Casbairdne (koss búyer-dne):
Each stanza is a quatrain of seven syllables. Lines two and four rhyme and lines one and three consonate with them. There are at least two cross-rhymes* in each couplet. In the first couplet, this isn’t necessarily exact. The final syllable of line four alliterates* with the preceding stressed word.

x x b x (x x ac)
x a x x x (x bc)
x x x b (x x dc)
x x c x x (x bc)

Dying II

In death comes dust’s solution.
A truth to breath- inclusion;
small particles’ pollution
in loss of cause- collusion.

Thin dry threads still intertwine,
fill failing eyes- unconfined;
as whispered wings recombine
the swirling realms- reassign.

©Leny Roovers 05-10-2004

Pasted from

The Casbiardne (koss búyer-dne) is bruilingeacht, a modified dán díreach, an ancient Irish Verse Form which uses consonant rhyme and cross internal rhyme. 

The Casbairdne is:
• written in any number of quatrains,
• syllabic each line has 7 syllables.
• composed with L2 and L4 end rhyme and the end words of L1 and L3 consonate with the rhyme of L2 and L4
• often written with at least two internal cross rhymes in each couplet. (the 1st couplet near rhyme OK)
• composed with 2 words alliterated in each line.
• written with the final syllable of L4 alliterates with the preceding stressed word.
• written with the defining features of most Celtic poems, cywddydd (harmony of sound) and dunadh (ending the poem with the same word, phrase or line with which the poem began) Irish Verse Forms

capital = true rhyme / lower case = near rhyme / italics = consonant rhyme
x x a x x x b
x x x b x x A
A x x x x x b
x B x x x a A

Laughing in Fall Colors by Judi Van Gorder
Tall and golden stalks of wheat,
wet meadow painted for fall,
squall of autumn Earth whirls wit,
fae fit for a season’s scrawl.

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

Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Isosyllabic, Stanzaic
Description: Pronounced coss-BUYer-dne, this is an Irish syllabic form. The verse is a quatrain composed of seven syllable lines. Beyond that, the form gets rather messy.
• These lines have trisyllabic endings. (Rhymes go across three syllables: higgledy, piggledy, but usually real words)
• Lines two and four rhyme.
• Line one consonates with two and three consonates with four.
• There are at least two cross-rhymes per couplet, although they can be off true in the first couplet. These cross-rhymes might appear anywhere between the second and fourth syllables. (As indicated in the schematic by the italicized letters.)
• The final syllable of line four alliterates with the preceding stressed word.
• Like most Celtic forms, the end should be the beginning in syllable, word, phrase, or line. (See Dunadh link below.)
My thanks to Professor Lewis Turco for clarifying this definition.
Origin: Irish
x x b x (x x ac)
x a x x (x x bc)
x x x b (x x dc)
x x c x (x x bc)
Rhythm/Stanza Length:

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

Casbhairn or Casbairdne (koss búyer-dne) is a traditional Irish quatrain of 7-syllable lines ending in 3-syllable words, its old form (followed here) requiring it be rimed aabb (last syllables properly rimed, the other two syllables slant-rimed), with cross-rimes in each couplet (near rime okay in first couplet) and alliteration in every line (always between end-word and preceding stressed word in the second couplet). Being Irish, it requires the dunedh, that is, to end where it began (first word, phrase, or line repeated in closing).  The modern specs differ, as can be seen here:

They Just Wouldn’t Stay Still
-by Venicebard (Gary Kent Spain)

Mortimer the mortician,
Bored, became a beautician.
Yet, scared by his scrutiny,
Dared many to mutiny.

Where others might mollify,
He didn’t quite qualify.
Hence he served them certainer:
Murdered them did Mortimer.

Pasted from–They-Just-Wouldn-t-Stay-Still—Casbairdne–by-venicebard

My example

Medicinal Music (Casbairdne)

Melanie self-medicates
moreover she meditates,
and contemplates certainly
with cerebral certainty.

Hating to act harmfully
she gets high on harmony
finding that’s no felony
she’s mild, is our Melanie.

© Lawrencealot – October 8, 2014

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(Old style)


Swinburne Decastitch

This form combining the rhyming pattern of an interrupted Petrachan Sonnet, with the breathing  cadence of common meter may have somewhere been used before, but it was definitely used and captured for us by Algernon Charles Swinburne in his “A Ballad of Death”.
I merely record it here and give it a name by which we can refer as we attempt to write such poems of our own.
It is stanzaic, consisting of any number of stanzas.
It is Syllabic: 10/10/6/10/10/10/6/10/10/10
It is Rhymed: abbacdecde
It is composed in iambic meter.
Example Poem
Cultural Patrimony     (Swinburne Decastitch)
When any culture deems it right to maul
and kill, inflicting pain, can you explain
away my great disdain?
Can you excuse the citizens and all
who legislate and rule who use as tool
the very worst impulses of man’s mind?
Against such things let’s rail!
We simply cannot fool ourselves- it’s cruel
to torment any species that we find.
With that in mind I’d like to tell this tale.
Young boys are often wooed by danger’s taunt
and while still teens endeavor to learn skills
to please the crowds with thrills.
‘Tis machismo alone that these boys flaunt,
and doubtlessly they want to earn the fame
accruing to the greatest in this “sport”
so fam’lies can be proud.
And many boys who play this dangerous game
will end up lame or have their life cut short
where death and torture’s commonly allowed.
In training some are killed or truly maimed.
and never set their feet into bull’s ring.
This is an honored thing!
But culture failing still persists unnamed,
where people think this cost perhaps is small;
and small it well may be when men have learned
compassion has no role.
If humankind is not herewith appalled
by acts dispensing pain where it’s unearned
each man accepts canker on his soul.
When man pits bull against a lion foe,
again to entertain and titillate,
we each should fee self-hate.
The gladiator games we must outgrow,
like burning ants and pulling off fly’s wings.
Each species may do harsh things to survive.
But evil has its cost.
When man accepts it’s right to torture things
which share our space and roam our earth alive,
compassion for all life will soon be lost.
© Lawrencealot – April 13, 2014
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Cro Cumaisc Etir Casbairdni Ocus Lethrannaigecht

Cro Cumaisc Etir Casbairdni Ocus Lethrannaigecht
This is an Irish verse form. The name means “Sorry, the translator can’t take your call at the moment”. No, I’m kidding. I have no idea what it means, and not much idea how to pronounce it, though I expect there will be a few “v” sounds in there somewhere. I chose to tackle it because it had the longest name of any in Skelton’s book.
The form calls for 4-line stanzas rhyming abab, with syllable counts of 7/5/7/5. Being Irish, the lengths of the rhyming words are also specified, in this case as 3, 1, 3, 1. Note though that the 3’s don’t necessarily indicate triple rhymes; the requirement is simply that the rhyming words are three syllables long. The stress could be on any of the three syllables.
This example was provoked (I hesitate to say inspired) by the “MP’s expenses” scandal/hysteria of 2009. It amounts to propaganda for the Official Monster Raving Loony Party, a long-established and respected force in British politics. At the time of the 1983 general election, when party splits were fashionable, there was a rival group called the Green Chicken Alliance.
Thanks to Bob Newman for his wonderful Volecentral resource site.
My Example Poem
Suave     (Cro Cumaisc Etir Casbairdni Ocus Lethrannaigecht)
The man was not a millionaire
but ladies sought him out
for he appeared most debonair
and kind without a doubt.
He was at all times affable
with handshake or a hug,
and the idea was laughable
to picture him as smug.
His notions all seemed prevalent
well thought out and germane,
considered and most relevant
and certainly urbane.
He has a style to emulate,
a model for my role.
I’ll have a cause to celebrate
If I achieve that goal.
© Lawrencealot – April 10, 2014
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The a-rhymes must be triple rhyme


  • The Zanze is a verse form with variable syllabic pattern introduced by Walden Greenwell.The Zanze is:
    • a poem in 16 lines made up of 4 quatrains.
    • syllabic, 8/8/8/8/6/6/6/6/4/4/4/4/2/4/6/8 syllables per line.
    • rhymed, AbabcdcdefefgagA.
    • L1 is repeated as L16, L5 is the repetition of first 6 syllables of L1, L9 is the repetition of first 4 syllables of L1 and L13 is the repetition of the first 2 syllables of L1.
My Thanks to Judi Van Gorder for the wonderful resource at PMO
Although the rhyme pattern suggest there is one refrain, ther are actually four!
My Example poem
Now I Lay Me Down, Let’s Sleep      (Zanze)
If you wait ’til the morning dear
I’ll be more sober and awake
It’s better when my head is clear,
I’ll know you then for heaven’s sake.
If you wait ’til the morn
I’ll treat you like a queen
and not as a lowborn
with limbs to come between.
If you wait ’til
the time is right
I know I will
give you delight.
If you
forgive my beer
I promise I’ll come through.
If you wait ’til the morning dear.
© Lawrencealot – April 7, 2014
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Cinquain Chain

  • Cinquain Chain or Corona of Cinquains is stanzaic invented verse made up of a series of Crapsey Cinquains linked in a chain or corona by the last line of each cinquain repeated as the first line of the next cinquain.
My Example poem
You Can Call Me, Darling    (Cinquain Chain)
Once we’ve
come to know each
other and shared a meal
or drink, a wink, or even more
a kiss,
a kiss
even on the cheek,
or put each other down
in fun with social repartee
well then …
well then
you might call me
darling and I’d not flinch.
It’s a sweet affectation, beats
Hey you!
Hey you
works, and implies
perhaps you know me not
yet by name and darling implies
much more.
Much more-
yet everyone
is your darling, even those I know
are rude and lacking very much
to like.
To like
me and call me
darling has it’s merits.
Do you want to call me darling?
Call me.
© Lawrencealot – February 20 2014

Domino Ryme

  • Domino Rhyme  is a very clever innovation of Bob Newman which can be found at his site as well as many others on the internet. Much like a slinky, rhymes tumble from stanza to stanza, it is something he calls “remote rhyming”.The Domino Rhyme is:
    • stanzaic, written in any number of quatrains.
    • metered, written in a loose tetrameter. Lines should be same length.
    • rhymed. L2 and L3 of the first stanza rhyme with L1 and L4 of the next stanza and so on down until the last stanza when L2 and L3 rhyme with L1 and L4 of the first stanza. abcd befc eghf gijh … iadj.
 Thanks to Judi Van Gorder of PMO.
Domino rhyme
A poem in domino rhyme is written in four-line stanzas, within which there are no rhymes at all. However, every line rhymes with a line in another stanza. Specifically, lines 2 and 3 of each stanza rhyme with lines 1 and 4 respectively of the next stanza. The final stanza completes the loop, its lines 2 and 3 rhyming with lines 1 and 4 of the first stanza.
Here are the opening few stanzas of a poem written in this form:
from Inspiration Fails
They don’t come to me here, the girls
My self-restraint should draw. Who knows
What force might motivate them; why
Most other hermits pack them in.
My fount of inspiration flows
Most fecund when the buckie ears
Of buxom women spur it onward.
One tender bite: I versify
In buckets. But it’s many years
Since last I penned a plangent ode.
My old kerchief still bears the knot
I tied then. Why? Remembering’s hard,
For Lethe’s bitter wind has blowed,
Or current swept my thoughts away.
Some lesser poet conjured it –
He’ll be remembered; I, forgot.
This is the sequel to a poem called Inspiration Falls, and it carries on for quite a lot longer.
Why Domino rhyme?
The idea is to rhyme without the reader consciously noticing, because the rhymes are unusually far apart – what I call “remote rhyming”. With the poem laid out as above, the pattern is relatively easy to spot – but remove the gaps between the stanzas, and the reader is likely to be satisfyingly baffled.
I call this particular rhyming scheme “domino rhyme” for two reasons. First, because the rhymes ripple through the poem like toppling dominoes. Second, because one of the most popular domino games is called Fives and Threes (or Threes and Fives!) and here pairs of rhyming lines are always either five or three lines apart.
Note for Logophiles
In the example above, each stanza is built around an obscure word which does not actually appear in the poem. (This is not an essential part of the verse form!) The words are: agapetae early churchwomen who lived with celibate men; gynotikolobomassophile one who likes to nibble women’s earlobes; quipu mnemonic knots in ancient Peru; castrophrenia: the belief that enemies are stealing ones thoughts.
Similar forms
I only know of one other verse form in which every line rhymes, but all the rhymes are external. This is rimas dissolutas
 Thanks to Bob Newman.
My Example Poem
Humility Earned     (Domino Rhyme)
She does not think less of herself
for acts she did when she was young
The scars she has are not displayed
invoked, or played upon at all.
New melodies are being sung
by youngsters facing tempting threats.
She works with them in song and verse
her voice each morning an aubade.
She’s risen above her regrets,
and frets not at all ’bout her past
She harvests beauty floating by,
considers grumpiness a curse.
No opportunity’s your last
mistakes like read books on a shelf
are simply signposts for us all
take note, move on, spread wings, and fly.
© Lawrencealot – December 31, 2013
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Royal Spiral

This form was created by Mary Sullivan Boren, aka,  Meter Maid on
This is a stanzaic form consisting of exactly four quintains.
each having two rhyming couples of iambic pentameter and a tail of iambic dimeter.
Though similar to the Rondeau, it varies significantly
in the rhyme and repetition scheme, as follows:
S1: aabbc
S2: ccdde, where L5 repeats the first two feet of S1 L1.
S3: eeffg, where L1 repeats S1 L5.
S4: gghhc.
This first four syllables of line 1 become the refrain in line 5 of  the second stanza.
Line 5 of the first stanza becomes the first four syllables of stanza three.
Example Poem
Cave Dweller
While young I schooled, worked; I lived in a cave.
‘Twas not remote, nor I remotely brave.
First time on my own; autumn really nice.
I lived for weeks- there ’til the snow and ice.
I paid no rent.
No neighbors, no landlord; it beat a tent.
To my mom’s house my mail (not much) was sent.
As snug as could be with storm- lantern there.
I’d study, watch town below, without care.
While young I schooled.
I paid no rent. I stayed ’til weather cooled.
With hygiene handled at the gym, I stooled
myself at deli for a bite to eat.
My big meal I’d have at work: Donny’s Beat.
My evening job.
The quiet soothed, silence ruled- absent the mob.
Would I could share with my missing heartthrob.
Later, one lass did ask me, “Where is it?
She said had she’d known she’d come to visit.
this resident.
(c) Lawrencealot – April 2012
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Royal Spiral

Rosetti Stanza poetry forms

This is not a formally named poetry form, but instead a form used by Christina Rossetti, and brought to the attention of Allpoetry poets by Streambed.  I am simply giving forms a name for ease of reference as we play with them.

There are two distinct versions each with a separate syllable and rhyme pattern. Both are syllabic, rhymed sestets, and may stand as one or more stanzazs.

Version 1:  Syllabic 8/6/8/6/4/8, Rhyme Scheme: abaaba
Version 2:  Syllabic 7/6/7/7/6/7, Rhyme Scheme: ababba

Example Poem

As Others See You  (Rossetti Stanza)

If I could give a gift to you, 
to all mankind in fact, 
‘twould be to let you see the view 
of others quite exact 
eschewing tact, 
not colored by some social hue. 

You’d see what causes some to think 
you’re perfectly divine, 
and see the power in your wink 
or fear from a frown line, 
that some may assign 
when face and thought are not in sync.

© Lawrencealot – October 16, 2013

The visual template will clarify:


Rhupunt is one of the 24 traditional Welsh forms and has a scheme of aab ccb ddb etc. or aaab cccb dddb etc., or aaaab ccccb ddddb etc. Alternatively, each stanza can be a single line (but this prayer is so short I chose the former layout). It is described here:
My poem above uses Cynghanedd Sain (sonorous or chiming consonance), that is, treating each stanza as a single line: this involves three elements, the first two rimed (end-words of L1 and L2 in each stanza above), and the 3rd (2nd word of L3 in each stanza above) repeating the consonants of the 2nd. Cynghanedd Sain is described here: (scroll 2/3 to ¾ of the way down)
A four syllable line each stanza can be of three, four or five lines a..a..a..B.
The next stanza rhymes the similar c..c..c..B.The rhyme could change for the next
stanzas. We end up with a pattern thus:
x x x a
x x x a
x x x a
x x x B
x x x c
x x x c
x x x c
x x x B
I have used but three lines in the example below.
My poem above uses Cynghanedd Sain (sonorous or chiming consonance),
which links the last syllable of L2 to the 2nd Syllable of L3.
that calls for consonant rhyme, but in the last line I stepped it up to full rhyme,
not knowing if this might be forbidden. (It fit too well to ignore.)

Example Poem

Redemption Now

Put on a smile
act all the while
the whole is swell.

Ignore all guile
and evil while
fears will disspell.

Will is our own.
You have here grown
won’t groan in hell.


Related Welsh Form are HERE.

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See Rhupunt Hir for a more complete description and one template.

Rhopalic Verse

A poem wherein the nTH word of every line in each stanza has N-syllables.
word 1 = 1syllable
word 2 = 2 syllables
word 3 = 3 syllables
word 4 = 4 syllables
word 5 = 5 syllables,  etc
(Syllabic, line length optional, rhyme optional, meter optional)
Example Poem
Expecting Her (Rhopalic Verse)
I’m thinking cautiously, realizing
that other’s promises evaporate
with nature’s forcible intervention.
She’ll arrive, defeating complications.
(c) Lawrencealot – April 25, 2013
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