Tags2 couplets 2 quatrains 2 sestets 2 tercets 3 quatrains 4 tercets 7 couplets AAaBBbCCcDDdee aabbccddeeffgg ababcdcdefefgg abbaabbacdecde abbacddceffegg Allpoetry Archer Black Narcissus couplet Eberhart feminine rhyme Front Rhyme gadget Heroic Crown iambic pentameter iambic tetrameter internal rhyme isosyllabic Lawrencealot meter optional octave octet quatorzain quatrain refrain refrain words Reyes rhymed sestet Sonnet Redoubled standard Sutton syllabic tetrameter v8 v9 v9or Van Gorder
This sonnet form was invented by Visalakshi , aka Vive la V on Allpoetry
Here are her own requirements:
(1) Stanzaic : quatorzain, or octave and sestet.
(2) 10 syllables, except in the final couplet, which could vary: 10 or 11, but both L13 and L14 should be the same syllable length
(3) It is lexical where the last word of the first stanza becomes the first/ or beginning of the first word of the second stanza. This pattern continues to the end.
(4) The sonnet ends with the same word with which it begins, yes it is a requirement.
(5) Must rhyme. Rhyme pattern abab cdcd efef g’g (or gg) (near rhymes or exact rhymes)
(6) Volta in L9 or L 13
(7) For this form there is no metric requirement. It is optional.
Here is my example
We have What’s Needed (Sonnet Reversii)
Within us all is something from without.
Without a doubt there’s much I can adduce,
adduce some things for you to think about.
About our doubts we have a real excuse.
Excuse me when I claim man’s not correct,
correct in thinking gods must be required.
Requiring dogma leaves a disconnect-
a substitute for answers much desired.
Desiring knowledge is, and must remain –
remain a trait to which we must attend.
Attend to learning; try not to complain.
Complaining sigh won’t help us to contend-
contend with knowing, “How’d it all begin”.
Begin assured, we’ve all we need within.
© Lawrencealot – April 1, 2014
This is a sonnet form invented by Tim Weaver, aka Poeticweaver of Allpoetry.
It’s only defining characteristic is the Rhyme scheme: abab cdcdefef ee
All normal sonnet options apply, meter and line length at the poet’s discretion.
Here is a Visual Template for Iambic Pentameter
Adam’s New Girl
She comes to me from realms beyond our earth,
a beauty with a mind beyond our own,
intending to assess all mankind’s worth.
Thus, I’m afraid to be with her alone.
She knows our kind are greedy and unjust,
as her kind were before our earth was here.
I’m sure if I succumb to wanton lust
I’ll validate her doubts all bout our sphere.
“Not so,”, she said though I’d not said a word,
“aggression, greed and hate can all go way,
but losing human lust would be absurd.”
I’m here as Eve, with kinder DNA.
I’ve chosen you, I’m glad you’re not deterred,
Undo my fittings while your lust is stirred.”
© Lawrencealot – October 10, 2013
I deem this Contempory Steampunk verse
A Measure of Character(Sephiallan Reverse Sonnet)
What you are told in confidence
if you hold secret to your breast
reward will flow in unknown ways.
An urge to propagate a tale
to pique the interest of a friend
there can surely be no good end
when confidences you assail
a gentle whispered word betrays
when silence serves your honor best
Your revelation makes no sense
I’ll never trust my thoughts with you
if other’s secrets you will spew
If rumors gain some cognizance
From what you’re told in confidence .
© Lawrencealot – April 15, 2013
The Terza Rima or Diaspora Sonnet, appeared in England in the 19th century. It makes use of the interweaving pattern and forward movement of the Italian Terza Rima. This variation of the sonnet is written in tercets with an interlocking rhyme scheme and concludes with a refrain or invocation in the form of a heroic couplet.
The defining features of the Terza Rima Sonnet are:
• a quatorzain, made up of 4 tercets and concluding with a rhyming couplet.
• metric, iambic pentameter.
• composed with a volta (a non physical gap) or pivot (a shifting or tilting of the main line of thought) sometime after the 2nd tercet.
• similar to the Spenserian Sonnet in which the poem progresses forward developing the metaphor, conflict, idea or question. The epiphany of the poem arrives logically in the couplet.
• rhymed with up to 6 rhymes with an interlocking rhyme scheme is
aba bcb cdc ded ff.
• written so that the concluding rhyming couplet serves as a refrain or invocation.
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=1043>
The first specifications I used and have posted above were from
The following I am adding on 10/05/12, as al alternative for I am suspect we shall find both versions
in the field.
Although purists state all sonnets should be Iambic Pentameter, any meter or line length may be used, as long as all the lines are of the same length and meter.
The rhyme scheme is that line 2 of each stanza rhymes with lines 1 and 3 of the following stanza, creating an interlocking pattern. In the final stanza, both lines rhyme with line 2 of the preceding tercet.
The Terza Rima sonnet has the following rhyme scheme,
A1. b. A2… b. c. b… c. d. c… d. a. d… A1. A2.
Pasted from <http://www.thepoetsgarret.com/sonnet/rima.html>
Tell Me of Your Anger in Whispers (Terza Rima 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
You know that my concern will be repair.
Let’s neither utter words we can’t disown.
Be sure the words you say are truly fair.
Mistakes may not be cause for placing blame.
Delay harsh words, then later clear the air.
The words when heated likely will inflame
response I’d never give with common thought.
you know your dulcet tones will win the game.
My love, use whispers closely late tonight.
I love you, honey; I will make it right.
(c) Lawrencalot – September 25, 2012
A1bA2 bcb cdc dad A1A2 or aba bcb cdc ded ff
Meter: Iambic heptameter
Rhyme Scheme: That of any other sonnet.
Volta, That of selected sonnet form.
A Fourteener is used by some as an alternate term for sonnet.
However, poets have also used the term to mean a sonnet in iambic heptameter:
fourteen lines, each with seven iambs (fourteen syllables).
You can use the rhyme scheme of any sonnet form you choose.
The problem with the fourteener is that you could just as easily break each
line into one line of iambic tetrameter (four iambs), followed by a line of iambic trimeter (three iambs). At that point, you’re actually writing in common meter, or ballad meter.
No longer is the poem slow and introspective: it becomes a jaunty, sing-song little number.
Once we get beyond the Alexandrine ( Iambic hexamter), the lines tend to crumble into smaller sections under their own weight.
Here are some well known songs in ballad meter.
“Amazing grace how sweet the sound that saved a wretch like me.
I once was lost but now am found, was blind but now I see.”
“There is a house in New Orleans they call the Rising Sun,
it’s been the ru[in] of many [a poor] boy, and God I know I’m one.”
“I’d like to teach the world to sing in perfect harmony,
I’d like to buy the world a Coke and keep it company.”
This shouldn’t dissuade you from trying your hand at the Fourteener form,
but you should work to justify the length of the lines by filling them with imagery and beautiful figurative language.
The Highwayman (Fourteener)
When Mabel saw the highwayman, a dandy to be sure,
(his manicure was evident, his lips were freshly glossed,
his brocade vest was all bedecked with silver’s bright allure),
she wanted to be taken by this man at any cost.
“Please stop this carriage! Don’t resist!”she told her able crew.
His ribbons and his earrings were as fine as were her own.
Her bosom swelled, her breath came faster with the closer view.
She wanted naught today but this highwayman alone.
“My dearest lady, please step down. Your loveliness is such
I’ll leave the lock-box to my crew- and you shall be my guest.
Your slender waist and flowing hair excites as does your chest.
My crew seeks other treasure but it’s you I wish to touch.”
The highway man in all this time has never fired a gun.
The ladies tell their drivers, “You are not to fight or run. ”
© Lawrencealot – May 14, 2013
Note: This Fourteener is penned in the style of a Tennyson-Turner Sonnet