The Rhyming Wave is a poetry form created by Katharine L. Sparrow, American writer and poet who writes on Allpoetry.com.
The Rhyming Wave is:
Stanzaic: Consisting of 2 or more quatrains plus an ending couplet.
Metric: Lines 1 through 3 are iambic tetrameter and
line 4 is iambic trimeter.
Refrained: Syllables 6 & 7 of line one are repeated as syllables 2 thru 7 and syllable 8 is the same in both lines and syllables 1 & 2 are of line 3 are repeated in line 4
Refrain: The ending couplet is the first and the last line of the previous stanzas.
NOTE: The author is amenable to having poets substitute rhyming as well as identical syllables. I have done so in my example poem.
Rhymed: Rhyme scheme Aaab BBbc CCd AD, where the capital letters represent refrain words or refrain lines.
Here is the author’s own explanation. At the end I have included a visual template that may help some.
The Rhyming Wave is a form of my own invention. The instructions seem complicated, but once you start writing it, you will get it pretty quickly. A Rhyming Wave is so named because words repeat themselves, similar to waves lapping over and over again on the shore. A Rhyming Wave has at least 2 verses and an ending couplet. Each verse is four lines with the first three written in iambic tetrameter (4 “feet” of 2 syllables each) and the fourth line three feet, or six syllables. The ending couplet will be the first and last lines of the poem repeated. To write a Rhyming Wave you must know how to write in iambic meter. This is the da-DUM, da-DUM rhythm. If you don’t know how to do this, your Rhyming Wave may not come out sounding as it should. As with all iambic metered poems, it does not have to be PERFECT, but it should sound melodious to the ear.
– First line: 4 iambic feet (8 syllables)
She dwells among the foamy swells,
– Second line : syllables 6 and 7 of line one are repeated as syllables 2 through 7 (three times) and syllable 8 is also repeated as syllable 8.
the foamy, foamy, foamy swells–
– Third line: 4 iambic feet (8 syllables) last syllable rhymes with last syllable of lines one and two
Beneath the cresting waves she dwells,
– Fourth line: first 2 to 3 syllables (whichever fits) of line three are repeated/ six syllables only
beneath the ocean’s roll.
Verses 2 through 4, same pattern – first line of each verse rhymes with last line of previous verse:
Her song floats from a sandy shoal
a sandy, sandy, sandy shoal–
her voice that creeps into the soul,
her voice, a crooning trill.
And over all a misty chill
a misty, misty, misty chill–
she’ll sing again, it’s sure she will,
she’ll sing her haunting tune.
Her humming soothes the silver moon,
the silver, silver, silver moon,
where stars will span the ocean soon–
where stars will hear her song.
Ending couplet, first and last lines of the poem:
She dwells among the foamy swells,
where stars will hear her song.
The poem must have at least 2 verses, but there is no limit to the number of verses
Form: Rhyming Wave
She dwells among the foamy swells, the foamy, foamy, foamy swells– beneath the cresting waves she dwells, beneath the ocean’s roll.
Her song floats from a sandy shoal a sandy, sandy, sandy shoal– her voice that creeps into the soul, her voice, a crooning trill.
And over all a misty chill a misty, misty, misty chill– she’ll sing again, it’s sure she will, she’ll sing her haunting tune.
Her humming soothes the silver moon, the silver, silver, silver moon, where stars will span the ocean soon– where stars will hear her song.
She dwells among the foamy swells where stars will hear her song.
A cottage in the shady wood, the shady, shady, shady wood– amid soft, leafy arms it stood amid the woodland trees.
Perfume hung on the hazy breeze the hazy, hazy, hazy breeze where roses opened for the bees where roses blossomed red.
The roses climbed and gently spread, and gently, gently, gently spread– they made the walls a flower bed, they made the cottage sweet.
A respite in the steamy heat, the steamy, steamy, steamy heat– a cool and comfortable retreat a cool and quiet place.
A cottage in the shady wood, a cool and quiet place.
The Raay or Rai is a forerunner of the Kloang and has the same unique tonal pattern. It is a chained verse, written with the end syllable of L1 rhymed with the beginning syllable of L2. It was often used to record laws and chronicle events in verse.
The Raay is ○ stanzaic, written in a series of couplets. ○ syllabic, 5 syllables per line. ○ chain rhymed, the last syllable of L1 rhymes with the first syllable of L2.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1035#chann My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Although I’ve known strife, life has been a wide- eyed ride where each thought brought more great questions.
The Spenserian Quintilla is an American stanzaic form which was first recognized by Miller Williams in Patterns of Poetry when he notes a Spenserian variation framing The Second Best Bed by Howard Nemerov, he called it the Spenserian Quintilla.
The Spenserian Quintilla is: • stanzaic, written in any number of cinquains. • syllabic, L1-L4 are 8 syllables each, L5 is 12 syllables. • rhymed, axabb cxcdd etc x being unrhymed.
The Second-Best Bed by Howard Nemerov
Consider now that Troy has burned —Priam is dead, and Hector dead, And great Aeneas long since turned Away seaward with his gods To find, found or founder, against frightful odds.
And figure to yourselves the clown Who comes with educated word To illustrate in mask and gown King Priam’s most illustrious son And figure forth his figure with many another one
Of that most cremented time In times have been or are to be Inhearsed in military rime; And will recite of royal fates Until, infamonized among those potentates
By a messenger from nearer home, His comedy is compromised And he must leave both Greece and Rome Abuilding but not half begun, To play the honest Troyan to a girl far gone.
The wench lived on, if the son died— All Denmark wounded in one bed Cried vengeance on the lusty bride, Who could not care that there would follow, After the words of Mercury, songs of Apollo. ———— from The Collected Poems of Howard Nemerov 1977
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2061 My thanks to Judi Van Gorder for years of work on this fine PMO resource.
2nd Thoughts (Spenserian Quintilla)
Thoughts conjured up within my brain I sometimes think are mine alone but how on earth does one explain insights (which I admit are rare) appearing suddenly (it seems) and from nowhere?
The brain’s impulses it is known are electrical fields at work, that’s something that’s been clearly shown. The magnetism thus invoked extends to common pools, which maybe I evoked.
Bengali Poetry is from the Bengali Region, Eastern India and dates back to the 10th century . Its origins were in mystic poetry but later became known for its epics.
The Payār is the most common form from the Bengali Region. The Payar is: • stanzaic, written in any number of couplets. • rhymed. aa bb cc etc. • syllabic, 14 syllables lines which are normally broken into 4 units.
4 4 * 4 2 4 4 * 4 2 or xxxx, xxxx, xxxx, xa xxxx, xxxx, xxxx, xa
Temptation by Judi Van Gorder Words in color, writ in anger, meant to provoke, to prod, rude distraction, wrong direction, lead me away from God.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1218 My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Non Pro Se (Form: Payar)
A pacifist may turn his cheek, ignoring simple threats, but can’t forsake community to which all men owe debts.
Extend your hand, with open palm to other men — of peace, but gird your loins, unsheath your sword, to make evil surcease.
The Patrol Poem “is an accentual verse poem in three stanzas of four lines each.” Rex Allen Brewer invented the form in response to an exercise in group study of Poet’s Companion. It was an exercise to create a new form, distinct by meter, rhyme and use of poetic devices. I include it here because the form is musical and representative of one of many small poetic communities popping up on the internet.
The Patrol Poem is: • a 12 line poem made up of 3 quatrains. • accentual verse, giving importance to stress count. There are 4 stresses in each of the 4 lines of the first quatrain, 3 stresses in each of the 4 lines of the second quatrain and the stress count alternates stresses from 4, 3, 4, 3 in the third quatrain. • rhymed, rhyme scheme is xaxa xbxb xcxc. x being unrhymed. • composed with repetition of words as a criteria of this form. In each quatrain 1 word is repeated 4 times, anaphora (repetition of the first word of the line) may be employed to accomplish this goal.
Advice to a Beginning Poet-Writer by Rex Allen Brewer
Listen to your broken heart my friend; listen as the old folks speak; listen to the jay’s tall tale; listen and learn before you speak.
Write the simple stuff; write the common tale; write barefoot poetry; write to shape a spell.
Learn to write with Glory words, words that soar and fight. You want words that sing and shout, words that dance all night.
With Apologies by Judi Van Gorder
Late, again and again and again! Late for school, the bell has rung, late for work, a client waits, late for mass, the Kyrie sung.
I’m always a step behind, time seems to slip away, I find too much to do. . . delay, delay, delay.
I am even late in dreams, I rush to be on time, I vow to change, be punctual, forever an uphill climb.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1921 My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Can You Do This (Patrol Poem)
Cut out responding when provoked Cut out concern that you’ve been dissed. You cut your nose to spite your face when cutting comments make you pissed.
Let words of rudeness wither, let them simply dissipate. Let a smile touch on your face, let them see no sign of hate.
When taunters see you’re not affected when mean words they choose to spew, when tranquility’s reflected, that’s when they’ll stop taunting you.
•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.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1026#consonantes My thanks to Judi Van Gorder for years of work on this fine PMO resource.
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.”
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. Equality non-violence let all women participate. We need a just world-wide mandate so every girl can freely choose what she thinks right with future bright.
Pasted from: http://www.rainbowcommunications.org/velvet/forms/Manardina.pdf 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
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.
Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Stanzaic Description: A stanzaic form composed of three lines of iambic tetrameter and one of iambic dimeter rhymed abab. Schematic: xX xX xX xA xX xX xX xB xX xX xX xA xX xB Rhythm/Stanza Length: 4
Pasted from http://www.poetrybase.info/forms/000/63.shtml My Thanks to Charles L. Weatherford for the wonderful PoetryBase resource.
Note: The ONLY difference between this and the Curtal Quatrain is the rhyme scheme.
My Example Poem
My All [Corrected] (Curtal Long Hymal Stanza)
My friends will not critique my verse they think that they are being kind. my enemies are even worse and I don’t mind.
Those folks would shout and jump with glee and guffaw loudly when I goof but they ignore me so can’t see my error’s proof.
I wrote this form with half the count of syllables required last week. for feet took double that amount so thus this tweak.