The following description and example are reposted with permission from Poetry Magnum Opus, with thanks to Judi Van Gorder for years of work on that fine resource.
Tho Sau Chu or Six-Word Verse [Vietnamese] is measured by word count and uses either alternate of envelope rhyme. It can be written in quatrains or octaves. When written in octaves it is called Six-Eight Poetry The elements of the Tho Sau Chu are:
stanzaic, written in any number of quatrains. It can also be written in any number of octaves.
measured by word count, 6 words per line.
rhymed, either alternate, abab cdcd etc. (when written as Six-Eight abababab cdcdcdcd etc.) or envelope, abba cddc etc. (when written in octaves abbaabba cddccddc etc.)
Form: Tho Sau Chu
Old New Form Takes a Bow
This poetry form comes from Vietnam which doesn’t rhyme with Uncle Sam but with either mom or bomb. Am I certain? Yes I am!
If my lines led you astray, it’s because I’m a contrary guy. I feel my misdirection is okay when a second reading explains why.
I’m writing this Tho Sau Chu (though English cannot do it proud.) This form hereby makes its debut with only one hundred words allowed.
I think none will be uptight with a new form that’s presented to shine and share the spotlight; with ninety-six words I feel contented.
Dipodic Quatrain is a quatrain written in podic or folk meter with 2 stressed syllables per line. • Podic Verse or folk meter is a measure of verse simply based on the number of heavily stressed syllables in a rhymed line. The number of unstressed syllables are not considered. It is a hold over from Alliterative verse of the Anglo Saxons but instead of the irregular strophic verse, stanzas and rhyme are employed, something learned from the Normans. The Dipodic Quatrain is: • stanzaic, written in any number of quatrains. • podic, written with 2 heavy stresses per line with no regard to the number of unstressed syllables. • rhymed, rhyme scheme either abab cdcd etc. or aabb ccdd etc.
Crisis by Judi Van Gorder
Trouble is here folks out of work lost career no pork.
Money tight rolling up sleeves taxes bite family cleaves.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=669#dipodic My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Sacrifice for Rhyme
Any time I pen a verse And use bad rhyme It makes it worse.
Heaven knows, my thoughts aren’t deep, attempts at prose puts folks to sleep.
I think dipodic quatrains could be hypnotic if written good.
Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Stanzaic
Supposedly pronounced da-GNAW-moor, this is a complex Irish syllabic form. Here are the rules:
The form is a stanzaic quatrain form.
Lines one and three have eight syllables.
Lines two and four have six syllables.
The lines have di-syllabic endings, meaning the last two syllables are both involved in the consonation.
The stanza consonates in an alternating (abab) pattern.
There are at least two cross-rhymes in each couplet.
The final word of line three rhymes with a word in the interior of line four.
The internal rhyme in the first couplet can consonate instead of true rhyme.
In the second couplet, rhymes are exact.
Two words alliterate in each line.
In line four, the final word alliterates with the previous stressed word.
The poem (not the stanza) should end as it began, with a word, phrase or line the same. (Dunadh)
Obviously, with so few syllables packing so many forms of binding, it will probably be that each syllable will participate in multiple ways. One syllable might be alliterative internally, rhyming within the couplet, and consonating with the alternate line. This is not a form for beginners, and works much better in other languages, such as Gaelic. To the ancient Celts, poetry was magic. Their forms are very complex to keep the magic among the priestly (Druidic) classes. One of their poets often had the equivalent in study to a doctoral degree in our society.
(aa) = Di-syllabic consonation. (bb) = Di-syllabic consonation. á = True rhyme. c, d = true rhymes or consonations binding the couplet. e, f = true rhymes binding the couplet.
Begin the poem with a two-syllable word, which will become the poem’s final word. L1-5 (Line one syllable 5) must R/C (rhyme or consonate with L2-2. Two words in line should alliterate. L2-4 must R/C with L1-2. Two words in line should alliterate. L3-2 must true rhyme with L4-4. Two words in line should alliterate. L3-5 must true rhyme with L4-2. Two words in line should alliterate. L4-3 must true rhyme with L3-8. Two words in line should alliterate. Final Stanza. The last word must be the first word of Stanza 1, therefore will determine the end-rhyme for L2 and L4.
But… Venicebard – Okay, here comes some tough love. You’re missing the aicill rime (end-word rimed with word within following line) in the second couplet. Also, I’m afraid when modern specs (for Irish forms) speak of ‘consonance’, they actually mean assonance (the two words were considered equivalent a half century ago, except perhaps in the technical speech of linguists), though today the technical meaning is agreement of more than one sound (can include vowel). The cross-rimes in Dan Direach allow assonance in cross-rimes of first couplet of quatrain. Full rime in Irish, of course, itself allows substitution of like-sounding consonants (p-t-k, etc.) (By the way, this form is so close to the modern specs for Rannaigheacht Bheag as to be suspect.) It is in the Welsh forms (and proto-Welsh measures) that consonance in its modern technical meaning is utilized extensively, but the specs for Irish forms given in John O’Donovan’s A Grammar of the Irish Language show that it was what we call assonance that was called for where the modern specs tend to say ‘consonance’. (Many Irish poets themselves may be unaware of this, however, not having looked into the history of their tradition, and indeed I have only the one source to go by so far, more or less.) -Gary Kent Spain, posting as Venicebard on Allpoetry.
Deachnadh Cummaisc and Deachnadh Mor are ancient Irish Verse Forms that use consonant rhyme, not true rhyme. (easier said than done.) • The defining features of the Deachnadh Cummaisc are: ○ written in any number of quatrains. ○ syllabic 8-4-8-4 or 8-4-4-8 ○ written with consonance rhyme only abab cdcd etc ○ terminated, usually written with 2 syllable end words. ○ when L3 is written with a 2 syllable end word, aicill rhyme is employed. ○ 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
x x x x x x (x a) x x (x B) x x x x x x (x a) x x a (x B)
Creeks cavort, rush to join rivers, boulders tumble. The Dolores races, shivers, quivers, trembles.
White-water rapids slap riprap, romp, run away, Rocky Mountain snowcap renders runoff today. Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1174 My thanks to Judi Van Gorder for years of work on this fine PMO resource.
(Commonly used in Celtic verse forms.) According to the NPEOPP aicill rhyme is simply rhyming an end word of one line with a word somewhere early in the next line. Robin Skelton’s Shapes of our Singing takes it a step further and states aicill rhyme occurs when the end word of the first line is disyllabic. An on-line source describing Gaelic pronunciation takes it another step further describing aicill rhyme as occuring when the last stressed syllable of an end word rhymes with the next to last unstressed word in the next line with no mention that the end word need by disyllabic. (Gaelic examples I’ve been able to find seem to support all 3 definitions, of course I can’t really hear the stressed/unstressed definition but one example appeared as if the internal rhyme could be unstressed by the position in the line and the words around it.)
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=1261#aicill>
Welcome (Deachnadh Cummaisc)
Welcome, Delighted you arrived. There’s a passel to pass around. So party-up! Don’t be passive.
Just shove the cat or dog away They’ll feel perplexed, and put awry, but will stay, willing to partake.
They’ll willingly clean your fingers with tongues wagging when you’re finished. It’s our way to make you welcome.
The Drottkvaet or Old Court Skaldic meter is one of the earliest of the Skaldic stanzaic forms. The ancient poems in this stanzaic form were full of kenning to the point of sometimes being a riddle. The two word metaphoric descriptions which dominated the poems were often so loosely connected to the meaning that it obscured understanding.
The Drottkvaet is: • stanzaic, written in any number of quatrains. The quatrains often appear as octaves because the lines are Germanic “long lines” which break in half, the half line will often be separated into a 2nd line. • accentual, lines of 12 syllables each, broken into two halves of 6 syllables each. Each half line has 3 stressed and 3 unstressed syllables, the last two syllable of the half line must be a trochee (Su). • rhymed, rhyme scheme aBaB a being near rhymed by assonance, B being true rhyme. • linked as couplets by assonance. • odd lines should have double alliteration.
Mind Melt by Judi Van Gorder
Wishing to write in sync with old Nordic climate, breaking a bigger line, into just two tortured halves. Hawking trochaic meter, mental, I’m at my wits end. Wiley words don’t dance in an orchard.
Kenning clings to mind, making mystery with nonsense, sea birds fly overhead, smoke in the sky trailing. Most difficult to accomplish is assonance rhyme. My brain melts down and I find myself failing. Links to other Skaldic meters
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=1085 My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Kenning: A metaphor using 2 substitute nouns. Buried diodes = brain synapse, liquid embers = synaptic activity.
Poetic Stretching (Drottkvaet)
Minding measured metric feet invokes a testing, stressing buried diodes, sparking liquid embers. Assonance demands much more when it’s requested Real rhymes rise rapidly. Those my brain remembers.
Digging deeper does delay retrieval, granted; but the buried seed will blossom in my kettle Maybe not right now, but someday after planting practice such as this perhaps will boost my mettle.
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.
Viola Berg, in her book Pathways for the Poet 1977, includes invented forms patterned after some works of American poets.
The Bryant describes observations of nature as metaphor for the social and political world around us. This stanzaic form is patterned after To A Water Foul by American poet, William Cullen Bryant 1794- 1878.
The Bryant is: • stanzaic, written in any # of quatrains • metered, L1,L4 trimeter and L2,L3 are pentameter. Short lines are indented. • rhymed, alternating rhymed quatrains, abab cdcd etc • a pastoral metaphor
A Water Foul by William Cullen Bryant Whither, ‘midst falling dew, While glow the heavens with the last steps of day, Far, through their rosy depths, dost thou pursue Thy solitary way? Vainly the fowler’s eye Might mark thy distant flight to do thee wrong, As, darkly painted on the crimson sky, Thy figure floats along. Seek’st thou the plashy brink Of weedy lake, or marge of river wide, Or where the rocking billows rise and sink On the chafed ocean side? There is a Power whose care Teaches thy way along that pathless coast,– The desert and illimitable air,– Lone wandering, but not lost. All day thy wings have fann’d At that far height, the cold thin atmosphere: Yet stoop not, weary, to the welcome land, Though the dark night is near. And soon that toil shall end, Soon shalt thou find a summer home, and rest, And scream among thy fellows; reeds shall bend Soon o’er thy sheltered nest. Thou’rt gone, the abyss of heaven Hath swallowed up thy form; yet, on my heart Deeply hath sunk the lesson thou hast given, And shall not soon depart. He, who, from zone to zone, Guides through the boundless sky thy certain flight, In the long way that I must tread alone, Will lead my steps aright.
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=616> My thanks to Judi Van Gorder for years of work on this fine PMO resource.
We followed where you went oh mighty beast, across this open land. Our spirits bound to yours and thus content. In ways we understand.
Because you moved around impermanence defined our tribe’s motif; you were revered, your souls and ours were bound in happiness and grief.
And though we felled your kind fulfilling nearly all our various needs, it was with respect only in our mind for your intrepid breed.
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