Super Sonnet

This is any Iambic pentameter set of 4 to 8 quatrains ending with a couplet.
The Poet may choose any rhyme scheme.
xxxx xxxx xxxx … xxxx xx

Example Poem:

(Note: that this poem is an Acrostic.  The supersonnet form was chosen
because it had the correct number of lines and spacing for the characters needed.)

Tell Them They Like It

The crowd was an avalanche coming in.
Event promotion: a circus it seemed.
Less time was spent preparing, staff was thin.
Leaving unspent coupons was quite undreamed.

The parking lot was now afloat with cars.
Hello! The drunks are falling out of bars
Especially to see the dancing girls
Machine precisioned bonnets hid their curls.

The stock boys were an army through the store.
Here stands the boss, a monument to glitz.
Employees hide their hair more than their tits.
You know which stumbling drunks want to see more.

Liquor, and candy-canes donned cloaks of foil.
Instant rebates were blooming on each aisle.
Kiosk sales pitches bubbled to a boil.
E-mail and flyer ads made shoppers smile.

Inventory flew through door through the night,.
This all because the voting turned out right.

Visual Template:


Spenserian Sonnet

Three sources viewed here:

The Spenserian Sonnet was named for Edmund Spenser 1552-1599, a 16th century English Poet. The Spenserian Sonnet inherited the tradition of the declamatory couplet of Wyatt / Surrey although Spenser used Sicilian quatrains to develop a metaphor, conflict, idea or question logically, with the declamatory couplet resolving it.

Beyond the prerequisite for all sonnets, the defining features of the Spenserian Sonnet are:

  • a quatorzain made up of 3 Sicilian quatrains (4 lines alternating rhyme) and ending in a rhyming couplet
  • metric, primarily iambic pentameter.
  • rhymed, rhyme scheme ababbcbccdcdee.
  • composed with a volta (a non physical gap) or pivot (a shifting or tilting of the main line of thought) sometime after the 2nd quatrain. The epiphany is arrived at logically.
  • written with each quatrain developing a metaphor, conflict, idea or question, and the end declamatory couplet providing the resolution.

Sonnet LXXV 

One day I wrote her name upon the strand,

But came the waves and washed it away;

Again I wrote it with a second hand,

But came the tide and made my pains his prey.

“Vain man,” said she, “that dost in vain assay

A mortal thing so to immortalize,

For I myself shall like to this decay,

And eke my name be wiped out likewise

“Not so.” quod I, “Let baser thing devise

To die in dust, but you shall live by fame;

My verse your virtues rare shall eternize

And in the heavens write your glorious name,

Where, when as death shall all the world subdue,

Our love shall live, and later life renew.”

——Sir Edmund Spenser


Fresh Spring! the herald of Loves mighty king,

In whose coat-armour richly are displayed

All sorts of flowers, the which on earth do spring

In goodly colours gloriously arrayed –

Go to my love, where she is careless laid,

Yet in her winters bower, not well awake;

Tell her the joyous time will not be staid,

Unless she do him by the forelock take:

Bid her, therefore, herself soon ready make

To wait on Love amongst his lovely crew,

Where every one that misseth then her make,

Shall be by him amerced with penance dew.

Make haste, therefore, sweet Love! whilst it is prime;

For none can call again the passed time.

—- Edmund Spenser 1552-1599

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My thanks to Judi Van Gorder for years of work on this fine PMO resource.


Spenserian Sonnet

Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Simple, Pivot Requirement

Description: This sonnet is arranged as three quatrains and a couplet using rhyme to help interlink. There is a pivot, a change of meaning or direction, that usually occurs in the sonnet at the ninth line. It was developed by Edmund Spenser.

Attributed to: Edmund Spenser

Origin: English

Schematic: The rhyme scheme is: abab bcbc cdcd ee.

Rhythm/Stanza Length: 14

Line/Poem Length: 14


Pasted from
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.


Rhyme Scheme and Meter

Spenserian forms often employ an intricate, interlocked rhyme scheme, with the favored iambic pentameter serving as the rhythm. These poems are often more difficult to write than a form like the Shakespearean, or English, sonnet, which does not call for as many repeated rhymes. The two main forms of Spenserian poems — the stanza and the sonnet — both slightly vary from existing forms, such as the French ballade and the Petrarchan sonnets. You might want to practice writing in iambic pentameter or follow an easier form like a ballad or Shakespearean sonnet before attempting the Spenserian forms. Also, don’t forget you can use half or “slant” rhymes rather than forcing perfect rhymes.

Spenserian Stanza

The “Spenserian stanza,” used in Spenser’s poem “The Faerie Queen,” is comprised of eight lines in iambic pentameter and a ninth line, called an alexandrine, with 12 syllables and primary stresses on syllables six and 12. The Spenserian stanza rhymes ABABBCBCC, a very similar scheme to the French ballade and the Italian ottava rima. The repeated rhymes make the form difficult to write, especially in rhyme-poor languages like English. The ninth line of the Spenserian stanza serves to complete the idea presented in the first eight lines of the stanza. Start practicing writing lines in iambic pentameter followed by lines of 12 syllables before trying to tackle the form and the rhyme scheme at once.

Spenserian Sonnet

The form known as the Spenserian sonnet combines elements from other sonnet forms. This form utilizes only five rhymes, similar to the Petrarchan sonnet, but follows a structure more akin to the Shakespearean sonnet, with three quatrains followed by a couplet. The Spenserian sonnet follows the rhyme scheme, ABAB BCBC CDCD EE, and is written in iambic pentameter. While the “turn” in a Petrarchan sonnet occurs around the ninth line, the realization occurs in the final couplet of a Spenserian sonnet. Spenser often threw in a false turn by using words like “yet” or “but” around the ninth line, but the true resolution or revelation occurs in the final two lines.

The Turn

The turn, also called the “volta,” is an important component of the sonnet form, and even the alexandrine at the end of a Spenserian stanza provides a kind of relief or conclusion to the previous lines. It might be useful to write sonnets in both Petrarchan and Shakespearean forms prior to writing a Spenserian sonnet — practice the Petrarchan form to improve your rhyme scheme, but train with the Shakespearean sonnet to work on effective turns in the final couplet. The interlocking rhymes of a Spenserian sonnet act as glue between the quatrains, but the new rhyme in the couplet packs a punch.

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My thanks to for the above.


My Example:

Tell Me of Your Anger in Whispers (Spenserian Sonnet)

Should you be moved to speak in anger dear
I ask that first you test your words alone.
You’ll want to be assured your meaning’s clear.
Sometimes context will change with spoken tone.

If anger stems from blunders of my own
There’s nothing risked delaying words that grate.
I’ll be contrite as in the past I’ve shown
so wait, my love for anger to abate.

In calmness we can set the record straight
I think harsh words will simply disappear
when dulcet tones from you do emanate.
Your goal will be achieved I think, my dear.

My love,  use whispers closely late tonight.
I love you, honey; I will make it right.

(c) Lawrencealot – March, 2012



Slide Sonnet

The Slide Sonnet is created be Victoria Sutton aka “PassionsPromise.”  
Like most sonnets, it has 14 lines. 
It is composed with eight syllables to each line. 
The first half of the first line of each stanza “slides” 
to the last half of the third line, 
creating a unique poetic repetition.  
The rhyme scheme may be “aabb ccdd eeff gg” 
or “abab cdcd efef gg” or abba cddc effe gg”
Tell Me of Your Anger in Whispers (Slide Sonnet)
If you should speak in anger, dear, 
first speak where only you can hear 
then speak softly if you should speak 
Good results come from this technique. 
If meaning’s clear, is message fair? 
Are words intended to repair, 
if so, they will if meaning’s clear 
for your goals are mine too my dear.
The words can wait, while anger cools 
and then converse when reason rules. 
I will be here, the words can wait.
You views I will appreciate. 
Use whispers closely late tonight. 
And honey I will make it right. 
aabb ccdd eeff gg  or abab cdcd efef gg or abba cddc effe gg
Visual Template:

Shadow Sonnet

Created by Amera Anderson
May be written in any sonnet style. The Shadow takes place at the beginning and ending of each line as the words are identical or homophonic words or
their derivatives.
14 lines
Should have a volta or pivot (if original form does)
Iambic pentameter is not necessary

Example Poem:

Tell Me of Your Anger in Whispers    (Shadow Sonnet)

Speak not in anger, though mad when you speak.
Compose yourself then attempt to compose
phrases defining call to act, phrases
filled not with blame, but requests I can fill.

Partners resolve issues when as partners
they proceed- each understanding that they
own both messages, not merely their own.
I want my final words to be, “Aye aye.”

Wait while upsets subside. It’s worth the wait.
Care taken framing talk is proof you care.
Help smoothing objections is a big help
solving any problem which we must solve.

Nighttime brings closeness with romance of night.
Whispered concerns vanish with a whisper.

(c) Lawrencealot – March 30, 2012

Visual Template:


Sestina Sonnet

The Sestina Sonnet is written in ten-syllable lines(usually iambic pentameter) and is structured with three stanzas; three quatrains(four-line stanzas) and a concluding couplet(a two-line stanza). The interesting thing about the Sestina Sonnet is that it actually doesn’t rhyme. It retains the Sestina qualities by repeating the end-words of lines throughout the piece.

The four words that end the lines of the first stanza, end the lines of the other two stanzas, in a different order each time. The last stanza, uses two of those words per line, with one in the middle and one at the end of the line.

Example Poem:

Tell Me of Your Anger in Whispers (Sestina Sonnet)

Don’t start a message with an angry word
for voice will carry tones that are not right
for saying what is needed to be heard.
An angry start can last until the night.

Daytime travails get pushed away at night
and ‘ere we sleep all problems should be heard.
Tell me I’ve goofed without an angry word.
We’ll fix it, regardless of who is right.

Experience shows that you’re usually right
unless you misunderstood deed or word.
A certain magic when we talk at night
yields solutions from voices that are heard.

You will be heard and things will work out right.
Tell me at night by way of whispered word.

(c) Lawrencealot – November 7, 2012

Visual template:
In previous examples I have show most set for Iambic so let’s be different here.

Sapphic Ode Sonnet

NOTE: This is admittedly and intentionally not the formal Sapphic Verse.
When I found this construct I did not capture the creator’s name, and now that I am making the forms public, I would very much like to provide attribution.  If anyone can help it will be added with appreciation.

3 quatrains composed of 3 lines of iambic  tetrameter
and a 4th line of iambic dimeter,
closing couplet in iambic tetrameter
Rhyme Scheme: abab cdcd efef gg

Example Poem:

Seasoned Harvest (Sapphic Ode Sonnet)

We gamboled through the summer hay-
alfalfa growing green and tall
enough to hide in anyway,
when we were small.

I had no sibling, nor did she
and neighbors weren’t  that near those days.
We’d languor in the apple tree
those summer days.

She grew up lithe and comely yet
while I was craggy faced and shy
through school she did not once forget
I was her guy.

When I asked she did not demure;
“Me, marry you?”she said, “Why sure.”

© Lawrencealot – Oct. 18, 2012

Visual Template:

Rubaiyat Sonnet

The original Rubia came from Persia.
Consisting of four lines (quatrain), that can be
of tetrameter or pentameter form.
Rhyming: aaba bbcb ccac aa
There isn’t any mention iambs in this form of sonnet. 
Example Poem:
Finish in Glee
Rise up- find the child within
She can play without chagrin.
She has shared you long with me
Let her play with us begin.
Let my child within be free
to reflect with company,
aged but still embracing schemes.
Anxious now for what we’ll see.
Serious jobs done now it seems.
Let’s now play with mind’s own dreams.
We can be silly now and enjoy
watching views of life’s extremes.
Hidden by convention’s din
shines undimmed to child within.
(c) Lawrencealot – September 22, 2012
Visual Template:

Romblomanon Sonnet

Quatorzain Generally  Iambic Pentameter
Volta at or following line 9
Quatrain + Couplet + Two quatrains
Rhyme scheme:  aaaa bb cccc dddd
This is a form invented by Jose Rizal M. Reyes of the Philippines

Example Poem:

The Hylonome’  (Romblomonan Sonnet)

I wanted so to be a Hylonome’
the half-woman half horse said once to rome
thru myths, inscribed in ancient dusty tome.
“No, shan’t display your breasts away from home.”

“But Dad, my tits are finer than my face.
You promised me I’d win a premier place.”

“You shall, you have provided me a clue.
Now please go way, I’ll see what I can do.”
His art with leather shined with stitches true,
and art was wearable when  dad was through.

Her boobs were covered, crushed and that was sad,
but she her face was hidden, that’s not bad.
She worn the finest horse-head to be had
and winning first place surely made her glad.

© Lawrencealot –  Oct 31, 2012

Visual Template:

Rainis Sonnet

Rainis Sonnet is a short meditation. Whether or not it is a true sonnet is up for debate. It is a lyrical meditation with a turn or volta, however it is shorter than the usual quatorzain of the sonnet. It is named for the Latvian philosopher and poet Janis Rainis (1868-1929) Rainis Sonnet is: • written in 9 lines made up of a quatrain, followed by a tercet ending with a couplet. • metered, primarily iambic pentameter. • rhymed, turned on only 3 rhymes. Rhyme scheme abab (cbc or cac) and (aa or bb or cc). abab cbc aa abab cbc bb abab cbc cc abab cac aa abab cac bb abab cac cc abab cac aa

written with the epiphany arriving in the tercet.
Example Poem:
Tell Me of Your Anger in Whispers (Rainis  Sonnet)
Should you be moved to speak in anger, dear,
I ask that first you test your words alone.
You’ll want to be assured your meaning’s clear.
If anger stems from blunder of my own
There’s nothing risked delaying words that grate.
Then speak in dulcet soft and husky tone.
I’ll listen, think, and I’ll appreciate.
My love, use whispers closely late tonight.
I love you dearly, I will make it right.
© Larry Eberhart, aka, Lawrencealot,  Oct. 11, 2012
  Visual template:

Quatern Sonnet

The original Quatern was a French form consisting of three,
four line stanzas and containing a couplet refrain.
As is normal with French poetry it was constructed using eight syllable lines.
No meter or rhyme scheme was specified.
The Refrain is the first line of the first stanza,
and becomes the second line of the second stanza,
the third line of the third stanza and
finally the last line of the last stanza.
The well known Australian poet Bruce Henderson
suggests replacing the final quatrain with a couplet,
thus making it “a little song”.

Quatern Sonnet Template
Note: NO Rhyme required, but ANY permitted,  I have shown common choices.

Example Poem:

Let’s write a new Quatern Sonnet

Eight syllables four of which slide
from each stanza by line they glide.
No rhyme required but here I tried.

No meter was specified, yet
for this single Quatern Sonnet
I’ve used iambic meter tet!
Insulted some back there I’ll bet.

Refrains can play like Quaterns do.
Hence naming should make sense to you,
but “sonnet” in Quatern Sonnet
Means fourteen lines in this guy’s  view.

We had the thought in our bonnet;
now we’ve penned a Quatern Sonnet.

(c) Lawrencealot – June 25, 2012

Visual Template: