Laurette

Laurette: Created by Etta Caldwell Harris. 28 syllables. 6 lines.
Syllable Count: 4-4-6-4-4-6 Rhyme Scheme: a-b-c-d-e-c

All Souls Eve Traffic Jam

4a Angels confront
4b more witch traffic.
6c Brooms, wings sweep breezily..
4d Airways get clogged.
4e Hot air breath steams
6c fog and tempers break free.

End of School Flash Dance

After Field Day
students flash dance.
Gym coach leads them to sweat.
Surprise teachers.
Then teachers dance.
Surprise not done yet.

http://www.rainbowcommunications.org/velvet/forms/
My Thanks to Linda Varsell Smith for her contributions above.

My example
Brief, Quick, Easy (Form: Laurette)

Should you want to
avoid meter,
thought, and very much rhyme,
give this form a
a try; I know
it won’t take up much time.

© Lawrencealot – December 27, 2014

Visual template

Laurette

 

Ruthless Rhyme

Ruthless Rhyme
Ruthless rhymes were created by Harry Graham. If you haven’t met them before, and enjoy things that are deplorably funny but not in the best possible taste, do please seek out his work. (My favourite is the one about little Leonie.) It’s not that easy to write a poem about death that’s funny without being offensive. How about this one:
Out in the Wash
When spouse and clothes got in a tangle
They went together through the mangle.
The faithless rat I did not grieve –
Still flatter, but can’t now deceive.
 

Ruthless rhymes are always written in rhyming couplets – usually two of them, but occasionally more.
Thanks to Bob Newman for his wonderful Volecentral resource site.
The link below will lead you to a fine selection of poems by
By Jocelyn Henry Clive ‘Harry’ Graham who just became on of my favorite poets.
Here are a couple of examples of his work.
Necessity
LATE last night I slew my wife,
Stretched her on the parquet flooring;
I was loath to take her life,
But I had to stop her snoring.
The Perils of Obesity
YESTERDAY my gun exploded
When I thought it wasn’t loaded;
Near my wife I pressed the trigger,
Chipped a fragment off her figure;
‘Course I’m sorry, and all that,
But she shouldn’t be so fat.

My example poem

Laundry Mix     ( Example of Ruthless Rhyme)

Into the wash I threw the cat
and Mom said I ought not do that.
But still a load of underwear
feels nice when coated with cat hair.

© Lawrencealot – April 11, 2024
Visual Template
Ruthless Rhyme

Trilinea

  • The Trilinea, one more haiku copycat from Berg‘s Pathways for a Poet, created by Nellie Amos. It seems a bit superficial to me since the defining feature is the word “rose” must appear somewhere in the 3 lines.
    The Trilinea is:

    • a tristich, a poem in 3 lines.
    • syllabic, with syllable count per line, 4/8/4.
    • rhymed, L1 and L3 rhyme.
    • composed to include the word “rose”.
    • titled.tattoo by Judi Van Gorderteardrops of dew
      cling to a red velvet rose
      the touch of you
Thanks to Judi  Van Gorder, who has done a marvelous job with PMO.  I agree with her feeling about this form.

My Example

Hardly Matters

I rose to say
something;  what is was I forgot
but that’s okay.

 
(c) Lawrencealot – December 8,2013

Rhupunt

Rhupunt is one of the 24 traditional Welsh forms and has a scheme of aab ccb ddb etc. or aaab cccb dddb etc., or aaaab ccccb ddddb etc. Alternatively, each stanza can be a single line (but this prayer is so short I chose the former layout). It is described here:http://www.thepoetsgarret.com/celtic2.html#awlrhu

My poem above uses Cynghanedd Sain (sonorous or chiming consonance), that is, treating each stanza as a single line: this involves three elements, the first two rimed (end-words of L1 and L2 in each stanza above), and the 3rd (2nd word of L3 in each stanza above) repeating the consonants of the 2nd. Cynghanedd Sain is described here:

http://allpoetry.com/column/2348659 (scroll 2/3 to ¾ of the way down)
A four syllable line each stanza can be of three, four or five lines a..a..a..B.
The next stanza rhymes the similar c..c..c..B.The rhyme could change for the next
stanzas. We end up with a pattern thus:
x x x a
x x x a
x x x a
x x x B

x x x c
x x x c
x x x c
x x x B
I have used but three lines in the example below.
My poem above uses Cynghanedd Sain (sonorous or chiming consonance),
which links the last syllable of L2 to the 2nd Syllable of L3.
that calls for consonant rhyme, but in the last line I stepped it up to full rhyme,
not knowing if this might be forbidden. (It fit too well to ignore.)

Example Poem

Redemption Now

Put on a smile
act all the while
the whole is swell.

Ignore all guile
and evil while
fears will disspell.

Will is our own.
You have here grown
won’t groan in hell.

 

Related Welsh Form are HERE.

Visual Template

Rhupunt

See Rhupunt Hir for a more complete description and one template.

Rhaiku

A Poetry form invented on AP by Matt
A poem consisting of One stanza of Rhyme, one stanza of haiku,
 and one stanza of free verse.
The order of the components is up to the poet.
 
Example Poem
 
Without Repentance
semi-clad, somnolent,
climbing over broken logs–
kids explore their camp
There had been no time
in the circadian twilight
to properly define the false
Niagara bubbling, with snatches
of Mozart melodies
into nearby brook.
The first awake, they had to take their tawny dog and find
the wonders here that did appear, as frozen, left behind
for summer time respite.  They’d climb and swim and even shout;
for being loud was here allowed, and home-based rules were out-
maybe fleecing their sister (decreasing her oatmeal share),
Some things do last without contrast and happen anywhere.
(c) Lawrencealot – October 20, 2012
Visual Template
 
 

Cyrch Gymeriad

Earliest strata of British Celtic poetry #1: cyrch gymeriad (wreathing).
Information provided by Gary Kent Spain.
In Welsh, cymeriad (‘memory’) refers to repetition of the same word or syllable, often at the start of successive lines.  Cyrch gymeriad means what we call ‘wreathing’, that is, to repeat the word or syllable ending one line (or line segment) at or near the start of the next (see below).  It can involve meaning as well, that is, synonyms.
Your prompt is to assemble short (roughly two-stress) line segments of 3-6 syllables (mostly 3-4 if possible) into at least two longer lines (printed as stanzas) that rime on the last syllable (stressed or not), and to link each line segment with its neighbors by one (or more) of the following techniques:
1.  Cymeriad (beginning with the same word or syllable, or a homophone or synonym)
2.  Cyrch gymeriad (word or syllable repetition linking end of one with start of next)
3.  Alliteration, or consonance (repetition of two or more sounds of a word, can both be consonant sounds or one can be a vowel sound)
4.  Rimed syllable, which even should it occur at the ends of two successive line segments still constitutes ‘internal’ rime, since more than one make up the complete ‘line’ (i.e. stanza)
…again, the cymeriad may involve homophones (different words that sound the same) or synonyms, in addition to actual repetition.
Schematic, where each letter represents a syllable, x = unlinked, lower case (abc etc.) rimed, upper case (ABC etc.) repeated (cymeriad)—spaces separate words, bold and italics (alternating) indicate alliteration, and underlinedindicates a proper name.
x  A-B / B  A-c
xxx  C / C  DD
DD  EE / EE  xf
G-GG  f / G-GG  H
H  xx / f   x  xH
x  x-xx / x-x-x-h
x  xxi / x i / xx  h
Example Poem
Abalone abound
bound below to rocks;
rocked not by salty waves
but safety waived by men.
Men-selfish divers
“shell-fish dinners” served as
dining divers’ can.
Bountiful before man
manufactured gear
that fractured, broke the ban
banning air- breathing man.
Man equipped to submerge
then eclipsed by base urge-
Urgent need for meals
of otters, and seals.
Tasting abalone,
Shellfish about alone
in taste, attests to why-
Why we’ve failed fishing ban.
© Lawrencealot – July 13, 2013
I have provided a Visual Template below that shows my attempt at various linkages.
Unfortunately, I could not make this schematic fit the example poem provide, and pretty much believe it is UNREALISITIC to assume a template can be constructed since almost everything is optional, from line-length to type of linkage.

Arkquain String

A poem of 36 lines invented by Madison Shaw, aka Arkbear on Allpoetry.
1-2-3-4
5-7-7-5
4-3-2-1
break
1-2-3-4
5-7-7-5
4-3-2-1
break
1-2-3-4
5-7-7-5
4-3-2-1
Most important..>>>…….Every ( 7 ) Syllable Line,
MUST Rhyme with each other, within their own Arkquain ~
Rhyme pattern: xxxxxaaxxxxx
Syllabic 1/2/3/4/5/7/7/5/4/3/2/1
It must be centered.
Essentially THREE arkquains STRUNG together.
Example Poem
Kiss
#
My
tongue probes
parted lips
seeking your own.
~ ~ ~ ~ ~ ~ ~ ~
Hesitant to leave
your lips, tongue tests lips texture,
explores their architecture.
Lingers lanquishly.
~ ~ ~ ~ ~ ~ ~ ~
Then, insisting,
drives to touch
your own
tongue.
Tip
under
tip, over,
then whole tongue squeezed.
~ ~ ~ ~ ~ ~ ~ ~
Your mouth consuming
my probing, demanding tongue;
projecting promises sung
to lower body.
~ ~ ~ ~ ~ ~ ~ ~
My lips seek you
inside of
my mouth
too.
You
know that
this tongue tastes
tempting texture.
~ ~ ~ ~ ~ ~ ~ ~
Warm smooth undulate
deems greedy mouth but proxy
for the vessel this foxy
lady promises.
~ ~ ~ ~ ~ ~ ~ ~
Respiration,
pulse increase,
during
kiss.
#
© Lawrencealot – May 26, 2012

Arkquain Swirl

It is basically a segmented/augmented Arkquain String.

A syllabic  centered poem of 34 lines.
It was invented by Madison Shaw, aka Arkbear on Allpoetry.
 
*syllable cnt: 1234~5775~4321234~5775~4321234~5775~4321
(1/2/3/4/5/7/7/5/4/3/2/1/2/3/4/5/7/7/5/4/3/2/1/2/3/4/5/7/7/5/4/3/2/1)
*7 syllable lines end rhyme 
Example Poem
Let’s Write an Arkquain Swirl
This
is the
way we write
an Arkquain swirl.
~ ~ ~ ~ ~ ~ ~ ~
Think ahead and make
the longest lines end in rhyme.
Use equisized words each time.
create shape and form.
~ ~ ~ ~ ~ ~ ~ ~
An Arkquain swirl
is somewhat
like a
girl.
That is
curvaceous
in its measure.
~ ~ ~ ~ ~ ~ ~ ~
An Arkquain swirl must
be a pleasing site to see.
if like a girl it must be.
So pick words with care.
~ ~ ~ ~ ~ ~ ~ ~
Or act like you’re
drunk and choose
random
words
and you
may find you’l
create a witch.
~ ~ ~ ~ ~ ~ ~ ~
And I can foresee
A time when that will pay off.
Until then, you can lay-off.
chopping up this form.
~ ~ ~ ~ ~ ~ ~ ~
This Arkquain Swirl
might make you
want to
hurl.
© Lawrencelaot – May 25, 2012 

Awdl Gywydd

Awdl Gywydd
Type: structure, meter, rhyme, stanzaic.
Description: Pronounced ‘owdl gow-widd’. Seven syllable quatrains with end rhymes and couplet binding. Welsh origin.
Isosyllabic: 7 syllables
Stanzaic: 1 or more quatrains
Rhymed: a(ab)c(cb), where (ab) and (cb) indicates interlaced rhyme mid-line and end-rhyme.
Schema:
xxxxxxa
xxaxxxb (a can be 3rd or 4th syllable)
xxxxxxc
xxcxxxb (c can be 3rd or 4th syllable)

Mid-line rhymes a and c can be various forms of rhyme but the end of line rhyme b should be perfect rhyme.

Example Poem

Midnight Ride When Full of Beer

At the game I took a chance
then at the dance I drank more.
After the twelfth beer of mine
I was supine on the floor.

They gave me hot coffee sips
which burned my lips but woke me
up so I could drink some more.
and made me sure want to pee.

After irrigating long,
the jukebox song seemed too loud.
I had the bartender send
beer to a friend in the crowd.

We both drank more; both got drunk.
Who would have thunk?  Just on beer?
When the bar closed I was stoned
so help was phoned, have no fear.

“You can’t drive.  There’s not a chance.
The Beerbulance is waiting.
Along with the sodden maid
we’re all afraid you’re dating.”

 © Lawrencealot – February 14, 2013
Visual Template

Byr a Thoddaid

Byr a Thoddaid (beer ah TOE-thy’d), one of the 24 traditional Welsh

stanza forms, consists of four lines of syllable count 10/6/8/8

(or 8/8/10/6), rimed on last syllable except for the 10-syllable line,

 which has the main rime on the 7th, 8th, or 9th syllable with the

remainder set off by dash and either rimed within the 6-syllable

line or with its sequence of consonant-sounds repeated at the

start of the 6-syllable line, as above.

 

This poem has the Cynghanedd (consonance, harmony of sound)

required of Welsh bards, as detailed here:

 

http://allpoetry.com/column/7546199-Welsh_Poetry_-_Part_I_Cynghanedd_-by-Welshbard

 

 

Specifically, all but the last line of the first stanza

and the penultimate line of the second have Cynghanedd lusg

(trailing consonance), in which the accented penultimate syllable

 of the end-word is rimed earlier in the line

(the part of each 10-syllable line after the dash being excluded);

S1L4 and S2L3, then, both have Cynghanedd groes (cross-consonance),

 in which the second part of the line repeats the sequence of

consonant sounds in the first (end of last syllable of either

sequence can be ignored, as can n, while w and y the Welsh treat as vowels).

 

 

This form makes use of the gair cyrch in which the main rhyme appears somewhere near the end of a longer line and the end word is a secondary rhyme. The secondary rhyme is then echoed by alliteration or assonance in the first half of the next line.

  • stanzaic, written in any number of quatrains made up of 2 couplets,

  • syllabic, either L1-L2 8 syllables, L3 10 syllables L4 6 syllables, or the couplets are reversed L1 10 syllables, L2 6 syllables, L3-L4 8 syllables.

  • rhymed, either aaba with the main rhyme A occurring somewhere near the end of L3 and the secondary rhyme b echoed by alliteration or assonance in the first half of L4 or the couplets are reversed baaa.

 

 Potential

I know that my life’s potent– gauged not small–
gives notice of quotient
believed not achieved to extent
that make it thus, this man’s intent .

Say I, one day still invent– mankind’s balm–
Might call on all unspent
forces of mine formerly misspent
then would I feel good and content?

©  Lawrencealot – June 29,2012

Authors’s Notes

This poem has the Cynghanedd (consonance, harmony of sound)

required of Welsh bards, as detailed here:

Specifically, all but the last line of the first stanza
and the penultimate line of the second have Cynghanedd lusg
(trailing consonance), in which the accented penultimate syllable
 of the end-word is rimed earlier in the line
(the part of each 10-syllable line after the dash being excluded);
S1L4 and S2L3, then, both have Cynghanedd groes (cross-consonance),
 in which the second part of the line repeats the sequence of
consonant sounds in the first (end of last syllable of either
sequence can be ignored, as can n, while w and y the Welsh treat as vowels).
Please note the correction suggested in the comments below and navigate there
for a fuller treatment of this form.

This correction by Gary Kent Spain, aka, Venicebard on Allpoetry.

You might want to alter the Cynghanedd part of your AN here (lifted from one of my poems, which is okay except it is inaccurate with respect to your poem) to reflect the slightly looser form of Cynghanedd Groes (and echoing of the gair cyrch) you have aimed for in this poem.  The following link gives for C. Groes the stipulation that all that is necessary is repetition of the initial consonants of words, which is close to what you’ve tried to do here:

 

Related Welch form at HERE.

 

Visual Template of sorts
Byr a Thoddaid