Double Refrain Ballade Supreme

An isosyllabic poem of 35 lines divided into three ten line verses and a five-line envoi.
Each line is usually eight or ten syllables long.
 It has two refrains.
The rhyming and repeating structure are thus:
   ababbCcdcD
   ababbCcdcD
   ababbCcdcD
   cCdcD.
Example Poem
Distracted  ( Double Refrain Ballade Supreme)
 
I wonder why it seems to be 
that what I’ve planned is still undone 
when evening catches up with me. 
At times I’ve even not begun 
on plans I’d reckoned might be fun. 
I start my day with plans in mind 
and then some poet’s verse I find 
that illustrates I’ve more to learn 
about those words so well aligned 
and dally there without concern. 
 
I will admit to OCD 
that leads me to what I should shun- 
a not known form of poetry 
(or one at least I’ve never spun) 
Always I feel I must try one. 
I start my day with plans in mind 
But ‘ere I start I’m ‘oft inclined 
to read and let the candle burn 
and ponder what my friends designed,
and dally there without concern. 
 
I’m after all the invitee, 
as sure as I’m my mother’s son, 
they wrote these words for me to see. 
The ticking clock can’t be outrun, 
my plans get lost but know-how’s won. 
I start my day with plans in mind 
but some how they get left behind 
when I see skills for which I yearn 
where thought and form are well combined 
I dally there without concern. 
 
Although the Pert chart’s undefined 
I start my day with plans in mind 
occasionally I will return 
to readings that were not assigned 
and dally there without concern. 
 
© Lawrencealot – January 24, 2014
 
 
 
 
Visual Template
 

Chanso

Chanso
Type:
Structure, Metrical Requirement, Repetitive Requirement, Rhyme Scheme Requirement, Other Requirement, Isosyllabic
Description:
Another French isosyllabic form of either five or six stanzas plus an envoy. A Chanso must be very regular in structure. The same number of syllables in each line, the stanzas all the same, the envoy being like the last half of a stanza, the rhyme scheme the same, but beyond that, you get to make it up. The double ballade and double ballade supreme would both be considered to fit this form. So would any number of other variations.
Origin
French
Copyright © 2001-2013 by Charles L. Weatherford. All rights reserved.
__________________
Canso, Chanso, Chanson French, Occitan and Provincial love songs, made popular in 12th century Europe by the troubadours which constantly strove for originality and perfection of form. The lines between the 3 terms is blurred. The Chanson is believed to be the inspiration for the ItalianCanzone. The verse often exalted a lady love. Courtly Compliment is a sub genre of the Chanson.
The Canso, Chanso or Chanson are:
  • stanzaic, usually 5 or 6 nonce stanzas of identical pattern.
  • expected to be original in form. The metric length of the line, the number of lines in a stanza, the rhyme scheme was expected to be different from anything that had gone before.
  • often ended by an envoy or tornada structured in the same pattern as the last half of the previous stanzas. (The Occitan tornada is a dedication to a patron or friend added at the end of verse while the French envoy is a summation of the theme added to the end of the verse. )
My thanks to Mr. Weatherford, and to Ms.  Van Gorder for their fine resources.





Example Poem
 
Cold-cuts      (Chanso)
I planned to lunch at home today
and get away from office noise.
A hot pastrami sounds so good,
I know I would enjoy it much
and then a nap would sound okay.
I stacked thin slices pretty high
I don’t know why but thinner works;
I slathered mustard on the meat
then set the heat at one-oh-one.
It smelled so good on fresh warm rye.
I was about with great delight
to take a bite when cell-phone chimes
demanded my reluctant ear
a financier it seems was keen
to cure my future’s fiscal plight.
He was informed and spoke at length
of safety, strength ,and asset growth,
with fortune favoring the bold;
my sandwich cold he said good-bye
for like I said he spoke at length.
I heated up my meal once more
then at the door there came a knock
(a lady looking for my wife),
who for the life of me I know
I didn’t know, I stalled therefore.
Two more phone calls and one more knock,
by then the clock showed time to get
me back to join the working fold
and eat my cold repast at last-
warm lunch at home  is such a crock!
© Lawrencealot – January 22, 2014
Visual Template
This is simply a template relating to the poem above.
A poet can use any line length or meter he wants, so their can be no “correct template.”
In this case I used iambic tetrameter, interlaced rhyme, and a unique rhyme scheme.
Note.  The specifications at the top call for repetition which I have not employed.

Double Ballade Supreme

Double Ballade Supreme
Type:
Structure, Metrical Requirement, Repetitive Requirement, Rhyme Scheme Requirement, Isosyllabic
Description:
This reminds me of the name of a pie at Bakers Square, but is actually a poem of 60 or 65 lines. It is like a ballade supreme with three extra verses that may not have the envoy. In short, it will have six verses of ababbccdcD  where the rhymes are consistent throughout and a possible envoy of ccdcD with D being a repeated refrain.
Like the ballade, double ballade, and ballade supreme, it is strictly syllabic verse of any one length. I’m sure the French preference would be alexandrines.
Origin:
French
Schematic:
ababbccdcD
ababbccdcD
ababbccdcD
ababbccdcD
ababbccdcD
ababbccdcD
ccdcD
Copyright © 2001-2013 by Charles L. Weatherford. All rights reserved.
My Thanks to Charles for his wonderful resource at PoetryBase.
 
Rhyme pattern: ababbccdcD (where D indicates a refrain line)

Example Poem

The Earth was Deemed Flat  ( Double Ballade Supreme)

For twenty-something years he worked at Palomar
as staff astronomer, and published works of note: *
The Atlas of Peculiar Galaxies went far
and gained repute through-out the field.  His peers denote
some galaxies by numbers from that book and vote
thereby for his significance.  “They are a clue”,
said Arp, “these galaxies give us a means to hue
our theories of formation by what we see”.
For some entrenched, his notions were a bitter brew
for Alton Harp displayed what science ought to be.

The astrophysicists have classified a star
as artifacts of gravity alone and dote
on math based models which grow more and more bizarre.
Though Alp did not attack the fact that math hath smote
down common sense, his questions surely rocked the boat.
Institutional dogma had professed things true.
when they accepted so much math as things we “knew”.
His observations shakes today’s cosmology
His arguments required no formulas that grew
for Alton Harp displayed what science ought to be.

When Edwin Hubble’s claimed that galaxies all are
receding faster when afar, his was the quote,
the key allowing the Big Bang to be the Star.
A Doppler “Red Shift” let that theory stay afloat
for now expansion could be measured so they wrote,
and thus defined the Universe’s birth- in their view.
Though later Hubble wrote of doubts, I will tell you
It came too late; the “Law” was a fait accompli.
And only now are new tools convincing a few
for Alton Harp displayed what science ought to be.

At Palomar his ‘scope-time was completely barred
so those involved in relevance might well promote
projects that fit. Arp soon bid them an au revoir.
As others now pick up the cause and they devote
themselves to validation, common sense and denote
“experimental observation”, there’ll accrue
an ever larger group that knows Big Bang is through.
That stars are nuclear was ever but theory
and models never worked; the EU theory grew
for Alton Harp displayed what science ought to be.

The standard model, grows noetic and bizarre
as better tools disprove assumptions made. They bloat
their models with new constants and reset the bar
as though inventiveness conveys the right to gloat.
The established names hold true science by the throat
but human history keeps me from being blue,
they sought to block ideas of Galileo too
and Arp’s experience repeats that history.
They’re ticketed to ride on notions now untrue
for Alton Harp displayed what science ought to be.

Since plasma actions can be seen in a Bell-jar
and gravity’s known force is weak and so remote
some looked to other forces to create a star.
At ten to the thirty-ninth, (and that is no misquote),
times stronger than the force of G, where G denotes
the gravity’s know force, it’s easy to construe
an magnetic role* shown a model to review.
The Birkland currents fill the gap satisfactorily.
Free-thinkers deem those forces lie in their purview
for Alton Harp displayed what science ought to be.

The geocentric folks took plenty time to stew
and time will pass before Big Bangers all come to.
Since faith’s replaced deduction, truth’s now a decree
but that will change; there’ll be an academic coup,
for Alton Harp displayed what science ought to be.

© Lawrencealot – January 29, 2014
Visual Template
 

Double Refrain Ballade

Double Refrain Ballade
This is identical to the Ballade, except that both Lines 4 and 8 from the first stanza become refrains in succeeding stanzas.
The rhyme scheme is:  abaBbcbC
                                     abaBbcbC
                                     abaBbcbC
                                     bBcC
Example Poem
 
Courtroom Follies  ( Double Refrain Ballade)

“She had three kids I understand,
were any of those children male?”?
“No.” “Were they girls?” (I won’t expand.)
Let’s hope that logic will prevail.
Describe the person at the jail-
“Quite bald but with much facial hair.”
“Was he a male or a female?”
These questions have been asked, I swear.

“What gear were you in,” came the demand?
“at impact?” he asked from the rail.
A shirt and Gucci sweats, my man.”
Let’s hope that logic will prevail.
I wasn’t drinking Ginger ale,
it was just Ginger’s Ale I’d share
i drove ‘cus couldn’t walk so well.
These questions have been asked, I swear.

“Where did the helicopter land?”
“Near marker three, right near the trail.”
“do you know where that is offhand?”
Let’s hope that logic will prevail.
“‘Tween marker two and four as well.”
You must set forth question with care
for some folks have strange tales to tell.
These questions have been asked, I swear.

So ask a friend to post your bail.
Let’s hope that logic will prevail.
And take along clean underwear.
These questions have been asked, I swear.

Visual Template

Ocarina

Ocarina
Type:
Structure, Metrical Requirement, End Word Requirement, Isosyllabic
Description:
Sestina with eight lines per verse for a total of 68 lines.
Attributed to:
Bob Newman
Origin:
England
Schematic:
12345678
85274163
34567812
27416385
56781234
41638527
78123456
63852741
With the envoy:
12 / 34 / 56 / 78
Rhythm/Stanza Length:
8
Line/Poem Length: 
68

Thanks to Charles L. Weatherford.

Note: on Feb 7, 2015, it was brought to my attention Ocarina existed in 1912 with a rhyming schematic.

I will interpret the schematic and list it separately as  Ocarina – Rhymed.

Example Poem
Our Special Place     (Ocarina)
We both embrace this very special place.
When we feel stressed we come for play and rest
it seems sedate and wills all woes to wait.
Don’t you abhor the daily quest for more,
the circular rat-race, the hectic pace
that takes away the willingness to play?
I feel no need to cuss and join the rush
to join the game without our taking aim.
When first we came seclusion was our aim.
Here is a space with tranquil quiet pace
Who would have guessed that just by seeking rest
we’d find a lust for nature’s thrilling rush.
We set out to explore the place, and more,
each other’s face, less lined when in this place.
Most everyday we find that we must play
and let the freight of daily commerce wait.
Arriving late, I caused for you a wait,
but you weren’t sore at all; there’s so much more
encasing one in splendor that the pace
of life gives way and waiting too,  is play.
Your sudden blush invited me to rush
for thoughts un-tame had warned of my aim.
With no disgrace we sanctified the place
as we progressed from urgency, to rest
Upon your breast I’ll lay my hand and rest
among the brush, no longer in a rush.
We swim, explore, embrace in lust once more-
enjoy the pace afforded by this place,
the air’s sachet, the squirrels near, at play.
When calmed by mate the world can always wait-
no other game shares a more lofty aim
than kissing face and slowing down our pace.
At home a flash of lace turns up the pace
at end of day and says you want to play,
but here no such a proxy starts my rush;
natural nudeness claims our bodies’ aim.
My fingers trace pathways to everyplace
where I have pressed my lips and all the rest
I plan to sate with out delay, but wait
we both adore the wait; we’ll wait some more.
The forest floor, one blanket, nothing more
this is our base that turns this tranquil place
with water’s spray into a place to play
and actuate our fantasies and wait
and frame thoughts seeking any greater aim.
There is no race and we both love this pace,
though I’m molested ’til I need a rest.
I would have to blush were it not a rush.
There’s still the push to weekly join the rush
and play that game which is commerce’s aim.
We chase the credits in the market place
Though not obsessed we act just like the rest
and that equates to working while we wait
the week-end to restore ourselves once more.
It’s not the case that we can’t stand the pace
of life’s buffet- we just take time to play.
It’s quite cliché you must mix work and play-
accommodate the mundane while you wait
for fame and wealth if that ‘s part of your aim.
Yet you can brace your soul at any pace
and live with zest if you take time to rest.
Avoid the crush resulting from the rush
and go explore a place where less is more
and in our case that means our special place.
This is a place where both of us may rest,
where waters wait and pause before their more
determined pace resumes, and we can play
without the rush that sometimes seems our aim.
© Lawrencealot – January 10, 2014
Visual Template

Sidney’s Double Sestina

This is posted only for the specifications.  This poet having recently penned a Quartina, an Ocrina,  a Decrina and a Canzone has come up dry at the moment for inspiration for this 75 line poem.
 
Sidney’s Double Sestina
Type:
Structure, Metrical Requirement, End Word Requirement, Isosyllabic
Description:
Sir Phillip Sidney wrote a double sestina where the pattern was just duplicated in verses 7-12, while his envoy had the scheme: 5/2 3/4 1/6. At least he wasn’t as dotty as Swinburne.
Attributed to:
Sir Phillip Sidney
Origin:
English
Schematic:
123456
615243
364125
532614
451362
246531
123456
615243
364125
532614
451362
246531
Envoy: 5/2 3/4 1/6.
Rhythm/Stanza Length:
6
Line/Poem Length:
75

Quartina

Quartina
Type:
Structure, End Word Requirement
Description:
The four-line stanza version of the sestina with the typical end-word enfolding.
Attributed to:
Bob Newman
Origin:
England
Schematic:
1234
4123
3412
2341
Envoy:
12 / 34
Rhythm/Stanza Length:
4
Line/Poem Length:
18
   
 
_____________________
 
Quartina
Another variation for which I accept full responsibility is the quartina.  This uses the same idea as the sestina but only has 4 keywords, hence is only 18 lines long. Here’s one:
Eclipse
 
This is the day when we shall see the moon
Dispute the morning sky; usurp the sun;
Beshroud the world in unaccustomed dark.
We know this – and we know it won’t last long.
This is the day; the wait will not be long
Until we’re on the dark side of the moon.
Unseen by us, our life-giver, the sun,
Will impotently rage against the dark.
The birds, lulled into silence by the dark,
Will tuck heads under wings – but not for long.
Two minutes only, this night of the moon,
Before the sky is reclaimed by the sun.
Though there is nothing new under the sun,
All seems new at the dying of the dark.
A second full dawn chorus, loud and long
Will celebrate the passing of the moon.
Don’t worry when the moon obscures the sun.
Although the day be dark, it won’t be long.
 
I chose the name “quartina” so that I could write flawed ones.
© Bob Newman 2004, 2005, 2006, 2007. All rights reserved
 
 
 
My thanks to Bob Newman for his wonderful resource site.
 

My Example Poem

Do You Suppose?     (Quartina)

 
A girl well knows what means a rose
when she can get one from a man.
Of course she might prefer a Porsche;
the goal then might be mistress role.
 
If rolling in the hay’s your role
I don’t suppose you need a rose.
If much elan defines your man
Of course one might expect a Porsche
 
It’s never coarse to own a Porsche
or take control of your own role,
but heaven knows a red, red rose
might show the game-plan of a man.
 
I really can picture a man
who owns a horse, but not a Porsche
with plenty soul for either role
who might propose with just one rose.
 
So take the rose and love the man
forget the Porsche and part-time role.
 
© Lawrencealot – January 8, 2013
 
 

 

Visual Template
This is a Quartina ( in iambic tetrameter with added internal rhyme)

 

 

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

Visual Template

Bina

Bina
Type:
Structure, Metrical Requirement, End Word Requirement, Isosyllabic
Description:
Bob Newman has taken the general idea of the sestina and extended it both upwards and downwards from the six-line stanza it normally uses. The Bina is the two-line stanza version. Like the sestina, it is preferable to use isosyllabic lines.
Attributed to:
Bob Newman
Origin:
England
Schematic:
End word repetition pattern:
12
21
Envoy: (12)
Strengths:
It is much shorter and more practical that the sestina.
Weaknesses:
Having shorter stanzas, the end words come back very quickly, so while it isn’t as repetitive and possibly monotonous as the sestina, they will be a very strong presence in the poem. This could make the poem somewhat comic, intentionally or not.
Starting Point:
Because it is only five lines, the flexibility of the end words is not nearly as important as in the sestina; however, they should be chosen well enough that they can be used three times each in five lines and not grate on the nerves.
Rhythm/Stanza Length:
2
Line/Poem Length:
5
Status:
Complete
Bina
An even smaller variation with just 2 keywords and 5 lines is possible; we may as well call this the bina, then we can have:
Wry Bina
When young Michelle was thirsty, she would long
For “that blackcurrant drink – is any left?”
I wonder, now that she’s grown up and left,
If maybe I indulged her for too long.
When in the tooth she’s long, she’ll have none left.
A big thank you to Bob Newman

My Example

Trained Wives     (Bina)

The earning of money has been up to me,

the spending of it’s been up to my wives.

I’ve tried adjusting by taking new wives

but they’ve all done their jobs better than me.

The question for me is who trains those wives?

© Lawrencealot – December 26, 2013

Visual Template

Rhupunt hir

A Rhupunt hir is merely a Rhupunt that is NOT broken into short stanzas.
 Rhupunt
Type:
Structure, Metrical Requirement, Rhyme Scheme Requirement, Stanzaic
Description:
(RHEE-pint) This is a syllabic line of three to five tetrasyllabic sections. It is sometimes presented as stanzas (tercets, quatrains, quintets) rather than one line. The main rhyme can change after two or more lines. The internal rhyme can be consonance instead of true rhyme.
Origin:
Welsh
Schematic:
xxxa xxxa xxxa xxxb
xxxc xxxc xxxc xxxb
xxxd xxxd xxxd xxxb, etc.
Or
xxxa xxxa xxxa xxxa xxxb
xxxc xxxc xxxc xxxc xxxb
xxxd xxxd xxxd xxxd xxxb, etc.
Or
xxxa xxxa xxxb
xxxc xxxc xxxb
xxxd xxxd xxxb, etc.
or
xxxa
xxxa
xxxa
xxxb, etc.
Thanks to Charles L. Weatherford of PoetryBase

Related Welsh Form are HERE.

Visual template