Ocarina – Rhymed

I have no idea who created this form. Thanks to Sara Gosa of Allpoetry.com for bringing it to my attention.
I can only tell you that it was published in the January 25, 1912 edition of New Age, and was written by Author Tulloch Cull.

To Anna Pavlova (Ocarina)
(In her dance “Le Cygne ” Musique de Saint-Saëns.)
I.
There came to me a vision of sweet song
Borne faintly forward on melodious streams,
A white Chimaera such as stirs the dreams
Of men, who sleep in solitudes and long
To people the dead wastes with strange desire
And breathe between the lips of ancient Death
Stretched mummified in deserts that new breath
That should revive them with its living fire.
II.
White was the vision, white as fiercest fire
And paler far its face than pallid Death,
Begotten of that brood, the Swan’s desire
Raised from frail Leda with its hissing breath.
And as it came its superhuman song
Sang of all those, whom wide relentless streams
Divide from their beloved, towards whom they long,
But whom they ne’er may clasp except in dreams.
III.
They strain to one another in their dreams
But never hear their lovers’ silent song
Pass spectrelike with gliding feet along
The halls of Sleep to Lethe’s stealthy streams
Till conies Old Age, a fouler foe than Death,
To mar the house of their divine desire
And smother with white ashes their young fire
Stifling their bodies’ perfumes with his breath.
IV.
Who of us mortals with ephemeral breath
That saw the vision, did not straight desire
To pass from perfect happiness to death
A holocaust of joy within the fire beneath
That from your cloudlike eyelids streams.
Having for elegy your supreme song
I would have died your death and passed to dreams
On that white breast, for which I longed so long.
V.
Half goddess and half swan, you seemed to long
With yearning eyes for those immortal dreams
Of far Olympus, where Peneus streams
Through Tempe’s hallowed vale. Yet in the song
Of feet and face and form I saw the fire
Of love for men, whose evanescent breath
Lends charm to wayward pleasures, watched by Death,
Who casts a glamour on short-lived desire.
VI.
All mortal sufferings and vain desire
Wept from your eyes and shook your tortured breath.
Yea, goddess though you were, the immortal fire
That shone from your white shape grew dim as Death.
I questioned of your Sorrow-Did you long
For Youth’s brief summer passed in rhythmic dreams
By winding ways of water, where the song
Of many birds mixed with the murmuring streams?
VII.
But though no answer pierced the plash of streams
Your arms that wavered swan-like seemed to long
And beckon for some mystery, which song
Might not reveal lying hid beyond our dreams.
Was it eternal youth, that your last breath
Invoked with prayers so passionate, that fire
Rekindled in those eyes, whose last desire
Was unto life, till clanked the feet of Death?
VIII.
For as you felt the drear approach of Death,
Your limbs relaxed and from your eyes the fire
Fled fainting forth : You drew one sobbing breath
That shook your shuddering wings, and your desire
Quailed before Death : Your hair, where darkness dreams,
Where Moon and Stars hold festival along
With queenly Night, fell forward in dark streams
About your face, and silenced was your song.
ENVOY.
Anna, my dreams find voice within the song
That from the fire of your sweet footsteps streams.
Though dreams and breath and song may pass along
Death’s ways, yet my desire defieth Death.
Author Notes
This poem appears in the January 25, 1912 edition of New Age. Found at library.brown .edu

Pasted from http://allpoetry.com/poem/11882810-To-Anna-Pavlova–Ocarina–by-A.-Tulloch-Cull

The Ocarina – Rhymed
A sestina discipline using 8 lines per verse and a 4 line enjoy for a 68 line poem

MUST be used to write a rhyming poem.
Its structure schematic is
12345678
86571243
31426587
75682134
43218765
57864312
24137856
68753421
With the envoy:
I corrected the occurrence of the words to create complete rhyme which the sample poem did not possess.
31 / 28 / 74 / 65Giving couplet internal rhyme and alternating end-rhyme

Rhyme scheme: Alternating envelope and alternate rhyme.
Rhyme pattern: 
1st abbacddc
2nd cdcdabab
3rd baabdccd
4th dcdcbaba
5th abbacddc
6th cdcdabab
7th baabdccd
8th dcdcbaba
Envoy:
(b/a)
(b/c)
(d/a)
(d/c)

 

Related forms: Bina, Canzone, Decrina, Newman Sestina, OcarinaOcarina – RhymedQuartina, Quintina, Sestina, Sestina – RhymedSidney’s Double Sestina, Tritina 

My Example

Christians for Breakfast (Ocarinai – Rhymed)

When people meet for breakfast just to pray
you know already they’ve a certain mind
a homogeneous group (all of one kind)
with similar beliefs upon display.
While all may not attend with spirit pure,
proclaiming Christ as lord still seems the rule.
Electorate they think they have to fool;
avowing unity makes men secure

I do not need to pray to be secure
I need a leader capable to rule.
He must embrace the tainted and the pure
and not in public act like such a fool.
The fact that all denominations pray
and deem they’re right, brings logic to my mind.
Is faith a no-lose place in which to play?
I denigrate them not, but I’m just kind.

I tolerate religions that are kind
and ask for things of goodness when they pray
but not those bringing evil into play
It’s dominance of others that I mind.
It’s easy to endorse the golden rule
and teaching benefits of staying pure
but Islam’s aim is clearly to secure
a dominance envisioned by a fool.

Now president Barrack has played the fool.
In race nor religion is Barry pure
so he had attributes to let him rule
as mediator making folks secure,
instead he’s pumped up strife in people’s mind.
Attacking Christians who came here to pray
for focusing on Moslems who aren’t kind-
revenge for the crusades is just fair play

By bringing those crusades now into play
(which were the Churches own response in kind)
to suppression of Christian life and mind
The Christians found it did no good to pray.
Nor will it ever. Men to be secure
must charge with force against the raging fool
who deems a pretend Caliphate must rule,
and fantasizes gift of virgins pure.

When extant spirituality’s pure,
one needs no fables fostered by a fool.
Connection to something makes one secure,
requiring no support from dogma’s rule.
A church is often but a place to play
at being good, where one can get a kind
of forgiveness for oft becoming prey
to urges which slip unbidden into mind

I don’t need dogma policing my mind
I know what’s right in thought and work and play,
and to know that, I never had to pray.
I really doubt that dogma makes one kind.
One’s character makes him a prince or fool.
Without a heaven I feel quite secure,
and fearing hell does not keep people pure
Dispense with dogma, let your conscious rule

The Koran preaches violence as the rule
all power to the Imam to secure
Though raised in Islam, Barry thought he’d fool
the public spouting eloquence and pure
nonsense about a change of different kind
none thought he’d bring religion into play.
Does evil infiltration come to mind?
‘Twould not be bad if all he did was pray

I did not mind the breakfast meet to pray;
‘Twas less than kind to put such hate in play
He fosters pure dissent, the bloody fool
Men will secure themselves from Islam rule.

© Lawrencealot – February 9, 2015

Onda Mel

I found a few invented forms which appear to be exclusive to The Study and Writing of Poetry; American Women Poets Discuss Their Craft, 1983. The book is a collection of essays from 50 American women poets, each essay provides insights into a multitude of topics from poetic genres, stanzaic forms, to writing techniques. This book provided some addition insights and background information on several stanzaic forms that I thought I had researched fully. I liked this book, it pays attention to the details.

• The Onda Mel is an invented verse form introduced by Renelda Gibson.

The Onda Mel is:
○ an octastich, a poem in 8 lines made up of 2 quatrains.
○ syllabic, 8-4-4-8-8-4-4-8 syllables per line.
○ rhymed abbacddc.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2008#anna
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

 

My example poem

Attractions Speak Louder than Words (Onda Mel)

Curves and kisses excite and please
especially when
now and again
girls and women entice and tease.
Thoughtful females have always known
that a short skirt
worn by a flirt
beats waiting by the telephone.

© Lawrencealot – August 17, 2014

 

Visual Template

Onda Mel

 

Brace Octave

Brace Octave
Type:
Structure, Rhyme Scheme Requirement, Stanzaic
Description:
An eight-line stanzaic form with rhyme of abbaabba or abbacddc. No requirements on meter or length. The Italian octave is a subgenre of this.
Origin:
English
Schematic:
abbaabba or abbacddc
Rhythm/Stanza Length:
8
See Also:
Status:
Incomplete
My thanks to Charles L. Weatherford for his fine Poetrybase resource.
Brace Octave ——————————————
The Brace Octave has its roots in music. The brace is the wavey symbol that joins 2 staffs of music, indicating that both scores are played simultaneously. The verse form referred to as the Brace Octave is a lyrical blend of meter and rhyme, the rhyme scheme almost taking the shape of the brace. It could even be said that the octave itself acts as a brace joining two envelope quatrains.
The Brace Octave is:
  • stanzaic, written in any number of octaves (8 lines) made up of 2 envelope quatrains. When writing more than one octave, even numbered stanzas grouped in twos seems to fit best with the venue of the form.
  • metric, iambic tetrameter. Some sources indicate no meter necessary but given the musical nature of the verse, it seems to me measured lines are appropriate if not a prerequisite. The best known poem utilizing the Brace Octave is Two Songs from a Play by W.B. Yeats which is written in iambic tetrameter so I guess Mr. Yeats agrees with me.
  • rhymed, with an envelope rhyme scheme abbacddc (see it does sort of look like a brace lying down.)
    Here is 
    William Butler Yeats’ poem which was published in his book The Towerin 1928. There is a footnote from Yeats “These songs were sung by musicians in my play Resurrection.”
Two Songs from a Play by William Butler Yeats
I
I saw a staring virgin stand
Where holy Dionysus died,
And tear the heart out of his side.
And lay the heart upon her hand
And bear that beating heart away;
Of Magnus Annus at the spring,
And then did all the Muses sing
As though God’s death were but a play.
Another Troy must rise and set,
Another lineage feed the crow,
Another Argo’s painted prow
Drive to a flashier bauble yet.
The Roman Empire stood appalled:
It dropped the reins of peace and war
When that fierce virgin and her Star
Out of the fabulous darkness called.
II
In pity for man’s darkening thought
He walked that room and issued thence
In Galilean turbulence;
The Babylonian starlight brought
A fabulous, formless darkness in;
Odour of blood when Christ was slain
Made all platonic tolerance vain
And vain all Doric discipline.
Everything that man esteems
Endures a moment or a day.
Love’s pleasure drives his love away,
The painter’s brush consumes his dreams;
The herald’s cry, the soldier’s tread
Exhaust his glory and his might:
Whatever flames upon the night
Man’s own resinous heart has fed.
My thanks to Judy Van Gorder from PMO for the above.  I
 tend to agree with her conceptually about the meter and line length, but many do not.  Below is a poem that strays from isosyllabic lines and abandons consistent meter.
~Love Is Not Just  A State Of Mind~
(Brace Octave)
Love is a very beautiful feeling
Can make you sappy or happy
And at times can give you  healing
Sometimes makes us so unhappy
You reach the stars or hit the ceiling
Emotions makes us  sad or happy
Love is not just a state of mind
For in your heart love you can find
Dorian Petersen Potter
aka ladydp2000
copyright@2011
My example poem
Short Shrift    (Brace Octave)
I tell ya friend
it’s quite okay
to write this way
or else append
sounds to extend
the word array
with more to say
from start to end.
© Lawrencealot – April 20, 2014
Although I do believe that more pleasant poetry results from utilizing meter and a consistent line length of iambic tetrameter or longer, I have to allow any octave using envelope rhyme to be tagged with this name.
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