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The 13 Line Sonnet is a from created by Marcy Jarvis, aka ea of Allpoetry.
The defining characteristic of the form is that any standard fourteen line sonnet which ends in a
rhyming couplet, is converted to 13 lines by provided internal rhyme within that line.
The poet may use flexibility in selecting rhyming syllables to accommodate feminine rhyme or the meter chosen.
Obviously this cannot be applied to an Italian Sonnet with prohibits final couplet rhyme.
Note also that if the poet chooses a sonnet form like the Betwixt Sonnet, which requires the couplet to rhyme with an earlier line, ( In this case abba cbbc dbbc bb ) the 13th line rhymes must match that specified rhyme.
Shall I Be Ruled
A sonnet dear, you most completely write
on tablet made of stone, already lined.
That’s all she expects from bards of realm.
The gods decreed that maiden shall be mine.
Expand, compress; do both and overwhelm.
In winning, might I still chalk up a loss?
By bending early to controlling will
do I establish pretty maid as boss?
Will all my future journeys be uphill?
Forsooth! I’ll take the maid! I’m not afraid.
© Lawrencealot January 1, 2013
Invented by Allan R. Emery, aka Joe King on AllPoetry.com
Rhyme Scheme: Any*
The defining characteristic of this form is that it contains
two correct Sonnet rhyme patterns.
Therefore I present none here, you may choose from more than a hundred I have indentified to date.
*The poem should be written in the meter with the line length specified for the poem for identified by the end-rhyme pattern you select.
The location of the volta is also dictated by that poem type.
Here is the author’s own explanation:
This Dual Sonnet (Envelope, English) One Sonnet rhyme is executed on the sixth syllable of each line and another sonnet written in the traditional way. The rhymes are notated below in small and caps because “a” does not have to rhyme with “A”. Dual sonnets can use any two different rhyme schemes to create the poem. This one is notated below:
* X * X * a * X * A
* X * X * b * X * B
* X * X * b * X * A
* X * X * a * X * B
* X * X * a * X * C
* X * X * b * X * D
* X * X * b * X * C
* X * X * a * X * D
* X * X * c * X * E
* X * X * d * X * F
* X * X * e * X * E
* X * X * c * X * F
* X * X * d * X * G
* X * X * e * X * G
One may choose the column of the poet’s choice for the internal rhyme.
Don’t Knock It (Dual Sonnet)
I guess we use this form to artfully malign
the grumblers with no style, who commonly complain.
Most poets grin or smile when treading new terrain,
but whining’s oft the norm where no new change is fine.
Let’s not be bashing thoughtful critiques showing spine,
but those who crowd the aisle and point and mock the new
as something not worthwhile if not the old world view.
As poet we should not eschew all new design.
Yet what for years has charmed, and struck us as divine
has done so all the while with its attractiveness.
Don’t think that I’ll revile the old or like it less
because I’m newly armed with forms I’ll help design
A new form may beguile, then fade, and so decline,
or might it age awhile, improve in fact, like wine?
This is a Dual Sonnet
The specification are HERE.
This particular sonnet is based upon the
SC’s Crybaby Tear Flow Sonnet and Betwixt Sonnet
[abba acca adda aa] [abba cbbc dbbd bb]
for end-rhyme and internal rhyme respectively.
Here is a visual template for the form with two specific sonnet types.