RAAG LAYS IN ROSE
Running the gamut, Raag aired his longing clandestine,
Agreeable was Ragini, his love and concubine.
Arcane was their love, though opened up like pea-pods,
Gliding with the Zephyr, they played all the chords.
Love grew strong, from nights to morns, ’twas savoured every bit,
Arms snuggled deep in symphonies, they lived in grandeur, grit.
Yearning for each other, never they thought of parting,
Singing songs of Solomon, an elysian spring was starting.
Invigorated were they until cacophony seeped in between,
Noisemakers devoured all love, they sank in tears umpteen.
Ragini, the wisp of Raag, was now pulled out, forsaken,
Oscillated, yet in trans state, what if they call her brazen.
Sang the forlorn songs of severance, symphonies turned in shrill,
Evanesced in the space! Now, the lazy music is still.
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Written for the #NaPoWriMo prompt, “The Lazy Music is Still“, my Roseate Sonnet is a full acrostic poem which reads as “RAAG LAYS IN ROSE”..
Raag (raga) is the melodic scheme in Indian Classical Music. A Ragini is considered the feminine counterpart of a masculine Raga. Our scriptures have described them as consorts or couples who are inseparable.
My protagonists are Raag and Ragini personified who were doomed to separate because of the intervention of cacophony.
Music can never stop until Raag and Ragini are together. So, I had to do this profanity to make music lazy and still. However, music is transcendent and perpetual. It neither leaves nor comes to a standstill. It changes its form. From acoustics to fragrances… From symphonies to scents… that’s why my Raag Lays in a Rose… ?
What is a ‘ROSEATE SONNET’?
“It’s a new, experimental poetic form developed by Dr. Ampat Koshy in 2012. Like a classic Shakespearean Sonnet, it too has 14 lines in which first two quatrains are followed by a couplet. Then follows the ultimate quatrain which starts its first line with R, the second with O, the third with S and the fourth with E to form an acrostic that reads ‘ROSE.’ The couplet acts as a volte face, from where poem shows a paradigm shift.
This form has no other constraints like rhyme, rhythm or blank verse, unlike its earlier forms or variants. There is no fixed syllable count for the lines though I have followed all the rules being an aficionado of classic Shakespearean Sonnet.
Picture in the post is an oil on paper painting by my brother, J.S. Mishra
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