Patrol Poem

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

My example

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.

© Lawrencealot – January 5, 2015

Double Ballad Stanza

Double Ballad Stanza is a verse form which basically doubles the ballad stanza. However, unlike the ballad it need not tell a story. It can simply be an observation. 

The Double Ballad Stanza is:
• An octastich made up of 2 quatrains.
• metric, accentual, (The ballad utilizes an accentual line and the stress is what counts not the meter, alternating 4 stress, 3 stress.)
• rhymed,rhyme scheme of xa(b-b)axcxc (x being unrhymed) with an internal rhyme in the 3rd and expletive line.

Tell All the Truth but Tell it Slant by Emily Dickinson 1872

Tell all the Truth but tell it slant— 
Success in Circuit lies 
Too bright for our infirm Delight 
The Truth’s superb surprise 
As Lightning to the Children eased 
With explanation kind 
The Truth must dazzle gradually 
Or every man be blind-

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

My example

A Park-Like Street

A Park-Like Street (Double Ballad Stanza)

When closed to buses, truck and cars
sometimes our city streets
are quite festive and bathed in light
for folk out buying treats.
Each footfall is a dampened tread
that falls on powdered snow.
The quiet bades a friendliness
that sets mens’ hearts aglow.

© Lawrencealot – December 3, 2014

Visual template

Double Ballad Stanza


Lilt – An invented form created by Mary Lou Healy, aka Mlou of Allpoetry

It is:
A 16 LINE poem, consisting of four quatrain stanzas
Accentual with odd lines of each stanza having 3 stressed syllable
and even lines having two stressed syllables
Rhyme Scheme: abab cdcd efef ghgh
Rentrement requirement: The 2nd line of each stanza becomes part of the first line of the next stanza
and the 2nd Line of the final stanza, is the first part of the first Stanza’s first line.

This form employs a rentrement or rentrament (fr.) which is the repetition of a phrase from one line as a line elsewhere in the poem. The device is also found in the Rondeau and English Ballet.

Note, while only the number of stressed syllable in a line is important,
The poet may get there using any metric scheme, or none.

NEW: After I had posted my double Lilt, the inventor has decided to allow unlimited Lilts to be strung together as a single poem, if the author observes the rule of linking the final stanza in the poem, to the first line of the poem.

My Example

Emptying the Hall    ( A double Lilt)

It is madness, don’t you think, and not too nice
to deposit one old pickle
when the dictionary called for beans or spice
and the hostess seems so fickle?

To deposit one old pickle on the plate
when three cucumbers were ordered
could upset the wild old chef – who exhales hate;
then he’ll have you drawn and quartered.

When three cucumbers were ordered – don’t be bragging,
(you add vinegar and cukes.)
and it’s gibberish, methinks, but tongues are wagging.
and they’re betting the chef pukes.

You add vinegar and cukes into your salsa.
It is madness, don’t you think,
To be serving things that crunch with forks of balsa?
I for one was tickled pink.

The party’s done and now
The story’s told
and Morse code tells them how
you were so bold.

The story’s told in print
your name’s revealed.
I never gave a hint;
my lips are sealed.

Your name’s revealed in spurting
and fractured prose
can’t leave a poet hurting,
I don’t suppose.

And fractured prose re-runs!
The party’s done.
The bread and buttered buns
I thought were fun.

© Lawrencealot – September 23, 2014

Visual templates



The Triversen, (triple verse sentence), is a sentence broken into three lines. It has also been referred to as a “verset”, a surge of language in one breath.

The Triversen was originated by William Carlos Williams as a “native American” poetic form of the 20th century. According to Lewis Turco in his Book of Forms, it is “one of the most innovative things done to modern free-verse.” It introduced the “variable foot” to free verse. As best as I can understand, the “variable foot” is a phrase or portion of a sentence contained within a line.

The Triversen is:
• accentual. The rhythm of normal speech, employing 1 to 4 strong stresses per line.
• stanzaic, written in any number of tercets. Each tercet is a sentence broken into 3 uneven lines, each an independant clause.
• grammatical. The sentence is broken by line phrasing or lineating or sense units. There should be 3 units. L1 is a statement of fact or observation, L2 and L3 should set the tone, imply a condition or associated idea, or carry a metaphor for the original statement.
• unrhymed.
• alliterated. Alliteration accentuates stress.

Eventide by Judi Van Gorder 8-20-05

Sunset silence is interrupted
by a cursory

sun slides 
behind the horizon.

Twilight arrives 
with a hic-up 
and a wink.


On Gay Wallpaper by William Carlos Williams

The green-blue ground
is ruled with silver lines
to say the sun is shining.

And on this moral sea
of grass or dreams like flowers
or baskets of desires

Heaven knows what they are
between cerulean shapes”
laid regularly round.

Mat roses and tridentate
leaves of gold
threes, threes, and threes.

Three roses and three stems
the basket floating
standing in the horns of blue.

Repeated to the ceiling
to the windows
where the day

Blow in
the scalloped curtains to
the sound of rain

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

My example

water lilies

Water Lilies (Triversen)

Water lilies on pond’s surface
lie in wait
just as though expecting us.

Posed on pads in proud profusion
as they might for Claude Monet;
only now, awaiting us.

Water lilies seem eternal
you and I
have just begun.

© Lawrencealot – August 27, 2014

Alcaic Stanza poetry form

Alcaics “gives an impression of wonderful vigour and spontaneity”. The 1911 Edition Encyclopedia. The stanzaic form is attributed to the poet Alceaus 6th century BC and is an Aeolic classic meter.

Alcaics stanzaic form is:
• stanzaic, any number of quatrains may be written.
• metric, quantitative verse. The first 3 lines are 5 metric feet and the last line, 4 metric feet with a specific combination of trochees and dactyls. There are variations on the rhythm of the Alcaics quatrain but the following (one source refers to it as the dactyl Alcaic quatrain) seems to me the most common as demonstrated in Alfred Lord Tennyson’s Milton.

(acephalous refers to the missing 1st syllable of an iambic foot)

L1 & L2 acephalous iamb, 2 trochees and 2 dactyls;
L3 acephalous iamb, 4 trochees;
L4 2 dactyls 2 trochees in that order

Quantitative Verse

Milton Part I by Alfred Lord Tennyson 1891
O mighty-mouth’d inventor of harmonies,
O skill’d to sing of Time or Eternity,
God-gifted organ-voice of England,
Milton, a name to resound for ages;
Whose Titan angels, Gabriel, Abdiel,
Starr’d from Jehovah’s gorgeous armouries,
Tower, as the deep-domed empyrean
Rings to the roar of an angel onset–
Me rather all that bowery loneliness,
The brooks of Eden mazily murmuring,
And bloom profuse and cedar arches
Charm, as a wanderer out in ocean,
Where some refulgent sunset of India
Streams o’er a rich ambrosial ocean isle,
And crimson-hued the stately palm-woods
Whisper in odorous heights of even.
Pasted from
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example poem

Middle Class Morass (Alcaics)

O Yes! The rich have bankable balances;
O Yes! they choose the candidate’s policies.
Not those for whom the dole is dribbled,
though they contribute the votes those men need.

© Lawrencealot – August 3 , 2014
Visual Template
(4 lines or multiple)

The Thorley

The Thorley is a stanzaic form patterned after the poem Chant for Reapers, by English poet, Wilfred Thorley 1878.

The Thorley is:
○ stanzaic, written in any number of quatrains.
○ metered, accentual with alternating lines of L1 & L3 with 5 heavy stesses and L2 & L4 with 3 heavy stresses. The trimeter lines have feminine endings.
○ unrhymed.

Chant for Reapers by Wilfred Thorley
WHY do you hide, O dryads! when we seek
Your healing hands in solace?
Who shall soften like you the places rough?
Who shall hasten the harvest?
Why do you fly, O dryads! when we pray
For laden boughs and blossom?
Who shall quicken like you the sapling trees?
Who shall ripen the orchards?
Bare in the wind the branches wave and break,
The hazel nuts are hollow.
Who shall garner the wheat if you be gone?
Who shall sharpen his sickle?
Wine have we spilt, O dryads! on our knees
Have made you our oblation.
Who shall save us from dearth if you be fled?
Who shall comfort and kindle?
Sadly we delve the furrows, string the vine
Whose flimsy burden topples.
Downward tumble the woods if you be dumb,
Stript of honey and garland.
Why do you hide, O dryads! when we call,
With pleading hands up-lifted?
Smile and bless us again that all be well;
Smile again on your children.
Pasted from <>
My thanks to Judi Van Gorder for years of effort creating this fine PMO resource.
My Example

My Nose (The Thorley)

Say what you will about my larger nose
I seldom think about it.
It anchors well the other facial parts
a package deal, I reckon.

Note: my nose is notable I think
spread out long and spacious.
Seldom seeing it myself allows
measured self-contentment.

© Lawrencealot – August 2, 2014

Note: Stanza 1 is iambic, stanza 2 is trochaic. Both meet the accentual requirement of The Thorley.

Visual Template
Any arrangement with 5 and three stresses for the respective lines will work. This template shows two common meters.

The Thorley