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.
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