Englyn penfyr

Englyn penfyr, én-glin pén-fir or short ended englyn in the old style, is the 1st codified Official Welsh Meter, anEnglyn. The oldest Welsh poetry in manuscript (early 9th century) was found written in the margin of the Juvencus Metrical Version of the Psalms, preserved in the Cambridge University Library. It is said to be stanzas written in praise of the Trinity in the englyn penfyr meter. Both the Englyn penfyr and the Englyn milwr are associated with “primitive Britain” and were out of vogue by the 12th century.

The englyn penfyr is:

  • stanzaic, written in any number of tercets.
  • syllabic, a 10 syllable line followed by two 7 syllable lines.
  • rhymed, mono rhymed, the main rhyme (the dominant rhyme of the stanza) of L1 found in the last half of the line followed by caesura end rhymes with L2 and L3.
  • composed with an addendum, a “gair cyrch” in L1 (syllables in the last half of a line that follow the main rhyme marked by caesura. The gair cyrch end rhyme is to be echoed or consonated as secondary rhyme in the 1st half of L2. The caesura often appears as a dash.)


Y wlad mewn gwisg o flodau -yn galw

Dwy galon i lwybrau

Yr ifanc drwy yr hafau

x x x x x x x A x b

x x b x x x A

x x x x x x A

The countryside, in its floral dress, calls

two hearts to roam the paths

of the young through summer days.

by Dosbarth Tanyroes “Y Flwyddn” 20th century found in Singing in Chains by Mererid Hopwood

Mud laps by Judi Van Gorder

Ripples in the mud pool fanned ~ far and wide

spreading inside-out to land

in small laps upon the sand.

Oprah by Judi Van Gorder

She sings her own tune – in touch with her soul

she shares her goal, grasps the moon

with wisdom none can impugn.

First Light by DC Martinson

Night before a Christmas morn – stars tarry;

Hymns carry a world so torn

To be saved by God’s Yet-born.

Night before a Christmas morn – all is seen

Red and green. Our hearts, forsworn,

Still are gifts to God’s Low-born.

Night before a Christmas morn – in the dark,

Holy spark. Candles have borne

Ev’ry soul to God’s High-born.

Dreams by Stephen Arndt

Come, let the ember lights burn low; no more

_____Let flames roar and flare, for so

_____Drowsing dreams may freely flow;

And let me dream what lies in store (I know

_____Men can’t show me that far shore

_____Which my plodding might explore).

Our dreamings mimic what might be, for they

_____Mold the clay to cast a key

_____Opening new worlds to see.

I am not deaf to what dreams say. Watch me:

_____I am free to stop and stay

_____Or to wend my winding way.

Are dreams like dice on which to bet? How few

_____Pay what’s due on piled-up debt!

_____What they grudge is what you get.

I know my dreams may not come true, and yet

_____Why forget that if they do,

_____I shall fly to where they flew?

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=987

My thanks to Judi Van Gorder for years of work on this fine PMO resource.


My attempt

Evil Must be Fought (Englyn penfyr)

I’d really like to preach peace – but I can’t.
Can’t chant for the wars to cease.
Can’t call to disband police.

When attacked you must defend – or else die.
You ask why do some descend?
Evil and greed I contend.

When evil tried to impose – and by force
I’d endorse those who arose,
though it was not peace they chose.

© Lawrencealot – December 10, 2014


Related Welsh Form are HERE.

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Englyn penfyr

Englyn lleddfbroest

Englyn lleddfbroest, én-glin lléd-uhv-broyst (diphthong half rhymed englyn), the 7th codified Official Welsh Meter, an Englyn, is close to impossible to emulate in English. Therefore, if you want to give this one a try, consider yourself successful if you get sort of close to these sounds. As the on-line site Kalliope says “in English, cheat”. 

The defining features of the englyn lleddfbroest are:
• stanzaic, written in any number of quatrains.
• syllabic, 7 syllable lines.

rhymed, all of the lines half rhymes but the four half-rhymes must be the diphthongs ae, oe, wy, and ei in whatever order.

x x x x x x ae

x x x x x x oe

x x x x x x wy

x x x x x x ei or ai

Llawen dan glaerwen len laes,

lleddfolwg gloyn amlwg glwys,

llathrlun manol a foleis,

llarieidd foneddigeidd foes.

—- Einion Offeiriad 15th century

Absolute Nonsense

Sorry, even cheating fails,
to try writing Welsh forms foils
artistry and yet appeals
to poets creating howls.
— Judi Van Gorder

The Agave Cactus by Stephen Arndt 

Rings of fleshy leaves are joined 
About the stalk they surround; 
Its five-meter height attained, 
Not a bud is there to find. 

Half a century devoid 
Of blooms that would make you proud, 
When they flower, long delayed, 
Yellow suns rise, open-eyed. 

These gold flowers you enjoy 
Took you fifty years, and now 
You at last have had your day— 
It is time for you to die. 

I have fifty years of toil, 
And though they’ve not yet grown foul, 
I have hopes they will not fail
Before they have bloomed a while. 

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=981
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My attempt

Imaginary Dipthongs (Englyn lleddfbroest)

If you plan to write this way
and you are an English boy,
One will have to ask you “Why”?
There seems little to enjoy.

© Lawrencealot – December 10, 2014


Related Welsh Form are HERE.

Visual template

Englyn lleddfbroest

Englyn cyrch

Englyn cyrch, én-glin circh (two rhyme englyn), the 5th codified Official Welsh Meter, an Englyn is verse that employs cyrch which means internal rhyme.


The defining features of the Englyn cyrch are:

  • stanzaic, written in any number of quatrains made up of 2 Cywydd couplets,
    the Cywydd deuair hirion[1] and Awdl gywydd [2].

  • syllablic, 7 syllable lines.

  • rhymed, AaBA with the end syllable of L3 rhymed somewhere in the first half of L4.


x x x x x x A (stressed last syllable)

x x x x x X a (unstressed last syllable)

x x x x x x B

x x B x x x A ( B ) can be in the 2nd 3rd or 4th syllables

el y cuddia’r llwyni gleision

ddolennog grwydriad Cynon

dymunwn innau lechu’r ferch

enynnodd serch fy nghalon

Fall by Judi Van Gorder

The wild wind and rain suppress
the dancing leaves in darkness,
telling time to disappear
while they clear away excess.

The Saguaro Cactus by Stephen Arndt 

Curses on the god of sun, 
His burn a crime like arson! 
Yet you battle him till night 
And fight until you have won. 

Curses on the gods of wind, 
Whose force is unimagined! 
When they bluster through your place, 
You face the attack, thick-skinned. 

Curse the gods of sand and dust, 
Who storm when winds wail loudest! 
Let them cloud the air and vaunt, 
Undaunted, you stand robust. 

Ball your fists to curse and cuss, 
Strong-armed Saguaro Cactus! 
Rail against the desert sky, 
Defy it for all of us!

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=983
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

[1] The Cywydd deuair hirion is: Wrenched Rhyme.
[2] Awdl gywydd is: internal rhyme with prior end-rhyme
Mid-line rhymes a and c can be various forms of rhyme but the end of line rhyme b should be perfect rhyme.


My example

Dragon’s Fire (Englyn cyrch)

Sean had a long scaly tail
he flew but left no contrail.
He feared not what warrior’s felt;
he’d just melt down their chain mail.

Cutie Pie teased a young Sean
often with flirty Come-on.
Sean (a dragon by the way)
came to play – the lady’s gone.

© Lawrencealot – December 9, 2014


Related Welsh Form are HERE.

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Englyn cyrch

Englyn byr cwca

Englyn byr cwca is a shortened crooked rhyme and is not one of the 24 Official Welsh Meters.

Englyn bry cwca is:
• stanzaic, written in any number of tercets.
• syllabic, 7-10-6 syllable lines.
• rhymed, rhyme scheme aba, cdc, etc. The L2 end rhyme appears internally midway in L3.
x x x x x x a
x x x x x x x x x b
x x b x x a

A Look Forward byJudi Van Gorder

Vows, “in sickness and in health”,
they’re hard to see when strong and young in love,
time is part of the wealth.
But years turn and visions blur,
the body slows and vitality goes,
hopes and woes are deferred.

Here we are in winter’s dawn,
through grace or luck our days continue bright.
We shun the night upon
which one life will first depart.
Only “death and taxes” they say, “are sure”.
mature, we play our part.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=960\
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

AM and PM (Englyn bry cwca)

Relentlessly time moves on
with urging when we’re young; we’d like a blitz
until it’s almost gone.

In the winter of life’s year
time slows our body making us aware
we ought share our lives cheer.

© Lawrencealot – December 9, 2014

Visual template

Englyn bry cwca

Blood Quill

The Blood Quill form was invented in 2008 by Jim T. Henriksen writing on Allpoetry.com.

The Blood Quill form has two stanzas, each made of six lines. First and fourth line rhymes, second and fifth line rhymes, and third and sixth line rhymes per stanza. First, second, fourth and fifth line has six syllables, while third and sixth line has nine syllables. Rhyming pattern is abcabc defdef, and rhythm pattern is 669669 669669, or visually:

Blood Quill

Poetic Justice

Poetic Justice

I will tell you a tale
of a powerful guild,
with brave members all over the Horde;
And not once would they fail,
for this group was so skilled,
with a feather they held like a sword.

They fought till the last breath,
whether theirs or their kill,
and the ground trembled hard with a thud;
With their enemies death,
in their heart was a quill,
and a poem was written in blood.

© Jim T. Henriksen. All rights reserved.
January 8th, 2008

Specifications restated:
Stanzaic: Two Sestets
Syllabic: 6/6/9/6/6/9
Rhymed: abcabc defdef
Metric option: Anapestic dimeter and trimeter.

My example

Race Riots

Race Riots (Blood Quill)

In reacting to hate
caused by eras long past
the aggrieved now have earned disrespect.
When they somehow equate
one man’s acting too fast,
just to race, they’re not most circumspect.

In destroying a store
or committing a crime,
their behavior is rising a flood.
All their own ought deplore
men behaving like slime
and then forcing more payment in blood.

© Lawrencealot – December 8, 2014


Spanish Poetry
The Endecha is a ” The Canción triste que encierra un lamento”, (“sad song that locks up a moan”), a 16th century Spanish dirge or song of sorrow.

The Endecha is
• stanzaic, written in any number of quatrains.
• syllabic, written with 7-7-7-11 syllables per line.
• rhymed, rhyme scheme xaxa xbxb etc., x being unrhymed. The rhyme is often consonance only but true rhyme may be used.

Cold Forever –Judi Van Gorder
It tears at my heaving breast
and rips out my grieving heart,
pain of losing him denies
all memories, leaving me lost and apart.

Precious promises ended,
our never and our always
lie cold inside his casket.
I’m left behind to mourn my nights and my days.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1017
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Necessity, the Mother of Suspension

Necessity, the Mother of Suspension (Endecha)

Erection continuing
yet I badly have to pee.
My girl-friend likes Cialis
but it makes pointing down, recent history.

© Lawrencealot – December 8, 2014

Visual template



For a fully comprehensive look at the Eintou verse form, please check Shakespearnoir, where much of my information came from. 

The Eintou is an African American poetry form consisting seven lines with a total of 32 syllables or words. The term Eintou is West African for “pearl” as in pearls of wisdom, and often the Eintou imparts these pearls in heightened language.

The Eintou developed as a means for African American poetic forms to take their place in the forefront of American poetry. Many African American poetic scholars and critics often attempted to mimic Euro-American forms as a means of demonstrating poetic expertise, or stood by “free-verse” as an African American form. It was rare to see serious examination of African American poetic forms; in fact most critics regarded African American poetry as “formless” or “mimicking.” 

The 2-4-6-8-6-4-2 structure of the Eintou is crucial in terms of African and African American philosophy. Life is a cycle. Everything returns to that from which it originates. The concept of a pearl, which is a sphere, and the cyclic nature of the Eintou’s structure capture this. The life of the Eintou begins with two syllables or words, expands as though growing and then returns to two syllables or words. In this fashion the Eintou never escapes its beginnings or history. It flows from, through, and ultimately returns to that from which it came.


Line 1 – 2 words/syllables
Line 2 – 4 words/syllables
Line 3 – 6 words/syllables
Line 4 – 8 words/syllables
Line 5 – 6 words/syllables
Line 6 – 4 words/syllables
Line 7 – 2 words/syllables

Although I’ve seen some examples that use a word count instead of a syllable count, I stuck to the syllable count in my examples:

I wish
Upon a star
Like the cricket advised
Pinocchio, Geppetto’s son.
But life’s no fairy tale,
My wishes don’t
Come true.

The words
Escape from me
Spilling onto the page
Where they find a life of their own
Leaving me far behind
Stumbling to
Catch up.

Pasted from http://randomwriterlythoughts.blogspot.com/2010/08/eintou.html
My thanks to Carol R Ware for the above contribution to the poetry community.


My example

Good Morning, Again (Eintou)

Get up
you lazy-bones.
Today beckons to you.
Put a smile on many faces.
Tomorrow I will say,
“You lazy-bones
Get up.”

© Lawrencealot – December 8, 2014

Dream Song

The Dream Song at first glance could probably be considered a style or genre of poetry because of the prominent “dream theme”. But with more careful examination, the Dream Song is a framed verse form with a specific stanzaic prescription. It was created by American poet, John Berryman’s (1914-1972) book of 77 Dream Songs . He continued to write Dream Songs after the book was published and there are over 400 of his Dream Songs in circulation. The poems seem to me to be recordings of Berryman’s dreams in verse. They are often disjointed and bizarre although the frame of the poems remains consistent. There is a reoccurring character Henry who as a black faced minstrel is called Mr. Bones. The poems include “wrenched syntax, scrambled diction, extraordinary leaps of language and tone, and wild mixture of high lyricism and low comedy” . Poem Hunter.com.

The Dream Song is:
• a verse form, the poem is written in 3 sixains, 18 lines.
• metric, Accentual, usually L1,L2,L4,& L5 5 stresses and L3 & L6 have 3 stresses. As long as 4 lines are longer and L3 & L6 are shorter, the rhythm is jerky much like the content.
• rhymed, rhyme patterns vary from stanza to stanza however there are normally 3 rhymes per stanza. abcabc abccba, aabccb, abbacc are a few of the patterns. abcbac is the pattern of the stanza below.

Dream Song #112 by John Berryman 

My framework is broken, I am coming to an end,
God send it soon. When I had most to say
my tongue clung to the roof
I mean of my mouth. It is my Lady’s birthday
which must be honored, and has been. God send
it soon.

I now must speak to my disciples, west
and east. I say to you, Do not delay
I say, expectation is vain.
I say again, It is my Lady’s birthday
which must be honoured. Bring her to the test
at once.

I say again, It is my Lady’s birthday
which must be honoured, for her high black hair
but not for that alone:
for every word she utters everywhere
shows her good soul, as true as a healed bone,—
being part of what I meant to say.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=623
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My Example

Re-curring Dream (Dream Song)

Alone, depressed, confused, but well, I dream.
I’m working at a place I’ve never seen.
Achievement comes with ease.
I’m asked to make a lunch run for the team
Two blocks away exists a small canteen
“Get crackers, coffee, cheese!”

The walk there’s pleasant, takes no time at all.
The staff all greet me smiling, with good cheer
and hand me tasty eats.
I leave and find I’m in a massive mall
it’s blocks across and doors are nowhere near,
and none return to streets.

I ask for help, and people point the way;
they’re wrong! I ask again and people stare…
Of course they do, I’m nude.
I criss and cross the sprawling mall all day
I’m nearly nuts but suffer no despair –
I’ve all the friggin’ food.

© Lawrencealot – December 7, 2014


Visual Template

Dream Song


The Doublet is a little known form created by Adelaide Crapsey, (1878-1914) who is better known for her innovative”Crapsey” Cinquain. Ms. Crapsey’s grounding in English metric verse combined with her studies of Asian poetry helps to make her “small poem” frames fit the English language a little better than the syllabic parameters of Asian forms. The doublet is a 2 line poem but it incorporates the title into the poem, in effect creating a 3 line verse. Some compare it to the haiku.

The Doublet is:
• is a distich with an integrated title which in effect creates a 3 line poem.
• syllabic, each line 10 syllables or less.
• rhymed, aa. The title is not rhymed.

On Seeing Weather-Beaten Trees by Adelaide Crapsey 
Is it as plainly in our living shown,
By slant and twist, which way the wind hath blown?

When Starting a New Diet by Judi Van Gorder 
Gather the tools to guide your way,
resolve and commitment begin the day.

Since we already know how this will end by Zoe Fitzgerald 
I find it fully pointless to pursue 
A reconciled relationship with you.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2200
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My Example

So Let’s Work at This Love We’ve Found

By accident do most men steer
and stumble into love that’s dear.

© Lawrencealot – December 7, 2014

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Double Rondeau

•  Double Rondeau is simply doubling the pattern of the Rondeau. It can either be doubled in sequence (1 Rondeau following another Rondeau) or the like stanzas could be doubled and paired.
The is:
○ A 30 line poem made up of a quintain, quartain, sixain, the same order repeated a second time or a 30 line poem made up of 2 quitains followed by 2 quatrains and ending with 2 sixains.
○ metric, iambic tetrameter accept for the refrain which is iambic dimeter.
○ All stanzas end with a rentrement.
○ rhymed using either 2 or 4 rhymes. aabba aabR aabbaR aabba aabR aabbaR or aabba aabba aabR aabR aabbaR aabbaR or aabba ccddR aabR ccdR aabbaR ccddcR or aabba aabR aabbaR ccddR ccdR ccddcR.
○ Whether the poem is turned on 2 or 4 rhymes, the rentrement would remain the half line from the first line of the poem to be consistent throughout the poem especially when it is sequential (1 Rondeau pattern following another Rondeau pattern.) There could be 2 rentraments which alternate from the 1st line of each of the 1st and 2nd quintains when the like stanzas are paired.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1382#double
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My Example

Christmas Past

Christmas Past (Double Rondeau – type 1)

Here comes my dad, I hear the sleigh.
I think the horses know the way.
It’s quiet when they run on snow.
They’ll pick us up, then we can go
to grandma’s house for Christmas day.

It’s such a pleasant winter day,
no chilling wind that used to blow.
We picked a perfect day you know.
Here comes my dad.

My grandpa said to come and play.
If grandpa says so, it’s okay.
I have a pheasant I must show
to him before it’s plucked, you know.
The mare smells us, I heard her neigh.
Here comes my dad.

That time has passed.  The years have flown,
and my own children now have grown.
I am a grandpa now, of course
though from my wife I’m long divorced.
That time has passed.

I’m in the city, quite alone,
with Facebook and a telephone.
and now I do not own a horse.
That time has passed.

The city’s all concrete and stone
and neighbors are not really known.
The Christmas spirit’s lost its force. 
For what’s not here I have remorse,
but now I’m way too old to moan,
that time has passed.

© Lawrencealot – December 6,2014

Visual template

Double Rondeau