Parcours
(Journey)
A recent literary style of poetry that takes the reader on a
journey. Devised in 2016 by poet Harvey L. Covey, Jr., the poem follows a
complex pattern of set-up (or stage), run (or journey) and resolution with an
optional emphasis that mirrors the resolution.
Rules of
the Parcours form
The first lines of the opening couplet or triplet represent
the “stage” or “set-up” of the poem. They are structured in iambic form of
usually pentameter length, though the length may vary as the poet deems
necessary for effect. They are followed by the “run” or “journey”. A triplet of
shorter, rhyming lines also in iambic form of typically trimeter or tetrameter
length; again differing only as the poet deems necessary. This is designed to
give the reader the sensation of swift action. The succeeding lines form the
“resolution” and the optional “emphasis” and are structured either with a very
short punctuation line that rhymes the first line of the stanza or with the
first line similar to the length and meter of the first line in the stanza
followed by a much shorter line (one to four syllables) to punctuate the
stanza. This punctuation is optional as often it is the need of the form to
simply mirror the length of, and rhyme with, the opening lines or rhyme the
shorter lines. Using capitals for the longer lines and lowercase letters for
the shorter, the form can be expressed as: A A [A] / b b b / a or A b or A or B
[/ a or A b or A or B].
History of
the Parcours form
In the Spring of 2016, the author experimented with the
form developing early precursors to the final design. The first poem, The
Ghosts of Autumn, shows the early adoption of the methods with some
variation from the final theme. Later, My Old Saskatchewan Home, shows a
closer relationship with the resolution and the stage sections of the stanzas.
The most adherent of the author’s work is easily viewed in his popular, Every
Now and Then (Love Letters). Structured as a written conversation
between two parties, it exemplifies the Parcours style perfectly.
In the following example, the poet uses the optional
emphasis couplet to drive home the scene rhyming the first line of the final
couple of each stanza with the first line of the stanza and the second with the
fourth.
The Ghosts of
Autumn
Harvey
L. Covey, Jr. (Spring, 2016)
In
a hollow wood filled with gray-white birch
Near
a dried-up creek and a run-down church
Sits
an ancient graveyard where the owls perch.
Where
the snow-white owls,
Ever
on the prowl,
With
a hoo-whit scowl,
Keep
a constant watch and a ready search
For
the rats who cowl
‘Neath
a long-dead, rotted, old, gray-white birch.
Where
the ghosts of Autumn come to haunt and howl.
On
a moonlit night ‘neath a star-specked sky
One
can hear the banshee as it makes its cry.
As
it moans its mournful, lonely cry
So,
the rats all scurry.
The
owls all hurry
After
rodents, furry
That
are startled, alerted by a banshee cry.
Where
the living came to bury
And
the long-since-dead now no longer lie.
Where
the ghosts of Autumn come to weep and worry.
On
a still, still night over fallen leaves
Shadows
cast their darkness over stones and eaves
And
a mist arises from the earth and cleaves
A
cold, clammy cling
To
the rotted tree swing
And
to fur and to wing.
As
the empty church and the graveyard grieves.
And
a creaking door swing-
ing
grants entry to those whose souls were thieved
Where
the ghosts of Autumn come to sorrow and sing.
Where
the ghosts of Autumn come to haunt and hie
One
can hear the spirits in the cold night sky
As
a wandering north wind whistles by.
The
bats, bleak and gaunt
Fly
a swift, lively jaunt
Through
the night as they’re wont;
Eating
creepies and crawlies that skitter and shy.
They
eat all they want
And
never mind the spirits who go wandering by
Where
the ghosts of Autumn come to howl and haunt.
In the next example, the emphasis couplet rhymes to itself
in a C C pattern which causes a slight, though no-less pleasing variation from
the model.
My Old Saskatchewan
Home
Harvey
L. Covey, Jr. (Autumn, 2017)
As
lighthouse on a rocky isle amid a stormy sea,
Its
timbers were a bastion in the northern winds for me.
When
hoarfrost covered field and plains
While
winter tapped on window panes
Beneath
a sky of slate-grey stain.
Beside
the fireplace, brightly lit with mug of steaming tea
I
huddled in my mother’s arms protected from the storm.
Within
my old Saskatchewan home.
When
in my youth I dreamt of city lights, sky scrapers, cars and trains
I
never thought I’d ever miss the rugged, wild Saskatchewan plains.
Where
far as one can cast an eye
The
Prairie reaches for the sky
The
only structure standing nigh
An
old log cabin, built by hand, among this field of grains.
A
solid, solitary farmstead standing on the loam
My
weathered, old Saskatchewan home
Alone
upon a prairie gold, washed white by winter winds
My
childhood home stands silent sentry o’er my northern friends.
The
arctic fox, the snowshoe hare
The
ptarmigan that wander where
The
grasslands give them cover there
As
in formation geese fly over shouting flight commands.
My
mind’s reflections bid my heart to turn around and come
Back
to my old Saskatchewan home
In this example, the poems evokes an old-world sense in the
syntax of the language. This poems evokes the purest form of the Parcours style
with the only variation being the very final emphasis lines in the last
stanza which mirror the run and resolution of the whole.
Every Now and Then
(Love Letters)
Harvey
L. Covey, Jr. (Summer, 2019)
Dear
Mr. Birmingham, whilst sitting in my den,
I
must report how well I am, with paper and with pen.
Here,
glowing city lights a-twinkle
bright
like stars at night, they wink,
and
bid me stop and, of you, think,
every
now and then.
Sweet
memories to cherish when two hearts would beat in sync
within
your woodland glen.
Sweet,
my beloved man, I beg of you to know
not
for the fail of love for you, I had to go.
But
for the hope of dreams come true
amid
a neon Xanadu
where
people watch and wander through
a
skyline all aglow.
With
shops, bazaars, cafés and bars, with food and music too,
my
heart was forced to go.
Nay,
my dear lovely man, and here I press the pen
to
boldly highlight letter-strokes and make my point again.
I
oft recall us by the pond
on
picnic or a secret rendezvous
that
sets my mind to wander;
long
to be back when.
But
let me end on this, a kiss, I think on you with fondness
every
now and then.
Dear
Miss Penelope, how great it warms my heart
to
learn how well it is, you be, though we remain apart.
The
hound, she often looks for you
and
I myself, it seems, do too.
Tossed
in a bed that's built for two
I
oft awake with start
to
face another lonely day and wonder what to do
to
soothe my aching heart.
For
while I could not bar your way to follow your heart's star,
I
could not leave my home to venture where it is you are.
I
look upon my woodland scene
to
view the trees and fields of green
and
nature's creatures, meek or mean,
how
wild and free they are.
And
thus, I must content myself that here I shall remain
to
love you from afar.
Sweet,
my love, Penelope, there sitting in your den,
Know
that you’re not far from me within my heart and ken.
For
none could ever touch my soul
as
you or make me feel more whole,
and
knowing you are well is all
I
need, now and again
to
keep my fondest memories
of
love we shared that could not be.
What
joy to know you think of me
every
now and then.
And
ever shall I sit a spell and think of you and me
every
now and then.
