BushBallad Meter

Informal name created by Mary Boren Sullivan, aka Meter_Maid on Allpoetry.com.
Am adding it so others can have a go at a delightful metric experience.
OK, that’s not the official name for it, but this particular rhyme scheme & metrical pattern echoes of thundering hooves, which makes me think of Banjo Paterson.  If you’re stuck in iambic mode, it’s a good way to break free.
The form lends itself to light verse, but is versatile enough to support serious topics as well.  The meter is anapestic, as follows, presented in six-line stanzas with a rhyme scheme of aabccb.
ta da DUM / ta da DUM / da
ta DUM / ta da DUM / da
ta DUM /  ta da DUM / ta da DUM
If it feels more natural, you can substitute with an iamb for the first foot and/or move the feminine trailing syllables into the next line, like so …
ta DUM / ta da DUM
ta da DUM / ta da DUM
ta da DUM /  ta da DUM / ta da DUM 

Example Poem
Unfriended

My words are exacting
yours simply distracting
You argue in circles, at best.
You think that deceiving
just  ‘cus you’re believing
Is okay, your  thinking is blessed.

Now, when you disparage
an old friend’s new marriage
or put down another’s good work
or put on two faces
when speaking of races,
you’re behavior drives me berserk.

I’m mostly quite friendly,
but  if in the end we
diverge so in our views, my friend,
though I’ll still be mellow
and a jolly fellow,
I reckon our friendship will end.

© Lawrencealot – April, 2012

Visual Template

Catena Rondo

Catena Rondo is a stanzaic form created by 20th century Canadian educator, author and poet, Robin Skelton. The form lends itself to the longer poem because of the repetition of lines. It has an unusual cadence within the quatrain, suggesting that L2 and L3 form a couplet leaving L1 and L4 as separate thought units within the quatrain. L2 is then repeated as the first and last lines in the next stanza. The repetition of lines reminds me of the Pantoum but more complicated. The form was found at Poet’s Garret.
The Cateno Rondo is:
 stanzaic, written in any number of 3 or more quatrains (12 lines or more) made up of 2 rhymed lines enveloping a rhymed couplet.
 meter optional at the discretion of the poet.
 rhymed, rhyme scheme ABbA BCcb CDdc DEed etc… (ABbABCcbCDdc, where the capital letter depict lines that are refrains) until the  enveloped couplet of the penultimate quatrain repeats L1 of the poem  MAam bringing the final quatrain back to the original scheme of the  1st quatrain ABbA.
It appear from this scenario that the only line of the last stanza that
could be original is L3 since L1, L2 and L4 are repetitions of the same
numbered lines of the first stanza.
Poet’s Garret makes it easier by suggesting the complete last stanza
be a repetition of the first stanza.
 composed with repetition the 2nd line of each stanza as L1 and L4 of the next stanza.
 The poem should come full circle and end up with the same rhyme scheme used in the 1st quatrain.
 Therefore it is important that 1st and 2nd lines of the poem be strong enough to end the poem.
This form is the brainchild of Robin Skelton,academic, writer, poet and anthologist. It is a Quatrain, and the second line forms a rhyming couplet with the third line and is also used as the first and fourth line of the following stanza. Any number of stanzas can be created this way and the final stanza is a repeat of the first. This gives a rhyme scheme of;
A. B. b. A.…. B. C. c B…. C. D. d. C….finally …
F. A. a. F…..A. B. b. A.….
There is no set meter. Here is an abbreviated example
So Misty through the Dream
The sun does shine upon the reeds.
The lake glistens; a twinkling dance;
On the hills, we three entranced.
The sun does shine upon the reeds.
The lake glistens; a twinkling dance.
Under water breathes like air.
We dip our heels, submerged, we dare.
The lake glistens; a twinkling dance.
Under water breathes like air.
A silvery light consumes the sun.
Deeper down, search we as one.
Under water breathes like air.
Cont till
We three stretch legs upon the lands.
The sun is shining on the reeds.
Up through the silvery lake of seeds
We three stretch legs upon the lands.
The sun does shine upon the reeds.
The lake glistens; a twinkling dance;
On the hills, we three entranced.
The sun does shine upon the reeds.
Moss Macan Ghoill
Some people mistakenly think that this form cannot support shorter forms and that it is only suited to poems over 5 stanza in length. It is because this form encourages longer poems simply because it encourages and makes longer poetry pleasurable. That is not to say that the poet cannot write shorter poems. The minimum of course must have a statement, a link and a closure, that is three stanza. Here is an example:
When Clouds Cry
When clouds cry it’s not because they’re sad
Rather it is because they are content
That most lovers have the right intent
When clouds cry it’s not because they’re sad
Rather it is because they are content
When clouds cry it’s not because they’re sad
Seeing lovers they realise things aren’t bad
Rather it is because they are content
When clouds cry it’s not because they’re sad
Rather it is because they are content
That most lovers have the right intent
When clouds cry it’s not because they’re sad
Ryter Roethicle
Example Poem
Tell Me When You’re Coming

When you come to Reno, tell me.
I buy drinks for my A.P. friends.
A poet’s friendship never ends.
When you come to Reno, tell me.

I buy drinks for my A.P. friends.
A.P. poets expand my life.
Keep me from pestering my wife.
As of yet, I don’t wear Depends.

A.P. poets expand my life.
An autograph I shall require
on one poem that lights my fire,
About love or war, peace or strife.

An autograph I shall require.
Offer good if I’m not in jail
or if I am, if you’ve got bail.
We’ve got a jail that you’ll admire.

Offer good if I’m not in jail
With gals I’ll speak of poetry,
with guys about what interests me,
and let you simply spin a tale.

With gals I’ll speak of poetry.
When you come to Reno, tell me.
Least you’ll get a libation free.
With gals I’ll speak of poetry.

When you come to Reno, tell me.
I buy drinks for my A.P. friends.
You’ve read me- thus I’ll make amends.
When you come to Reno, tell me.

Visual Template

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When you come to Reno, tell me.

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

Hex Sonnetta

The HexSonnetta, created by Andrea Dietrich, consists of two six-line stanzas and a finishing rhyming
couplet with the following set of rules:
Meter: Iambic Trimeter
Rhyme Scheme:  abbaab cddccd ee  (abbabbcddccdee)
Iambic Trimeter means the usual iambic (alternating unstressed/stressed)  meter for every line of the poem, but instead of the ten syllables that comprise a typical sonnet’s iambic pentameter, this particular form uses
six syllables of iambic trimeter per line.
Thus, the name HexSonnetta.
The first part of the form’s name refers to the syllable count per line.
The second part of the name, Sonnetta, is to show this to be a form similar to the sonnet, yet with its shorter lines and different rhyme scheme, it is not the typical sonnet. Not only does this poem have six syllables per line, it also has a set of two six-line stanzas, giving an extra “hex” to the meaning of HexSonnetta.
The rhyme scheme is a bit of a mixture of the two traditional sonnet types, with the two 6-line stanzas having more the rhyme scheme of an Italian sonnet, but with the ending rhyming couplet being the featured rhyme scheme of the English sonnet. The first stanza presents the theme of the poem, with the second stanza serving to change the tone of the poem, to introduce a new aspect of the theme or to give added details.
The final couplet, as in an English sonnet, can be either a summary (if the theme is simple) or it could be the resolution to a problem presented in the theme. In any event, it should nicely tie together the whole piece and could even appear as a nice “twist” presented at the end.
Example Poem
Gam-boy No Batteries
The tramp stamp tattoo’s swell
but now it is passé.
This tat’s for every day.
It’s sure to cast a spell
and start-up jitters, quell.
Just need a pen to play.
You verbal skills may suck.
You may be shy to boot.
The guys will closer scoot.
Keep in your car or truck
a pen for your own luck.
and playing is a hoot!
Put one upon your thighs.
for really studly guys.
© Lawrencealot – May 22, 2012
Visual Template

Intramirroral

This is a form invented by Mark Andrew J Terry of Allpoetry.

These are the requirements of this form:
Rhyme Pattern: aabb 
Meter: None specified.
Isosyllabic – Each line must have the same number of syllables.
Minimum poem length: 4 lines, no maximum.

Couplet One:
Every word in the first line should rhyme with the corresponding word in line 2
Except for one word; those words must have contrary meanings, but same syllable count.

It can be expanded as far as you wish.
These are the requirements for a Sestet:
Rhyme Pattern: aabbcc

Meter: Optional.
Couplet One::
Every word in the first line should rhyme with the corresponding word in line 2
Except for one word; those words must have contrary meanings, but same syllable count

Following couplets:
Ends with mirrored rhyme, but also has internal rhyme

Example Poem

Party Time

Alluring tart proffering wile.
Demurring lass deferring guile.

Bewitching twit assures relief.
Enriching wit insures belief.

No way to stay the party game.
I’ll try to buy the hearty dame.

© Lawrencealot – May 27, 2012

Visual Template
Intermirroral

Jumping Rhyme

This form was invented by Amanda J. Norton

Monorhyme quintet with line length growing from 6 to ten syllables
Interlaced rhyme required for every line, starts with word two of line 1
then “jumps” up a word each line until the last,
where it jumps back one word.
Obviously the poet must not use large multisyllabic words that make this impossible

Line length is based on syllables, rhyme pattern is based on words – take care

Example Poem

Lets Dance   (Jumping Rhyme)

I propose that we dance
if your toes dare take a chance.
God only knows I cannot prance
and whirl like the pros, but there’s a chance
the closeness could dispose you to romance.

© Lawrencealot – December 9, 2012

Both Interlaced and end-rhyme are monorhyme
I think the following visual template will clarify:
Note: you cannot chart the interlaced rhyme in advance, as it is dependent upon the word size

Kwansaba

Kwansaba is an African American verse form of praise. The Kwansaba, (swahili kwan – first fruit / saba -principle) was created in 1995 by Eugene B Redmond, East St. Louis Poet Laureate and professor of English at Southern Illinois University-East St. Louis. The form was developed in honor of the celebration of Kwanzaa . The poetic form adopts the number 7 from Kwanzaa’s Nguzo Saba (7 principles) as well as embraces its roots in the South African tradition of thePraise Poem. 
Kwanzaa is a 7 day celebration of the African-American family encompassing African-American heritage, culture and principles. The celebration was introduced by Dr. Maulana Karenga, African-American educator, following the Watts riots of 1966 with the intent of bringing the African American community together.Kwansaba, the birth of a poetry form The 7 principles of Kwanzaa are unity, self-determination, collective work and responsibility, cooperative economics, purpose, creativity, and faith. Each day of the celebration focuses on one of the principles.
The Kwansaba is:
a celebration of family and African-American culture, a praise poem.
a septastich, a poem in 7 lines.
measured by 7 words in each line.
written with no word exceeding 7 letters.

The description above was pasted and copied from
http://www.poetrymagnumopus.com/index.php?showtopic=2769
with some slight editing.
 
Example Poem
 
Flashmob Christmas
 
Almost always tears trend down my face
after joyous smiles from ear to ear.
Seeing smiles erupt across the entire crowd
after pause of waiting wonder, knowing now
this gift is given- it’s for all.
Folks see shyness put aside for them,
to be caroled with season’s joyful songs.
 
© Lawrencealot – December 13, 2013

Wrapped Refrain Style 2

Wrapped Refrain (Form No. 2), created by Jan Turner, carries some similar aspects as her Wrapped Refrain form, with further advanced techniques. It consists of 2 or more stanzas of 8 lines each, with the following set rules:

Meter: 14/14/8/8/8/8/14/14
Rhyme Scheme: aabbccdd.

Refrain rule: In each stanza, the first 10 syllables in the first line (incorporating a phrase) must be the last 10 syllables at the end of the last line (line #8).
Example #1:
Castle in the Clouds

Bavaria, you render dreams come true on hills of white.
Your castle glints through moonbeams, snowy spires in the night.
My mind says it’s just a mirage
or nature playing with collage…
that if I turn around I bet
it shall just disappear, and yet
my eyes instead see parapets that break the skyline blue,
as straight ahead, Bavaria, you render dreams come true.

Bavaria, your Disneyland is mine this very night;
it’s just as if your castle planned its setting, out of sight,
for some of us to stumble on.
But, if I blink will it be gone?
This castle you have hid so well
enchants me with its magic spell;
it lures me into fantasies en-wrapped with snowy pine.
You render dreams, Bavaria… your Disneyland is mine.

Copyright © 2009 Jan Turner

Pasted from <http://www.shadowpoetry.com/resources/wip/wrappedrefrain2.html>

My example poem:

Consumption Gumption  (Wrapped Refrain style 2)

Folks of different cultures do of course feel differently.
I’d rather have them eat a horse instead of eating me.
A measure of degree again
for horses are almost our kin.
They’re friends and assets with great worth
They’ve carried us and toiled the earth.
Man’s climb from darkness was aided by the dog and the horse.
Eat them? No, but folks of different cultures do of course

To preclude cannibalism of course I’d eat a beast
who also soon would die, but it would be a sorry feast.
Moral questions now spring to light–
Is eating sentient things alright?
Natures template seems not to care.
Strong eat the weak most everywhere.
It’s easy to eat “thoughtless” things but not our friend the horse–
unless required to preclude cannibalism of course.

© Lawrencealot – Febrary 13, 2013.

Visual Template

 

Octain Refrain

The Octain Refrain is a form invented by Luke Prater.  Learn more about Luke by visiting his blog at  www.lukeprater.com.
It comprises eight lines as TWO TERCETS and a COUPLET, either as octosyllables (counting eight syllables per line), or as iambic tetrameter, whichever is preferable. Trochaic tetrameter also acceptable. The latter yields a more propulsive rhythm, as opposed to iambs, which tend to lilt.
As the name suggests, the first line is a refrain, repeated as the last (some variation of refrain acceptable). Rhyme-scheme as follows –
Abb a(c/c)a bA
A = refrain line. c/c refers to line five having midline (internal) rhyme, which is different from the a- and b-rhymes. The midline rhyme does not have to fall exactly in the middle of the line, in fact it can be more effective and subtle, depending on context, to have it fall earlier or later.
Alternative layout/stanza-structure: TWO SINGLE LINES and TWO TERCETS
Refrain lines on their own, with the middle six as two tercets –
A bba (c/c)ab A
The High Octain is simply a double Octain, but as one poem – the refrains are the same, a- and b- rhymes are the same, but actual words are different, and the c/c line with the internal rhyme can optionally be rhymed in the second instance. There is no restriction on the level of repetition, but in most cases the stipulated refrain A is enough; this may even feel too repetitive and need varying. As a general guideline, changing up to four syllables of the eight still retains enough to feel like the refrain. The end word must remain the same.
The structure of the High Octain is one single after another with a break in between; alternatively, it can be written as two blocks of eight lines:
A-b-b-a-c/c-a-b-A
A-b-b-a-c/c-a-b-A [or d/d instead of c/c]  (I’ m sorry, but a d-rhyme without a c-rhyme makes no sense!)
It is also possible to write a piece consisting of a string of single Octains (the rhymes of which would not usually correspond).
Example Poems
 
 
Octane Refrain     (Octain)
 
My muscle  car needs high-octane. 
If jerk at pump should pump low test 
He’ll have a broken nose at best. 
 
From low octane I must refrain. 
It’s racing fuel to race you fool. 
but high-octane I must explain. 
 
That’s par for cars that run the best. 
My muscle  car needs high-octane. 
 
© Lawrencealot – June 19, 2012
 
 
Showers Wash the Stars  (Octain)
 
Springtime showers bringing rainbows 
 
Brightest sharpest color forming 
Glassine crystals grasslands warming 
Steam now rising; morning rain goes. 
 
Cleaned pavilion shines cerulean
promised now where stars refrain goes
Superb nighttime twinkle swarming.
 
Springtime showers bringing rainbows. 
 
 
New Year’s Eve     (High Octain)
 
When we were young we joined the crowd 
To walk the street in freezing cold, 
to greet the new; kick  out the old. 
 
To hear the fireworks booming loud, 
and watch their flight into the night, 
their light reflecting off a cloud. 
 
We’d be there when the bells were tolled. 
When we were young we joined the crowd. 
 
When we were young we joined the crowd 
on blocked off streets that were patrolled 
by cops on horses quite controlled. 
 
But now we’re older we’ve avowed 
to stay and see it on TV, 
that’s even if the streets are plowed. 
 
We have each other we can hold. 
When we were young we joined the crowd. 
 
   © Lawrencealot – December 30, 2012
 
Visual Templates
Note: In both cases the final four syllable will suffice for the refrain if the poet so desires.
 

Quaintrell

This form was created by Allpoetry’s D.D. Michaels , aka midnightblue
 A poetry form consisting of 3 or more Octets,
with the 8 lines of each Octet having the following syllable count:
8/8/8/6/8/8/8/6, that is to say Iambic Tetrameter in lines 1/2/3/ and 5/6/7,
and Iambic Trimeter in lines 4 and 8.
The rhyme scheme is as follows: aa(b/b)c dd(e/e)c
That means that in the Quatrain of the Octet, lines 1 and 2 rhyme, in line 3 there is an internal with the end-word,
and line 4 rhymes with line 8 in the following Quatrain of the Octet.
Example Poem
Ode to the Quaintrelles
The Dandizettes pre-dated me.
But, I applaud them, they seemed free.
It almost seems they lived their dreams
They stressed by dress, their charms.
In finery these Danizettes
May frequently have been coquettes
They liked to play and found their way
to wealthy fellows’ arms.

At first some thought them fancy whores,
Bedecked and primed for nighttime chores
and they were spurned, yet they soon earned
respect for charm and grace.
From Europe came their finest clothes
to showcase first;  their standing rose.
Each girl would show the cultural glow,
with happy smiling face.

Equivalent today subsumed
by Hollywood pretense consumed
by any twit though lacking wit
who wants to look the part.
Quaintelles did more than copy styles.
they flaunted them and with their smiles
said okay guys, we are the prize.
They did it with their heart.
© Lawrencealot – April 30, 2012

Author’s Notes
quaintrelle is a woman who emphasizes a life of passion expressed through personal style, leisurely pastimes, charm, and cultivation of life’s pleasures. Quaintrelles share the philosophical underpinnings of dandies, developed within feminine nature and styles.   They were also called dandizettes.

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