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

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Note:  There is no mandated meter for this form.

Onzain or Onzijn

Cuarteto

The Cuarteto, Spanish for quartet, is an Argentine genre of music and also a stanzaic form which is simply a quatrain made up of rhymed hendecasyllabic lines.

The Cuarteto is:
• stanzaic, a poem made up of any number of quatrains.
• syllabic, hendecasyllabic (11 syllable) lines.
• rhymed, either abab or abba rhyme scheme.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1433
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Re-connected

Re-connected (Cuarteto)

I imagined hearing whispers from above
When my travels took me far away from you,
and from whence the whispers came I saw a view –
an image that must have been of you, my love.

Or perhaps the breeze had whispered through the tree
which had seemed to say, “Please hurry home my dear.”
I’ll accelerate the tasks that I have here
and return to one who means so much to me.

© Lawrencealot – November 23, 2014

 

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Cuarteto

Eleventh Power

• Eleventh Power is an invented stanzaic form introduced by Christina Jussaume who requests the subject be uplifting.
The is:
○ stanzaic, written in any number of 11 line stanzas.
○ syllabic, 11 syllables each.
○ rhymed, rhyme scheme abababccddd or ababababccc.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/2192-invented-forms-from-poetry-styles/
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Not to Waste (Eleventh Power)

Each day if a morning comes it seems a gift;
there’s more to do I have not yet done to date.
A poem to read to give my soul a lift
and poems to write before it is too late.
When younger, the days seemed not too short or swift,
but now I realize that time for no man waits.
There’s someone for whom for whom a cheerful smile
will brighten the day and make it more worthwhile.
A joke or a smile’s not wasted anywhere
and feeling alright’s a proper mood to share.
Today’s an extra! So live it like you care.

© Lawrencealot – October 11, 2014

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Eleventh Power

Strambotto

The Strambotto has three primary versions:
All are presented here.
The Siciliano,  rhymed abababab
The Tuscano,  rhymed ababccdd (preferred), abababcc,  aabbccdd
and the Romagnuolo, rhymed ababccdd
It is:
Lyrical – Written as one octave, or with the Tuscano, possibly one sestet.  It you wish to write several stanza it becomes an Ottava Rima.
Rhymed – Each with its specific pattern(s).
Isosyllabic – Each line has precisely eleven syllables.
Below are additional resources with history and added information.  At the end you will find my Visual Templates.
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Strambotto
This was an early form of Italian poetry that was set to music by composers of the frottola and madrigals of the 16th century. The poetry is set into very strict stanzas of eight lines of eleven syllables. This type of stanza is known as rispetto or ottava rima. The musical rispetto was usualy dedicated to a lady love, Aside from the fact the ottava rima had no set form length and later became Iambic it also came from literature and generally had multiple stanzas, but musical version, the strambotto was typically created with a single stanza.
There are three basic types of strambotto and they are identified by their rhyme scheme.
1. Strambotto Siciliano
It will be noted that this is similar to the Sicilian Octave, but follows the Strombotto rules and consists of eight strict hendecasyllable lines (11 syllables), and similarly for multi stanzas.
a. b. a. b. a. b. a. b. 
2. Strambotto Toscano
This form is most used for stand alone poetry, but can be used for multiple stanzas. When writing muliple stanzas (as in a song), it is usual to link each stanza by either a refrain or using the whole or part of the last line of the previous stanza as the first line of the next stanza:
a. b. a. b. a. b. c. c. 
3. Strambotto Romagnuolo
This form has the octave constructed from a Sicilian quatrain and a quatrain of two couplets. The same rules apply about stand alone poems, and multiple stanzas.
a. b. a. b. c. c. d. d
My thanks to the poetsgarret.
The Strambotto is thought to have influenced the development of the Sicilian Octave and the birth of the sonnet. The Strambotto is one of the earliest Italian verse forms and can be found in works from the 12th through the 19th centuries usually set to music. The name comes from the Occitan,estrabot which refers to sentimental and or amorous rhymes. Sources suggest the early Strambotto varied between 6 or 8 lines long however it was eventually recognized as an 8 line form holding fast to a strict 11 syllable line. Rhyme seems to be delineated by territory, Tuscan, Sicilian and Romano. The frame appears to be the same as the Ottavo Rima Stanza. However, the forms are quite different in that the Strombotto is limited to a single lyrical, octave while the Ottavo Rima is a narrative, stanzaic verse written with any number of octaves. 
 IN ADDITION THE OTTAVO RIMA may be decasyllabic LARRY
The Strambotto is:
  • lyrical.
  • an octastich, a poem in 8 lines. (When written in narrative stanzas it is better known as Ottava Rima)
  • syllabic, strict hendecasyllabic lines. In English it has been found in iambic pentameter.
  • rhymed, most often follows the Tuscan patterns of abababcc and occasionally aabbccdd and is sometimes called Strambotto Tuscano. TheSicilian Strambottos followed the rhyme pattern of abababab and the Strambotto Romagnuolo carries a rhyme scheme of ababccdd.
My thanks to PoetryMagnumOpus
Strambotto (Sicilian)
Type:
Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Stanzaic
Description:
Hendecasyllabic lines rhymed abababab. Usually is lyrical and sentimental or amorous.
Origin:
Sicily
Schematic:
Rhyme: abababab
Meter: xxxxxxxxxxx
Rhythm/Stanza Length:
8
See Also:
Status:
Incomplete
Strambotto (Tuscan)
Type:
Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Stanzaic
Description:
Stanzas of 6 or 8 hendecasyllabic lines rhymed ababccdd (preferred), abababcc, aabbccdd, ababcc, ababab, or aabbcc. Usually is lyrical and sentimental or amorous.
Origin:
Italian
Schematic:
Rhyme:
ababccdd (preferred),
abababcc,
aabbccdd,
ababcc,
ababab, or
aabbcc
Meter: xxxxxxxxxxx
See Also:
My thanks to Poetry Base.
Example Poem
This Drink’s on Me, Err… You (Strambotto)

While I drank sociably, the crowd grew pressing
I’d come because the band was recommended.
Folks were rowdy, unfriendly, rude, depressing.
A girl approached, her lovely hand extended
“May I have your stool to sit next to my sis?”?
“Sure.?” I’d been taught manners are not hit or miss.
Her “sis” rose, gave seat to girl’s male friend (I think.)
When they danced I spilled upon their stools, my drink.

© Lawrencealot – December 12, 2013

VISUAL TEMPLATES. These show the rhyme patterns and syllable count.
                                      No specfic meter is mandated, I have shown both
                                      iambic and trochaic possibilities.

Terza Rima

Terza Rima, “third rhyme”, adapted from the Italian poets of the 13th century is a stanzaic form that employs a pattern of interlocking rhyme. Some connect the form’s origins to the three-lined Ritournel, which was an early Italian form of popular poetry, but others to the Sirventes of the Provencal troubadours. It is most likely the latter because the Tuscan poets of the 13th century tended to emulate the metrical patterns of their predecessors, the Provencals.

Written in tercets of interlocking rhyme known as the Sicilian tercet, there is no limit on the number of stanzas in the poem, however it is difficult to divide without breaking the continuity of the rhyme. It was Dante’s, The Divine Comedy written in 1307, that brought the Terza Rima from folk-verse, to a major poetic form.

• The Capitolo is framed with the same metric, rhyme and stanzaic structure as the Terza Rima. In 15th century Italy when the Terza Rima adopted didactic subjects, it was called a Capitolo but by the 19th century the term Capitolo was used for a Terza Rima frame with a satirical or light subject.

The Terza Rima and Capitolo are:
• narrative and/or lyrical poetry.
• in English usually iambic pentameter but can be written in tetrameter.
• stanzaic, with any number of tercets that interlock by rhyme. The poem is concluded by a single final line that rhymes with the 2nd line of the preceding tercet.
• rhymed in an interlocking rhyme scheme aba bcb cdc ded . . . until the conclusion when the end line rhymes with the 2nd line of the last tercet.
• when written in a satirical tone, is called a Capitolo.

Hand in my Back by Judi Van Gorder
I’ve felt the pure persuasive power of God,
a mighty hand placed squarely in my back
that gently pushes me to tread unshod.

He’s sure and solid, taking up all slack,
reminding me He’s here and He is strong
and I am not alone against the pack.

When I am lost and life is going wrong
the earth beneath me shifts like desert sand
it’s then I seek to hear Him in a song
and feel His hand that seers me with His brand.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1146
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

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Terza Rima is a chained form with three-line stanzas (tercets). In each stanza, the first and third lines rhyme. The second line rhymes with the first and third lines of the next stanza. There are three different ways of ending the poem:
• a final line that rhymes with the middle line of the previous stanza
• a final pair of lines, both of which rhyme with the middle line of the previous stanza
• a final tercet, using the same rhymes as the previous stanza, but transposed i.e. the last two stanzas rhyme aba bab.
Here’s a short example:

Stranded on Cheam station

Nothing but the tick of the station clock,
And the sound of the wind in the trees
That grow untended between the tracks.

This is the way it will be in the last days.
Machines stand idle with none to work them.
Doors swing and chatter in the breeze.

In a world indifferent, blandly suburban,
Shops open, unstaffed, are making no sale.
Foxes roam free in overgrowing gardens.

Streetlamps stay lit, till the elements fail.
Alarms are all false; no-one is alerted.
Man’s handiwork crumbles into new soil.

Cameras scan blindly, the bypass deserted,
The last ever up-train long since departed.

This precise form and length of terza rima happens to have 14 lines, and is therefore sometimes known as a terza rima sonnet – though some would quibble over whether it was a “proper” sonnet.
We could end it in either of the other two ways if we replaced the final couplet by just:

Cameras scan blindly, the bypass deserted.
or by the tercet:

Cameras scan blindly, the bypass deserted.
Horsetails spread, like the rust on the rail,
The last ever up-train long since departed.

Notable Terze Rime
Dante (who invented it) used this form for the entire Divine Comedy.

Pasted from http://www.volecentral.co.uk/vf/terza.htm
My thanks to Bob Newman for is work on the wonderful Volecentral resouce.
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Terza Rima
Type:  Structure, Metrical Requirement, Rhyme Scheme Requirement, Stanzaic
Description:  Accentual syllabic or syllabic form written in tercets with an interlocking rhyme scheme. At some point, the poem ends with a single line stanza rhyming with the preceding stanza’s middle line.
At least one soi-disant expert claims that it is usually iambic pentameter and that it ends in a couplet as: yzy zz. But he seems to be incorrect on many of his assertions.
Another variation is ending with a uniformly rhymed triplet: aba bcb cdc…yzy zzz.
Why can’t these poets make up their minds or stick to the original?
Origin:  Italian
Schematic:
Rhyme: aba bcb cdc…yzy z
Meter: xX xX xX xX xX
Rhythm/Stanza Length:  3
See Also:
Capitolo, Enclosed Tercet, Enclosed Triplet, Iambic Pentameter, Sicilian Tercet, Sicilian Triplet, Terza Rima Sonnet, Terzanelle, Villanelle xxx

Pasted from http://www.poetrybase.info/forms/003/310.shtm
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.

Example Poem:

Second Chance (Form:Terza Rima)

Oh dearest one can you believe that fate
has saved us for each other? Even though
I wanted you, I acted way too late?
When Europe called, with scholarship I know
you had to leave. My duties kept me here,
and let me grieve, still thinking I should go.
Then accident with dad, and duties clear
delayed me; slammed doors. ’til we each were wed.
For both of us our lives were filled with cheer.
New hurts were hurled at both; young spouses dead,
such hateful hurts so thoroughly depriving.
Each now alone, with loneliness ahead.
I found a poem and thru that you–surviving.
You found me, old love, happiness arriving.
© Lawrencealot – January 1, 2014

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