Hi!

I really enjoyed reading this sonnet but definitely loved how the final couplet sounded as I read it aloud.

You got me thinking and counting beats and repeating lines 4 and 5. I’d say line 5 is just “iambic pentameter, catalectic” (catalectic by headlessness, for it drops the unstressed syllable of the first foot, instead of dropping the final syllable of the last foot), but there’s line 4: You know, if you pause before pronouncing the extra syllable “-laves” at the end of line 4 and make it the initial sound of line 5 while reciting it, you get 10 and 10 sounds for each line (4 & 5, like they both were iambic pentameter, acatalectic) XD

As always, your poetry is profound, musical, and thought-provoking. Your poem covers this issue:

Therefore in this piece, "object" and "subject" are considered largely synonymous, since they are both "things" and their "thingness" is what concerns us.

…And it does just beautifully.

I think the sonnet form is just ideal to make argument and musicality come together in a single piece. It makes our brains understand that knowledge has an emotional side; then our hearts resonate with our minds.

I enjoyed this analysis, dear @d-pend. It was like being invited to chat about your poem in a finely decorated room inside your head, while you played your piano.

The way you discuss how meaning is so changeable reminds me of "Blue and Green" by Virginia Woolf.

Thanks for an amazing read! :)