#abcb rhyming scheme

[dreamscrape-navigator]

untouchable(s)

You are no more holy than The dust on every hand That carved those jewels from the earth And lifted bread from land

You are no more mighty than A pebble by the sea With each sequential drop the stone Pays mass for memory

Goliath who walks the ground With eyes up high and tall The lamb you bleed so readily Waits eager for your fall

[doctorwhoisadhd]

fucking fascinated with the way mitski just straight up DOESNT follow a rhyme scheme in just about any one of her songs i can think of (and even when she does it's only barely, aka only for part of a song or only rhyming using slant or identical rhymes) and yet she is known for her lyrics being fucking insanely good

[inkwell-chronicles]

9 Traditional Forms of Poetry:

Sonnet- 14 lines, written in iambic pentameter (a meter with five pairs of unstressed and stressed syllables per line), with the rhyme scheme ABAB (Also known as Shakespearean)

Haiku- traditional Japanese form with 3 lines and a common syllable pattern of 5-7-5. It often focuses on nature. (You can also do patterns of 7-5-7 or 3-5-3)

Villanelle- 19 lines with five three-lined verses (ABA) followed by a four-line stanza (ABAA).

Limerick- a humorous five-line poem with a rhyme scheme of AABBA and a specific rhythm.

Ballad- A narrative poem with song-like qualities, usually written in four-line stanzas with a rhyme scheme. (like ABAB or ABCB)

 Ode- a formal, often ceremonious lyric poem that addresses or celebrates a person, place, thing, or idea. It typically follows a specific structure.

Elegy- a reflective poem that grieves the loss of someone or something.

Sestina- a complex form with six stanzas of six lines each, followed by a three-line conclusion stanza.

Pantoum- composed of quatrains where the second and fourth lines of each stanza become the first and third lines of the next stanza.

There are more but this is all for now!

[i-scan-your-poems]

Would you please do a analysis of the famous "lik the bred" poem by reddit user poem_for_your_sprog?

my name is Cow, and wen its nite, or wen the moon is shiyning brite, and all the men haf gon to bed - i stay up late. i lik the bred.

"i lik the bred" is like maybe my favorite internet poem of all time! of course!

full scansion:

◡ – / ◡ – my name / is Cow, ◡ – / ◡ – and wen / its nite, ◡ – / ◡ – or wen / the moon ◡ – / ◡ – is shiy/ning brite, ◡ – / ◡ – and all / the men ◡ – / ◡ – haf gon / to bed- ◡ – / ◡ – i stay / up late. ◡ – / ◡ – i lik / the bred.

metrical form: iambic dimeter rhyme scheme: ABCB other notes: This could also be analyzed as AABB iambic tetrameter, but what I love about it is that after one long sentence, it breaks the syntactic unit in the middle of a couplet to create a surprising ending. Ink has been spilled over whether the non-standard orthography of this poem is intended to evoke archaism (as it is about an event that happened in an 18th-century historical reenactment) or the animal speaker (cf. the orthography of lolcatz memes).

[i-dreamed-i-had-a-son]

Another thing I love about the Les Mis musical (which I'm curious if they have in the French) is the hanging rhymes.

At certain points in the musical, the rhyme scheme and music make you feel like there should be a word that will rhyme with another, particular line. Instead of resolving it, though, it just...hangs. It never gets the satisfying resolution you want. And they use this so well, especially in Valjean's Soliloquy (which makes sense, as he is a character that does feel perpetually "unresolved"--always on the run, unable to rest).

First, there's a line early in the song:

My life he claims for God above--

Can such things be?

Now, technically, this line does have a rhyme, in the stanza before, but the music makes you forget about it:

Yet why did I allow that man

To touch my soul and teach me love?

He treated me like any other;

He gave me his trust! He called me brother!

By reverting to a couplet here, instead of keeping an alternating rhyme scheme, it makes the stanza feel complete. By the time you start the next phrase ("My life he claims for God above"), which is furthermore on a rising part of the melody, you kind of assume that it will get another resolution in its own stanza. But it doesn't! Instead we hear:

For I had come to hate the world;

This world that always hated me!

Our ears are primed to hear the word love again, or at the very least the word above reminds us of it--but instead we get two instances of the word hate! Valjean had hoped for love, but instead, hatred was all he was met with; the same thing shows up in the literal construction of the song!

There's another instance of a hanging rhyme at the end of his Soliloquy, which is probably the perfect example of how to use these well. His penultimate stanza is:

I am reaching, but I fall

And the night is closing in,

As I stare into the void

To the whirlpool of my sin;

This establishes an ABCB rhyme scheme: lines 2 and 4 rhyme. We expect the last stanza to follow this:

I'll escape now from that world,

From the world of Jean Valjean!

Jean Valjean is nothing now--

Another story must begin!

Yet here, line 2 does not rhyme with line 4! The word "Valjean" doesn't get a rhyme--it's left hanging, because "Jean Valjean is nothing now"! That name no longer defines the course of Valjean's story!

But what does define it? What does the final line rhyme with?

"My sin."

Even with his new life, Valjean won't be able to leave that behind.

What excellent wordsmithing!

[cherry-sandwich]

i genuinely love Eagles Can Fly so much. like it's such a simple concept but it's done so well i just. asdjhsfkjsd. slightly incomprehensible yapping ahead

as Natsuki says in-game, the poem is about giving up. pretty straightforward. i think there's also something to say about giving up and failing while other people (animals) around you are being successful and overall feeling inferior to others, which kind of plays into her continuously having to justify her interests and writing style in order to be taken seriously.

with that in mind, we take a look at the rhythmic structure of the poem (rhythmic structure may or may not be an actual term, but it sounds right). Natsuki specifically highlights the rhyme scheme of this poem and her choice to break the rhyme in the last line of the poem. the first four lines of the poem follow an ABCB rhyme scheme, so you'd expect the next four to follow this as well - but nope, it's ABBC. as Natsuki says, this subverts the reader's expectations and make the last line hit harder. the last line is also an outlier as the only line with 5 syllables and not following the preestablished format of [animal] can [verb], futher reinforcing its role in breaking the flow of the poem. on a more meta level, breaking a rhyme is also an action of giving up (on the structure of the poem).

it's also worth noting the rhyme in "fly" and "try", which already breaks the rhyme scheme without even considering the last line. when reading the poem, this results in the line feeling slightly out of place - like you skipped a line or something. this lends itself to the idea that even when people are doing the thing they do best - trying - they still can't do it in a way that feels natural. "trying" as an action also feels like less of an accomplishment compared to the other actions, further playing into the idea of inferiority.

in terms of literary devices, there's not much else to say about the poem which i think is the best thing about it. its sole purpose is to play with the rhyming and word use and then throw it back in your face but it's used so well that you really don't need anything else.

[hydrogenperfoxide]

So in Anne with an E, in episode 4 towards the end (4:17 left on netflix) there's a shot of Marilla reading from the book of Psalms, specifically 78.

What jumped out at me is that each verse has been turned into a quatrain (four lines) with a ABCB rhyme scheme. It's Ballad Stanzas!

So being the Jewish nerd that I am, I had to know 1) how Robert Alter and JPS translated the psalm and 2) what the heck translation this was (obv an xtian one).

It turns out that it's The Psalms of David in Metre aka The Scottish Psalter of 1650

For quick comparison Alter's first two verses, then JPS 1985, then the first two stanza from the 1650 Robert Alter 1 Hearken, my people, to my teaching. Lend your ear to the sayings of my mouth. 2 Let me open my mouth in a rhapsody, let me voice the verses of old, JPS 1985 1 Give ear, my people, to my teaching, turn your ear to what I say. 2 I will expound a theme, hold forth on the lessons of the past, Scottish Psalter 1650 1 Attend, my people, to my law; thereto give thou an ear; The words that from my mouth proceed attentively do hear.

2 My mouth shall speak a parable, and sayings dark of old; The same which we have heard and known, and us our fathers told.

But extra fun thing: this Scottish Psalter 1650 Psalm 78 is in Common Meter (specifically 8, 6, 8, 6). Which means you can sing this over all sorts of tunes! AZMON (the tune that Wesley's O for a Thousand Tongues uses), a number of other hymn tunes i'm sure, but ALSO: Gilligans Isle (repeating the last line), The House of the Rising Sun, and THE POKEMON THEME (verses)

[cosmosgroundhogday]

Noel's Lament, a ballad?? Less likely than you think

I'm back on my bullshit so let's go.

So, we all know about how Noel's Lament isn't actually a lament and is in fact a ballad, and that Ballad of Jane Doe isn't a ballad and is in fact a lament. All this is because lament's are used for mourning and Noel is mourning his could've-been slutty French life, and ballad's are for telling a story and Jane just wants a story of her own she can tell.

We all know that, that's old news. But what if I were to tell you that Noel's Lament isn't entirely a ballad? We'd expect Noel to perform an untraditional ballad that maybe doesn't follow all of the conventions of an actual ballad as an amab who wants to be an afab sex worker in France, but it goes further than that.

A ballad is a poem that contains 12 stanzas, each with 4 lines that follows either an ABAB or ABCB rhyme scheme. An ABAB rhyme scheme is used to tell a love story, and an ABCB rhyme scheme is used to tell a story of heartbreak, or domestic crimes, or political propaganda, or loss of faith in religion etc etc. Noel's Lament follows an ABCB rhyme scheme, due to it's negative tone associating with heartbreak and unfaithfulness and whatever else is going on in Noel's fantasy world.

However, Noel's Lament contains 13 stanzas. Now you might be thinking: hang on, but the very last stanza is 2 lines, that barely even counts. If you're going to exclude the 5th line of some verses "I want to be that fucked up girl" from the ballad then you can exclude those two too! Well I would, except stanzas 11 and 12 also don't follow the rules of a ballad. They're each 6 lines long, and follow an AABBCC rhyme scheme. So when you split stanzas 1-10 and stanzas 11-13 separately, you get a 10 line long ballad, followed by a sonnet. A sonnet is 14 lines and often follows an AABB rhyme scheme, and I'd say Noel's AABBCC rhyme scheme is close enough to say it's the same thing.

See where I'm going with this? If Noel's song is a short ballad followed by a sonnet, whatever could that mean? Well as we know, a ballad is used to tell a story. If that story is cut short, whatever could that symbolise? Noel's tragically early death :). But then why does he sing a sonnet? Well sonnet's are used to write about desire, and even though his entire song is about the desire to be a French sex worker, this desire can also relate to the desire to live again :).

Summary: Noel sings a ballad that's suddenly cut short to symbolise how suddenly his life was cut short, and ends his song with a sonnet to symbolise his desire to live again :D

Thank you for putting up with my English Literature brain who over-analysed the structure of a silly little musical song :D

[xeaxeo]

BAWARKL #1 - Forget and Not Slow Down

Bored At Work Analyzing Relient K Lyrics

i'm not an expert so forgive me if i misuse any terminology. in Relient K's Forget and Not Slow Down, the first verse is a quatrain interrupted by couplets

Verse 1: A How many times A Can I push it aside   C Is it time I befriended all the ghosts   C Of all the things that haunt me most B So they leave me alone A Move on with my life   D Be certain the steps of left and right   D Don't fight the direction of upright

"times", "aside", and "life" are all slant rhymes. "alone" is the only unrhymed word, making its usage jarring and the climax of the verse. we hear this in song with the increased length and emphasis on "alone" when sung.

the chorus, what it is we dont know. it's a stanza, and it's got rhyming all over the place

Chorus: I'd rather forget and not slow down Than gather regret for the things I can't change now If I become what I can't accept Resurrect the saint from within the wretch Pour over me and wash my hands of it

every line of the chorus has a word that rhymes or slant rhymes with "forget." in the first half of the chorus, this rhyme occurs in the first half of each line. "if I become" breaks the rhyme scheme, causing tension, which is subsequently resolved by "accept." the rhyme then moves to the end of each line. As the rhyme moves to a later position in each line, so does the singer wish to move past this. the use of "become" as the word that breaks the rhyme scheme is also clever - to become is to change, and that moment changes the rhyming scheme.

in verse 2, the rhyming is more integrated between the quatrain and the couplets.

Verse 2: A It's time to decide B Which is out of my mind   C 'Cause it'll be me unless I put some thoughts   B To rest and leave some thoughts behind A I'll watch the glint in my eye D Shine off the spring in my step   A And it could be blinding   D Depending on the amount of you that I reflect

We do see that "thoughts" is not rhymed with anything, but technically the indented parts are the same line, I've just broken them into two lines for more clarity in the rhyming scheme. Since it is technically in the middle of the line, we don't get the same jarring effect as "alone" did in the first verse. We also see an internal rhyme on either side of "thoughts" - "unless" and "rest", so the effect that this gives is just a different rhythm in the cadence of the verse. if that makes any sense. Aside from "thoughts", all other lines rhyme with at least one other line. There is no jarring, standout word like "alone". The verse flows seamlessly, and really puts the feeling that instead of belaboring our regrets, we are really ready and trying to move past them.

We'll just mention the bridge for a little bit:

Bridge: 'Cause I could spend my life Just trying to sift through What I could've done better But what good do what if's do Oh-oh, oh-oh There's something I should tell you now

So we have a pretty simple ABCB rhyming scheme, if we break it up from a couplet into a quatrain. One of my favorite things about this song is how many times like two words make the rhyme, like "sift trhough" and "if's do". I think that's pretty good stuff. In the last line, "now" is a slant rhyme with "down". Perhaps even "You now" is a slant rhyme with "slow down". Who knows. Either way, the uncompleted rhyme at the end of the bridge primes the listener to want to hear the other half of that rhyme, both linking the bridge to the chorus and adding tension in the transition from the bridge to the chorus.

[theblackgooseberry]

Frank Dicksee (British painter and illustrator) 1853 - 1928

La Belle Dame Sans Merci, ca. 1902

oil on canvas

13 x 18 cm. (5.12 x 7.09 in.)

Bristol City Museum and Art Gallery, Bristol, United Kingdom

© photo Bristol City Museum and Art Gallery,

La Belle Dame sans Merci is a ballad written by the English poet John Keats. It exists in two versions, with minor differences between them. The original was written by Keats in 1819. He used the title of a 15th century poem by Alain Chartier, though the plots of the two poems are different. The poem is considered an English classic, stereotypical to other poems of John Keats, a Romantic poet. It avoids simplicity of interpretation despite simplicity of structure. At only a short twelve stanzas, of only four lines each, with a simple ABCB rhyme scheme, the poem is nonetheless full of enigmas, and has been the subject of numerous interpretations.

Keats' poem describes the condition of an unnamed knight who has encountered a mysterious woman who is said to be "a faery's child." It opens with a description of the knight in a barren landscape, "haggard" and "palely loitering". He tells the reader how he met a mysterious but very fair lady whose "eyes were wild." The damsel told the knight that she "loved him true" and took him to her "elfin grot," but upon arriving there, she "wept, and sigh'd full sore." Having realized something that the knight does not yet understand, the mysterious maiden sets the knight to sleep. The knight has a vision of "pale kings and princes," who cry, "La Belle Dame sans Merci [the beautiful, pitiless damsel] hath thee in thrall!" He awakes to find himself on the same "cold hill's side" on which he continues to wait while "palely loitering."

"La Belle Dame sans Merci" was a popular subject for the Pre-Raphaelite painters. It was depicted by Sir Frank Dicksee, Frank Cadogan Cowper, John William Waterhouse, Arthur Hughes, Walter Crane, and Henry Maynell Rheam. It was also satirized in the December 1, 1920 edition of Punch magazine.

* * *

This painting is based on La Belle Dame Sans Merci by John Keats.

La Belle Dame Sans Merci

I

Ah, what can ail thee, wretched wight,

Alone and palely loitering;

The sedge is wither'd from the lake,

And no birds sing.

II

Ah, what can ail thee, wretched wight,

So haggard and so woe-begone?

The squirrel's granary is full,

And the harvest's done.

III

I see a lily on thy brow,

With anguish moist and fever dew;

And on thy cheek a fading rose

Fast withereth too.

IV

I met a lady in the meads

Full beautiful, a faery's child;

Her hair was long, her foot was light,

And her eyes were wild.

V

I set her on my pacing steed,

And nothing else saw all day long;

For sideways would she lean, and sing

A faery's song.

VI

I made a garland for her head,

And bracelets too, and fragrant zone;

She look'd at me as she did love,

And made sweet moan.

VII

She found me roots of relish sweet,

And honey wild, and manna dew;

And sure in language strange she said,

I love thee true.

VIII

She took me to her elfin grot,

And there she gaz'd and sighed deep,

And there I shut her wild sad eyes -

So kiss'd to sleep.

IX

And there we slumber'd on the moss,

And there I dream'd, ah woe betide,

The latest dream I ever dream'd

On the cold hill side.

X

I saw pale kings, and princes too,

Pale warriors, death-pale were they all;

Who cry'd - 'La Belle Dame sans merci

Hath thee in thrall!'

XI

I saw their starv'd lips in the gloam

With horrid warning gaped wide,

And I awoke, and found me here

On the cold hill side.

XII

And this is why I sojourn here

Alone and palely loitering,

Though the sedge is wither'd from the lake,

And no birds sing.

For the poem of Keats, click here:

http://englishhistory.net/keats/poetry/labelledamesansmerci.html

To hear the song composed by Charles Villiers Stanford (1852 -- 1924) on the text of Keats poem (poem there also included) listen at: http://www.youtube.com/watch?v=phRGiN5kQaw

[frodo-with-glasses]

hello hi yes I just wanted to screech about your "Hand" poem it's AMAZING ABAB RHYME SCHEME ARE YOU KIDDING ME YES. (Also STORE for that one panel/comic of Pippin and the sword! I think you know the one haha) ~meg

HI YES THANK YOU MEG IT WAS VERY DIFFICULT which is why I cheated with ABCB in the third section haha 🤣 I was sat there so long thinking up rhymes for stuff LOL

(I DO know which panel of Pippin and the sword you are talking about, and heck yes, that will definitely be in the store! I’ll put it on the list. :-D)

[Re: this post]

[meganwasbored]

hey guys i wrote this poem for literature class do we think punctuation is necessary or am i able to just leave it like this

also if you have better ways of wording stuff i won’t be offended i just wanna pass this class

the only rule is that the rhyme scheme has to be ABCB

[jandkwriting]

Our first ever joint book signing is this weekend! I’m sure we have people interested in our book across the globe, so here’s a activity you can do in the comfort of your own home if you can’t make it in person. A poetry prompt!

To become an accredited bard, Kilahym composed an original piece during his final year at the Bard Academy. A favorite form of his is the ballad ( a poem that tells a story off from a four line stanzas and rhyming example ABCB scheme) craft your own ballad and share the result! Feel free to tag us. 

[bookwyrminspiration]

Why do you love, why do you lie?

Why do you hide beneath a chilly disguise

I wish I could know how and who you were

Tell me why she means you are not her

I hear voices from the other room

Though every word’s a blur

They may as well be speaking Greek

Though there’s no way to be sure

So every day I wake

Two names are in my head

The face of pride and envy

The face of calm and dread

And every time I see them

I cannot help but see

A way for me to die today

A way for me to leave

I find a way to see them

Whichever way I go

They are a devil on my shoulder

A reminder of my woe

No one tells me I’m irrational

But nonetheless I know it 

The deathly calmness of the mind

Not letting you to show it

I still believe that I am sane

There’s nothing wrong with me!

I am the same as any other

Or can’t we all agree

I’m not the person I once was

Though I still try to shed that skin

No no no, I’m not alive

No no no, I cannot thrive

I must admit my interpretation of this is skewed because I saw S interpreting the poetry he received in a queer way, and now that's in my mind. The rhyme scheme is intriguing in this ABCC for the first and last, and ABCB for all those in the middle? As far as I know there's no name for that kind of scheme, but my poetic knowledge is also limited.

I'm also curious about the shift in focus throughout the poem. We begin with a lot of "you" and switch to "I/me", so what's the purpose? Does the you actually refer to a focus on another character, or is this repetition of what another has said to them? If we're taking the queer reading, perhaps about the questions the speaker has received about their identity. Or perhaps the speaker addressing themselves?

The lines about two names, shedding skin, nothing wrong with me, not the person I once was, etc. are fairly straightforward in a queer reading of this. But the stanza's about hearing voices in another room and finding a way to see "them" are vexing me. Is this meant to paint a picture of the speaker's life? Does the "them" refer to the two faces in the prior line, which presumably refer to the two names? In which case are they seeking out themself in "find a way to see them"? or does that refer to the inevitability of confronting themself, how no matter where they go they Are Someone and they can't get away from their life.

Anyway, my wonderings aside thank you very much for sharing this with me, I am honored to have been one of the blogs to receive your poetry--even if any specific message may be eluding me, though perhaps vagueness was intentional and the point is to take away something personal. Regardless, your poetry is appreciated

[i-scan-your-poems]

poem for you to scan if youre accepting them? this one's called "the pillars in pairs"

Through the door of golden pine

Down the creaking stairs,

With pale stone streaking granite gold

Of the pillars in pairs.

On the brick-and-mortar path

Near to sunlit mares

Within the light of the shining sun

‘Round the pillars in pairs.

Over hedges rosy-sweet,

By the grazing hares

Across the golden field of grass,

To the pillars in pairs.

T’wards the silver marble men

Near the statue’s hand,

Before the weeping ravens here,

The pairs of pillars stand.

Scansion:

– / ◡ – / ◡ – / ◡ – Through / the door / of gol/den pine – / ◡ – / ◡ – Down / the crea/king stairs, ◡ – / ◡ – / ◡ – / ◡ – With pale / stone strea/king gra/nite gold ◡ ◡ – / ◡ ◡ – Of the pil/lars in pairs. – / ◡ – / ◡ – / ◡ – On / the brick/-and-mor/tar path – / ◡ – / ◡ – Near / to sun/lit mares ◡ – / ◡ – / ◡ ◡ – / ◡ – Within / the light / of the shi/ning sun ◡ ◡ – / ◡ ◡ – ‘Round the pil/lars in pairs. – / ◡ – / ◡ – / ◡ – O/ver hed/ges ro/sy-sweet, – / ◡ – / ◡ – By / the gra/zing hares ◡ – / ◡ – / ◡ – / ◡ – Across / the gol/den field / of grass, ◡ ◡ – / ◡ ◡ – To the pil/lars in pairs. – / ◡ – / ◡ – / ◡ – T’wards / the sil/ver mar/ble men – / ◡ – / ◡ – Near / the sta/tue’s hand, ◡ – / ◡ – / ◡ – / ◡ – Before / the wee/ping ra/vens here, ◡ – / ◡ – / ◡ – The pairs / of pil/lars stand.

Metrical form: Each four-line stanza has the same rhythm, even though each line within the stanza is different: – / ◡ – / ◡ – / ◡ – (acephalous iambic tetrameter) – / ◡ – / ◡ – (acephalous iambic trimeter) ◡ – / ◡ – / ◡ – / ◡ – (iambic tetrameter) ◡ – / ◡ – / ◡ – OR ◡ ◡ – / ◡ ◡ –

The fourth line of the stanza is underlyingly an iambic trimeter. However, in all but the last stanza, this expected line is replaced with an anapestic dimeter: the same number of syllables, but broken into two feet instead of three.

Rhyme scheme: ABCB DBEB FBGB HIJI

[child-of-peace]

I wrote a Hatchetmen Nursery Rhyme (link to it on Ao3) and below the cut I've put an analysis of each verse/stanza, just to explain why I wrote each one the way I did!

This is just a warning about passing over the Hatchetmen's graves within the cemetery. The starting point of this poem was this idea I had of children playing in the cemetery and hearing whispers coming from the graves (thus the cemetery got the name Whispering Graves which eventually became Whispering Grove). There is an implication that the Hatchetmen are always watching.

Our first chorus segment! So Nick Lang has said that the Hatchetmen's motto was Sam Raimi's rules of horror: "The innocent must suffer, the guilty must be punished. You must taste blood to be a man." This stanza addresses the first two points about the innocent and the guilty.

This verse I'm not too sure of tbh. Punctuations a little messy, not fond of my word choice, but it gets the message I wanted across. The stories paint the Hatchetmen in a good light, but the narrator wants you to forget that. The narrator is addressing the dangers of the Hatchetmen.

And in this second chorus, we address the final line of the Sam Raimi quote: "You must taste blood to be a man." This one was a little hard to figure out, but I'm pleased with it! And we of course address the children with "a touch of The Gift" here.

This is a further explanation of The Gift. The narrator sees The Gift as a blessing. Referencing the fae is purely because I couldn't figure out how else to describe their gifts, especially from a late 19th century perspective. "Their line" references the Metzgers and how they continue to find anyone with The Gift (adult or child, children is more of a "the children of The Gift" thing than literal children here). And then the last line talks about how the Hatchetmen would bury the Gifted in the ground until they sprung up as trees to form the Witchwood Forest.

Here, the narrator encourages the Gifted to keep their powers hidden for fear of the Hatchetmen. "They'll set your soul adrift" alludes to the idea that the Hatchetmen will kill them for their powers.

The morning bell was supposed to be a double entendre, implying that the Hatchetmen would seek the Gifted out under the cover of night, but also, with the homophone "morning/mourning", that the Hatchetmen would only end their chase once the Gifted were dead. The final two lines show the Hatchetmen's thirst for blood. If they could not get their hands on a specific Gifted, they would kill others, perhaps to draw out their prey.

Here, the narrator refers to the Gift as a sin, perhaps because that is what the narrative of the time is, or perhaps to mock the Hatchetmen. The final line is a warning. If they can't have you, they'll take your family.

I believe this was the first part I wrote. The "light turning dark" references the end of the Hatchetmen's lives followed by their burials. The final two lines suggest that the Hatchetmen would return to the living if Willabella Muckwab ever came back.

The narrator is not be a fan of Willabella Muckwab (in my head, they blame her for the Gifted being demonised), so the first part is bitterly pleased. The final line is a warning. Once they've got Willabella, they won't stop there. So run.

There are five verses (and five choruses) for five Lords in Black!

Rhyme Scheme: ABCB

Metre:

Verse: xx-/xx-/-- x-/x-/x-/x- xx-/xx-/-- x-/x-/x-/x-

Chorus: x-/x-/x-/x- x-/x-/x- x-/x-/x-/x- x-/x-/x-