Vocanic Workshop

This is a sonnet form invented and named by Jose Rizal M. Reyes of the Philippines.

It is stanzaic, consisting of three quatrains and a rhyming couplet
It is written in iambic pentameter.
The rhyme scheme is: abbb ccbb ddbb ee, where the red letters indicate feminine rhyme.

My Example

Poppys Pride


Poppy’s Pride (Volcanic Workshop)

The poppy probably does feel it’s blessed
when pondering the universal quest
for beauty by the bards of creatures human.
You don’t deny they think, I’m now assumin’.
“No thorns have I dissuading roaming beasts
yet I’m not favored as a bovine feast.
I’m not as fragrant smelling as is cumin.
I serve to honor killed and missing crewmen,
…and soldiers lost in battles everywhere.
who, fakes upon their lapels proudly wear.
I reject the very thought of doom and
expect that happiness ought be resuming.

For like draws like, and thus most naturally
I often find it peering down at me.”

© Lawrence Eberhart, May 28, 2015

Picture credit: Mary Boren



Visual Template

(yes, the first foot of L11 is headless.)

Volcanic Workshop



Relaxed Sonnet

This is a gadget sonnet form invented by Mary Lou Hearly,
aka Mlou on Allpoetry.com.

The Relaxed Sonnet is:
A quatorzain made up of alternating iambic trimeter and iambic dimeter lines
with the final couplet being iambic pentameter
Rhymed: abababcdcdcdee, where the a-rhymes are feminine.

My example

Hold the Iamb Chops (Relaxed Sonnet)

He seldom feels contented
I’d have to say,
when iambs are presented
the normal way.
the sing-song seems demented
-a sound’s cliché!
He’s published. He’s acclaimed,
he understands
that meter must be tamed
and so he plans
to truncate unashamed
per his demands.

That doesn’t mean that you and I must fear
the lovely lilt the common man might hear.

© Lawrencealot – October 26, 2014

Visual template

Relaxed Sonnet

Salamanders’ Fireburst

This is a sonnet form invented by Jose Rizal M. Reyes of the Philippines.
It is stanzaic, consisting of three quatrains and a non-rhyming couplet.
Iy id metric, written in either iambic pentameter or iambic tetrameter.
Rhyme pattern is abcb acdc aded ae, where the c and d rhymes must be feminine.
 Example poem
Tramp Stamp 777LLY     (Salamander’s Fireburst)
I don’t know why my daddy named his car.
He named it Lilly, and my mom don’t care.
He says she’s has a soft top that he fancies
and that she’s got a tramp-stamp right back there,
and she’s his ride and carries his guitar.
To name her after mom would be too chancy;
she’s square,  demure and won’t attract a copper
and her tramp-stamp just doesn’t go with Nancy.
“She let’s the dog ride with us to the bar,
she’ll haul things when your mommy plays the shopper
but she dissuades my mom-in-law with charm.”
Of all the things she does, well that’s the topper.
She’s sassy, gutsy, willing to go far,
his Lilly’s cute yet causes no alarm.
© Lawrencealot – February 25, 2014
Visual Template

Marshalline Sonnet

The Marshalline Sonnet form is created by: AP poet; Mairi bheag.  
3 Quatrains + Couplet- 9 syllable Line
Generally Volta at or following line 9
Rhyme scheme:  abab cdcd efef gg
This is a wonderful form that allows us to use feminine words for end line rhymes. 
9 syllables per line with the following meter: 
Example Poem:
Write a Marshalline Sonnet
To write a Marshalline type sonnet
beware that physical internal
daDUM (five times) repeated on it
won’t fit into the Marshal’s kernel.
The kosher form induces clatter
by truncating the pentameter
by half a foot so lines end flatter,
but longer still than tetrameter.
Just nine syllables emphasizing
the lines all ending somewhat tepid
with feminine rhyme, realizing
that women often are intrepid.
This rhyme, and syllables persisting
Is stuff of what this form’s consisting.
© Lawrencealot – October 29,2012
Visual Template:

Pushkin Sonnet

This was the most difficult form to research.  Most sites have the information wrong or incomplete. I am going to post what I have determined is the most likely true and accurate information available, and post links to those sites allowing me to draw that conclusion.  My template below shows the most currently used form first, followed by the REAL Puskin Sonnet specifications.  Note the REQUIREMENT for feminine rhyme.  Usually ignored.

rhyming pattern: abab ccdd eff egg,  (Where red letters are feminine rhyme)

Visual Template:

The Pushkin or Onegin sonnet has a fascinating and flexible
profluence, which makes it suitable for the kind of modern
narrative use that Pushkin (and more recently Vikram Seth)
put it too. As someone with an interest in narrative poetry
I’ve been meaning to learn the form for a while, and this
experiment is a foray in that direction.

I think it illustrates nicely the role of the four-foot
iambic line over the five-foot line used in Petrarchan
and Shakespearean sonnets. The shorter line is bouncier,
tighter and generally draws the reader forward in ways
that the naturally punctuated pentameter does not.
The five-foot line is complete, and requires the reader
to push on over it.
The four-foot line leaves the breath wanting more.


This form was described as a “mettlesome creature” and A.D.P Briggs in his introduction to Evgeny Oneginstates that Pushkin invented a sonnet form which can go either way becoming Italian or English at the flick of a switch in mid stanza.

The Octave rhymes – a. b.a. b…..c.c. d.d…..

(Note) The first quatrain uses an alternating rhyme, and the second one, two couplets.

The sestet is where the change occurs and also expands the form. The original Pushkin sestet was either two tercets e.f.f…. e.g.g. and here you can see the Italian influence,

Below are the poems used in the template.

Pentameter (non-standard):

This formulaic stanza has some power
despite its tendency to come and go,
yielding up a soft and scented flower
with sufficient patience: watch it grow
into a bloom of rich diversity
without engaging in perversity.
It varies in division, oft askance
like some exotic cell’s mitotic dance
around the mysteries of generation
it splits into uneven halves or more,
a clash of fragments, three or even four,
that form into a long and bold narration.
Yet in the end it’s form that sets us free
to discipline our thoughts and clearly see.

Tetrameter (standard):

This formulaic stanza’s power
although it tends to come and go,
will yield a soft and scented flower;
with patience you can watch it grow
into a bloom: diversity
in absence of perversity.
It divides so oft  askance,
a single cell’s mitotic dance
in mysteries of generation
of two uneven halves or more,
a clash of fragments, three or four,
that form into a bold narration.
Yet by its form we are set free
to use our mind to clearly see.