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POETIC FORMS:
ABC
Poetry in which every word begins with a successive letter of the alphabet.
The first word begins with A, the second with B, etc. OR A poem that has 5
lines that create a mood, picture, or feeling.Lines 1 through 4 are made up
of words, phrases or clauses - and the first word of each line is in
alphabetical order from the first word. Line 5 is one sentence, beginning
with any letter.
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A better cat doesn't exist, four gentle hearts insist. Juggling kittens,
leaping, mewing, now overturning pillows--quietly rush, sustain
terror--understand: Vitality will explode yawning zzz's!
by LaVerna B. Johnson
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Acrostic
Poetry that certain letters, usually the first in each line form a word or
message when read in a sequence.
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Here is an example in English, an Edgar Allan Poe poem titled simply
An Acrostic:
- Elizabeth it is in vain you say
- "Love not" — thou sayest it in so sweet a way:
- In vain those words from thee or L.E.L.
- Zantippe's talents had enforced so well:
- Ah! if that language from thy heart arise,
- Breath it less gently forth — and veil thine
eyes.
- Endymion, recollect, when Luna tried
- To cure his love — was cured of all beside —
- His follie — pride — and passion — for he died.
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Alliteration
Alliterations are sentences or phrases that contain words that repeat the
same beginning consonant sounds. The initial sounds of a word, beginning
either with a consonant or a vowel, are repeated in close succession.
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Dogs Destroy Dinosaurs
Athena and Apollo
Nate never knows
People who pen poetry
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Ballad
A story in a song, usually a narrative song or poem. Any form of story may
be told as a ballad (not to be confused with a ballade), ranging from
accounts of historical events to fairy tales in verse form. It is usually
with foreshortened alternating four- and three-stress lines ('ballad meter')
and simple repeating rhymes, and often with a refrain.
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ANNABEL LEE
by Edgar Allan Poe
(1849)
It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of ANNABEL LEE;--
And this maiden she lived with no other thought
Than to love and be loved by me.
She was a child and I was a child,
In this kingdom by the sea,
But we loved with a love that was more than love--
I and my Annabel Lee--
With a love that the winged seraphs of heaven
Coveted her and me.
And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud by night
Chilling my Annabel Lee;
So that her high-born kinsman came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in Heaven,
Went envying her and me:--
Yes! that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of a cloud, chilling
And killing my Annabel Lee.
But our love it was stronger by far than the love
Of those who were older than we--
Of many far wiser than we-
And neither the angels in Heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee:--
For the moon never beams without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise but I see the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling, my darling, my life and my bride,
In her sepulchre there by the sea--
In her tomb by the side of the sea.
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Ballade
The ballade is a verse form typically consisting of three eight-line
stanzas, each with a consistent metre and a particular rhyme scheme. The
last line in the stanza is a refrain, and the stanzas are followed by a
four-line concluding stanza (an envoi) usually addressed to a prince. (The
ballade should not be confused with the ballad.) The rhyme scheme is
therefore usually 'ababbcbC ababbcbC ababbcbC bcbC', where the capital 'C'
is a refrain. There are many variations to the ballade, and it is in many
ways similar to the ode and chant royal. There are instances of a double
ballade and double-refrain ballade. Some ballades have five stanzas; a
ballade supreme has ten-line stanzas rhyming ababbccdcD, with the envoi
ccdcD or ccdccD. A seven-line ballade, or ballade royal, consists of four
stanzas of rhyme royal, all using the same three rhymes, all ending in a
refrain, without an envoi.
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A Ballade Of Theatricals by G.K. Chesterton
(1912)
- Though all the critics' canons grow—
- Far seedier than the actors' own—
- Although the cottage-door's too low—
- Although the fairy's twenty stone—
- Although, just like the telephone,
- She comes by wire and not by wings,
- Though all the mechanism's known—
- Believe me, there are real things.
- Yes, real people— even so—
- Even in a theatre, truth is known,
- Though the agnostic will not know,
- And though the gnostic will not own,
- There is a thing called skin and bone,
- And many a man that struts and sings
- Has been as stony-broke as stone…
- Believe me, there are real things
- There is an hour when all men go;
- An hour when man is all alone.
- When idle minstrels in a row
- Went down with all the bugles blown—
- When brass and hymn and drum went down,
- Down in death's throat with thunderings—
- Ah, though the unreal things have grown,
- Believe me, there are real things.
- Prince, though your hair is not your own
- And half your face held on by strings,
- And if you sat, you'd smash your throne—
- Believe me, there are real things.
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Bio
A poem written about one self's life, personality traits, and ambitions.
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Line 1: First name
Line 2: Four traits that describe you
Line 3: Brother/ Sister of ... (may substitute son/daughter of)
Line 4: Lover of ... (Give names of three people or ideas)
Line 5: Who feels ... (Give three feelings)
Line 6: Who fears ... (Give three items)
Line 7: Who would like to see ... (Give three items)
Line 8: Resident of ... (Give city and state)
Line 9: Last name only
Example: Devin Dusseau
Devin
Mother, daughter, friend, teacher
Sister of Deanna, Denise, and Danny
Lover of Grace, flowers, and Michigan Football
Who feels pain, love, and excitement
Who fears failure, loss, and large spiders
Who would like to see Florence, Hawaii, and Brazil
Resident of Adrian, Michigan
Dusseau
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Blank verse
A type of poetry, distinguished by having a regular meter, but no rhyme. In
English, the meter most commonly used with blank verse has been iambic
pentameter. The iambic pentameter form often resembles the rhythms of
speech. Verse that does not employ a rhyme scheme. Blank verse, however, is
not the same as free verse because it employs a meter e.g. Paradise Lost by
John Milton which is written in iambic pentameters.
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You stars that reign'd at my nativity,
Whose influence hath alloted death and hell,
Now draw up Faustus like a foggy mist
Into the entrails of yon labouring clouds,
That when they vomit forth into the air,
My limbs may issue from their smoky mouths,
So that my soul may but ascend to Heaven.
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Burlesque
Poetry that treats a serious subject ridiculously, humorously, or is simply
a trivial story.
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NA
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Canzone
Medieval Italian lyric style poetry with five or six stanzas and a shorter
ending stanza.
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NA
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Carpe Diem
Latin expression that means 'seize the day.' Carpe diem poems have a theme
of living for today.
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Leuconoe, don't ask--it's forbidden to know--
what end the gods will give me or you. Don't play with Babylonian
fortune-telling either. Better just deal with whatever comes your way.
Whether you'll see several more winters or whether the last one
Juppiter gives you is the one even now pelting the rocks on the shore with
the waves
of the Tyrrhenian sea--be smart, drink your wine. Scale back your long
hopes
to a short period. Even as we speak, envious time
is running away from us. Seize the day (Carpe diem), and
trust as little as possible in the future.
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Chant Royal
The chant royal is a poetic form that consists of five eleven-line stanzas
with a rhyme scheme a-b-a-b-c-c-d-d-e-d-E and a five-line envoi rhyming
d-d-e-d-E or a seven-line envoi c-c-d-d-e-d-E.
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The Dance of Death
After Holbein
"Contra vim Mortis
Non est medicamen in hortis."
Austin Dobson
He is the despots' Despot. All must bide,
Later or soon, the message of his might;
Princes and potentates their heads must hide,
Touched by the awful sigil of his right;
Beside the Kaiser he at eve doth wait
And pours a potion in his cup of state;
The stately Queen his bidding must obey;
No keen-eyed Cardinal shall him affray;
And to the Dame that wantoneth he saith--
"Let be, Sweet-heart, to junket and to play."
There is no King more terrible than Death.
The lusty Lord, rejoicing in his pride,
He draweth down; before the armed Knight
With jingling bridle-rein he still doth ride;
He crosseth the strong Captain in the fight;
The Burgher grave he beckons from debate;
He hales the Abbot by his shaven pate,
Nor for the Abbess' wailing will delay;
No bawling Mendicant shall say him nay;
E'en to the pyx the Priest he followeth,
Nor can the Leech* his chilling finger stay . . . [doctor]
There is no King more terrible than Death.
All things must bow to him. And woe betide
The Wine-bibber,--the Roisterer by night;
Him the feast-master, many bouts defied,
Him 'twixt the pledging and the cup shall smite;
Woe to the Lender at usurious rate,
The hard Rich Man, the hireling Advocate;
Woe to the Judge that selleth Law for pay;
Woe to the Thief that like a beast of prey
With creeping tread the traveller harryeth:--
These, in their sin, the sudden sword shall slay . . .
There is no King more terrible than Death.
He hath no pity, -- nor will be denied.
When the low hearth is garnished and bright,
Grimly he flingeth the dim portal wide,
And steals the Infant in the Mother's sight;
He hath no pity for the scorned of fate:--
He spares not Lazarus lying at the gate,
Nay, nor the Blind that stumbleth as he may;
Nay, the tired Ploughman,--at the sinking ray,--
In the last furrow,--feels an icy breath,
And knows a hand hath turned the team astray . . .
There is no King more terrible than Death.
He hath no pity. For the new-made Bride,
Blithe with the promise of her life's delight,
That wanders gladly by her Husband's side,
He with the clatter of his drum doth fright.
He scares the Virgin at the convent grate;
The Maid half-won, the Lover passionate;
He hath no grace for weakness and decay:
The tender Wife, the Widow bent and gray,
The feeble Sire whose footstep faltereth,--
All these he leadeth by the lonely way . . .
There is no King more terrible than Death.
ENVOI
Youth, for whose ear and monishing of late,
I sang of Prodigals and lost estate,
Have thou thy joy of living and be gay;
But know not less that there must come a day,--
Aye, and perchance e'en now it hasteneth,--
When thine own heart shall speak to thee and say,--
There is no King more terrible than Death.
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Chastushka
A type of traditional Russian poetry, is a single quatrain in trochaic
tetrameter with an abab or abcb rhyme scheme. Usually humorous, satirical,
or ironic in nature, chastushkas are often put to music as well, usually
with balalaika or accordion accompaniment. The rigid, short structure (and,
to a lesser degree, the type of humor used) parallels limericks in British
culture.
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Mother, spare me, don't scold me
For the baby in my skirt.
Just think, like me, Virgin Mary
Without husband's help gave birth.
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Cinqku
Cinqku: invented by Denis Garrison as a closer analogue to haiku than the
American Cinquain (Adelaide Crapsey), minimizing the utility of the line
break technique. Cinqku follows a strict 17 syllable count arranged in five
successive lines of 2-3-4-6-2 syllables. No title is used for single verse
cinqku poems which are written in haiku- style free diction and syntax with
no metrical requirement; a turn is used that may be similar to kireji in
haiku or cinquain. Sequence, crown, and mirror, cinqku may be titled.
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Trish Shields, CA
Friday:
work week done.
Expectant kids
want it to last—too bad:
Monday
wasted
years with him
buried alive
but digging my way out
reclaimed
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Cinquain
The modern cinquain is based on a word count of words of a certain type.
Line 1 has one word (the title).
Line 2 has two words that describe the title.
Line 3 has three words that tell the action.
Line 4 has four words that express the feeling
Line 5 has one word which recalls the title.
The traditional cinquain is based on a syllable count. Twenty-Two syllables
in the following pattern (2-4-6-8-2) The traditional cinquain is based on a
syllable count. It has five lines, and often, one word in the first line,
two words in the second line etc.
line 1 - 2 syllables
line 2 - 4 syllables
line 3 - 6 syllables
line 4 - 8 syllables
line 5 - 2 syllables
There are more variations of the Cinquain form.
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A Threat
Stormclouds,
casting shadows
over weary soldiers,
threaten to cry heavy buckets
of tears.
Poetry © Copyright Suzanne Honour 2002-2003
Guilty
or not guilty
past convictions frustrate
the judge who wonders should your fate
abate.
Leo McGarry
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Classicism
Poetry which holds the principles and ideals of beauty that are
characteristic of Greek and Roman art, architecture, and literature.
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Eloisa to Abelard by Alexander Pope
In these deep solitudes and awful cells,
Where heav'nly-pensive contemplation dwells,
And ever-musing melancholy reigns;
What means this tumult in a vestal's veins?
Why rove my thoughts beyond this last retreat?
Why feels my heart its long-forgotten heat?
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Clerihew
A Clerihew (or clerihew) is a very specific kind of short humorous verse,
typically with the following properties: It is biographical and usually
whimsical, showing the subject from an unusual point of view; but it is
hardly ever satirical, abusive or obscene; It has four lines of irregular
length (for comic effect); The first line consists solely (or almost solely)
of a well-known person's name.
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Sir Humphrey Davy
Abominated gravy.
He lived in the odium
Of having discovered sodium.
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Concrete
A concrete poem is one that takes the shape of the object it describes. This
is different from a Shape poem, in that a Shape poem does NOT have to take
the shape of the object it describes.
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Triangle
I
am
a very
special
shape I have
three points and
three lines straight.
Look through my words
and you will see, the shape
that I am meant to be. I'm just
not words caught in a tangle. Look
close to see a small triangle. My angles
add to one hundred and eighty degrees, you
learn this at school with your abc's. Practice your
maths and you will see, some other fine examples of me.
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Couplet
Rhyming stanzas made up of two lines. A pair of lines of a verse that form a
unit. Some couplets rhyme aa, but this is not a requirement.
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Example (J. Kilmer - Trees):
I THINK that I shall never see (a)
A poem lovely as a tree. (a)
A tree whose hungry mouth is prest (b)
Against the sweet earth's flowing breast; (b)
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Cowboy
Cowboy poetry is rhymed, metered verse written by someone who has lived a
significant portion of his or her life in Western North American cattle
culture. The verse reflects an intimate knowledge of that way of life, and
the community from which it maintains itself in tradition.
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Compadre by
Jim Fish
We’ve shared the trail, kicked up some dust,
An’ stood a storm or two.
We’ve rode the plains, the wide frontier,
The easy trails were few.
You’ve listened like some wise old sage
To ever thing I’ve said,
An’ as a friend, supported me,
No matter where it led.
I wished I coulda carried you,
The times you were in pain;
Or rustled up some kinda shed
To turn the blowin’ rain.
I’ve come up shy with some your needs,
You gave me more’n you got,
But in your silence, seemed to know,
I needed you a lot.
Compadre, friend, amigo, pard;
I called you all them things,
But there’s been times, I swear to God,
You musta had some wings,
An’ He sent you to care for me
Like no one had before.
If you’as a man an’ not a horse,
I couldn’t a-loved you more.
We gave this ranch our sweat an’ blood,
It’s yours as much as mine,
An’ raised our young’uns through the years,
An’ Lord they’re doin’ fine.
They’re blazin’ trails an’ raisin’ dust,
They’re off an’ runnin’ free.
We’ve taught ‘em well an’ made ‘em strong;
Compadre, you an’ me.
I always knew the day would come
When we would fine’ly ride,
To join the Maker’s round-up time,
Up on the Great Divide.
I sorta hoped we’d share the trail
But this was not to be,
So, you go on, we’ll ride again;
Compadre, you an’ me.
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Crown of Sonnets
A crown of sonnets or sonnet corona is a sequence of sonnets, usually
addressed to some one person, and/or concerned with a single theme. It is a
7-sonnet sequence in which the last line of each sonnet is repeated in the
first line of the next. The first and last lines of the sequence are also
strict repetends; this gives the sequence its crown-like circularity.
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LA CORONA.

I. |
Deign at my hands this crown of prayer and
praise,
Weaved in my lone devout melancholy,
Thou which of good hast, yea, art treasury,
All changing unchanged Ancient of days.
But do not with a vile crown of frail bays
Reward my Muse's white sincerity ;
But what Thy thorny crown gain'd, that give me,
A crown of glory, which doth flower always.
The ends crown our works, but Thou crown'st our ends,
For at our ends begins our endless rest.
The first last end, now zealously possess'd,
With a strong sober thirst my soul attends.
'Tis time that heart and voice be lifted high ;
Salvation to all that will is nigh.
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ANNUNCIATION.

Salvation to all that will is nigh ;
That All, which always is all everywhere,
Which cannot sin, and yet all sins must bear,
Which cannot die, yet cannot choose but die,
Lo ! faithful Virgin, yields Himself to lie
In prison, in thy womb ; and though He there
Can take no sin, nor thou give, yet He'll wear,
Taken from thence, flesh, which death's force may try.
Ere by the spheres time was created thou
Wast in His mind, who is thy Son, and Brother ;
Whom thou conceivest, conceived ; yea, thou art now
Thy Maker's maker, and thy Father's mother,
Thou hast light in dark, and shutt'st in little room
Immensity, cloister'd in thy dear womb.
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NATIVITY.

Immensity, cloister'd in thy dear womb,
Now leaves His well-beloved imprisonment.
There he hath made himself to his intent
Weak enough, now into our world to come.
But O ! for thee, for Him, hath th' inn no room ?
Yet lay Him in this stall, and from th' orient,
Stars, and wise men will travel to prevent
The effects of Herod's jealous general doom.
See'st thou, my soul, with thy faith's eye, how He
Which fills all place, yet none holds Him, doth lie ?
Was not His pity towards thee wondrous high,
That would have need to be pitied by thee ?
Kiss Him, and with Him into Egypt go,
With His kind mother, who partakes thy woe.
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TEMPLE.

With His kind mother, who partakes thy woe,
Joseph, turn back ; see where your child doth sit,
Blowing, yea blowing out those sparks of wit,
Which Himself on the doctors did bestow.
The Word but lately could not speak, and lo !
It suddenly speaks wonders ; whence comes it,
That all which was, and all which should be writ,
A shallow seeming child should deeply know ?
His Godhead was not soul to His manhood,
Nor had time mellow'd Him to this ripeness ;
But as for one which hath a long task, 'tis good,
With the sun to begin His business,
He in His age's morning thus began,
By miracles exceeding power of man.
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CRUCIFYING.

By miracles exceeding power of man,
He faith in some, envy in some begat,
For, what weak spirits admire, ambitious hate :
In both affections many to Him ran.
But O ! the worst are most, they will and can,
Alas ! and do, unto th' Immaculate,
Whose creature Fate is, now prescribe a fate,
Measuring self-life's infinity to span,
Nay to an inch. Lo ! where condemned He
Bears His own cross, with pain, yet by and by
When it bears him, He must bear more and die.
Now Thou art lifted up, draw me to Thee,
And at Thy death giving such liberal dole,
Moist with one drop of Thy blood my dry soul.
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RESURRECTION.

Moist with one drop of Thy blood, my dry soul
Shall—though she now be in extreme degree
Too stony hard, and yet too fleshly—be
Freed by that drop, from being starved, hard or foul,
And life by this death abled shall control
Death, whom Thy death slew ; nor shall to me
Fear of first or last death bring misery,
If in thy life-book my name thou enroll.
Flesh in that long sleep is not putrified,
But made that there, of which, and for which it was ;
Nor can by other means be glorified.
May then sin's sleep and death soon from me pass,
That waked from both, I again risen may
Salute the last and everlasting day.
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ASCENSION.

Salute the last and everlasting day,
Joy at th' uprising of this Sun, and Son,
Ye whose true tears, or tribulation
Have purely wash'd, or burnt your drossy clay.
Behold, the Highest, parting hence away,
Lightens the dark clouds, which He treads upon ;
Nor doth He by ascending show alone,
But first He, and He first enters the way.
O strong Ram, which hast batter'd heaven for me !
Mild Lamb, which with Thy Blood hast mark'd the path !
Bright Torch, which shinest, that I the way may see !
O, with Thy own Blood quench Thy own just wrath ;
And if Thy Holy Spirit my Muse did raise,
Deign at my hands this crown of prayer and praise.
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Crystalline
A two line image poem, often with a title, in which euphony is the key
factor. Each line may have 8 or 9 syllables to make a total of seventeen.
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Brian Strand #3
My fingers reach to touch the sky
where swallows circle,then southwards fly.
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Diamante
The purpose is to go from the subject at the top of the diamond to another
totally different (and sometimes opposite) subject at the bottom. A seven
line poem, shaped like a diamond.
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Line 1: Winter = 1 NOUN-A
Line 2: Rainy, cold = 2 ADJECTIVES-A
Line 3: Skiing, skating, sledding = 3 GERUNDS-A (verb + -ing)
Line 4: Mountains, wind, breeze, ocean = 2 NOUNS-A + 2 NOUNS-B
Line 5: Swimming, surfing, scuba diving = 3 GERUNDS-B (verb + -ing)
Line 6: Sunny, hot = 2 ADJECTIVES-B
Line 7: Summer = 1 NOUN-B
Dreams
delightful, wonderful
exciting, daring, fascinating
kings, queens, monsters, giant skittels
raging, horrifying, terrifying
vicious, horrible
nightmares
by Jessica H.
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Didactic
A form of verse, the aim of which is to instruct the mind and improve
morals. It essentially lays out a body of detailed information for the
reader with the aim of molding the reader into a certain ethical or
religious frame of mind.
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Example:
Recipe For Heavenly Destination
To get to Heaven
And stay with Christ
Follow this recipe
And his face you will see
Love
Love your neighbor
Love everyman
Spread the love as much as you can
Pray
Talk to the Lord
Show Him you care
With Him your feelings and worries share
Follow
Follow his teachings
Follow his way
Wherever he goes, follow you may
Lead
Lead the ones who don't see
Lead the ones that don't feel the love
Lead them to the Lord above
Copyright © 2000 David Arlaud
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Diminished Hexaverse
A poem containing stanzas of 5 lines, then 4 lines, then 3 lines, then 2
lines, ending with one word. The syllables in each stanza correspond to the
number of lines, i.e. 5 in each line in the first stanza, 4 in the second
stanza and so on. This form may contain more than five stanzas.
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Love, At Last...
If the ground should quake,
If the sky should fall,
If the rain lets up,
If the plants all die,
There is one thing left.
If we lose sight,
If we can't speak,
If the bow breaks,
on the last tree,
we won't cry
or resign,
for we know
there's one
thing left:
love.
Copyright © 2005
Tatyana Carney
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Dizain
Ten lines rhymed a b a b b c c d c d; usually (though not by definition)
iambic pentameter. This is a Dizain chain. This is originally a French form
and initially would have been made up of eight syllablelines, but later ten
syllable lines were also used. The few examples of this form in England did
prefer Iambic Pentameter, but that's purely up to the poet. The rhyme scheme
is: a. b. a. b. b. c. c. d. c. d.
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You entered my heart with laughter and joy,
Ignited thoughts once thought loving and kind.
Stimulating, waking Love thoughts destroyed.
Your captivating charm so hard to find,
Your always the main attraction on my mind.
Each day, each night I spend admiring you,
Our hopes, ours dreams swing in intense romance.
Your a friend, a love beyond déjà vu.
Our souls touched, embracing a new spiritual dance,
You are my love that makes my love stance. Writer Unknown
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Dodoitsu
The Dodoitsu is a fixed folk song form of Japanese origin and is often about
love or humor. It has 26 syllables made of of four lines of 7, 7, 7, 5
syllables respectively. It is unrhymed and non-metrical.
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Buried Treasure
Gemstones the size of grapefruit
hide camoflaged in the rocks
buried like a treasure chest
waiting to be found.
Copyright Suzanne Honour 2002-2003
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Double Dactyl
A verse form, also known as "higgledy piggledy," invented by Anthony Hecht
and Paul Pascal. Like a limerick, it has a rigid structure and is usually
humorous, but the double dactyl is considerably more rigid and difficult to
write. There must be two stanzas, each comprising three lines of dactylic
dimeter followed by a line with a dactyl and a single accent. The two
stanzas have to rhyme on their last line. The first line of the first stanza
is repetitive nonsense. The second line of the first stanza is the subject
of the poem, a proper noun (usually someone's name). Note that this name
must itself be double-dactylic. There is also a requirement for at least one
line of the second stanza to be entirely one double dactyl word, for example
"va-le-dic-tor-i-an".
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A recent one by Gene Weingarten and Dan Weingarten:
Joe and Marilyn
Higgledy Piggledy
Joseph DiMaggio''
Jolted the ball but was
Jilted in bed.
Marilyn walked, but he
Necro-romantically
Laid her in rose bouquets
When she was dead.
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Dramatic monologue
A type of long lyric poem, developed during the Victorian period, in which a
character in fiction or in history delivers a lengthy speech explaining his
or her feelings, actions, or motives.
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Ulysses
Alfred Lord Tennyson
It little profits that an idle king,
By this still hearth, among these barren crags,
Matched with an aged wife, I mete and dole
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.
I cannot rest from travel: I will drink
Life to the lees: all times I have enjoyed
Greatly, have suffered greatly, both with those
That loved me, and alone; on shore, and when
Through scudding drifts the rainy Hyades
Vest the dim sea: I am become a name;
For always roaming with a hungry heart
Much have I seen and known; cities of men
And manners, climates, councils, governments,
Myself not least, but honoured of them all;
And drunk delight of battle with my peers;
Far on the ringing plains of windy Troy.
I am part of all that I have met;
Yet all experience is an arch wherethrough
Gleams that untravelled world, whose margin fades
For ever and for ever when I move.
How dull it is to pause, to make an end,
To rust unburnished, not to shine in use!
As though to breath were life. Life piled on life
Were all to little, and of one to me
Little remains: but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this gray spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.
This is my son, mine own Telemachus,
To whom I leave the scepter and the isle
Well-loved of me, discerning to fulfill
This labour, by slow prudence to make mild
A rugged people, and through soft degrees
Subdue them to the useful and the good.
Most blameless is he, centered in the sphere
Of common duties, decent not to fail
In offices of tenderness, and pay
Meet adoration to my household gods,
When I am gone. He works his work, I mine.
There lies the port; the vessel puffs her sail:
There gloom the dark broad seas. My mariners,
Souls that have toiled, and wrought, and thought with me
That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads you and I are old;
Old age had yet his honour and his toil;
Death closes all: but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks:
The long day wanes: the slow moon climbs: the deep
Moans round with many voices. Come, my friends,
'Tis not too late to seek a newer world.
Push off, and sitting well in order smite
The sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down:
It may be we shall touch the Happy Isles,
And see the great Achilles, whom we knew.
Though much is taken, much abides; and though
We are not now that strength which in the old days
Moved earth and heaven; that which we are, we are,
One equal-temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.
Ulysses
Alfred Lord Tennyson
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Dramatic Verse (Verse
Drama)
Any drama written as verse to be spoken; another possible general term is
poetic drama.
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NA
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Ekphrasis (Ecphrasis)
Ekphrasis, alternately spelled ecphrasis, is a term used to denote poetry or
poetic writing concerning itself with the visual arts, artistic objects,
and/or highly visual scenes. This style of writing is characteristic in such
works as Keats' "Ode on a Grecian Urn," Byron's Childe Harold's Pilgrimage,
and Shelley's "On the Medusa of Leonardo da Vinci in the Florentine
Gallery."
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John Keats -- "Ode on a Grecian Urn"
Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold lover, never, never canst thou kiss,
Though winning near the goal -- yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever piping songs for ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty, -- and that is all
Ye know on earth, and all ye need to know.
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Elegy
A poem of mourning, or, a sad and thoughtful poem about the death of an
individual.
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Elegy by Ambrose Bierce The cur foretells the knell of
parting day;
The loafing herd winds slowly o'er the lea;
The wise man homewards plods; I only stay
To fiddle-faddle in a minor key.
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Enclosed Rhyme
The rhyme scheme "abba" (that is, where the first and fourth lines, and the
second and third lines rhyme).
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How soon hath Time, the subtle thief of youth,
Stolen on his wing my three and twentieth year!
My hasting days fly on with full career,
But my late spring no bud or blossom shew'th.
(From John Milton's "On His Being Arrived to the Age of
Twenty-Three")
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Epic
An extensive, serious poem that tells the story about a heroic figure. A
broadly defined genre of poetry, and one of the major forms of narrative
literature. It retells in a continuous narrative the life and works of a
heroic or mythological person or group of persons.
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The
Iliad, ascribed to Homer (Greek mythology)
The
Odyssey, ascribed to Homer (Greek mythology)
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Epigram
A very short, ironic and witty poem usually written as a brief couplet or
quatrain. The term is derived from the Greek epigramma meaning inscription.
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Here lies my wife: here let her lie!
Now she's at rest — and so am I.
— John Dryden
I am His Highness' dog at Kew;
Pray tell me, sir, whose dog are you?
— Alexander Pope
Little strokes
Fell great oaks.
— Benjamin Franklin
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Epitaph
A commemorative inscription on a tomb or mortuary monument written to praise
the deceased.
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AN EPITAPH
Walter de la Mare
Here lies a most beautiful lady,
Light of step and heart was she:
I think she was the most beautiful lady
That ever was in the West Country.
But beauty vanishes; beauty passes;
However rare, rare it be;
And when I crumble who shall remember
This lady of the West Country?
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Epithalamium
A poem written in honor of the bride and groom.
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| Epithalamium |
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| by
Matthew Rohrer |
In the middle garden is the secret wedding,
that hides always under the other one
and under the shiny things of the other one. Under a tree
one hand reaches through the grainy dusk toward another.
Two right hands. The ring is a weed that will surely die.There is
no one else for miles,
and even those people far away are deaf and blind.
There is no one to bless this.
There are the dark trees, and just beyond the trees. |
Copyright © 2001 by Matthew Rohrer. |
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Epulaeryu
The “Epulaeryu” poem is about delicious food. It consists of seven lines
with thirty-three (33) syllables. The first line has seven syllables, the
second line five, the third line seven, the fourth line five, the fifth line
five, the sixth line three, and the seventh line has only one syllable which
ends with an exclamation mark. Each line has one thought relating to the
main course. Therefore, this new poetic form, the Epulaeryu, which has
corresponding lines built around the main course, and ending with an
exclamation point, concludes with the ending line expressing the writer’s
excitement and feelings about the poem.
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Eggs Rolls (Epulaeryu)
Egg rolls wrapped with soft thin dough
Chopped spiced shrimp cooked slow
Sliced carrots and cabbage mixed
Ginger sauce affixed
Veggies and less meat
My Chinese—
Treat!
© Joseph, 6/1/07
© All Rights Reserved
~~~~~~~~~~~***~~~~~~~~~~~
Halloween Candy (Epulaeryu)
Halloween candy so nice
Like sugary spice
Crispy, creamy, chocolate
With tasty raisins
Trick or treat goblins
My tooth is
Sweet!
© Joseph, 10/10/2007
© All Rights Reserved
~~~~~~~~~~~***~~~~~~~~~~~
Easter Hunt (Epulaeryu)
The egg pots are bubbling
Stove’s fire is bright
This will be a great delight
Kids will like the treat
Multicolored feast
Easter eggs
Yea!
© Joseph Spence 2/9/06
© All Rights Reserved
~~~~~~~~~~~***~~~~~~~~~~~
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Epyllion
A brief narrative poem with a romantic or mythological theme.
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NA
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Etheree
Created about twenty years ago by an Arkansas poet named Etheree Taylor
Armstrong, this titled form, the Etheree, consists of ten lines of unmetered
and unrhymed verse, the first line having one syllable, each succeeding line
adding a syllable, with the total syllable count being fifty-five.
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Pain
Pain,
My friend,
You give me
Many lessons
Built on many truths.
You shout with sharpened tongue ~
I must listen to your words.
Bedfellows screaming in the night,
But eternal hope will spring with dawn
To lift us from this tomb of woe, once more.
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Fibonacci
The number of syllables in each line must equal the sum of the syllables in
the two previous lines. So, start with 0 and 1, add them together to get
your next number, which is also 1, 2 comes next, then add 2 and 1 to get 3,
and so on. Fibonnaci: 0, 1, 1, 2, 3, 5, 8, 13, 21... Poetry: 1 syllable, 1
syllable, 2 syllables, 3 syllables, 5 syllables, 8 syllables, 13 syllables,
21 syllables...
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I
like
to blog.
Frequently.
Theory matters.
Computer science (theory)
is my home and geometric algorithms are
sublime. Let P be a set of points in general position in the plane. Amen.
My
brain
can find
such solace
in this simple verse
made of certain syllable words.
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Free verse (vers libre)
A term describing various styles of poetry that are not written using strict
meter or rhyme, but that still are recognizable as 'poetry' by virtue of
complex patterns of one sort or another that readers can perceive to be part
of a coherent whole.
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Fog
by Carl Sandburg
THE FOG comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches
and then moves on.
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Ghazal
A poetic form consisting of couplets which share a rhyme and a refrain.
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Grook
A form of short aphoristic poem characterized by irony, paradox, brevity,
precise use of language, sophisticated rhythms and rhymes and often satiric
nature.
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EDIAMATIC
Know it all cold?
Or lank with acedia?
Share and be bold;
Come build Wikipedia.
— Anon.
ASSY-METRY
There's nothing that goads
Like no-passing roads
With a slowpoke in front
And a hot rod in back —
'Cause you'd never speed
It's just that you need
To get past that grunt
And away from that devil on crack.
— Anon.
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Haiku
(Hokku)A Japanese poem composed of three unrhymed lines of five, seven, and
five syllables, usually about some form of nature.
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An example of classic hokku by Bashô:
- an old pond—
- the sound of a frog jumping
- into water
Another Bashô classic:
- the first cold shower;
- even the monkey seems to want
- a little coat of straw.
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Heroic Couplets
A traditional form for English poetry, commonly used for epic and narrative
poetry; it refers to poems constructed from a sequence of rhyming pairs of
iambic pentameter lines.
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A frequently-cited example illustrating the use of heroic couplets is this
passage from Cooper's Hill by John Denham, part of his
description of the Thames:
- O could I flow like thee, and make thy stream
- My great example, as it is my theme!
- Though deep, yet clear, though gentle, yet not dull,
- Strong without rage, without o'erflowing full.
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Iambic Pentameter
A meter in poetry, consisting of lines with five feet (hence "pentameter")
in which the iamb is the dominant foot (hence "Iambic"). Iambic rhythms are
quite easy to write in English and iambic pentameter is among the most
common metrical forms in English poetry. Like the rest of the meters it has
its origins in Greek poetry.
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da-DUM da-DUM da-DUM da-DUM da-DUM (weak STRONG / weak STRONG / weak
STRONG / weak STRONG / weak STRONG) Was-THIS the-FACE that-LAUNCH'D a-THOU
sand-SHIPS Here is an example from William Shakespeare's Sonnet XVIII:
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
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Idyll (Idyl)
Poetry that either depicts a peaceful, idealized country scene or a long
poem telling a story about heroes of a bye gone age.
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Ulysses by Alfred, Lord Tennyson
It little profits that an idle king,
By this still hearth, among these barren crags,
Match'd with an agèd wife, I mete and dole
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.
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Imagism
Name given to a movement in poetry aimed at clarity of expression through
the use of precise visual images. In the early period often written in the
French form Imagisme. To use the language of common speech, but to employ
the exact word, not the nearly-exact, nor the merely decorative word.
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Autumn by T. E. Hulme
A touch of cold in the Autumn night—
I walked abroad,
And saw the ruddy moon lean over a hedge
Like a red-faced farmer.
I did not stop to speak, but nodded,
And round about were the wistful stars
With white faces like town children.
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Italian Sonnet
A sonnet consisting of an octave with the rhyme pattern abbaabba followed by
six lines with a rhyme pattern of cdecde or cdcdcd. Lay - A long narrative
poem, especially one that was sung by medieval minstrels.
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| Italian Sonnet
Turn back the heart you've turned away
Give back your kissing breath
Leave not my love as you have left
The broken hearts of yesterday
But wait, be still, don't lose this way
Affection now, for what you guess
May be something more, could be less
Accept my love, live for today.
Your roses wilted, as love spurned
Yet trust in me, my love and truth
Dwell in my heart, from which you've turned
My strength as great as yours aloof.
It is in fear you turn away
And miss the chance of love today!
James DeFord
July, 1997 |
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Kimo
A post-Haiku poetic form , consisting of three lines of 10, 7, and 6
syllables. This form of poetry was invented in Israel.
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NA
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Kyrielle
A kyrielle is written in rhyming couplets or quatrains. It uses the phrase
"Lord have mercy", or a variant on it, as a refrain as the second line of
the couplet or last line of the quatrain. In less strict usage, other
phrases like "O God, be merciful to me", and sometimes single words, are
used as the refrain.
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This kyrielle is by Thomas Campion. A Lenten Hymn
- With broken heart and contrite sigh,
- A trembling sinner, Lord, I cry:
- Thy pard’ning grace is rich and free:
- O God, be merciful to me.
- I smite upon my troubled breast,
- With deep and conscious guilt oppress,
- Christ and His cross my only plea:
- O God, be merciful to me.
- Far off I stand with tearful eyes,
- Nor dare uplift them to the skies;
- But Thou dost all my anguish see:
- O God, be merciful to me.
- Nor alms, nor deeds that I have done,
- Can for a single sin atone;
- To Calvary alone I flee:
- O God, be merciful to me.
- And when, redeemed from sin and hell,
- With all the ransomed throng I dwell,
- My raptured song shall ever be,
- God has been merciful to me.
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Lanterne
A type of poem that has one syllable in the first line, two syllables in the
second line, three syllables in the third line, four syllables in the fourth
line, and one syllable in the fifth line that related to the first word of
the poem.
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- 5 line poem
- each line has a specific number of syllables
line 1 = 1 syllable
line 2 = 2 syllables
line 3 = 3 syllables
line 4 = 4 syllables
line 5 = 1 syllable
- lines do not rhyme
- poem is based on one sentence or idea
boys
tackling
running fast
scoring touchdowns
lads
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Lay
A long narrative poem, especially one that was sung by medieval minstrels.
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- Excerpt
The Lay of the Last Minstrel
by Sir Walter Scott
The way was long, the wind was cold,
The Minstrel was infirm and old;
His wither'd cheek, and tresses gray,
Seem'd to have known a better day;
The harp, his sole remaining joy,
Was carried by an orphan boy.
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Light Poetry
Light poetry, also called light verse, is poetry that attempts to be
humorous. Poems considered "light" are usually brief, and can be on a
frivolous or serious subject, and often feature wordplay, including puns,
adventurous rhyme and heavy alliteration.
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NA
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Limerick
A limerick is a five-line, often humorous and ribald poem with a strict
meter. Lines 1, 2, and 5 of have seven to ten syllables (three metrical
feet) and rhyme with one another. Lines 3 and 4 have five to seven (two
metrical feet) syllables and also rhyme with each other. The rhyme scheme is
usually "A-A-B-B-A".
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There once was a man from Nantucket
Who kept all his cash in a bucket.
But his daughter, named Nan,
Ran away with a man
And as for the bucket, Nantucket.
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List
A poem that is made up of a list of items or events, usually without
transitional phrases. It can be any length and rhymed or unrhymed.
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My Junk Drawer
As I struggle to open the drawer,
I find:
4 novels ( unread),
20 batteries (dead),
100 feet of wire,
20 pieces of an electric train set,
1 polyester shirt I got last Christmas,
3 workbooks from fifth grade,
and the reason I can hardly open it:
clay
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Lyric
A poem that expresses the thoughts and feelings of the poet.
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NA
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McWhirtle
A light verse form similar to a double dactyl, invented in 1989 by American
poet Bruce Newling. McWhirtles share essentially the same form as double
dactyls, but without the strict requirements, making them easier to write.
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An example by American poet Kenn Nesbitt:
- Fernando the Fearless
- We're truly in awe of
- Fernando the Fearless
- who needed no net
- for the flying trapeze.
- Alas, what a shame
- it's surprisingly difficult
- catching a bar
- in the midst of a sneeze.
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Monorhyme
An identical rhyme on every line, common in Latin and Arabic. "aaaaa..."
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A break from my career,
to visit a new frontier.
Where life is not severe,
and stress will disappear.
I'll become a pioneer,
a new found volunteer.
To help this old sphere,
make it's air all clear.
We will persevere,
for I'm the brigadier.
So as I tip my beer,
lets offer up a cheer.
Lets make this our year
where everyone will be sincere.
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Name
Poetry that tells about the word. It uses the letters of the word for the
first letter of each line.
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John
John is an athlete
On Saturdays he likes to sleep in
His favorite food is pizza
Never call him Johnny
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Narrative
Narrative poetry is poetry that tells a story. In its broadest sense, it
includes epic poetry; some would reserve the name narrative poetry for works
on a smaller scale and generally with more direct appeal to human interest
than the epic.
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Nonet
A nonet has nine lines. The first line has nine syllables, the second line
eight syllables, the third line seven syllables, etc... until line nine that
finishes with one syllable. It can be on any subject and rhyming is
optional. line 1 - 9 syllables line 2 - 8 syllables line 3 - 7 syllables
line 4 - 6 syllables line 5 - 5 syllables line 6 - 4 syllables line 7 - 3
syllables line 8 - 2 syllables line 9 - 1 syllable
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School
I wish we didn't have to stay here.
The only good part is lunchtime,
eating and playing handball
instead of doing maths.
I don't like history
or geography.
I can't wait
for the
bell.
© Copyright Suzanne Honour 2002-2003
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Ode
A lengthy lyric poem typically of a serious or meditative nature and having
an elevated style and formal stanza structure. A classic ode is structured
in three parts: the strophe, the antistrophe, and the epode. Different forms
such as the homostrophic ode and the irregular ode also exist.
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Excerpt--- Intimations of Immortality
by William Wordsworth
I
There was a time when meadow, grove, and stream,
The earth, and every common sight,
To me did seem
Apparelled in celestial light,
The glory and the freshness of a dream.
It is not now as it hath been of yore;-
Turn whereso'er I may,
By night or day,
The things which I have seen I now can see no more.
II
The rainbow comes and goes,
And lovely is the rose,
The Moon doth with delight
Look round her when the heavens are bare;
Waters on a starry night
Are beautiful and fair;
The sunshine is a glorious birth;
But yet I know, where'er I go,
That there hath past away a glory from the earth.
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Ottava rima
The ottava rima stanza in English consists of eight iambic lines, usually
iambic pentameters. Each stanza consists of three rhymes following the rhyme
scheme a-b-a-b-a-b-c-c. The form is similar to the older Sicilian octave,
but evolved separately and is unrelated. The Sicilian octave is derived from
the medieval strambotto and was a crucial step in the development of the
sonnet, whereas the ottava rima is related to the canzone, a stanza form.
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From Frere's Whistlecraft:
- But chiefly, when the shadowy moon had shed
- O'er woods and waters her mysterious hue,
- Their passive hearts and vacant fancies fed
- With thoughts and aspirations strange and new,
- Till their brute souls with inward working bred
- Dark hints that in the depths of instinct grew
- Subjection not from Locke's associations,
- Nor David Hartley's doctrine of vibrations.
From Byron's Don Juan:
- "Go, little book, from this my solitude!
- I cast thee on the waters – go thy ways!
- And if, as I believe, thy vein be good,
- The world will find thee after many days."
- When Southey 's read, and Wordsworth understood,
- I can't help putting in my claim to praise –
- The four first rhymes are Southey's every line:
- For God's sake, reader! take them not for mine.
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Pantoum
A rare form of poetry similar to a villanelle. It is composed of a series of
quatrains; the second and fourth lines of each stanza are repeated as the
first and third lines of the next. This pattern continues for any number of
stanzas, except for the final stanza, which differs in the repeating
pattern. The first and third lines of the last stanza are the second and
fourth of the penultimate; the first line of the poem is the last line of
the final stanza, and the third line of the first stanza is the second of
the final. Ideally, the meaning of lines shifts when they are repeated
although the words remain exactly the same: this can be done by shifting
punctuation, punning, or simply recontextualizing.
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In the example, the letters A,
B,
C etc refer to whole
repeated lines, not just rhyming lines.
a First Line
b Second Line
c Third Line
d Fourth Line
b Second Line
e Fifth Line
d Fourth Line
f Sixth Line
e Fifth Line
c Third Line
f Sixth Line
a First Line
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As she dances on the moonlit glen
Taking in the freshness of the air
She is alone, but not lonely
She is surrounded by spirits
Taking in the freshness of the air
Searching again for her silent companions
She is surrounded by spirits
They watch the contentment she holds
Searching again for her silent companions
She is alone, but not lonely
They watch the contentment she holds
As she dances on the moonlit glen |
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Parallelismus
Membrorum
Parallelismus Membrorum is of traditional Hebrew origin. It has lines of
parallel construction and presents antitheses and complementary extensions.
The lines are usually short and contain three or four words.
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NA
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Pastoral
A poem that depicts rural life in a peaceful, romanticized way.
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Sir Philip Sidney
FROM: The Countess of Pembroke's Arcadia, 1593
[O sweet woods]
O sweet woods, the delight of solitariness!
Oh, how much I do like your solitariness!
Where man's mind hath a freed consideration,
Of goodness to receive lovely direction.
Where senses do behold th' order of heav'nly host,
And wise thoughts do behold what the creator is;
Contemplation here holdeth his only seat,
Bounded with no limits, born with a wing of hope,
Climbs even unto the stars, nature is under it.
Nought disturbs thy quiet, all to thy service yields,
Each sight draws on a thought (thought, mother of science)
Sweet birds kindly do grant harmony unto thee,
Fair trees' shade is enough fortification,
Nor danger to thyself if 't be not in thyself.
O sweet woods, the delight of solitariness!
Oh, how much I do like your solitariness!
Here nor treason is hid, veilëd in innocence,
Nor envy's snaky eye finds any harbor here,
Nor flatterers' venomous insinuations,
Nor coming humorists' puddled opinions,
Nor courteous ruin of proffered usury,
Nor time prattled away, cradle of ignorance,
Nor causeless duty, nor cumber of arrogance,
Nor trifling title of vanity dazzleth us,
Nor golden manacles stand for a paradise,
Here wrong's name is unheard, slander a monster is;
Keep thy sprite from abuse, here no abuse doth haunt.
What man grafts in a tree dissimulation?
O sweet woods, the delight of solitariness!
Oh, how well I do like your solitariness!
Yet, dear soil, if a soul closed in a mansion
As sweet as violets, fair as lily is,
Straight as cedar, a voice stains the canary birds,
Whose shade safety doth hold, danger avoideth her;
Such wisdom that in her lives speculation;
Such goodness that in her simplicity triumphs;
Where envy's snaky eye winketh or else dieth;
Slander wants a pretext, flattery gone beyond;
Oh! if such a one have bent to a lonely life,
Her steps glad we receive, glad we receive her eyes,
And think not she doth hurt our solitariness,
For such company decks such solitariness.
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Personification
A form of poetry in which human characteristics are attributed to nonhuman
things. Personification offers the poet a way to give the world life and
motion by assigning familiar human behaviors and emotions to animals,
inanimate objects, and abstract ideas.
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Fog
Carl Sandburg (1878–1967). THE FOG comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches 5
and then moves on.
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Prose Poetry
Prose poetry is usually considered a form of poetry written in prose that
breaks some of the normal rules associated with prose discourse, for
heightened imagery or emotional effect, among other purposes. Arguments
continue about whether prose poetry is actually a form of poetry or a form
of prose (or a separate genre altogether). Like poetry (intense, sculpted)
but without line breaks
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The Port
--------------------------------------------------------------------------------
A Port is a delightful place of rest for a soul weary of life's
battles. The vastness of the sky, the mobile architecture of the clouds,
the changing coloration of the sea, the twinkling of the lights, are a
prism marvellously fit to amuse the eyes without ever tiring them. The
slender shapes of the ships with their complicated rigging, to which the
surge lends harmonious oscillations, serve to sustain within the soul the
taste for rhythm and beauty. Also, and above all, for the man who of
mysterious and aristocratic pleasure in contemplating, while lying on the
belvedere or resting his elbows on the jetty-head, all these movements of
men who are leaving and men who are returning, of those who still have the
strength to will, the desire to travel or to enrich themselves.
--Charles Baudelaire--
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Quatern
A Quatern is a sixteen line French form composed of four quatrains. It is
similar to the Kyrielle and the Retourne. It has a refrain that is in a
different place in each quatrain. The first line of stanza one is the second
line of stanza two, third line of stanza three, and fouth line of stanza
four. A quatern has eight syllables per line. It does not have to be iambic
or follow a set rhyme scheme. line 1 line 2 line 3 line 4 line 5 line 6
(line 1) line 7 line 8 line 9 line 10 line 11 (line 1) line 12 line 13 line
14 line 15 line 16 (line 1)
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A Withered Leaf
A withered leaf falls to the ground.
In contemplation I'm aware
that much of history will astound
us when we realise what we share.
I look at sights that seem the same,
a withered leaf falls to the ground.
Ancestral souls that share our name
resurface. In our traits they're found.
A glance, a look can be renowned
as features of our family line.
A withered leaf falls to the ground
and I relate because it's mine.
As part of one big family tree
we share our roots. They're tightly bound.
When new life grows from you and me
a withered leaf falls to the ground.
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Quatrain
A stanza or poem consisting of four lines. In the basic form, Lines 2 and 4
must rhyme while having a similar number of syllables.
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The wind doth blow today, my love
And a few small drops of rain;
I never had but one true-love
In cold grave she was lain.
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Quintain (English)
This is much more popular form of Quintet having no set measure or foot and
has a rhyming scheme of a. b. a. b. b.
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Fields we have planted
have ripened slowly to golden husk.
soon they will be harvested.
the air rich with wheaten musk
the fields once more return to dust.
Ryter Roethicle
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Quintain (Sicilian)
Written in Iambic Pentameter with a rhyme sequence of a.b.a.b.a. This form
has been used by many great poets and like the Tanka it is a valid and
wonderful poetry form in it's own write.
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And on and on it goes, on through endless time
Never letting go of the person we love.
Two souls always searching for a path sublime
Connected yet apart, always cognizant of
That to others we will always be, a paradigm.
Ryter Roethicle
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Quintella
This is a Spanish form of eight syllable (Iambic Tetrameter) lines. The
rhyming scheme can vary in presentation ie a.a.b.b.a, a.b.b.a.a. etc but
only two consecutive lines may have the same rhyme scheme.
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In the Example below, the poet uses two couplets and links back to the
starting rhyme in this very graphic poem:
a flickering flame, on the wall
the sound of a, coyotes call
the desert winds, singing at night
sandstorms dancing, in the moonlight
embracing lovers, to befall
Pat Bibbs
Here is a lovely example by Sharon where she uses a rhyme scheme of,
a.b.b.a.a.
Your quiet cries echo loudly with pain
I feel you suffer in silence
Honest open hearts lend true credence
Comfort found in friendships gained
Toss me the key, let's free your chains
Sharon Mimi
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Rengay
Rengay is a contemporary six-verse form of linked haiku based on a unifying
theme. Written by 2-3 partners, each link should be able to stand on its
own. Derived from renku, but much different, theme development is the key
element of rengay. Rengay incorporates the "link and shift" idea of renku,
but its brevity makes it easier to read (and publish). Because it is
thematic, it is more accessible. Rengay was developed in 1992 by Garry Gay,
co-founder of the Haiku Poets of Northern California, and the organization's
first president from 1989-1990. In 1991, he was elected president of the
Haiku Society of America.
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How to Rengay
2 partners (A & B) - Template pattern of alteration between 3 and
2 line links:
A-3 · B-2 · A-3 · B-3 · A-2 · B-3
3 partners (A & B & C) -Template pattern of alteration between 3 and 2
line links:
A-3 · B-2 · C-3 · A-2 · B-3 · C-2
EXAMPLE:
june sky
an'ya petrovich
hortensia anderson
lotus pond --
rings of blue petals
open to morning
the dive ino a pool -
cool liquid aquamarine
looking glass . . .
a girlchild's eye color
pales the june sky
after the end
of Gemini -
second full moon
finish line --
a 1st place ribbon
corner saloon --
deepening shadows turn
indigo
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Rhyme
A rhyming poem has the repetition of the same or similar sounds of two or
more words, often at the end of the line.
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Jabberwocky (First Two Stanzas)
Lewis Carroll 'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
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Rhyme royal
A type of poetry consisting of seven lines, usually in iambic pentameter.
The rhyme scheme is a-b-a-b-b-c-c. In practice, the stanza can be
constructed either as a tercet and two couplets (a-b-a, b-b, c-c) or a
quatrain and a tercet (a-b-a-b, b-c-c). This allows for a good deal of
variety, especially when the form is used for longer narrative poems and
along with the couplet, it was the standard narrative metre in the late
Middle Ages.
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Here is the opening stanza of Troilus and Criseyde:
- The double sorwe of Troilus to tellen,
- That was the king Priamus sone of Troye,
- In lovinge, how his aventures fellen
- Fro wo to wele, and after out of Ioye,
- My purpos is, er that I parte fro ye,
- Thesiphone, thou help me for tendyte
- Thise woful vers, that wepen as I wryt
and this is the first stanza of the Wyatt poem:
- They flee from me that sometime did me seek
- With naked foot, stalking in my chamber.
- I have seen them gentle, tame, and meek,
- That now are wild and do not remember
- That sometime they put themself in danger
- To take bread at my hand; and now they range,
- Busily seeking with a continual change.
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Rictameter
A rictameter is a nine line poetry form. The 1st and last lines are the same
with the syllable count as follows: • line 1 - 2 syllables - same as line 9
• line 2 - 4 syllables • line 3 - 6 syllables • line 4 - 8 syllables • line
5 - 10 syllables • line 6 - 8 syllables • line 7 - 6 syllables • line 8 - 4
syllables • line 9 - 2 syllables - same as line 1
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England's Ascot, Yorshire five day event in June Queen Elizabeth led the
way in fashion and style on Ladies Parade. The first time for 300 years
this racing event was held at Yorkshire England.
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Romanticism
A poem about nature and love while having emphasis on the personal
experience.
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Silvia
by William Shakespeare
Who is Silvia? What is she?
That all our swains commend her?
Holy, fair, and wise is she;
The heaven such grace did lend her,
That she might admired be.
Is she kind as she is fair?
For beauty lives with kindness:
Love doth to her eyes repair,
To help him of his blindness;
And, being help'd, inhabits there.
Then to Silvia let us sing,
That Silvia is excelling;
She excels each mortal thing
Upon the dull earth dwelling:
To her let us garlands bring.
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Rondeau
A rondeau (plural rondeaux) is a form of French poetry with 15 lines written
on two rhymes. Variant forms may have 10 or 13 lines. It makes use of
refrains, repeated according to a certain stylized pattern. It was
customarily regarded as a challenge to arrange for these refrains to
contribute to the meaning of the poem in as succinct and poignant a manner
as possible. The rondeau consists of thirteen lines of eight syllables, plus
two refrains (which are half lines, each of four syllables), employing,
altogether, only three rhymes. It has three stanzas and its rhyme scheme is
as follows: (1) A A B B A (2) A A B with refrain: C (3) A A B B A with
concluding refrain C. The refrain must be identical with the beginning of
the first line.
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Perhaps the best-known rondeau is the following World War I poem,
In Flanders Fields, by John McCrae:
- In Flanders fields the poppies blow
- Between the crosses, row on row,
- That mark our place, and in the sky,
- The larks, still bravely singing, fly,
- Scarce heard amid the guns below.
- We are the dead; short days ago
- We lived, felt dawn, saw sunset glow,
- Loved and were loved, and now we lie
- In Flanders fields.
- Take up our quarrel with the foe!
- To you from failing hands we throw
- The torch; be yours to hold it high!
- If ye break faith with us who die
- We shall not sleep, though poppies grow
- In Flanders fields.
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Rondeau Redouble
The rondeau redouble is the French translation of a double rondeau.
Consisting of 25 lines, it features a four-line refrain which forms the
first quatrain. These four lines are then used successively as the last
lines of the following four quatrains. The sixth and final stanza is a
quintrain which contains no repetition of previous lines; it does, however,
include a 'tail' which is the beginning clause or phrase from line one. The
same two rhymes are used throughout and the rhyming scheme is as follows:
Stanza One A1B1A2B2 Stanza Two abbA1 Stanza Three abaB1 Stanza Four babA2
Stanza Five abaB2 Stanza Six abab tail from line one
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Rondeau Redoublé (and Scarcely Worth the Trouble, at That)
by Dorothy Parker
The same to me are sombre days and gay.
Though joyous dawns the rosy morn, and bright,
Because my dearest love is gone away
Within my heart is melancholy night.
My heart beats low in loneliness, despite
That riotous Summer holds the earth in sway.
In cerements my spirit is bedight;
The same to me are sombre days and gay.
Though breezes in the rippling grasses play,
And waves dash high and far in glorious might,
I thrill no longer to the sparkling day,
Though joyous dawns the rosy morn, and bright.
Ungraceful seems to me the swallow's flight;
As well might Heaven's blue be sullen gray;
My soul discerns no beauty in their sight
Because my dearest love is gone away.
Let roses fling afar their crimson spray,
And virgin daisies splash the fields with white,
Let bloom the poppy hotly as it may,
Within my heart is melancholy night.
And this, oh love, my pitiable plight
Whenever from my circling arms you stray;
This little world of mine has lost its light ...
I hope to God, my dear, that you can say
The same to me.
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Sapphic stanza
The Sapphic stanza, named after Sappho, is a poetic form spanning four
lines. The form is three hendecasyllabic lines of trochee, trochee, dactyl,
trochee, trochee and a concluding line of dactyl, trochee, known as the
Adonic or adonean line. Using "-" for a long syllable, "u" for a short and
"x" for an "anceps" (or free syllable):
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The Sapphic stanza was imitated in English by Algernon Charles Swinburne
in a poem he simply called Sapphics:
- Saw the white implacable Aphrodite,
- Saw the hair unbound and the feet unsandalled
- Shine as fire of sunset on western waters;
- Saw the reluctant. . .
Allen Ginsberg also experimented with the form:
- Red cheeked boyfriends tenderly kiss me sweet mouthed
- under Boulder coverlets winter springtime
- hug me naked laughing & telling girl friends
- gossip til autumn
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Sedoka
Sedoka is a Japanese verse form that evolved from ancient songs. They can be
mood poems, similar to tanka, or they can tell stories in the manner of a
song. Sedoka consist of 6 lines of 5-7-7-5-7-7 syllables respectively. Each
5-7-7 unit is called a katauta. Traditionally, the second katauta says the
same thing as the first katauta, although in a different way. In modern
English the syllable count is somewhat more flexible, and there is usually a
turn, or change in direction, in lines 3 and 5. The turn in line 3 is sharp,
and the turn in line 5 is gentle.
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Example by Unknown Author:
In Your Absence I write Sedoka...
I write sedoka
to tell you how my love grows
even in your short absence.
Since you went away
two bright red roses have bloomed—
your cat brought home a rabbit.
This morning the rain
left wet puddles on the lawn—
wind damaged the cherry tree.
The afternoon sun
dried the grass and I pruned
the minor garden damage.
Did you know actress
Anne Bancroft passed on Monday,
a youngster—seventy-three.
Thank you for phoning
to let me know you’ll be home on
Saturday for the Art Fair.
I must end this note—
the red rose in the white vase
dropped several petals today.
I place two inside—
write your name and lick the stamp
speeding my letter to you.
Out in the June sky
I see your face in the clouds
of the setting sun just now.
I pause in the dark—
on the horizon full moon
casts your shape to stand near me.
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Senryu
A short Japanese style poem, similar to haiku in structure, however, senryû
tend to be about human foibles while haiku tend to be about nature, and
senryû are often cynical or darkly humorous and satiric while haiku are
serious.
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The robber,
if I catch,
my own son
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Sestina
A highly structured form of poetry consisting of six six-line stanzas and a
three-line envoy (thirty-nine lines). The end words of the first stanza are
repeated in varied order as end words in the other stanzas and also recur in
the envoy.
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The Concord Art Association Regrets
Pam White
Your entry was not accepted. We regret
it wasn't (enough for us), a work of love.
We liked many of the colors on the whole
but the mass was just something unrelated
to the rest of our show. We hope your work
will have a bright future in another place.
We remember last year you tried to place
another photograph and it was also with regret
we turned you down. Though for that particular work
we found nothing about it (no one could) to love.
It was obscure and a little upsetting in relation
to the rest of our show which we look on as a whole.
Now you may think us ungenerous. On the whole
you are probably right, but this is our place
and we can do what we want whether you relate
to it or not. However we don't want you to regret
your association with us. We want you to love
us, send us money, but please, no more work.
You see right now we need money to work
on the building we're in. There's a hole
in the roof and one wall needs all the love
and attention it can get. Really the place
needs so much, which all costs. I regret
to remind you we need more space for related
works. We're trying to expand and relate
to lots of different kinds of work
so different people won't regret
their visit with us but will see the whole
beauty and tranquillity of the place
and come with us, a journey of love
where people of all races, colors, and creeds love
to look and bask and of course bring relations,
friends, and lovers. All are welcome to our place
here where all the world's magnificent work
can be shown in its entirety, the whole
place filled - with your exception, we regret.
We know you'll love the whole
work we're doing for this place.
We can't relate enough our regret.
( Copyright
© 1983-2003 by Pam White.)
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Shape
Poetry written in the shape or form of an object. Shape poems do not have to
take the form of the object it describes. This form is different than a
concrete poem, in that a concrete poem takes the shape of the object it
describes.
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CHAMPAGNE by
Dawn Drickman
CHAMPAGNE, CORKED BOTTLES OF EFFERVESCENT FUN
SWEET AND FRUITY TO THE TASTE, OR MAYBE EXTRA DRY
A TINY GLASS OF BUBBLING, POPPING, SPLASHING FUN
MAKE A CHOICE, BRUT, SPARKLING, OR SIMPLE ROSE
WHEN ON A FRUGAL BUDGET, ANDRE’S PINK
DOM PERIGNON FOR THE WEALTHY
KORBEL FOR UNDER TWENTY
PRICED JUST RIGHT
FOR YOU
"C"
"O"
"L"
"D"
"C"
"H"
"A"
"M"
"P"
"A"
"G"
"N"
"E"
IS SO
DELICIOUS
"HAVE A GLASS TONIGHT"
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Sijo
Sijo is the classic form of unrhymed poetry in Korea. Sijo have three long
lines. Each line varies between 14 and 16 syllables, with the middle line
the longest. The first line states a theme, the second line counters it, and
the third line resolves the poem.
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I will break the back of this long, midwinter night,
Folding it double, cold beneath my spring quilt,
That I may draw out the night, should my love return.
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Sonnet
Lyric poems that are 14 lines that usually have one or more conventional
rhyme schemes.
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Into My Own
by Robert Frost
ONE of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as ’twere, the merest mask of gloom,
But stretched away unto the edge of doom.
I should not be withheld but that some day 5
Into their vastness I should steal away,
Fearless of ever finding open land,
Or highway where the slow wheel pours the sand.
I do not see why I should e’er turn back,
Or those should not set forth upon my track 10
To overtake me, who should miss me here
And long to know if still I held them dear.
They would not find me changed from him they knew—
Only more sure of all I thought was true.
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Tail-rhyme
( rime couée ) This is a French form consisting of two rhymes. First there
is a rhyming couplet of normally of eight syllables then a third and shorter
line. There is another couplet that rhymes with the first one and the sixth,
shorter line that rhymes with the third line. This gives us a suggested
pattern : aabccb
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NA
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Tanka
A Japanese poem of five lines, the first and third composed of five
syllables and the others seven. In Japanese, tanka is often written in one
straight line, but in English and other languages, we usually divide the
lines into the five syllabic units: 5-7-5-7-7.
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Saying Goodbye
Carefully I walk
Trying so hard to be brave
They all see my fear
Dark glasses cover their eyes
As mine flow over with tears
Author Unknown
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Terza Rima
Terza rima is a verse form composed of iambic tercets (three-line
groupings). The rhyme scheme for this form of poetry is "aba bcb cdc, etc."
The second line of each tercet sets the rhyme for the following tercet, and
thus supplying the verse with a common thread, a way to link the stanzas.
The only time the form changes is at the conclusion of the poem, where a
single line that rhymes with the second line of the final tercet stands
alone; the rhyme scene at the end of the poem looks like this: "xyx yzy z."
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"Ode to the West Wind."
by Percy Bysshe Shelley's
O wild West Wind, thou breath of Autumn's being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintery bed
The winged seeds, where they lie cold and low,
Each like a corpse within its grave, until
Thine azure sister of the Spring shall blow
Her clarion o'er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odours plain and hill:
Wild Spirit, which art moving everywhere;
Destroyer and preserver; hear, oh, hear!
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Terzanelle
A terzanelle (pronounced tur-zuh-nell) is a poetry form which is a
combination of the villanelle and the terza rima. It is nineteen lines
total, with five triplets and a concluding quatrain. It uses the interlocked
rhyme pattern of a terza rima but in the villanelle’s form of five triplets
and a quatrain.
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This is Lewis Turco's "Terzanelle in Thunderweather"
This is the moment when
shadows gather
under the elms, the cornices
and eaves.
This is the center of
thunderweather.
The birds are quiet among
these white leaves
where wind stutters, starts,
then moves steadily
under the elms, the cornices,
and eaves--
these are our voices speaking
guardedly
about the sky, of the sheets
of lightning
where wind stutters, starts,
then moves steadily
into our lungs, across our
lips, tightening
our throats. Our eyes are
speaking in the dark
about the sky, of the sheets
of lightening
that illuminate moments. In
the stark
shades we inhibit, there are
no words for
our throats. Our eyes are
speaking in the dark
of things we cannot say,
cannot ignore.
This is the moment when
shadows gather,
shades we inhibit. There are
no words, for
this is the center of
thunderweather.
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Tetractys
Tetractys, a poetic form consisting of at least 5 lines of 1, 2, 3, 4, 10
syllables (total of 20). Tetractys can be written with more than one verse,
but must follow suit with an inverted syllable count. Tetractys can also be
reversed and written 10, 4, 3, 2, 1. Double Tetractys maybe written as: 1,
2, 3, 4, 10, 10, 4, 3, 2, 1, and a Triple Tetractys as: 1, 2, 3, 4, 10, 10,
4, 3, 2, 1, 1, 2, 3, 4, and 10.
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Snowflakes
White
snowflakes
crystal clear
sparkling loftily
daybreaks light shines forth the brilliance
As daybreaks light dusks the hillcrest ledge edge
sunshine melts around
clear glitter
snowflakes
white
Peggy Bertrand
Copyright 02-18-2002
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Than-Bauk
A Than-Bauk, conventionally a witty saying or epigram, is a three line
"climbing rhyme" poem of Burmese origin. Each line has four syllables. The
rhyme is on the fourth syllable of the first line, the third syllable of the
second line, and the second syllable of the third line.
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Lighten Up
Turn on the lights;
don't let sights of
dark nights haunt you.
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Cold
The night was cold
so I'm told when
the old man died.
© Copyright Suzanne Honour 2002-2003
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Triolet
A French verse form. Its rhyme scheme is ABaAabAB and all lines are in
iambic tetrameter; the first, fourth and seventh lines are identical, as are
the second and final lines, thereby making the initial and final couplets
identical as well. The features of the Triolet are: 8 lines. Two rhymes. 5
of the 8 lines are repeated or refrain lines. First line repeats at the 4th
and 7th lines. Second line repeats at the 8th line. Rhyme scheme (where an
upper-case letter indicates the appearance of an identical line, while a
lower-case letter indicates a rhyme with each line designated by the same
lower-case or upper-case letter)
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"Birds At Winter"
- Around the house the flakes fly faster,
- And all the berries now are gone'
- From holly and cotoneaster
- Around the house. The flakes fly! – faster
- Shutting indoors the crumb-outcaster
- We used to see upon the lawn
- Around the house. The Flakes fly faster
- And all the berries now are gone!
- Thomas Hardy
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Tyburn
A tyburn is a six line poem consisting of 2,2,2,2,9,9 syllables. The first
four lines rhyme and are all descriptive words. The last two lines rhyme and
incorporate the 1st, 2nd, 3rd, and 4th lines as the 5th to 8th syllables.
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Ugly, hairy, filthy, dirty, scavenging beast, ugly, hairy, fat, spreader
of plague, filthy, dirty rat.
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Verse
Verse is a single metrical line of poetry, or poetry in general (as opposed
to prose which uses grammatical units like sentences and paragraphs).
"Verse" is also used as a general term for metrical composition. Not all
verse is poetry and sacred books such as the Holy Bible are divided into
small verses.
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NA
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Villanelle
A 19-line poem consisting of five tercets and a final quatrain on two
rhymes. The first and third lines of the first tercet repeat alternately as
a refrain closing the succeeding stanzas and joined as the final couplet of
the quatrain.
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