Onzain or Onzijn

• The Onzain (French) or Onzijn (Dutch onze means eleven} is an invented form, the Dutch version of which is attributed to a Drs. P. The form apparently originated in France and this is all I could find about the French version of the form. The verse form is pretty simple, it is all about the number eleven.

The Onzain or Onzijn is:
○ a poem in eleven lines.
○ syllabic, each line is eleven syllables.
○ rhymed, the Dutch rhyme scheme is a-b-c-b-c-d-c-d-a-e-e, (I can only guess that the French rhyme scheme may be different since this scheme was specified as the Dutch version.)

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2842#onzain
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

11 Lines, Isosyllabic: 11 syllables per line.  Rhymed: abcbcbcdcdee

My example

gigafactory

 

Gigafactory (Form: Onzain or Onzijn)

When a visionary moves into your town
it is reason to rejoice, and states compete
for the future good his industries will bring.
The new Gigafactory promise rings so sweet
(to make batteries here, versus in Beijing)
that the land required was offered Tesla’s boss.
As with quid quo pro, for almost anything
a few railed against what they supposed was cost.
But while cost is lost, investment’s not. A crown
has a value which exceeds by far its price.
I for one applaud my taxes use. It’s nice!

© Lawrencealot – Jan 1, 2015

Visual Template

Note:  There is no mandated meter for this form.

Onzain or Onzijn

Bev-A-Lyn Rhyme

Bev-A-Lyn Rhyme 
Created by Chazz Combs.
SYLLABLE COUNT IS 5,7,9,14,14,11,9,7,5, RHYMING, a,a,a,b c,c,c d, e,e,e, f
the 2  syllable lines do not have to rhyme and they have their own message!
center on page. 

Pasted from http://the.a.b.c.of.poetry.styles.patthepoet.com/index.html
Many Thanks to Christina R Jussaume for her work on the Poetry Styles site.

The Bev-A-Lyn Rhyme is:
A 12 line poem, consisting of alternating tercets and single line stanzas.
It is syllabic: 5/7/9/2/14/14/11/2/9/7/5/2
The tercets are individually monorhymed
The single lines are unrhymed and convey their own separate message
Rhyme pattern: aaaxbbbxcccx

My Example

Statism (Bev-A-Lyn Rhyme)

Tribes were unified
that their needs were satisfied.
Upon each other members relied.
People
aggregate where economic benefits are bestowed,
where law-makers have deemed that to each a stipend is owed.
Then grift will cause working ethics to erode.
Earning
one’s way allows welfare to accrue
but transfers from me to you
won’t help us all to
Prosper.

© Lawrencealot – October 5, 2014

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Bev-A-Lyn Rhyme

Lyra Chord

Pathways for the Poet by Viola Berg (1977) is a book for and by educators. Classic poetic forms as well as many invented forms which appear to have been invented as teaching tools or exercizes for use in workshops or classrooms are included. Some of these invented forms I have found in use in internet poetry communities, a testament to their staying power. On this page I include the metric invented forms found there in which appear to be exclusive to the community of educators from whom Ms. Berg drew her support. I have yet to find these in any other source. …. Whether classroom exercise or sharpening your skill as a writer, some of these forms can be fun to play with.

 

 

The Lyra Chord is an invented verse form created by L. Ensley Hutton.

The Lyra Chord is:
an octastich.
metered, L1,L2,L3,L5,L7 & L8 iambic pentameter, L4 & L6 iambic dimeter.
rhymed, rhyme scheme abbcacdd. L1 & L5 also have internal rhyme.
 

 

Pasted from  http://www.poetrymagnumopus.com/index.php?showtopic=1199#dionol
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

 

My example

The Ombudsman (Lyra Chord) with (Bob and Wheel)

The Ombudsman

As there he sat in ochre velvet hat
with mandatory shadow of a grin,
a trace, an echo where frequent smiles had been,
perhaps now cold.
He had to chat, his judgment called for that.
He’s frail and old,
His thoughts meandering, illusive too,
but incandescent when they’re brought to view.

The government
denied the hopes of folks behind the rope;
outside the window, drizzle hasn’t died.
Their man in burgundy’s no dope; he’ll cope.
The clotted crowd give plaudits – satisfied.

© Lawrencealot – September 16, 2014

Visual template
Note: only the top eight lines represent the Lyra Chord.
In multi-processing mode, I used this form to enter a
contest, where word-bank words (show in red) were all
required, thus I had to extend the piece, and I used the
Bob and Wheel form to do so.

Lyra Chord

Abecedarius Poetry Form

Abecedarius is a lyrical poem composed as an acrostic employing the poetic device of the first letters of its lines forming an alphabet. To use the alphabet in a unique manner is the creative challenge of this genre, other than the obvious of finding words for the letters x and z.

Alphabetic acrostics first appear in Hebrew religious poetry found in the Old Testament. It seems that using letters of the alphabet as the initial letter of each line was thought by ancient cultures to connect the human with the divine. This device was considered a conduit to God and was commonly used in prayers, hymns and oracles.

According to the Harper Collins Study Bible; 1993, one variant of the Abecedarius is found beginning with Psalm 9 and continuing through Psalm 10:18. There, every other line begins with a sequential letter of the Hebrew alphabet. Another is found in Psalm 119, written in 22 stanzas of 8 lines. All lines in a given stanza begin with the same letter. Too bad the English translation does not reflect the Hebrew alphabetical sequence.

In modern times, the alphabet is often found in word games for children and is sometimes called the ABC Poem.
Psalm in Action by Judi Van Gorder

All praise our Creator, called by many names,
Blessed is the work of His hands.
Cant in dulcet tones His psalms,
Dance with energy in His presence
Eager to follow His lead 
For faith is an action word.
Gather the oppressed, offer support,
Hold them close in His name.
Include all who ask, honor those who don’t.
Joyfully serve all of His commands.
Kindle a flame in your heart to
Light the way for others that they may see,
Mantled by His virtue, we endure.
No one is less in His sight
Offer sustenance and acceptance to all.
Protect with fervor His creation.

Quiet is His manner, 
Righteousness His strength,
Science His invention,
Time His plan. 
Unconditional is His love, 
Vast His ability to forgive,
Wise His teachings and
Xenias, His gifts given in abundance. 
Yes, is my answer to His call, my
Zeal, will be tempered by tolerance in His image.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1064
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

 

My example
There was an Old Lady

An old lady, I first thought
But then I looked again
Certainly she’s maybe not
Defined as old my friend.

Especially in times of later born –
Fine times in which we live.
Granted, that she does seem worn
Having always had to give.

I know she was a helpmate first,
Joining with her man each day,
Keeping order when the worst
Lean times came their way.

Mostly she performed
Necessary tasks
Often, when informed –
Probably unasked.

Quietly she made a life,
Raising children, teaching.
Steadily, her husband’s wife
Taking without over-reaching.

Usual days would end in prayer,
Verses would be read you bet.
Wondrous things we not yet there;
X-rays weren’t invented yet.

Yes, she pre-dated bodice rippers,
Zones for buses, even zippers.

Note:  This is not an ABCDarilus Poetry form, for it lacks the spiritual or historic reference.
It is properly filed under ABC Poem.

Choral Ode, Pindaric Ode or Dorian Ode

The Choral Ode, Pindaric Ode or Dorian Ode distinguishes itself from other odes because of its three part order. It is also strophic, not stanzaic like the Horatian, Keatsian and Ronsardian Odes. The strophe may differ in structure within the poem, while the stanza is uniform in structure within the poem. This verse form introduced by Pindar 522-433 BC Greece was originally written to be performed by chorus and dance and was therefore emotional, intense, brilliant and changeable to entertain an audience. Of course it like all Odes, exalts or praises its subject.

The names Choral and Pindaric Odes are obvious from the “choral” design of the frame and the name of the originator. The Dorians were one of the three tribes of ancient Greece who had their own dialect and culture. I couldn’t find Pindaric named as a Dorian poet but he did live in the same era so I am making an assumption there must be some association between the Dorians and Pindaric.

The verse is structured in a triad or three parts, which can be repeated within the poem. The parts are the strophe, the antistrophe, and epode. The individual parts are also referred to as the Turne, Counterturne and Stand. Originally created for a chorus from one side of the stage to sing or recite the strophe. The response or antistrophe is sung or chanted from the chorus on the other side of the stage. The triad is concluded by both choruses singing the epode. The strophe and antistrophe are written in exactly the same structure or frame, at the discretion of the poet. The epode must change in structure. This variation is meant to bring more drama to the ode.
To the immortall memorie, and friendship of that noble paire,
Sir Lucius Cary and Sir H. Morison by Ben Jonson

The Turne
BRAVE Infant of Saguntum, cleare
Thy coming forth in that great yeare,
When the Prodigious Hannibal did crowne
His rage, with razing your immortall Towne.
Thou, looking then about,
Ere thou wert halfe got out,
Wise child, did’st hastily returne,
And mad’st thy Mothers wombe thine urne.
How summ’d a circle didst thou leave man-kind
Of deepest lore, could we the Centre find !

The Counter-turne
Did wiser Nature draw thee back,
From out the horrour of that sack,
Where shame, faith, honour, and regard of right
Lay trampled on ; the deeds of death, and night,
Urg’d, hurried forth, and hurld
Upon th’ affrighted world :
Sword, fire, and famine, with fell fury met ;
And all on utmost ruine set ;
As, could they but lifes miseries fore-see,
No doubt all Infants would returne like thee.

The Stand
For, what is life, if measur’d by the space,
Not by the act ?
Or masked man, if valu’d by his face,
Above his fact ?
Here’s one out-liv’d his Peeres,
And told forth fourescore yeares ;
He vexed time, and busied the whole State ;
Troubled both foes, and friends ;
But ever to no ends :
What did this Stirrer, but die late ?
How well at twentie had he falne, or stood !
For three of his four-score he did no good.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1251-the-choral-ode-pindaric-ode-dorian-ode/
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

Other Odes: Aeolic OdeAnacreontic Ode, Choral Ode or Pindaric Ode or Dorian Ode,
Cowleyan Ode or Irregular Ode, Horatian OdeKeatsian or English OdeRonsardian Ode

Thematic Odes:
Elegy, Obsequy, Threnody Ode
Elemental Ode
Genethliacum Ode
Encomium or Coronation Ode
Epithalamion or Epithalamium and Protholathiumis
Palinode Ode
Panegyric or Paean
Triumphal Ode
Occasional Verse

My example poem

Ode to Controlled Free Enterprise (Choral Ode)

Three cheers for private enterprise
where innovation’s raised our lot.
(Of course there’ve been a few bad guys)
whose selfish greed has fouled the pot.
In home garages ‘cross this land
both men and women made their mark
inventing things we now demand,
our lives made better by their spark.

Three cheers for Government control
to stop the business man that cheats,
with fleecing folks his only goal,
who pushes poisons on the streets.
Angels would never need such laws
but since we’re men there’s such a need
(to govern men who exploit flaws
of other men and thrive on greed.)

Though I’m learning I’m discerning
and it somehow seems to me
that to stifle business profits
will make everyone less free.
If the government restrictions
Place a levy that’s too high
then the companies will either
move away or simply die.
The electorate is charged with
the selection of a voice
whose agenda is not set but
who can think and make a choice.

© Lawrencealot – August 13, 2014

Decrina

Decrina
Type:
Structure, End Word Requirement, Isosyllabic
Description:
10-keyword version of a sestina for 105 lines.
Attributed to:
Bob Newman
Origin:
England
Schematic:
End-word enfolding pattern:
0123456789
1357902468
3704815926
7419630852
4938271605
9876543210
8642097531
6295184073
2580369147
5061728394
Rhythm/Stanza Length:
10
Line/Poem Length:
105
A big thanks to Bob Newman.
  • Decrina is a longer version of the Sestina attributed to Bob Neuman but I couldn’t find it at his website Poetry By Way. I did find it at Poetry Basehowever. Having written a Sestina, I can’t imagine why anyone would even consider attempting a longer version of the form.The Decrina is:
    • stanzaic, ten 10 line stanzas with a 5 line envoy, a total of 105 lines.
    • metered, lines of equal length, like the Sestina, iambic pentameter or iambic tetrameter.
    • repeated end words in a specific pattern. (Numbers represent words)
      0123456789
      1357902468
      3704815926
      7419630852
      4938271605
      9876543210
      8642097531
      6295184073
      2580369147
      5061728394
      I can only assume the envoy is like the Sestina with even #ed words midline and odd #ed words as end words. 0-9,8-7,6-5,4-3,2-1
A big thanks to Judi Van Gorder
 
My Example Poem
Non-Compliant (Decrina)
Catherine born of Spanish royalty
was destined from her crib to be a queen.
Fredinand and Isabel ruled people
of Aragon, Leon and Castile, all
with an unquestioned linage their daughter
would inherit with devotion to God
through Catholicism that never wavered.
At age of three a treaty pledged the crown
of English queen would be reserved forher,
she spent her youth preparing for that time.

She was to wed Arthur and become queen
when he ascended the throne but all
was modified, first by the acts of God
Then by the machinations of the crown.
Henry the seventh wanted at one time
to wed her to enhance his royalty
That would never help the Spanish people
or King; there’d be no role for his daughter,
in kingdom’s design; he never wavered
for Ferdinand expected much from her.

She was Princess of  Wales and loved by all
before young Arthur died.  She had no crown
and now was no part of the royalty.
A treaty next pledged Ferdinand’s daughter,
to Arthur’s brother, Henry who liked her
and who when his father died made her queen
immediately, now assured by God
and Pope, that Catherine was at that time
still virgin. Still embraced by the people
who in their respect had never wavered.

When Henry the eighth put upon the crown
he relished the insights of the daughter,
of the King of Spain, her input as queen
conjoined the countries int’rests for a time
but the queens love for Henry n’er wavered.
Their first years, a romantic time for all,
and they elevated the royalty
to a source of pride.  Henry trusted her
advice counsel and shared her love of God.
The kings court improved things for the people.

The queens first child was a still-born daughter,
a year later she birthed a son, this time
alive but he died soon after.  In all,
she bore six children- all of them but her
fifth, Mary, died to the grief of people
now hoping for an heir.  To keep the crown
safe was deemed the prime duty of the queen.
The king’s interest in his wife wavered,
and in search of continued royalty
he bedded many not consulting God.

Despite that, he shared power for a time
and while Henry fought in France it was her
direct leadership that won for the crown
more important campaigns; the troops wavered
not one bit with her and her faith in God.
It was three years later that her daughter,
Mary was born and lived; she focused all
That she did thereafter to give people
That her daughter might someday be queen.
She fought to preserve Mary’s royalty

When Henry’s mistress, Bessie Blont had her
son, he was deemed a prince. he King wavered
then in his devotion to his daughter.
The queen had always wanted the people
to have the schooling there for royalty
and strengthened women’s options over time
and educated Mary for the crown.
She always placed her faith in her one God.
So while she lived she worked and gave her all
that her own daughter, Mary might be queen.

Wanting Anne Boleyn, he never wavered
after demanding a divorce. People
hated, and taunted Anne at any time
she would appear in public so  both God
and man seemed to be aligned with the queen.
Thus the King denounced his faith to wed her
and changed the religious world his daughter,
would face with rage in her own royalty.
Now God, and man must answer to the crown.
Catherine loved King Henry through it all.

With royal supremacy the law, people
had to abandon now their Catholic God
and accept the Church of England but her
majesty refused. Stripped of royalty
And power by the announced divorce, all
hope seemed gone, yet she sill never wavered.
She refused inciting war at that time
though there was talk of war to save the queen.
She was not allowed to see her daughter.
Visitors required assent by the crown.

In lesser castles she still beseeched God
and behaved with apparent royalty.
Her support of Mary never wavered
though some were killed for thinking as the queen,
that Mary ought to someday wear the crown.
The winds of change ignore simple people
but history’s cyclone paid heed to her.
I’m not a fan of religion at all;
in tolerance the harvest all the time,
to wit: Bloody Mary, the queen, her daughter.

Despite the royalty of Henry’s time
revoking her claim to possess the crown
she never wavered for that sake of God
and for her daughter, Mary, through it all
the English people always deemed her queen.

© Lawrencealot – December 30, 2013

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Landay

An Afghan form  has only a few formal properties.  Each has twenty-two syllables:   nine in the first line, thirteen in the second.                                 
The poem ends with the sound “ma” or “na.”
(One meaning of the word landay is short, poisonous snake.)

These are the specifications  I found at
Along with almost all of the examples below.
Sometimes they rhyme, but more often not.                                 
In Pashto, they lilt internally from word to word in a kind of two-line lullaby                         
that belies the sharpness of their content, which is distinctive not only for                         
its beauty, bawdiness, and wit, but also for the piercing ability to articulate                         
a common truth about war, separation, homeland, grief, or love.                                
Within these five main tropes, the couplets express a collective fury, a                                 
lament, an earthy joke, a love of home, a longing for the end of separation, a                        
call to arms, all of which frustrate any facile image of a Pashtun woman as                         
nothing but a mute ghost beneath a blue burqa.
The landays* are a way to subvert the social code in which women are prohibited
from speaking freely. Since the poems are collective and anonymous “women can
claim they just overhead the poems in the marketplace,” says Griswold, “not
that they authored them.”

*Authors note:  Even in this extensive site, we note Landays used as the plural, but
formally I read somewhere the plural is Landai.  That seems consistent with English usage.

“These poems are part of an oral tradition that goes back thousands of years, sung by nomads and farmers at wedding ceremonies or around campfires. Today, the landay form has in some ways gone underground, becoming a means of expression and defiance for oppressed Pashtun women.”

Poetry to Die For.

Jim Fleming: In Afghan culture poetry is revered incompetent fact, you can find lines of famous poems graffiti-ed on sides of buildings.  There are though some poems that are secret, like this one: I call your stone, one day you’ll look and find I’m gone.  There is a story behind that poem and Strainchamps is here in the studio with me, and you have the story.
Anne Strainchamps: Well Jim the story begins with a teenage girl named, Rahila, and she lived Helmound, which you know is one of the Taliban strongholds [xx].  Like a lot of real Afghan girls, she wasn’t allowed to leave her home or go to school, her father pulled her out of school after the fifth grade and she found refuge in poetry.  The poem you just read is a landay, that’s a folk poem part of a Pastian tradition of woman’s poetry.  Rahila began to write and quote poems like this.  Then one day her brothers discovered that she was writing love poetry, and that is something that is considered very dishonorable and they beat her badly.  In protest, Rahila doused herself with cooking oil and she set herself on fire and she died.
Jim: Oh my Lord.  In our culture to imagine a culture where a woman dies for writing poetry.
Anne: Yeah, and the reason we know about [?] Rahila [?] Muska- her real name turned out be [?] Zirina – is thanks to American Journalist and Poet, Eliza Grizwald.  Eliza heard about Rahila, and she traveled to Afghanistan to try to find out more and she uncovered this hidden poetry tradition.  Poems called landay.
What I can tell you after personally visiting several educational and revealing sites is that the specified requirements are WIDELY ignored in the poetic examples I was able to find, and to no detriment to the form, and that there is on other poetry form that is used so exclusively by women.  Further,
 I think it is the most vital and socially functional poetry in the world today.

Here are some examples.  I rarely found a poem that met the line by line syllabic requirements.
I never found one with the “ma” or “na” ending.
See for yourself if the have “bite”.
You sold me to an old man, father.
May God destroy your home, I was your daughter.
Making love to an old man
is like fucking a shriveled cornstalk blackened by mold.
The old goat seized a kiss from my pout
like tearing a piece of fat from a starving dog’s snout.
May God destroy the White House and kill the man
who sent U.S. cruise missiles to burn my homeland.
When sisters sit together, they always praise their brothers.
When brothers sit together, they sell their sisters to others.
Your eyes aren’t eyes. They’re bees.
I can find no cure for their sting.
Come, let’s lie thigh against thigh.
If you climb on top, I won’t cry.
My lover is fair as an American soldier can be.
To him I looked dark as a Talib, so he martyred me.
Be black with gunpowder or blood-red
but don’t come home whole and disgrace my bed.
Here are some from the Tenth Muse
What can a woman know of war?
Only how to weep angry tears and bury her dead.
*
I sing even under my blue hood.
My mother says I am a most determined songbird.
*
He says at home I am a flower
but to the world I should be as plain as a weed.
*

And finally, I am required to write one myself:

So poets, give structured writes a try,
but let your words cry for those who wrote then had to die.
 
 

LaDán

This is a new form designed in June, 2013 by Laura Lamarca.
It is composed of 5 quatrain stanzas with varying length and meter, (20 lines)
but every line begins with an anapest foot.
This is a moderately  difficult form to write.

The requirements of the form in her own words  are:

Verses 1, 3 and 5
Rhyme scheme abab
L1 and L3 – 11 syllables, stressed syllables needed on beats 3, 6, 8 and 11
L2 and L4 –  9 syllables, stressed syllables needed on beats 3, 5, 7 and 9
Verse 2 and 4
Rhyme scheme baab
L1 and L4 – 9 syllables, stressed syllables needed on beats 3, 5, 7 and 9
L2 and L3 – 7 syllables, stressed syllables needed on beats 3 and 5.
MUST be a metaphoric poem, preferably dark and deeply emotive.

Rhyme scheme “abab cddc efef ghhg ijij” for the easy version (ababcddcefefghhgijij) or
Rhyme scheme “abab baab abab baab abab” for the more challenging version. (ababbaabababbaababab)

Example Poem

This was written for a contest to name the form, I thought LaAnapestia would have been descriptive, but my thinking did not prevail.

Liberty’s Tree     (LaDan)

Disagreeable though it may be my friends,
a time comes when men who are born free,
(as all are), must leave kings who won’t make amends.
They are kings because we let them be.

The untried Americans-to-be
who’d displayed recalcitrance
now displayed recognizance
of the threat to their own liberty.

As the spirit of patriots now depends
on the Jefferson’s and Paine’s to see
better ways to assure the power extends
to the common man, they write their plea.

They were radicals,  to disagree,
and they lacked the competence
to deny the providence
of the kings throughout our history.

It seems sometimes the voice of reason portends
a much greater change than taxing tea,
and revolution comes when man comprehends;
But it may cost blood from you and me.

© Lawrencealot – July 24, 2013

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15-10 Alternating Poetry Form

A poem where 15 syllable stanzas which begin with an anapest foot and having couplet rhyme

alternate with 10 syllable iambic stanzas with cross rhyme.

Rhyme Pattern: aabb cdcd

(aabbccdd), 16 lines or more, alternating line length

 

I first saw this used by Jeff Green but have no idea if is already a name form.

 

Example Poem

Constitutional Deficiency

 A democracy cannot endure when gimme people learn
that they can persuade their reps to confiscate what others earn.
This was first proclaimed by Tytler, then Alexis de Tocqueville
The right to direct one’s earnings is in fact what makes one free.

My liberal friends think as I once did,
that government should cure whatever’s wrong.
I recognized my error as a kid.
Someone must pay the piper for his song.

 We’ve had only one elected man at top who truly tried
to impede the juggernaught we’ve wrought but could not hold the tide.
To defend our nation, use its strength to minimize abuse
are enough, but power wants more growth and leaps to find excuse.

The Tytle Cycle must run its full course.
Our try died not from faulty prior design.
We’ll work for masters like the noble horse.
The blame my friends is really yours and mine.

© Lawrencealot – Feb. 7, 2013

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Stress Matrix Dectet

This is a form Invented by British Poet Luke Prater,
it comprises ten lines, ten syllables per line, following the rhyme-scheme/structure
 aBa BcBc DcD
where lowercase are iambic pentameter and uppercase are trochaic pentameter – they alternate the whole way, yielding a perfect ‘checkerboard’ of stressed and unstressed syllables, ten lines down x ten syllables across (=100 syllables completely evenly distributed; the rhyme scheme is also  even/symmetrical mathematically).
Ampersandcastles
The Ages, Dark, concede, recede like tides,
leaving shores to Renaissance sand-castles
built big, with shells and mortar; fairground rides
chitter-chatting dusky-distance rascals.
From beach to fair, knots in my hair, and sand,
shaken out, like doubt of change, the mask-all.
Hey, dance – try throwing shapes! An ampersand?
Just like you, to groove to punctuation.
No ampersand; sniff out a woman’s hand,
claiming back some laddish inclination.
Copyright © Luke Prater (2011)
If the syllabic feet (iambs and trochees) are singled out, and only the stressed syllables are highlighted (and stanza-breaks removed), you can more clearly see the ‘checkerboard’ of stresses and unstresses evenly distributed over the 10×10 (100) –
the A | ges DARK | con CEDE | re CEDE | like TIDES
LEA ving | SHORES to | REN ai | SSANCE sand | CA stles
built BIG | with SHELLS | and MOR | tar; FAIR | ground RIDES
CHI tter | CHA tting | DUS ky | DIS tance | RAS cals
from BEACH | to FAIR | knots IN | my HAIR | and SAND
SHA ken | OUT like | DOUBT of | CHANGE the | MASK-all
hey DANCE | try THROW | ing SHAPES | an AMP | er SAND
JUST like | YOU to | GROOVE to | PUNC tu | A tion
no AM | per SAND | sniff OUT | a WO | man’s HAND
CLAI ming | BACK some | LA ddish | IN cli | NA tion.
Example Poem
Here I have expanded the concept to write a
 Stress Maxtrix Dectet with the diminishing  Hexeverse form concept.
The Experiment
‘Twas the tempest thrumming through our culture
restraint forgotten, crowding at the till.
Leaders sought to feed- not kill the vulture.
 Ask not how will I serve, but how my will
best be served if pork be granted voters?
Give them from their own cart; they are the thill
made to pull.  We’re simply gift promoters.
 If business pledged what cannot be sustained
government will bail out General Motors
because the Union votes have been ordained.
Envy, greed, and yes, annoyance
have marked our liberty’s demise.
Harking this took no clairvoyance.
Largess bestowed is no surprise.
 Bondage first then faith -spiritual,
courage, then liberty; which grows
abundance, before residual
complacent apathy then shows.
Soon we are dependent
and after that we’re slaves.
History’s resplendent
with samples of such waves.
This is how we’ll end it.
kowtowing to the raves.
Here we’re standing
with troubled brow,
sad soft-landing
but we saw how.
(c) Lawrencealot – December 25, 2012