David Flora steps up with a terzanelle of his own–ignoring word count, but with fantastic use of full-line rhyme as a substitute for repetition and slick iambic pentameter (in which terzanelles are really supposed to be).

Fixed-format poetry was just one more subgenre of constrained writing, which is probably why I find old forms so much more interesting than those of modern and postmodern poetry. Constraints like the terzanelle provide so much opportunity for innovation, as Holly and Flora have just demonstrated. I still think the best explanation of the value therein comes from Constrained.org’s FAQ:

“Constraints set additional challenges to the writer. Writing to a constraint is like solving a puzzle. Graceful solutions have a pleasing feel – like watching the moves of a chess master – on top of their value as stories.”

I’m always delighted to rediscover that my friends are masterful, in some way or many.