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His Gothic poem Bagme Bloma ("Flower of the Trees") uses a trochaic metre, with irregular end-rhymes and irregular alliteration in each line; it was published in the 1936 Songs for the Philologists. [139] He also wrote a variety of alliterative poems in Old English. A version of these appears in "The Notion Club Papers". [140]
Bagme Bloma ("Flower of the Trees"), an 18-line poem in Gothic in a trochaic metre, with irregular end-rhymes and irregular alliteration in each line. It is the only poem to be printed in Gothic. It was unofficially published in the rare and soon withdrawn 1936 Songs for the Philologists; [8] also in Tom Shippey's The Road to Middle-Earth. [9]
Alliteration is used in the alliterative verse of Old English poems like Beowulf, Middle English poems like Sir Gawain and the Green Knight, Old Norse works like the Poetic Edda, and in Old High German, Old Saxon, and Old Irish. [3] It was also used as an ornament to suggest connections between ideas in classical Latin, Greek, and Sanskrit poetry.
The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens. Poe borrows the complex rhythm and meter of Elizabeth Barrett's poem "Lady Geraldine's Courtship", and makes use of internal rhyme as well as alliteration throughout.
The 2nd form is the "troll-hrynjandi": in the odd-lines the alliteration is moved to the first metrical position (no longer "extra-metrical") while the rhyme remains the same (Snorri seems to imply that frumhending, which is placing a rhyme on the first syllable of any line, is preferably avoided in all these forms: the rhymes are always ...
Your poem can be in verse (with rhyme and meter) or free verse. It can be long or short, light or serious. This is merely an exercise, like taking your imagination out for a walk.
Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry. The alliterative patterns of early Germanic poetry interweave meter and alliteration as a key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur.
The poem is in alliterative verse (unlike Tolkien's second version which is in rhyming couplets). Hall calls this "bringing forward to modern readers the ideas of the ancient poets, [and their] style and atmosphere", using rhythm, metre, and alliteration to convey the "style and mood" of Old English.