Trisect

This is a poetry form created by Erin A. Thomas, writing on Allpoetry.com as Zahhar.

What is a Trisect?

  Background

  The trisect is a three-part poetic form that is inspired by its visual counterpart, the tryptych. I wanted to use the concept of the tryptych as a vehicle for developing my use of verbal depiction, but I found this difficult when I attempted to do so without a solid framework to work from. So, after much thought, I created the rules by which such a poem—which I named the trisect—would be written.

  It is not very often that a poetic form has semantic requirements beyond that of repeating a few words or phrases, such as with the sestina or villanelle. But, since I wanted to use this form to make a detailed study of verbal depiction over an extended period of time, I realized that there should be several semantic requirements designed to obstruct the natural tendency toward prosaic exposition, a trap that even the most seasoned of poets finds difficult to escape.

  As such, I could see that the trisect should never attempt to sell an idea or explain a concept, whether that concept be a personal experience or the interpretation of any material or mental object. It should, however, thoroughly exercise and develop ones powers of observation, a sense of relational association between things, and the use of depictive and metaphoric language.

  So the trisect should never explain itself to the reader or give itself away. The goal, then, would be to depict observations and experiences using only imagery and metaphor. This provides the reader with a way of interpreting the words purely from his or her own experience rather than, as is customary, being told what to think, feel, and believe about them. I could see that as I write my verbal tryptych, the trisect, I should, as far as possible, use depiction in such a way as to obfuscate my own interpretation of what is being portrayed so that the words create a series of visually (sensationally) depicted associations from my observations, with a special focus on particular objects, from which the reader can derive his or her own experience.

  The success of a trisect poem with a given reader, then, would be gauged by the level of interest he or she takes in it, the degree of significance he or she ascribes to it, and how much or how powerful of an experience he or she derives from it. If the reader has a vivid, memorable experience despite the abstract nature of the language, then I think something went right. With this in mind, I developed the rules of the trisect form with the hope of maximizing such potential.

  Form

  The trisect poem is defined by both structural and semantic rules. The structural rules are intended simply to create an appropriate, adaptable frame for the trisect’s content. I think this is important because they create a challenge that forces the poet to rise to the occasion, inspiring a conscious refinement of language and flow. The semantic rules are essential to the depictive nature of the form. Without them the poet can just say whatever he or she feels and thinks without actually exercising the use of verbal depiction, which is the entire point behind the form. These rules are also intended to promote the use of abstract language, which should create a surrealist feel, thus ensuring a strong, visually potent verbal tryptych. So bear this in mind as you study the rules below, whether you’re reading this article to better understand the idea behind the form or to learn how to try your own hand at it.

  Structural rules

  1. The trisect is always titled.
  2. It is organized into three individual poems that I refer to as segments.
  3. Each segment is always subtitled.
  4. There are four stanzas in each segment.
  5. Each stanza must be a tercet or a quatrain.
  6. Each line must be between two and seven feet long (dimeters to heptameters).

  These rules provide a canvas and a frame for the word-painting without being overly restrictive. A segment can be 12 to 16 lines long, and lines can be two to seven feet long. This allows for brevity by using only tercets with shorter lines, but it also permits the necessary space to complete a more complex depiction by allowing quatrains to be used with longer lines. If you are uncertain about the use of meter, you can visit my articles on verbal meter, starting with “Discovering the Iamb and the Trochee“.

  Now for the semantic rules, which are far more restrictive, but provide the real meat for the purposes of this form.

  Semantic rules

  1. No first person personal pronouns may be used anywhere in the poem.First person personal pronouns such asImemymine, and myself may not be used anywhere in the poem. This includes the title and subtitles. The same goes for inclusive personal pronouns such as we and ours.

If you have to use such personal pronouns to express something, then you should use another poetic form or free verse to do so. These pronouns generally are only used to express romantic ideals or personal feelings and opinions. The language of the trisect is not at all romantic or self-expressive, but depictive—And purely depictive.

  1. Segment one depicts an item without naming it.As far as possible, use imagery and metaphor to depict a given item of focus without naming it. This is by no means limited to mere visual descriptions. To truly depict something, the brain must stretch (sometimes painfully) to include other sorts of information about it. Such information can include the item’s textures, smells, environment, history, development, behavior, relation to other items and time, and much more. The observations used to depict the item will be colored by your own perception, experience, and understanding of it. This is only way self-expression comes into play, which will happen one way or the other in each of the three segments.To help clarify, read the first segments of each of the following trisect poems in relation to what their items of focus are:

Trisect Poem

Focus of Segment One

E merge nce

cardboard

Guardian

modern canoe

Three Ravens

figurine of a raven

Architect

the LEGO brick

  1. Segment two depicts a more complex item without naming it.The item of focus for segment two is only more complex in relation to the item of focus for segment one. So, the item depicted by segment one can itself be complex, but the item depicted by segment two must be—or at least seem to be—more complex.

If segment one depicts a flower petal, for instance, then segment two could depict the flower itself because it is more complex by comparison. For another example, if segment one depicts the earth, then segment two could depict the sun, the solar system, or the galaxy because any of these would be more complex by comparison.

Again, to help clarify ways of depicting something without naming it, I recommend reading segment two from each the same poems:

Trisect Poem

Focus of Segment Two

E merge nce

the automobile

Guardian

the Yukon river—so by extension, ‘a river’

Three Ravens

a raven

Architect

the LEGO construct—things made from legos

  1. Segment two includes a reference to the item depicted by segment one.This is of course done without naming it. The reference can be vague and peculiar to your own experience and understanding. Going back again to the four poems, I’ll illustrate key phrases from their second segments which reference the item depicted by the first:

Trisect Poem

Excerpt

Type of Reference

E merge nce

“… an alley’s dirt”

location

Guardian

“a fleck of lost humanity”

relational metaphor

Three Ravens

“… / where … an icon lures”

location and metaphor

Architect

“Imagination …”

application and association

  1. Segment three depicts an event or process without naming it.This is the crux of the trisect. Generally speaking, the items depicted in the first and second segments are in some way associated with or involved in the event or process depicted by the third segment. Again, and I can’t stress this enough, the depicted event or process may not be named—directly denoted.For instance, if you are depicting a car accident, you would not use any words that could be part of a direct denotation of the event, like “car”, “automobile”, “wreck”, or “accident”—Words found in such denotive phrases as “automobile accident” or “car wreck”. Instead, the language will focus on depicting individual, potentially telling elements and aspects of the event or process. This could involve phrases such as, “crushing contact”, “black lightning struck”, “chrome bending shock”—Just to give an idea.

    The event or process depicted may of course be compounded, for they will rarely stand alone anyway.

    Returning again to the four poems I’ve been using as examples, ponder the third segment of each poem in relation to the event or process it depicts:

Trisect Poem

Focus of Segment Two

E merge nce

hit and run & near death experience

Guardian

an animistic experience on the Yukon river

Three Ravens

a dream experience involving flight and metamorphosis

Architect

development of cognition through explorative play

  1. Segment three includes references to the items depicted by segment one and segment two.This is the same idea as that explained above under the fourth point. As I did there, I’ll indicate key phrases from the third segment of each example poem which reference back to the items depicted in the first and second segments of that poem.References back to segment one’s item of focus:

Trisect Poem

Excerpt

Type of Reference

E merge nce

“shelter shattered open like a nest”

usage and state

Guardian

“… the floating soul …”

usage and relational metaphor

Three Ravens

“… in the shade of gaze …”

action and behavior

Architect

“Individual colors snap …”

application and metaphor

References back to segment two’s item of focus:

Trisect Poem

Excerpt

Type of Reference

E merge nce

“black lightning”

metaphor

Guardian

“from out the wash … floating soul”

spatial and relational attributes

Three Ravens

“… a figurine”

partial denotation

Architect

“impressionist expressions of the mind”

metaphor

This list is by no means complete. The third segment of some of these poems have multiple references to the items depicted by each of the previous segments. But this should give some idea.

  1. Subtitles do not explicitly denote the focus of their segments.The subtitle captures some attribute or aspect of a segment’s focus through metaphor or some other type of reference, but does not identify it directly by name or denotation.
  2. The poem’s title must avoid giving away the overall focus of the poem or any of its segments.Just as the subtitle should avoid giving away the focus of its segment, the title should avoid giving away the focus of the poem in a similar fashion. Rely on metaphor or some other associative type of reference when deciding a title.

  The rules are actually easier to follow than they might seem. The challenge is in following them well, to good effect. This can only be discovered via trial and error, as I have been doing with the form until now.

Pasted from <http://formlesspoet.blogspot.com/2012/04/what-is-trisect.html>

E merge nce

Fortress

walls of paper kept the world at bay

cubes of indistinction none would see

where settled there within a watcher peered

the dusty brown a perfect camouflage

propped against a wall or by a hedge

passed a thousand times by reckless feet

corrugated fibers held the wind

so that the space inside was made to form

a child’s island haven from the storm

sometimes it was a spaceship among the stars

sometimes a moon-base on a barren scape

sometimes a roving tank all battle-scarred

but always it provided safe escape

Goliath

shaped from molten vats of ore

molded by a burning greed

riveted with violent force

pieces merge to fill a need

manifest from heavy silence

oils surge and slowly drip

uncertainty across the roads

power charges through its frame

explosions channeled in its chest

to serve a senseless master’s will

tires grind an alley’s dirt

shadows steer a ghostly wheel

the phantom grill athirst for blood

Impact

black lightning strikes the living clay

evaporating life from every limb

suspending consciousness alone

void of breath yet interfused with fear

tires spin throughout the dark

an engine roars above a twisted neck

inches from a lifeless face

psychic tethers anchored in vibration

a heedless monster lumbers back

the shelter shattered open like a nest

blood resumes its former course

and wild bones reanimate the flesh

a figure stands and staggers numb with pain

screams and scampers filled with terror

headlights rear and fade away

a child’s bones left fractured like his mind

  The first segment focuses on cardboard. I used to create cardboard forts when I was a child—sometimes very elaborate—and hang out in them all day long. Some of them would be portable, and some would be built in vacant lots or alleyways blocks or miles from home. They were always very well camouflaged, so my little hideout would remainmy little hideout. The portable ones I’d often setup at the edge of a busy parking lot, made to look like a pile of scrap cardboard, where I’d hang out and just watch people without them knowing. These simple forts were a safe haven for me, a private place to go and be away from troubles and worries. And I had my share.

  The second segment focuses on the automobile, the car. I remember reading up on their manufacturing process and design, and the primary materials used in their construction, before starting this segment.

  The third segment focuses on a little mishap I had in one of those cardboard forts as a 14 year old, which involved a car. It was in an alleyway a few blocks from home. City blocks. Los Angeles City blocks. About a mile away at least. I had some big fight with my mother that day and decided I’d just have my own space that night in a cardboard fort I and a friend had built a day or two before. It was a beautiful fort, with four separate compartments, each of which were big enough to lay out flat in. The whole thing was masterfully camouflaged with various sorts of debris from the area, including dead palm branches and branches of other sorts. In the end it looked like a slash pile, just a bunch of branches and other random materials tossed into a pile—but it was hollow, and there were access points.

  That night as I slept a car slammed into the fort and ran over my right arm, shoulder, and neck, breaking the upper arm longways from near the elbow across to the top near the ball socket, and blew a piece out of the ball socket itself. My neck was severely sprained—which is of course a miracle. It was possible to make out the tire treads on my throat. How I happened to be aligned such that the tire didn’t snap my head one way and pop my skull off the spine like a bottle opener I have no idea.

  This was my first NDE. I have no way to prove it, but I just know. I know what I experienced, and I was dead for at least a moment—and a moment is long enough to be dead. Sometime I’ll dedicate some poetry and discussion to that experience. But as I “returned”, after the car had somehow managed to back up off me without running over my neck a second time, I sprang up in a panic, and it came toward me again, then stopped, then backed all the way down the alley and around the far corner, as if in a mad rush to escape affiliation with the mishap. I’ll never forget the sight of those headlights.

  I was near a series of hotels. And each time I knocked, with my left arm since right wouldn’t respond, the owners would come to the door and I’d ask for help and they’d slam the door on me. It sucked. In this manner I ended up up making my way half a mile to an apartment complex my mom had lived in a year or so before, where some people knew me, and an ambulance was called.

Pasted from http://formlesspoet.blogspot.com/2008/03/e-merge-nce.html

Thanks to the Erin for his efforts and example.

Cadae

Cadae is an experimental Western poetry form similar to the Fib. While the Fib is based on the Fibonacci sequence, the cadae is based on the number Pi. The word “cadae” is the alphabetical equivalent of the first five digits of Pi, 3.1415.[1]

The form of a cadae is based on Pi on two levels. There are five stanzas, with 3, 1, 4, 1, and 5 lines each, respectively for a total of fourteen lines in the poem. Each line of the poem also contains an appropriate number of syllables. The first line has three syllables, the second has one, the third has four, and so on, following the sequence of Pi as it extends infinitely. [2]

Rachel Hommel wrote an untitled “Cadaeic Cadae”, which uses the cadae form as explained above, and adds a level of complexity to it wherein the number of letters in each word represents a digit of Pi. [3]

Michael Keith wrote a “Cadaeic Cadenza”, called “Near a Raven” in the Cadenza poetry form (also sometimes called Cadence), where the number of letters in each word represents a digit of Pi.[1]

Pasted from http://en.wikipedia.org/wiki/Cadae

As a name, cadae is the alphabetical equivalent to the first five digits of the transcendental number pi (3.1415…). Pi, often represented as π, is a mathematical constant that is the ratio of a circle’s circumference to its diameter approximately equal to the number 3.14 or, to fourteen places, 3.1415926535897. In poetry, these numbers have been applied to line and stanza lengths, resulting in, yet again, a cross between haiku and sonnet. Here’s an example:
Butterfly
lands
on butterfly
bush.
A starving man eats
maggots, dies. When two days later he
is found
new maggots have begun
hatching in his mouth.
Which image
will you take to bed
like a lover for the first time
touching and turning it all through night?
Which will be there when you wake?

Pasted from http://www.thebakerypoetry.com/on-writing-fibonacci-and-cadae-poems/

My example

Read It Anyway (Cadae)

I try to
write
what people will
read.
Often times I fail.
Frequently I get carried away
by all
the constraints of a form,
become didactic
in the cause,
lose all pretense of
using poetic devices, 
and end up with something that only
few folks will willingly read.

© Lawrencealot – February 10, 2015

Troisieme

• 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 http://www.poetrymagnumopus.com/index.php?showtopic=1882#troisieme

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

Cueca Chilena

POETRY FORM 2 – CUECA CHILENA
Posted on December 28, 2013 under form, poetry
There’s seems to be not much around about this form, which I discovered many moons ago and made a quick note of.  I will transcribe from my notes as I’ve found not one jot about it online.  Cueca is also the national dance of Chile, although sometimes it is accompanied by song.  My knowledge of Spanish doesn’t stretch to commenting on whether the National folk songs follow this form.  The only poets I know from Chile are Neruda – who if he wrote a Cueca I don’t know it –  and Nicanor Parra whose work is all about colloquial and informal arrangements so I can guarantee it isn’t a style for him.  Still the ‘yes’ in the fifth line kind of makes it feel colloquial to me.  When I’ve used this form I’ve written it quite relaxed.  I enjoy the short lines, the unconventional rhythm.
So, the poem my notes allude to is created thus: 8 lines long, with multiple stanzas (verses).  the fifth line is a repeat of the fourth line with the addition of the word ‘yes’ at the beginning.   It’s influenced by the Spanish Seguidilla poem which will come at some stage in the project.  The rhyme goes A-B-C-B-B-D-E-D where each letter represents a certain rhyming sound at the end of a line, and the repeated letter shows where the next rhyme comes.
Any more information on this style is welcome in the comments section.  Remember you can continue for as many stanzas as you please.

I spent New Year’s Eve with singing boys
Three nights before we parted
Shouting rebel songs to Belfast’s streets
And you were so light hearted
yes, and you were so light hearted –
Whilst I felt terribly abandoned
In someone’s kitchen making tea
As the New-Years sky slowly brightened.

Pasted from https://poetryform.wordpress.com/
My thanks to poetryform.wordpress.com

Specifications restated (as deduced.)
The Cueca Chilena is:
Origin: Chile, known primarily as a dance.
Stanzaic, consisting of any number of 8 line stanzas.
Syllabic: 9/7/9/7/8/9/9/9
Rhymed: Rhyme pattern: abcBBded
Refrained: The 4th line, which should be end stopped is repeated in line 5.
Formulaic: The word, “yes” is inserted as the first word in line 5.

My example

The Girl in the Cape

The Girl in the Cape (Form: Cueca Chilena)

As symbol of love – how bright our moon,
yet that’s from reflected light.
More like the sun, you are radiant —
from within springs your delight.
Yes, from within springs your delight.
No cosmetics need you ever wear.
Your natural light would amplify
the beauty of flowers in your hair.

© Lawrencealot – January 21, 2015

Visual template

Cueca Chilena

Egg Timer

This form was apparently invented by Dorian Peterson Potter.
All the poems I found were written by her, and although you can see some variance below the following seem to be the specifications.

The Egg Timer is:
A decastich (10 line poem)
Syllabic 5/4/3/2/1/1/2/3/4/5
Unrhymed
Formulaic: The last five lines are the mirror image of the first five line.
Centered or not, at poets discretion.

 

~Spring~

(Egg Timer)

Spring arrived just sprung

Hear birds singing

Butterflies

Ladybugs

See

See

Ladybugs

Butterflies

Hear birds singing

Spring arrived just sprung

Grass is growing tall

Need to trim it

Rid of weed

Keep green

Nice

Nice

Keep green

Rid of weed

Need to trim it

Grass is growing tall.

Dorian Petersen Potter

aka ladydp2000

copyright@2014

Learning (Egg Timer)

Learning is great fun
Just learn each day
Something new
You can
Yes
Yes
You can
Something new
Just learn each day
Learning is great fun

Right under the sun
In the moonlight
You can have
New goals
Dreams
Dreams
New goals
You can have
In the moonlight
Right under the sun.
Dorian Petersen Potter
aka ladydp2000
copyright@2011

Time And More Time (Egg Timer)

From this recover

Need time to heal

Stand my ground

I’ll be

Strong

Strong

I’ll be

Stand my ground

Need time to heal

From this recover

March 7,2014

Pasted from http://www.poemhunter.com/poem/time-and-more-time-egg-timer/

See also Trick Poetry.

My example

Failing Frequently (Form: Egg Timer)

I alliterate
when I’m able.
I cannot
sometimes
though.
Though
sometimes
I cannot,
when I’m able
I alliterate.

© Lawrencealot – January 19, 2015

Questrain

The Questrain is a form invented by Michelle Campbell, writing on Allpoetry.com as Mrs Campbell

Questrain is a four line stanza with abab rhyme scheme and a 9/7/8/6 syllable count.
The first three lines introduce a topic and the last line asks a question.

                     
My body I bestow on my man
in faithfulness I profess
starting when our marriage began.
How modest is your dress?
by Mrs Campbell
 
A person’s mind is a battle field
for as you think, so you do.
It’s there to temptations you’ll yield.
Who are you listening to?
by Mrs Campbell
 

Pasted from http://allpoetry.com/contest/2642513-A-Questrain-

Specifications restated
The Questrain is:
A 4 line poem.
Syllabic: 9/8/7/6
Rhymed: abab
Formulaic: The first three lines introduce a topic and the last line asks a question.

It may be centered or not.

My example

Choice (Form: Questrain)

We’ve had the choice since the beginning.
Churches need not tell us so –
what is good and what is sinning.
Don’t we already know?

© Lawrencealot – January 9, 2015

Visual template

 

Nibelungen Strophe 

The  (Middle High German) or Kurenberg Verse (Norse) is a stanzaic form named for the metric and lyrical structure of the 13th century Germanic, Norse legend of the Burgundians sometimes known as Nibelung hoard. It tells the story of their royal geneology, adventures and antics. It is epic poetry

 

The NibelungenStrophe (Middle High German) or Kurenberg Verse (Norse) is a stanzaic form named for the metric and lyrical structure of the 13th century Germanic, Norse legend of the Burgundians sometimes known as Nibelung hoard. It tells the story of their royal geneology, adventures and antics. It is epic poetry. One of the kings was a dwarf and is so portrayed in Richard Wagner’s opera, “der Ring des Nibelungen”. The name Niblung has become associated with a dwarf or a legendary race of dwarves.

 

The defining features of the Nibelungen Strophe are:

  • metric, accentual, long lines or Germanic lines, which are made up of 2 hemistiches, or short lines referred to as Anvers and Abvers.
Anvers, is the first hemistich or short line which always has 4 strong beats or stressed syllables. Usually ends with a feminine or falling syllable. Abvers, is the second hemistich or short line in all but the last line of the quatrain and usually carries 3 strong beats or stressed syllables ending in a rising or masculine end rhyme.
  • stanzaic, written in quatrains made up of 2 complete and closed couplets.
  • rhymed, rhyme scheme of the Abvers or 2nd short line is aabb ccdd etc. Only occasionally does the 1st short line or Anvers carry rhyme at the caesura.
  • composed with the last line of the poem written in 2 Anvers. In other words the poem almost always ends with a feminine or falling end syllable.
xX xX xxX xXx , xxX xX xAxxX xX xX Xx , xX xxX xAxX xX xX Xx , xX xX xB

xX xX xX Xx , Xx xX xxX Xb

anvers , abversanvers , abversanvers , abvers 

anvers , anvers

 

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1911
My thanks to Judi Van Gorder for years of work on this fine PMO resource

 

German and Austrian Poetic Forms:

Bar Form, Dinggedicht, Goliardic VerseKnittelvers, Minnesang, Nibelungen, Schuttelreim

Visual template
For those wanting to give this a try. I’ll pass having no knowledge of the subject to inclination to pen an epic.

Nibelungen Strophe

 

Double Glose

Double Glose
Type: Structure, Repetitive Requirement, Other Requirement
Description: The double glose uses each line of the texte as a refrain, twice in the poem. One was done as a Stave where the line is both first and last of the glossing verse.
Origin: Spanish/Portuguese
Schematic: Varies

Pasted from <http://www.poetrybase.info/forms/000/92.shtml>
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.

Since there are numerable differences in the interpretation of the proper formal requirement of the Glose, sub-forms have been invented which specifically mandate requirements which might or might not be chosen when writing a Glose.

The glose originated in Spain, where it is known as the glosa.

I am presenting here only one reference to the Glose itself, from a site which appears no longer active, (November 2014) but which presented the following fine overview.

WHAT IS A GLOSA POEM?
The Glosa was used by poets of the Spanish court and dates back to the late 14th and early 15th century. For some reason, it has not been particularly popular in English. A search of the Internet search will uncovered a meager number of brief references to the form. From the limited information it is learned that the traditional structure has two parts. The first part is called the texte or cabeza. It consists of the first few lines (usually four) or the first stanza (usually a quatrain) from a well-known poem or poet. It has become permissible to use lines from a less well-known poet, or even from ones own verse.
The second part is the glose or glosa proper. This is a “gloss on,” an expansion, interpretation or explanation of the texte. The formal rule describes the glosa as consisting of four ten-line stanzas, with the consecutive lines of the texte being used as the tenth line (called the glossing) of each stanza. Furthermore, lines six and nine must rhyme with the borrowed tenth. Internal features such as length of lines, meter and rhyme are at the discretion of the poet. Examples of this will be found in this chapbook collection.
As with most poetic forms, unless dictated by strict contest requirements, poets have taken the liberty to vary the format. In addition to the glosa’s traditional ten-line stanzas, one will find 4-, 5- and 8-liners. They will be found written in free verse, with meter, and with rhyme. In the shorter variations. You will find variations in which the first line of each stanza (taken from the original texte) repeated again as the last line – added as a refrain. When the first line is repeated as the refrain at the end of a poem the stanza form is referred to as an Envelope.
Another variation of a short glosa poem has to do with the location of the borrowed line. It can be the first line, the last line, or one inserted into the body of the stanza. Yet another variation is the use of the first four lines of a prose piece as the texte.
 
Pasted from <http://www.poetry-nut.com/glosa_poetry.htm>

Restated specification for the Double Glose
The first part is called the texte or cabeza. It consists of the first few lines (usually four) or the first stanza (usually a quatrain) from a well-known poem or poet. It has become permissible to use lines from a less well-known poet, or even from ones own verse. It is presented as an epigram beneath the title of your own poem
The following Glose or Glosa proper is
Stanzaic: consisting of as many stanzas, as there are lines in your texte,
each having a line length of the poets choosing
Metered: With a consistent meter of the poet’s choosing
Rhymed or not with a pattern of the poet’s choosing
Formulaic: Each line of the texte shall be both the first and list lines of succeeding stanzas.
Related forms listed here: Glose, Double Glose, Top Glose

Example Poem
Too sweet and too subtle for pen or for tongue
In phrases unwritten and measures unsung,
As deep and as strange as the sounds of the sea,
Is the song that my spirit is singing to me.
-from Song of the Spirit
by Ella Wheeler Wilcox (1850-1919)

Too sweet and too subtle for pen or for tongue,
my thoughts dance and flutter on gossamer wings.
Elusively trapped in the webs I have spun
feelings that from my soul’s core have been wrung
in poems conceived when my heart soars and sings.
Too sweet and too subtle for pen or for tongue.

In phrases unwritten and measures unsung,
I long to give birth to them, set them all free.
The source I must find from which they have sprung,
then gathers the jewels I will find there among,
hat I might expound them in my poetry.
In phrases unwritten and measures unsung.

As deep and as strange as the sounds of the sea,
where voices of whales transverse distance and time,
all coming together in sweet harmony,
a harvest of gold born of my own psyche
are verses all written in metrical rhyme.
As deep and as strange as the sounds of the sea.

Is the song that my spirit is singing to me
forever to be an elusive refrain
that haunts me and taunts me with sweet melody
while mem’ry deserts me,  ignores every plea?
I cannot quite grasp or its beauty retain:
Is the song that my spirit is singing to me.

© Patricia Curtis, 2011

Pasted from <http://poetscollective.org/blog/2014/11/song-of-the-spirit/>

Visual template for this Double Glose
This poet chose sestet stanzas in catalectic amphibrach tetrameter,
With each stanza’s rhyme scheme being AbaabA.

Double Glose

Top Glose

Top Glose
Type: Structure, Repetitive Requirement, Other Requirement
Description: A variant of the Glose where the repetition from the texte appears as the first line of the glossing verse.
Attributed to: “The Dread Poet Roberts”
Origin: American

Pasted from <http://www.poetrybase.info/forms/003/317.shtml>
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.

Since there are numerable differences in the interpretation of the proper formal requirement of the Glose, sub-forms have been invented which specifically mandate requirements which might or might not be chosen when writing a Glose.

The glose originated in Spain, where it is known as the glosa.

I am presenting here only one reference to the Glose itself, from a site which appears no longer active, (November 2014) but which presented the following fine overview.

WHAT IS A GLOSA POEM?
The Glosa was used by poets of the Spanish court and dates back to the late 14th and early 15th century. For some reason, it has not been particularly popular in English. A search of the Internet search will uncovered a meager number of brief references to the form. From the limited information it is learned that the traditional structure has two parts. The first part is called the texte or cabeza. It consists of the first few lines (usually four) or the first stanza (usually a quatrain) from a well-known poem or poet. It has become permissible to use lines from a less well-known poet, or even from ones own verse.
The second part is the glose or glosa proper. This is a “gloss on,” an expansion, interpretation or explanation of the texte. The formal rule describes the glosa as consisting of four ten-line stanzas, with the consecutive lines of the texte being used as the tenth line (called the glossing) of each stanza. Furthermore, lines six and nine must rhyme with the borrowed tenth. Internal features such as length of lines, meter and rhyme are at the discretion of the poet. Examples of this will be found in this chapbook collection.
As with most poetic forms, unless dictated by strict contest requirements, poets have taken the liberty to vary the format. In addition to the glosa’s traditional ten-line stanzas, one will find 4-, 5- and 8-liners. They will be found written in free verse, with meter, and with rhyme. In the shorter variations. You will find variations in which the first line of each stanza (taken from the original texte) repeated again as the last line – added as a refrain. When the first line is repeated as the refrain at the end of a poem the stanza form is referred to as an Envelope.
Another variation of a short glosa poem has to do with the location of the borrowed line. It can be the first line, the last line, or one inserted into the body of the stanza. Yet another variation is the use of the first four lines of a prose piece as the texte.
 
Pasted from <http://www.poetry-nut.com/glosa_poetry.htm>

Restated specification for the Top Glose
The first part is called the texte or cabeza. It consists of the first few lines (usually four) or the first stanza (usually a quatrain) from a well-known poem or poet. It has become permissible to use lines from a less well-known poet, or even from ones own verse. It is presented as an epigram beneath the title of your own poem
The following Glose or Glosa proper is
Stanzaic: consisting of as many stanzas, as there are lines in your texte,
each having a line length of the poets choosing
Metered: With a consistent meter of the poet’s choosing
Rhymed or not with a pattern of the poet’s choosing
Formulaic: Each line of the texte shall be the first line of a stanza.

Related forms listed here: Glose, Double GloseTop Glose

 

My Example

Where I’m Most at Home (Top Glose)

After  the opening stanza of
“This Place that I Call Home”  by Mvincent
 
” I am a lover of tall mountain peaks
when softly draped with blankets of fresh snow;
of alpine lakes and gleaming waterfalls,
slow running streams that teem with rainbow trout—”
  
I am a lover of tall mountain peaks
and desert flowers nestled twixt the sage
which climbs the foothills ’til it’s all replaced
by pine and spruce and fir.  Much flora seeks
out places in pre-alpine meadow– a stage
where it’s a hit that is too soon displaced.
 
When softly draped with blankets of fresh snow
my backyard even seems a visual treat.
The mountains dress in heavy coats of white
The snow depth measured in the scores of feet.
The hearty play and ski to their delight.
The mountains save  that pack so life can grow.
 
Of alpine lakes and gleaming waterfalls
I dream as my begin my climb today.
When half-way there I stop and watch below
as a coyote slowly wends his way
thru grasses tall, across the green meadow.
I stay ’til he’s gone, then I’ll find the falls.
 
Slow running streams that teem with rainbow trout
is far below me now and I’m at peace
and touching heavens breath.  Soon I’ll decide
to leave and fish for dinner.  I’ll not cease
to wonder at the calm enjoyed beside
slow running streams that teem with rainbow trout.
 
 © Lawrencealot – February 27, 2013

Visual Template
This template was created for iambic pentameter stanzas.

Gloss

Pantun

Malaysia is at the most southern tip of Euroasia and is split by the South China Sea. The country borders Thailand, Indonesia and Brunei. The history of poetry in Malaysia goes back to the 14th century and is classified by the language in which it is written, Malay or national poetry, regional (indigenous) poetry and sectional (mostly English or French) poetry. Poetry in Malaysia is highly developed and uses many forms.

• The Pantun was at one time an integral part of Malaysian life, used to propose marriage, to tell a proverb, or to celebrate just about any occasion, even shared between warriors about to battle. I was surprised at how unlike it is from its French variation the Pantoum, which I had previously believed was synonymous with the 15th century Malaysian form. The Pantun is said to go back much further in oral tradition but I could find no agreement on how far or what source, one refers to it as an ancient fishing song. 

The Pantun is a poem of two halves almost unrelated. The first half, the pembayan (shadow) sets the rhythm and rhyme of the whole poem, and the second half, the maksud (meaning) delivers the message. The form has been referred to as a riddle. 

These poems were to be exchanged between individuals, not recited to an audience. 

The Pantun is
○ most often a poem in a single quatrain made up of two complete couplets.
○ syllabic, all lines are of the same length, lines are written in 8 to 12 syllables each.
○ rhymed, rhyme scheme abab.
○ written in two complete couplets. The first , the shadow is to set the structure but its focus may be quite different from the second couplet, the meaning in which the message is set.
○ less commonly written in structural variations, still retaining the shadow and meaning components:
§ The shortest is called Pantun Dua Kerat in 2 unrhymed lines.
§ Also written as a sixain made up of 2 tercets, rhyme abcabc.
§ And an octave rhymed abcdabcd.
§ sometimes written in three quatrains rhymed abab abab abab the poem turned on only 2 rhymes.
§ The longest is Pantun Enam Belas Kerat in 16 lines made up of 2 octaves rhyme abcdabcd abcdabcd.
The Choices We Make by Judi Van Gorder

Do I ignore or heed the voices,
the reminder that often festers?
We are all a product of choices, 
our own and our forgotten ancestors. 

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1037
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

OCD? (Pantun)

My wife – the stove, a strong compunction
a life-long habit, I believe.
She checks the stove, its knobs, their function
a second time before we leave.

© Lawrencealot – October 23, 2014

Visual template

Pantun