[W T Clark]

Hello Carl, Julie, John, and Mark: I am glad this met with your general approval. Iambs are a thing of infinite variety; but I do like the incantations of anapests.
Carl: yes, "amIcably" is how I intended the music to fall. As for your sense over rules; rules are nothing to the sense: if the music is right with a four, I will let it be so: the anapest does not have infinite variety; but it does in its chant require a loudness that brings out the multifariousness of a stress: that those who say one cannot have three unstressed syllables (though they are proper wise-men and I would not argue with them most of the time: let prescription generally hold) I think here that they forget that one syllable can have a half, or lesser stress, compared to the thud that completes the foot.
Julie, I have taken your thoughts with Mark's: roled them into a ball, and applied a revision. I hope you find the music less intermittent toward my end.

Mark: I don't see King Lear as a return to the bookshelf; I see it as an apocalypse; the drama of King Lear seems often alive to me in a flower during rain. The poem came to me from that; from John's poems: especially the recent one that is "non-metrical"; and the remarks he made about the mystery of a human and the mystery of a flower. I want the narrator to be both: King & thorn. I have taken yours and Julie's suggestions: thank you!
"shred-emptied" sounds how lightning looks.
There is much form in a petal tome than in a poem. For me: the poem is about being alive. I hope that isn't too cavernous.
I take your advice about compounds with a solemn look of agreement: we must be wary of habits.

John: you are welcome. I look forward to your return.

Carl: chant it, yes!! I tok inspiration from Cally's lay-out to interpose this more drastic music with silence: to keep the beat still a little unsettled: a little slowed down and interposed.