the years before The demons came out of their hole Within the fastness of her soul. She charmed me in the years before. We met again. I cared still more. Naïveté pays an awful toll! She charmed me in the years before The demons came out of their hole...
|