Atom: three line stanzas=tercets.
Count letters: 5-7-5.
This poem linked tercets under title.
No punctuation or capitalization like haiku.

Momentary Stay Now

an owl
hoots to
bug me

pecks at

they now

it’s my
My Thanks to Linda Varsell Smith for her contributions above.

As far from the American Sentence as you can get in Haiku analogues.

Specifications Restated

A Stanzic poem, consiting of one or more tercets
LETTER BASED POEM, with 5/7/5 letters per line

My attempt

Few Atoms Found


per my

we’ve got
’em all

© Lawrencealot – December 21, 2014


Form: Argonelles is composed of an unlimited amount of 5-line stanzas (quintains). The syllable count is 2-6-8-8-6, with line 2 & 5 having the same syllable count and limes 3 & 4 composed of the same syllable count. The rhyme scheme of an Argonelles is : a-b-c-c-b.

a fear of the unknown,
and the thought of waiting in line,
these things send shivers up my spine
when I am all alone.

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I also found at:

Argonelles: five line stanzas.
Rhyme Scheme: Lines 2 and 5 are the same.
Lines 3 and 4 rhyme.
Syllable count: 2-6-8-8-6

However I am setting forth the interpretation found at because
I believe that refrain accounting for 40% of a stroph is a bit heavy.

Specifications restated:
An Argonelles is
Stanzaic: Composed of any number of quintains
Syllabic: with lines of 2/6/8/8/6 syllables
Rhyme scheme: xabba
Meter and theme at poet’s discretion.
If anyone can provide more information, or the name of the inventor please comment.

My example

A Documentarian’s Deed  (Form: Argonelles)

is what I’m meant to do
although it’s not my favorite task.
Why do I do it then, you ask?
I do it just for you.
© Lawrencealot – December 21, 2014

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American Sentence poetry form

American Sentence: Invented by Allen Ginsberg.
An American haiku variation. 17 syllables written in a sentence.
Any topic.
In a series:

James and Basketball
James plays basketball with cough and red cheeks activating asthma.
Grounded from playground basketball, he sees ball fall through hoop in his mind.
He watched beloved Trailblazers on television from his bed.
He calls Grandpa to discuss the game as both keep scores, critique players.
In his yard the hoop net droops waiting for him to play, to take his shot.

The Lightening Whitening Crone
My hairdresser calls my blonde/gray/white hair “dowdy” as she layers hair.
To cover thinning bald spots she poofs and puffs my crown which will whiten.
When too long, my hair hangs limp and will not turn under; fine strands just fall.
No Rogaine or woven weaves, wigs will not work for me, so I endure.
I forget about getting haircuts until bangs appear near eyebrows.
When grading or writing I like to see the page un-fringed and clearly.
My hairdresser knows she will see me when I’m teaching and need light head.
My Thanks to Linda Varsell Smith for her contributions above.


So, the qualities of such a sentence? Like most other good poetry it should be Imagistic, with that gap of meaning between the writer and the reader; ie: phenomenology. Some kind of juxtaposition helps create a tension. For example:
1.19 — Get it in your mouth, not sure if you should swallow or not — oyster.
1.24 — The look on RR’s dream face when the army crushes a piano.
2.09 — Steve’s Civil Service motto: Why work for an asshole when you can be one?
3.04 — After I got her email, I pulled the extra pillow from my bed.
4.05 — They want a stool sample, what a load of crap! No Pop, it’s just a smidge.
4.05 — The sign at dairy queen says: New Flamethrower Chicken Now Hiring.
4.08 — Tell Richard I’m laying off women — he says You gonna wear the patch?
4.18 — Each from our respective cars watching her tennis game, the ex- & I.
5.16 — Ma before the Wednesday pillbox — Cholesterol or Tranquilizer?
7.03 — Hour’s wages shot up in three sparkly minutes — Happy Independence Day!
7.04 — Cat corpse on sidewalk, rabbit corpse on the bike trail — Happy Independence Day!
7.26 — I told you I don’t have time on my phone, that’s why I keep hangin’ up on you!
7.31 — Sign of age? She puts on vanilla perfume, I wonder who’s got cake.
8.27 — If you can crawl out your chair to get on her man, you can take a beatin’.
9.07 — That’s an experience I’ve never had he says, nose full of menstrual blood.
9.08 — Good thing I cleaned the kitchen floor shiny target on which the cat could urp.
10.02 — At the spot where my car was totaled, five years later, a traffic circle.
11.05 — Distracted, I can’t get by the cat urp before it becomes a hot lunch.
11.16 — Post Traumatic Stress Disorder at Lowe’s — Rotorwash of ceiling fans.
11.17 — This piece of free-range chicken may be live, would taste better w/ floor dirt.
11.20 — On the beach he skidded to a stop & then someone sucked out his heart.
11.27 — Yesterday doctors gave Dick Cheney shock treatment on the wrong organ.
12.19 — His T-shirt said: Vegetarian is Indian for Bad Hunter.
These poems are all from 2007, and we can see several categories. There are cat poems on July 4, September 8, November 5 and on November 17, the poem was written from a cat’s perspective. Found poems are entirely transcribed, or set up in the poem, from January 19, February 9, April 5, July 26, August 27 and December 19. Some poems are from dreams (my daughter Rebecca Rose is often called RR to save a syllable) and some are from relationships. (That has been a rich source of sentences over the past 8 years.)
The key comes from a Ginsberg notion, poets are people who notice what they notice. This is a mindfulness exercise and, the more aware you can be, the better the poems. They do reflect the play of the intellect, so a dull mind will create especially dull poems, but at least they’ll be short! In seventeen syllables there is enough room for rhythm and word music. Dig that line, rotor wash of ceiling fans.Dactyllic meter if you’re scoring. You can find other examples above.
Avoiding some of the rules of grammar, such as the poem September 8, also add a nice effect and just enough busted syntax so not as to obscure meaning, but be another Ginsberg Mind Writing Slogan,Maximum information, minimum number of syllables. (Condensing.) Ginsberg also comes from the William Carlos Williams school of using demotic speech, so the found sentence of July 26 provides a good example of that, as does use of the word urp.

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Restated specifications:
Single line poem of 17 Syllables invented by Allen Ginsberg
May be titled or not.
May be in series, but USUALLY is not.

My example

Class Act

Class Act (Form: American Sentence)

Pants hanging below their hips. Gotta be a trick; hidden suspenders?

Alphacouplets poetry form


Alphacouplets: The couplets rhyme. You begin with a noun.
In these examples= angel, cat, blimp, turtle, sky, cloud, egg.
You put three words beginning with the same letter before the word and then you rhyme the second line. You can join them together to make a longer poem.

An arrogant, amorous, agile angel
formed with earth and cloud–a love triangle.
An adoring, absent-minded, adolescent angel
wore her halo at a rakish angel.
Cantankerous, cranky, curious cat
battled with owners, fleas and gnat.
Bulbous, beautiful, blazoned blimp
burped, busted and became limp.
Timid, testosteroid, trying turtle
found his shell a hurdle to being fertile.
Scarlet, scowling, screaming sky
turned sodden earth to mud pie.
Catastrophic, clamorous, clobbered cloud
said, “ Thunderhead, stop for crying out loud.”
Eloquent, elegant, egotistical egg
pontificated too long upon a keg.
My Thanks to Linda Varsell Smith for her contributions above.

Specifications restated:
An Alpha Couplet is:
• A stanza of any length, consisting entirely of rhymed couplets.
• The final word of the first line of each couplet must be a noun
• Three alliterative words must precede that noun.
• The next line must rhyme with the first.
• There are NO metric or line-length requirements, nor prohibitions.

My example

Wormhole Wisdom (Form: Alphacouplets)

A mostly mature, maybe modern man
arrived sometimes before is trip began.
He wanted wisdom with a winsome wife,
but found that younger women caused much strife.
He set to sail thru interstellar space
expecting time would much improve our race.
He viewed the vista of a vacuous void
so empty that he darn well was annoyed.
He meant to move and mingle now with men
but Wolfe was right! You can’t go home again.

© Lawrencealot – December 20, 2014

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Alpha Couplet

Acrostic Decima poetry form

Acrostic Decima

Acrostic Decima: the Decima form with an acrostic. Write the two five words used in the poem vertically to start the line.
Syllable Count: 8 syllables per line.
Rhyme Scheme: a-a-b-a-b a-a-b-b-a.
Only two rhymes a & b. Not a rhyming couplet at the end.
OSPA=Oregon State Poetry Association. Wilma Erwin was an
OSPA president.

A Poem of Praise and Healing
For Wilma Erwin

Wisdom flows from vision and hand.
Ideas become poetry.
Lover of all humanity.
Many poems formed from her command.
Advocates nature, family.
Energetic in every way–
Rose Festival, OSPA–
Writing, teaching, our dear friend
Imagines real haiku. We send
Now our love and prayers today.
My Thanks to Linda Varsell Smith for her contributions above.

My example

Quill Quota ( Form: Acrostic Decima)

Quit worrying, there is no need
Unless much haste has been decreed.
Instead, pretend you’re having fun
Lets write instead as you’ve agreed
Lots of new forms done one by one.

Quaaludes or any other speed
Undoes one’s mind you must concede.
Organize what you have begun,
Then someday soon you’ll be all done.
All that’s left now is to proceed.

© Lawrencealot – December 20, 2014

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Acrostic Decima

Silva de consonantes

Spanish poetry.

Silva de consonantes, the defining features are:
○ stanzaic, any number of couplets.
○ syllabic, alternating 7-11 syllabic lines. 7-11 7-11 7-11 7-11 7-11 etc.
○ rhymed, consonant-full rhyme aabbccdd etc.

Mr. Jones by Judi Van Gorder

The office door stood ajar,
invitation for our cheerful morning star.
He liked to talk. Everyday
he stopped to chat before going on his way.
I suppose he was lonely,
at 92, wife gone, kids grown, absentee.
Welshman, from across the sea,
he tried to teach me Welsh, often sang to me.
Its been a while since he last
stopped by. I miss his smile and song, his life passed.

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

My example

Maybe is but a Deferral (Form: Silva de consonantes)

“Maybe” really means “Aw shit!”
It’s a dirty word, and that’s the truth of it.
It is merely an excuse
given in advance; I think it’s child-abuse.
Yet a phrase that’s just as bad
is when mother blandly says, “Go ask your Dad.”
They have taught me not to lie.
Knowing saying simply “No!” may make me cry,
parents oft choose to postpone
answers, or pretend perhaps they’re not their own.
Better though than another
once referred is: “Okay, go ask your mother.”

© Lawrencealot – December 19, 2014

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Silva de consonantes


Manardina: 12 lines. Invented by Nel Modglin
Rhymed syllabic form: 4a-8x-8b-8b-8x-4x–4x-8b-8b-8x-4a-4a
Two rhymes. X=no rhyme.

International Women’s Day 2011

Women unite!
International Women’s Day.
One hundred years to celebrate!
Globally all people can state
the female gender really shines.
let all women participate.
We need a just world-wide mandate
so every girl can freely choose
what she thinks right
with future bright.

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My Thanks to Linda Varsell Smith for her contributions above.

Specifications restated:
Single stanza 12 line poem
Syllabic 4/8/8/8/8/4/4/8/8/8/4/4
Rhymed: axbbxxxbbxaa

My example

Do All Deceive? ( Form: Manardina)

Well if I could
tell truth from fiction I’d be smug
I guess, or upset every day
by knowing folks from what they say.
The aspirations of a man
and how he acts
reveal his soul.
Sometimes a man will bow and pray
while deeming other men his prey.
The truth if known, is oft ignored
and does no good,
although it should.

© Lawrencealot – December 19, 2014

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Mad Cow

Mad Cow
Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Isosyllabic
Description: Written in twelve-syllable lines, the Mad Cow is a pastoral of seven quintains.
Attributed to: Sebastian “Duke” Delorange
Origin: American
In alexandrines with rhyme scheme: ababc cdede fgfgh hijij klklm mnono eieio

Rhythm/Stanza Length: 5
Line/Poem Length:         35

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

My example

Waiting for Us

The clouds: my blanket every night; the grass: my bed,
while I stand guard. I watch the sheep who are content
in mountain meadows, where they’re brought to be well fed.
I guide them all to fresher fields as each is spent,
and sometimes sing to them – to keep coyotes at bay.

I dream that soon I’ll sing to you and we will play.
The streams and breeze and I sing acappella high
above our village nestled quietly below,
and when my tune is done I pause and sometimes sigh
in counting all the weeks that yet I have to go.

The grasses sway not near as gracefully as you.
The mountain peaks, from this pastoral scene delights,
and yet, their majesty is matched by profile view
of you, when in that springtime dress that so excites.
The flowers here appear as happy volunteers:

They smile more brightly any time a storm cloud clears;
They climb the hills beyond the point the sheep have grazed,
as though to share their fragrance with the spruce and pine.
Your perfume comes to mind; again I am amazed
that, if all things go well next year, dear, you’ll be mine.

With berries every day, (or any time I wish)
and pine-nuts for my salads always near at hand,
I supplement my diet frequently with fish,
there’s plenty to enjoy; this land is really grand.
I found a lovely glen where I shall stake a claim:

a perfect place to live when I give you my name.
The game is plentiful; we’ll live well off the land
and build a farm without incurring any debt
and that will bring a peace that few can understand.
Just you and me, and Shep: a sentry and a pet.

I’ll build a cabin, small but built with plans to grow,
for there’ll be many children needing to be raised
and taught with time to rake and hoe or cook and sew.
This land presents an opportunity few get.
We had to wait, but wait we did, without regret.


© Lawrencealot – December 18, 2014

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Mad ow

Heroic Hexameter or dactylic hexameter

The Heroic Hexameter or dactylic hexameter was considered the Grand Style of classic Greek and Latin verse displayed in Homer’s Iliad and Odyssey and Virgil’s Aeneid. The line was often enjambed which was conducive for the long almost prose like epic verse.

The line employs Alcmanic verse in the first 4 feet, the 5th foot is almost always another dactyl and the line ends with a spondee. Suu/Suu/Suu/Suu/Suu/SS Classic meter allows for the substitution of a spondee for a dactyl at any position in the line but the dominant meter here is the dactyl. Somewhere in the line there is at least 1 caesura. And if you want to really get technical there are 2 bridges, 1 in the 2nd foot (Meyer’s bridge) and another in the 4th foot(Herrmann’s bridge). Yep, they even have names. A bridge is an unbroken word unit in a metric foot. e.g. In the line below, “murmuring” is a bridge, “primeval” is not a bridge.
This is the / forest pri / meval. The | murmuring | pines and the | hem locks
from Longfellow’s Evangeline
Here is the intro to this very long poem Evangaline by Henry Wadsworth Longfellow
THIS is the forest primeval. The murmuring pines and the hemlocks, 
Bearded with moss, and in garments green, indistinct in the twilight, 
Stand like Druids of eld, with voices sad and prophetic, 
Stand like harpers hoar, with beards that rest on their bosoms. 
Loud from its rocky caverns, the deep-voiced neighboring ocean 
Speaks, and in accents disconsolate answers the wail of the forest. 
This is the forest primeval; but where are the hearts that beneath it 
Leaped like the roe, when he hears in the woodland the voice of the huntsman? 
Where is the thatch-roofed village, the home of Acadian farmers — 
Men whose lives glided on like rivers that water the woodlands, 
Darkened by shadows of earth, but reflecting an image of heaven? 
Waste are those pleasant farms, and the farmers forever departed! 
Scattered like dust and leaves, when the mighty blasts of October 
Seize them, and whirl them aloft, and sprinkle them far o’er the ocean. 
Naught but tradition remains of the beautiful village of Grand-Pré. 
Ye who believe in affection that hopes, and endures, and is patient, 
Ye who believe in the beauty and strength of woman’s devotion, 
List to the mournful tradition still sung by the pines of the forest; 
List to a Tale of Love in Acadie, home of the happy.

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

As in all classical verse forms, the phenomenon of brevis in longo is observed, so the last syllable can actually be short or long.
Hexameters also have a primary caesura — a break in sense, much like the function of a comma in prose — at one of several normal positions: After the first syllable in the third foot (the “masculine” caesura); after the second syllable in the third foot if the third foot is a dactyl (the “feminine” caesura); after the first syllable of the fourth foot; or after the first syllable of the second foot (the latter two often occur together in a line, breaking it into three separate units). The first possible caesura that one encounters in a line is considered the main caesura. A masculine caesura can offset a hiatus, causing lengthening of an otherwise light syllable.
In addition, hexameters have two bridges, places where there very rarely is a break in a word-unit. The first, known as Meyer’s Bridge, is in the second foot: if the second foot is a dactyl, the two short syllables generally will be part of the same word-unit. The second, known as Hermann’s Bridge, is the same rule in the fourth foot: if the fourth foot is a dactyl, the two short syllables generally will be part of the same word-unit.
It must be stressed that Meyer’s and Hermann’s Bridge concern only Homeric verse and are not observed in Latin dactylic hexameter. Even in Homer, these bridges are not prescriptive. The first line of the Iliad violates Meyer’s Bridge (Μῆνιν ἄειδε θεὰ Πηληϊάδεω Ἀχιλῆος) since there is a word break between ἄειδε and θεὰ.

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My attempt

Life as a Symbol (Heroic Hexameter)

Vile is the violence often committed by powerful bad men
seeking compliance with orders they’ve fashioned, demanding we bow.
Poisons and bombs and the boots on the ground will demand some men be slaves.
Some will proclaim that we ought to submit, that non-violence can win!
Maybe it’s likely I’d speak well in German, if Hitler’d had his way.
I am as likely a lackey today I am thinking, as Tytler*
Pointed out. Power’s accretion enslaves us at last, what did we gain?
Millions of people have died and for what? An illusion of freedom?
Bow down and scrape, and serve well your new master, ascend in his order.
Aid in the evil, or die in denial, you can’t have it both ways.
Camelot pledged that its might would be used just for right, not abandoned.

(c) Lawrencealot – December 15, 2014

*Tytler Cycle: (LINK)

Mad Calf

Mad Calf
Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Isosyllabic
Description: This is the four stanza version of the Mad Cow. It is an allegorical pastoral written in six-syllable lines with the rhyme scheme: abcde fghij klmno eieio. It tends to be a bit lighter than the Mad Cow.

Attributed to: Sebastian “Duke” Delorange
Rhyme scheme: abcde fghij klmno eieio.
All lines six syllables.
Rhythm/Stanza Length: 5
Line/Poem Length: 20

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

My example

Breakfast Time (Mad Calf)

Baa! said the sheep aloud
but talking to himself.
Chirp, said the chick to the
rooster proudly strutting.
The tiny mouse said, squeak.

Meow, said the hungry
cat, and the mouse shut-up.
Bah! said the brawny bull
where are the cows today?
Whoo? the old owl replied.

Cluck, said the mother hen
to the proud rooster’s back.
Little oinks from piglets
and big ones from their dad –
odds tones that seemed to rhyme.

Later on they’d be meek,
avoid folks, go their way,
but now they’re primed to speak
and the noise seems okay
because it’s breakfast time.

© Lawrencealot – December 16, 2014

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Mad Calf