• The Troisieme is written in 3 tercets followed by a couplet. It was introduced by Viola Berg. The content is broken into 4 parts, an introduction in the 1st tercet, an expansion in the 2nd tercet, a parallel or contrast in the 3rd tercet and a summary or conclusion in the couplet. 

The  Troisieme is:
○ stanzaic, written in 3 tercets followed by a couplet.
○ syllabic, L1-L9 are 9 syllables each, L10,L11 are 11 syllables each.
○ unrhymed.

Pasted from

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

My example

Promised Ascension (Troisieme)

Man alone will plot against his kind
because of words one man deemed were true.
They promote a life beyond this realm.

Dismiss all logic! Faith overcomes!
The next life counts promises much more.
Believe those words and your pain dissolves.

That others think those words are fiction
marks them somehow as threats deserving
Your enmity lest you come to doubt.

The plots and counter-plots marred reality
and placed our morality below the wolf.

© Lawrencealot – February 5, 2015


• The Trianglet is an invented shape poem found in Berg’s Pathways for the Poet. It forms the shape of a triangle and was created by Mina M Sutherland.

The trianglet is:
○ a decastich, a poem in 10 lines.
○ syllabic, 1-2-3-4-5-5-4-3-2-1 syllables per line.
○ rhymed, rhyme scheme AbcxddxcbA
○ composed with the 1st word repeated as the last word.

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

My example

Yummy (Trianglet)



don’t look
(at least to me),
but they’re protein-filled
and the fish seem thrilled
when presented

© Lawrencealot – February 4, 2015

Trian Rannaigechta Moire

Trian Rannaigechta Moire is a dan direach meter of ancient Celtic or Irish Verse Forms written in short lines with consonant rhyme, cywddydd (harmony of sound) and dunadh (beginning and ending the poem with the same word, syllable or phrase. 

The Trian Rannaigechta Moire is:
• stanzaic,written in any number of quatrains,
• each line has 4 syllables.
• rhymed xaba xcdc etc. The end words of all lines consonate.
• written with aicill rhyme when the end word of L3 is a 2 syllable word. The 2 syllable end word of L3 is only a trigger for the aicill rhyme. It is not mandatory that any line end with a 2 syllable word. 

x x x x
x x x a
x x (x b) (when end word is 2 syllables, the b rhyme is repeated internally in L4)
x b x a

x x x x 
x x x c
x x x d (note: single syllable end word, d rhyme is not repeated internally in L4)
x x x c

In the following poem all of the criteria is met except to consonate all of the end words of each quatrain. We have to remember the poem always comes first before the traditional form criteria and it probably would have been easier to consonate the end words if written in the original Gaelic. Something we often forget about emulating verse forms from different cultures and languages, the criteria doesn’t always easily translate into English.

Trickster Time by Barbara Hartman 

Spring storm dumps snow, 
glazes green clumps, 
bends bows low 
to grow huge humps. 

March makes mischief: 
tricksters take wing 
practicing pranks 
on silly Spring.

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

My example

Only Gold (Trian Rannaigechta Moire)

Vain little ride
on mountain road
could not get rid
of fears that rode.

We paid our dues-
those cold harsh days
passed bucks and does;
searched in a daze.

We stopped the van,
found a gold vein,
but lost my dog;
we’d searched in vain.

© Lawrencealot – February 4, 2015

This poet abandoned consonance in the penultimate line for sake of a powerful closing couplet, and an unspoken tribute to the difficulties handled buy the ancient Celtics.

Visual template

Trian Rannaigechta Moire

Parks’ Triad

Triad meaning three for which I have found 2 different forms of verse called a Triad. 
• The Triad is a genre from ancient Irish Verse rather than a verse form although the early examples are in 3 mono-rhymed triplets. Like the Treochair it is a departure from the quatrains of Dan Direach. More modern versions allow the structure to be at the poet’s discretion. Most importantly, the poem should include 3 related subjects and their character. 

The early Triad is:
○ a poem that lists 3 related things and considers their effects.
○ written in 3 mono-rhymed triplets. Meter is at the discretion of the poet.
○ is written with modern interpretations of this form which vary from free verse, a loose poetic form written in 3 couplets rhymed or unrhymed, or in nonce frames created specifically for the poem.
○ most importantly written including 3 related subjects, their character and relationship.

Uniquely Irish, The Shamrock by Judi Van Gorder 

I don’t mean to be terse 
It could be much much worse 
but I’ll try to write a clever verse.

Of shamrock’s I will carp, 
may sound a bit too sharp 
not like sweet music on the harp. 

In distant Ireland of all places 
they cover most of the bases 
even the art of shaving faces.

Seamrog, (Gaelic) shamrock, with its 3 leaves is said to represent not only the Holy Trinity, but also (the fruits of the spirit, faith, hope and charity), (love, valor and wit), (past, present and future) and uniquely Irish, (clever verse, music on the harp, and the art of shaving faces).

• A variation of the Triad was published in Pathways for the Poet by Viola Berg 1977 and is attributed to Rena Ferguson Parks. It is a metered, rhymed invented form with a refrain.

The invented variation of the Triad is:
○ a poem in 22 lines made up of an octave, sixain and an octave in that order.
○ metric, all lines are iambic tetrameter accept the last line of each stanza which is a refrain in iambic dimeter.
○ rhymed, turned on only 2 rhymes, rhyme scheme xxxaxabA xxxabA xxxaxabA – b rhyme linking the stanzas and A being the refrain.

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

I have chosen for expediency to differentiate, by tagging the second version with the name “Park’s Triad”.

My example

They’re Out of Names (Parks’ Triad)

Last week I found another life;
it’s on the Internet, you know.
If you are not already there
you must be tied up playing games,
or busy earning daily bread,
or optimistic, chasing dames.
you ought to join this word- before
they’re out of names.

I could not use a name I knew;
I tried a few and many more,
then many others after those.
“That name is taken”- screen proclaims.
I can’t be Larry anymore,
they’re out of names.

I teleport, and I can fly,
and be a woman, or a man
or be a robot or a beast,
but I cannot be John or James.
I can now choose to wander free
or be one with more lofty aims.
So join up now, and don’t be sore;
they’re out of names.

© Lawrencealot – February 4, 2015


Visual Template

Parks Triad

Tree of Life

  • Tree of Life is an invented verse form written in the shape of a tree. Found at Poetry Styles and created by Christina Jusaumme who requests the subject of the poem be uplifting.
    The Tree of Life is:

    • a poem in 19 lines.
    • syllabic, 1-2-3-4-5-6-7-8-9-10-11-12-13-4-4-4-4-4-4.
    • unrhymed.
    • centered on the page.

My Thanks to Christina R Jussaume for her work on PoetryStyles site.


My example


Be Deciduous (Tree of Life)



that falls

on barren

limbs still may break

those boughs. None-the-less

the trees prepare themselves

by shedding platforms to which

snow would adhere, ensuring harm.

Bears can push through piles of snow, yet don’t.

They forecast and hibernate while snow falls.

It seems that man alone insists that he must

strive to thumb his nose and try to dance his forty

hour shuffle, weather be damned, inviting heart attacks.

Stock some lanterns

and candles too

stockpiles some food

that’s good for you

then read some books

and stay inside.


© Lawrencealot – February 3, 2015


• The Totok is a verse form in 4 unrhymed lines of anapestic tetrameter. I found this form in only one source although I was able to find that “Totok” refers to Cantonese immigrants that come to Thailand and tend to retain their Chinese language and customs.

The Totok is:
○ a poem in 4 lines.
○ accentual syllabic, anapestic tetrameter.
○ unrhymed.

Anticipated —Judi Van Gorder

A tick ticking of earth’s endless seasonal clock,
though our Winter stayed late, Spring began without fanfare,
silent sprouts broke the surface of frost covered ground
bringing Spring with its showers and flowers and light.

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

My example

Thinking Ahead (Totok)

As the weather gets cooler and nights start to chill
and the holiday seasons promote our good cheer
and we wave to our neighbors out raking the leaves
we are thinking ahead to next summer’s warm days.

© Lawrencealot – February 2, 2015

Visual template



Toddaid, todd-eyed is the 19th codified Welsh meter, an Awdl, and an uneven couplet often written in combination with other meters especially the 9 syllable couplet, cyhydedd hir.

The is:
• stanzac, written in any number of couplets.
• syllabic, L1 is a 10 syllable line and L2 is a 9 syllable line.
• rhymed, the main rhyme aa – cc – dd etc.
• composed with gair cyrch* following the main rhyme and caesura of L1. The gair cyrch end rhyme is echoed in the first half of L2 in secondary rhyme, assonance or consonance.
• sometimes written in a shortened version of 16 syllables, L1 is 10 syllables and L2 is only 6 syllables which is called a toddaid byr.
toddaid couplets

x x x x x x x A – x b
x x x x b x x x A
x x x x x x x C – x d
x x x d x x x x c

a toddaid byr
x x x x x x x A x b
x x x b x A

Nit digeryd Duw, neut digarat—kyrd
Neut lliw gwyrd y vyrd o veird yn rat;
Neut lliaws vrwyn kwyn knawlat— yghystud
O’th attall Ruffudd gwaywrud rodyat.
Einion 15th century

Shere Kahn by Judi Van Gorder

The young calico keeping cool – eases
slow as she pleases upon the stool .
Her Bengal bones live nine lives – daring dogs,
chasing frogs, tiger dreams, kitten thrives.

Pasted from

*gair cyrch, appears as a tail or an addemendum to a line; it is the last few syllables of a 10 syllable line that follow the placement of the main rhyme of the stanza marked by caesura. When the main rhyme of the stanza appears within the body in the last half of a 10 syllable line the syllables following that main rhyme and caesura is the gair cyrch. eg x x x x x x A – x x x, it could also appear as x x x x x x x A – x B, the “A” being the main rhyme which is echoed as end rhyme throughout the stanza and the “B” being a secondary rhyme. The secondary rhyme is usually echoed in the early to mid part of the next line. The caesura following the main rhyme is often a dash -.

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

My example


Embellished (Toddaid)

She wore a steampunk hat and bra – and shoes
She couldn’t lose; she was held in awe.
She was cocooned in metal ware – of course.
a visual force men would touch with care.

© Lawrencealot – February 2, 2015

Visual template


Tina’s Zigzag Rhyme

Tina’s Zigzag Rhyme is a form created by Christina R Jussaume on September 21, 2009.
It starts with a sestet, refrain, quatrain, refrain and quatrain.
It must be uplifting subject.
Rhyme in first two lines is at left,
next rhyme is center in lines 3 and 4,
and rhyme in lines 5 and 6 is an end rhyme.
Refrain is first two lines of poem.

After refrain you use center rhyme, then end rhyme, continue with refrain… etc.
It is an 8 syllable per line poem. No limit to stanzas but must have, at least one sestet, refrain, and quatrain.

Copied from
My Thanks to Christina R Jussaume for her work on PoetryStyles site.

My example

Now is a Present (Tina’s ZigZag Rhyme)

Behold! It’s clear that I can think.
I’m sold that men are so imbued.
There is no need for fairy tales
or a dogma’s creed to comfort.
I think that if you think you’ll see
that things are just as they should be.

Behold! It’s clear that I can think.
I’m sold that men are so imbued.

All of us should enjoy right now
seeking what is good in others.
Happiness is an attitude
that worry’s likely to exclude.

© Lawrencealot – February 1, 2015

Visual template

Tinas ZigZag Rhyne

Tho Tam Chu

Vietnamese Poetry


      • Tho Tam Chu or Eight Word Poetry appears to be more flexible in stanza length as well as tonal and end rhyme. The rhyme schemes are patterns I found in actual poems. It appears to me that as long as there is rhyme, it probably doesn’t matter what the pattern is.Tho Tam Chu is:
        • stanzaic, written in any number of either tercets, quatrains or septets.
        • measured by the number of words in the line, 8 word per line.
        • rhymed,
        • tonal rhyme is flexible except, if the end word is sharp then the 3rd word is also sharp and words 5 and 6 are flat. Conversely if the end word is flat then the 3rd word is also flat and the 5th and 6th words are sharp.
        • end rhyme
        • when written in tercets
          w w w w w w w a
          w w w w w w a b
          w w w w b w w b
        • when written in quatrains is:
    • w w w w w w w w –or —
    • w w w w w w w a
    • w w w w w w w w
    • w w w w w w w a
    • w w w w w w w w
    • w w w w w w w a
    • w w w w w w w a
    • w w w w w w w w
      • when written as a septet
        w w w w w w w a
        w w w w w w w a
        w w w w w w w a
        w w w w w w w a
        w w w w w w w b
        w w w w w w w b
        w w w w w w w w



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



Whereas with the Bay Chu, I copped out because I had no notion of the tonal requirement, I was emboldened here by Judi’s observation that tonal rhyme was flexible.  I therefore took the liberty to equate the Vietnamese flat and sharp sounds to the English long and short sounds, and have treated the words in positions 3,5,6 and 8 accordingly.


From Wikipedia

Traditional long and short vowels in English orthography[edit]

English vowels are sometimes split into “long” and “short” vowels along lines different from the linguistic differentiation. Traditionally, the vowels /eɪ iː aɪ oʊ juː/ (as in bait beat bite boat bute) are said to be the “long” counterparts of the vowels /æ ɛ ɪ ɒ ʌ/ (as in bat bet bit bot but) which are said to be “short”. This terminology reflects their pronunciation before the Great Vowel Shift.

Traditional English phonics teaching, at the preschool to first grade level, often used the term “long vowel” for any pronunciation that might result from the addition of a silent E(e.g., like) or other vowel letter as follows:

Letter “Short” “Long” Example
A a /æ/ /eɪ/ mat / mate
E e /ɛ/ /iː/ pet / Pete
I i /ɪ/ /aɪ/ twin / twine
O o /ɒ/ /oʊ/ not / note
U u /ʌ/ /juː/ cub / cube

A mnemonic was that each vowel’s long sound was its name.

In Middle English, the long vowels /iː, eː, ɛː, aː, ɔː, oː, uː/ were generally written i..e, e..e, ea, a..e, o..e, oo, u..e. With the Great Vowel Shift, they came to be pronounced /aɪ, iː, iː, eɪ, oʊ, uː, aʊ/. Because ea and oo are digraphs, they are not called long vowels today. Under French influence, the letter u was replaced with ou (or final ow), so it is no longer considered a long vowel either. Thus the so-called “long vowels” of Modern English are those vowels written with the help of a silent e.


Pasted from


 My example


Vietnam Poetry Didactic (Tho Tam Chu)

 If word three is long, expect to find
the words five and six not so aligned.
By word three, eight’s sound is now defined.
One must keep these rules within one’s mind.
That being done, then each line is fun,
a challenge yet, here I write this one.
An unrhymed line must still conform like so.


© Lawrencealot – January 31, 2015


Visual template

Tho Tam Chu