Galloping Denturn

GALLOPING DENTURN is a poetry form invented by Dennis William Turner, writing on All Poetry as Dennisturner19.

It is comprised of two DACTYLIC tetrameter quatrains stating a point of view.

This is followed by a stand-alone one, two or three syllable word or phrase. For example: but – unless  – but then – although – until, – however etc., Providing the TURN.

The concluding two quatrains, in ANAPESTIC tetrameter, make the argument, (emphasised by the change of metre.) 
Here is Mr. Turners example:

Why Bother?

Sometimes, my targets are scarcely attainable;
All that I try to do seems to fall short,
Efforts invested are hardly sustainable,
Work and commitment can all come to nought.

Labour seems pointless with goals unachievable.
Destined for failure, why should I still try?
Thoughts of success can be quite inconceivable.
“Try, try again,” they say. I just say, “Why?”

Although…

There’s a lot to be said for attempting your best
And for pushing and striving that little bit more
And remaining committed when put to the test
And to put in more effort than ever before.

Dennis Turner, November 2017

And here is my attempt:

Self-Medication (A Galloping Denturn)

Ardently I do eschew taking medicine
arguing strongly against such reliance.
Eating correctly provides all my lecithin,
AND all the nutrients known now to science.

Certainly sponsors will vouch with some clarity
championing benefits brand names provide.
Taking their claims as the truth would be charity
Knowing beforehand how many have lied.

However,

With my tendency shown to perhaps skip some meals,
to respond to the TV’s promoting fast food,
and to pay much attention to five dollar deals
well, I might then deduce that my diet’s no good.

And I do take my Bayer’s prescribed for my heart,
and some Anacin, rarely, without too much fuss
since my doc’ says take pills — well then maybe I’ll start
I’m not stupid, you know, just a growing old cuss.

Lawrencealot, November 2017

A Visual Template:

 

 

LaCalma

A form created by Laura Lamarca in June, 2015.

Form description:  rhyme scheme aaa,bB,cc,dd,bB. 
8 syllables per line in iambic tetrameter. 
11 lines per stanza.  3 stanzas (33 lines) total.
Content must be nurturing, spiritual.

Laura’s Untitled Poem

Please take this gift to give you hope
and then, in walking, you will cope
without that weight hung on life’s rope.
You are not on your path alone,
there’s two of us on this stroll home,
towards that light which beckons us
amongst those bright stars, just because
it’s where our spirits choose to hide
when human needs have leaked inside
our solid selves of blood and bone.
There’s two of us on this stroll home.

Please take this gift to give you peace
a languid smile, a soft release
so trauma, on your path, will cease.
We do not walk this way with dark,
there is a ray…a lasting spark–
a warm embrace, a lazy kiss
a reason why we walk like this…
as fallen few and guiding lights
we bring lost “feel” on deepest nights
and though we leave no sign or mark
there is a ray…a lasting spark.

Please do not walk without me near
do not begin this road with fear
for to true selves we must adhere
as life clings on to our firm feet,
we must go on, our goals complete.
Raze brambles from our disarray
remove the stains that just can’t stay.
and if you find yourself alone
then don’t fret dear, I’m coming home…
this world shall not, us both, defeat
we must go on, our goals complete.

At the time I composed this poem, and template, the form had not yet been named. Since I had to call it something for filing purposes, I called it the Lamarkable, I have since found that Laura name it LaCalma

My Example

No Village Needed (LaCalma)

The kids have gone, they’ve left the nest
and now, we thought, we’ve time to rest
that is so wrong; you might have guessed.
The kids move back, the grandkids too –
like me, they want to be near you.
As grandpa now I have my fun –
the pampering has just begun.
The parents change the diapers now
(but grandpa still remembers how)
They like your cooking, that is true –
like me, they want to be near you.

Economy these days does suck,
so with parents some kids are stuck
for grandkids though that is good luck.
They get to live a life that’s swell
Gramps chose his wife so very well.
Papa is constant source of fun
but Grandma is the careful one.
She keeps their enegy constrained
when grandpa acts like he’s untrained;
he knows she will, and you can tell,
Gramps chose his wife so very well.

When a step-niece who grew up wild
became involved and had a child
though there were tears, still Grandma smiled.
Rescuing people was her way
and Grandma does that to this day.
Extended families grow unbid
from thoughtless things teenagers did
yet somehow someone up above
assures the unbid will find love.
Dispensing love is just her way
and Grandma does that to this day.

© Lawrencealot – June 10, 2015

Visual template

Lamarkable

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.

Lilit

Thai poetry.

• The Lilit is an alternating Raay and Kloang verse. Usually the Raay is used to describe the action and the Kloang is the dialogue.

The Lilit is:
○ stanzaic, alternating Raay couplets with Kloang quatrains.
○ syllabic, the couplets are 5 syllable lines and the quatrains are L1-L3 7 syllable lines and L4 is a 9 syllable line.
○ couplets composed with a chain, linking the lines of the couplet and linking the stanzas.
○ rhymed, composed with cross, interlaced and end rhyme .

x x x x a
a x x x b

b x x x c x d
x x x x d x c
x x x x d x e
x x x x c x x x e

e x x x f
f x x x g

g x x x h x i
x x x x i x h
x x x x i x j
x x x x h x x x j

Pasted fromhttp://www.poetrymagnumopus.com/index.php?showtopic=1035#chann
My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Chain: A series of verses or stanzas in which the last word of the verse or stanza is repeated as the first word of the next verse or stanza.

Cross rhyme: When the end word rhymes with a word in the middle of the next line

Interlaced rhyme A word in the middle of one line rhymes with a word in the middle of another.

My example

Nuance (Lilit)

Stop and take a look.
Look at what I’ve found.

“Found something, new you say?”
While it’s okay to view
the form that way, it’s old
in fact, which you can now behold.

Behold it’s Thailand.
Thailand’s ancient verse.

Verse once inscribed on walls
and in great halls described
is something called new now
what was transcribed– ignored somehow.

© Lawrencealot – January 29, 2015

Visual template

Lilit

Tengahan Wukir

Javanese poetry was originally meant to be sung for an audience, not read in private.

• Tengahan Wukir meter is a form of Kidung (songs) that marries the stanza length with the meter used. They were written for all occasions up until the mid 1500s.
The Tengahan Wukir is:
○ stanzaic, can be written in any number of 9 line stanzas.
○ syllabic, 10-6-8-7-8-8-8-8-8 syllables per line.
○ composed in a pattern of vowel sounds in the end syllable, not necessarily rhyme. Vowel sounds pattern, u-e-i-u-u-e-u-a-a.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1809#tengahan
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

I could find NO EXAMPLE on line, so I won’t try to resuscitate this form.

Taylor

• The Taylor is an invented form, patterned from Upon a Spider Catching a Fly by Edward Taylor (1642-1729) who some call the finest colonial poet although his work was not published until 1939. A puritan poet, his poems are lyrical and yet reflect a staunch Calvanist tone. 

The Taylor is:
○ stanzaic, written in any number of cinquains.
○ metric, iambic, L1 trimeter, L2 and L4 dimeter, L3 tetrameter, L5 monometer.
○ rhymed or at least near rhymed ababb cdcdd efeff etc.

Upon a Spider Catching a Fly by Edward Taylor

Thou sorrow, venom elf.
Is this thy play,
To spin a web out of thyself
To catch a fly?
For why?

I saw a pettish wasp
Fall foul therein,
Whom yet thy whorl pins did not clasp
Lest he should fling
His sting.

But as afraid, remote
Didst stand here at
And with thy little fingers stroke
And gently tap
His back.

Thus gently him didst treat
Lest he should pet,
And in a froppish waspish heat
Should greatly fret
Thy net.

Whereas the silly fly,
Caught by its leg,
Thou by the throat took’st hastily
And ‘hind the head
Bite dead.

This goes to pot, that not
Nature doth call.
Strive not above what strength hath got
Lest in the brawl
Thou fall.

This fray seems thus to us:
Hell’s spider gets
His entrails spun to whipcords’ thus,
And wove to nets
And sets,

To tangle Adam’s race
In’s stratagems
To their destructions, spoiled, made base
By venom things,
Damned sins.

But mighty, gracious Lord,
Communicate
Thy grace to break the cord; afford
Us glory’s gate
And state.

We’ll Nightingale sing like,
When perched on high
In glory’s cage, Thy glory, bright,
And thankfully,
For joy.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=616
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Broken Names (Form: Taylor)

I have a friend named Jack,
his brother’s Al.
Their mother wants her old name back
to boost locale
morale.

Since Ackbarr’s now her name
she thinks it’s broken,
perverted by the Islam game
when it’s a token
spoken.

One can’t now yell, “Hi, Jack”
most any where
nor “Allen Ackbarr, glad you’re back!
You been somewhere
by air?”

© Lawrencealot – January 26, 2015

Visual template

Taylor

Roundabout

Our Poetic Asides inaugural Poet Laureate, Sara Diane Doyle, has been busy-busy-busy this summer working with teen writers. But not too busy to share with her fellow Poetic Asides crew a new poetic form she developed with one of her students, David Edwards. Since Sara knows the form best, I’ll let her explain the form to you in her own words.
*****
A few months ago I began exploring various poetic forms. With each form I tried, I would post my attempt on a forum for teen writers, where I am a mentor. One of the teens, David Edwards, got interested in forms, especially the “created” forms. He asked if anyone could invent a form and I said “sure!” Then, he got the crazy idea that we should create a form together.
 
To start, we wanted to throw in every poetic element that we really liked. David came up with the meter and feet and I added in the repeating line. We came up with the rhyme scheme and length together. The result is a form we call the Roundabout. In this form, the rhyme scheme comes full circle while offering repetition of one line in each rhyme set. 
 
The Roundabout is a four stanza poem, with each stanza consisting of 5 lines. The poem is written in iambic and the lines have 4 feet, 3 feet, 2 feet, 2 feet and 3 feet respectively. The rhyme scheme is abccb/bcddc/cdaad/dabba. Roundabouts can be on any subject. 
 
Several of the writers on our forum have written Roundabouts and have had a blast.” We would love for other poets to give it a try! Here are some examples to get you started.
 
Crash
by David Edwards
 
Around around the carousel
across the circles face
we cry we shout
we crash about
across the circles face
 
and ever always breakneck pace
by this unending route
and twists and turns
and breaks and burns
by this unending route
 
of ever always in and out
the yearling quickly learns
to run and yell
at ocean’s swell
the yearling quickly learns
 
to run and leap and then he earns
but he will never tell
there’s not a chase
that wins the race
but he will never tell.
 
 
 
When Spring Trips ‘Round
by Sara Diane Doyle
 
When wildflowers bloom once more
and raindrops touch the earth,
the faeries come
to start the hum
and raindrops touch the earth!
 
Come join the song, the dance the mirth!
Enjoy the juicy plum.
beneath the sun
’til day is done-
enjoy the juicy plum!
 
The clouds let out the beating drum-
rejoice with us as one.
Our joy we pour
for pain we bore-
rejoice with us as one.
 
Of gleeful hope, the snow knows none,
but speaks of faeries lore,
of magic birth,
the greatest worth
but speaks of faeries lore.

Pasted from http://www.writersdigest.com/editor-blogs/poetic-asides/poetry-craft-tips/new-poetic-form-the-roundabout
My Thanks to Poetic-Asides.

Specifications restated:
Roundabout is:
A 20 line poem, attributed to David Edwards
Stanzaic: Consisting of 4 five-line stanza
Metered: Iambic with feet of 4/3/2/2/3 per line
Rhyme Scheme: aBccB bCddC cDaaD dAbbA
Refrain: L2 is repeated as L5 in each stanza

My example

Roundabout

Roundabout (Roundabout)

The driver thought he’d save some time.
although the sign said no.
he’d always say
he knew the way
although the sign said no.

His load was long but even so
’twas shorter this-a-way.
He drove enough
and knew his stuff —
’twas shorter this-a-way.

He shrugged and said “I’ll be okay”,
he put the truck in gear.
He took his time
and did the crime;
he put the truck in gear.

Half through the loop, he could not clear;
it cost him many dime
to learn what’s so;
when he could go
it cost him many dime.

© Lawrencealot – January 20, 2015

 

 

Photo credit: taken by poet.

Visual template

Roundabout

Rick’s 32

Ricks 32: Created by Erich J. Goller.
8 lines Rhymes or unrhymed.
Two or more stanzas. Any subject.
Syllable Count: 3-4-3-6-6-3-4-3.

Speculations

3 After dream
4 a bad nightmare
3 terrified.
6 in unbearable stretch
6 of a parallel life?
3 Life spark in
4 consensual
3 space/time place?
3 I wonder
4 will I ever
3 extinguish
6 sentience, endless lives?
6 travel through dimensions?
3 multiverse?
4 any respite?
3 wake with joy?

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

Specifications restated:
Rick’s 32 is:
Stanzaic, consisting of 2 or more stanzas,
Syllabic: 3/4/3/6/6/3/4/3
Rhyme is optional
Presentation is optional, centered or not.

My example

Captive (Form: Rick’s 32)

Disregard
all of the rules
consider
only your own desires.
Pity those silly fools
anguishing
in church classes
and in schools.

Methamphet 
produces highs,
contentment’s
almost guaranteed. You’ll
feel that you’re a winner.
You’ll lose teeth,
and yes indeed,
be thinner.

No one else
can pull your strings.
Your lover’s
perfect; he enables
until he see the cost.
If he balks
he knows certain,
your love’s lost.

© Lawrencealot – January 17, 2015

Choriambic dactylic fusion

This is a complex accentual-syllabic form invented by Glenn Meisenheimer writing on Allpoetry.com as gmcookie.

The Choriambic dactylic fusion is:
Stanzaic, consisting of any number of quatrains.
Each stanza is rhymed: (a/a)x(b/b)x, where x is unrhymed, and the letters
within parentheses indicate internal rhyme with the end word.
Each stanza is metered:
L1 and L1 are choriambic dimeter. A choriamb is a trochee followed by an iamb, thus DUM da da DUM.
L2 is catelectic dactylic tetrameter, thus [DUM da da] [DUM da da] [DUM da da] [DUM da ^]
* catalectic:  (kăt′l-ĕk′tĭk) adj.  adj. Lacking one or more syllables especially in the final foot.
L4 is catelectic dactylic trimeter, thus [DUM da da] [DUM da da] [DUM ^ ^]

This should all be made clear by the visual template below.

Here is the inventor’s first poem using this form:

Goblins

Pounding away day after day,
Prying the gold from the heart of the mountain,
Digging the ore, searching for more,
That’s what the goblins all do.

When it gets dark time to embark,
Crawling from holes to the moon lighted surface,
Patter of feet, hunting for meat,
Deep in the darkening woods.

Man child is best, troublesome pest,
Juicy and tender when stewed or when roasted,
Rabbits are nice, deer will suffice,
Partridge or grouses will too.

Then they are gone just before dawn
Scurrying back to their home in the darkness,
Digging the ore, searching for more,
That’s what the goblins all do.

Pasted from <http://allpoetry.com/poem/11855944-Goblins-by-gmcookie>

My example

Gallivanting (Form: Choriambic dactylic fusion)

Riding the rails, sleeping in jails
youth was misspent if consensus is taken.
Sleeping in tents, riding the fence
these were the acts that he loved.

Going on hikes, riding on bikes
Travel was far more important than where to.
Seeing how life coped with it’s strife,
building himself on the fly.

Seas that he’d sail hunting for whale
toughened him up and exposed him to drinking,
planning to chase ladies in lace,
gambling with dice and with cards.

Hunting for gold, campsites were cold
metals he learned to decipher by looking.
Scattered around, wonders were found
When and wherever he went.

Filled up with life, finding a wife
knowing the place where he started was dandy,
he raised some kids, yep, that he did
here at the end of the line.

© Lawrencealot – January 15, 2015

Visual template

Choriambic dactylic fusion

Fibroquatro

Fibroquatro: Three stanzas of a Fibonacci and a quatrain rhyming stanza of 4 lines a-b-a-b

Variation # 1: 1st stanza 1-1-2-3-5-8 Fibonacci count.
Second stanza a basic quatrain.
Line 2 and 4 same syllable count with an a-b-a-b rhyming scheme.

Variation #2 :1st stanza 13-8-5-3-2-1-1,
2nd stanza: 16-16-16-16-16 syllable count with rhyme scheme a-b-a-b.
3rd stanza 1-1-2-3-5-8-13 syllables of Fibonacci.

Variation #3: 1st stanza: 1-1-2-3-5-8-13 syllable Fib.
2nd stanza 15-13-15-13. 1st and 3rd and 2nd and 4th same syllable count. Must rhyme a-b-a-b.
3rd stanza inverted Fib–13-8-5-3-2-1-1.

Fibroquatro
I Will Be Old
1 I
1 will
2 be old
3 when I’m not
5 against injustice
8 and not uplifted by art

1 I
1 will
2 be old
3 when body
5 won’t work, my mind won’t
8 quirk, my spirit becomes murky.

1 I
1 will
2 be old
3 when I feel
5 negativity
8 dragging me down, making me grave.

a I will be old when I can’t create
b or feel discovery’s delight,
a when I can’t anticipate
b the world will be all right.

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

*Fibonacci sequence 
The sequence of numbers, 1, 1, 2, 3, 5, 8, 13, … , 
in which each successive number is equal to the sum of the two preceding numbers.

Related Poetry Forms: Fib Diamond, Fib SeriesFibonacci Spiral, FiboquatroHaven Fire

My Example

I Am Now Old  (Form: Fibquatro)

I
am
now old
and I am
against injustice
and still uplifted by art.

I
am
now old
my body’s
showing signs of age;
but my spirit’s not lost a step.

I
may
be old
but I refuse
negativity
to stake a claim while I’m alive.

While days are here to be enjoyed
and people still will talk with me
and I’ve more poems to be deployed
I’ll eat donuts and drink Chablis.

© Lawrencealot – December 24, 2014