This is a form invented by Susan Budig for a challenge to the readers of  The Poetic Asides Blog to create a new form. 
The Anapeat is based on anaphora, defined by as ” Rhetoric . repetition of a word or words at the beginning of two or more successive verses, clauses, or sentences. “
The Anapeat repeats a phrase in several places within the poem. 
The poem consists of five stanzas of five lines each. 
 The repeated phrase/line is the first line of the first stanza, the second line of the second stanzas, etc.  

All or part of the phrase is also the title of the poem.

There is no line length, meter, or rhyme requirements, however rhyme and meter may be used if the poet chooses to do so.

I am awaiting a response from Susan Budig for any clarification or additions.

My example

Earn Your Way (Form: Anapeat)

You have the right to earn your way
and not be fed from public plate.
You have no right to come and stay
with others carrying your weight.
None can sustain a free buffet.

I want to make this one thing straight,
You have the right to earn your way.
Comply, and try, assimilate;
don’t march, demand, then stand and bray
in Phoenix, DC, or South Gate.

We’ll help the helpless everyday,
that’s why I think this country’s great.
You have the right to earn your way,
for that we have an open gate.
We’re simply not your country’s prey.

Riff-raff we don’t appreciate,
who come and take and still berate,
then take much more with their birth-rate.
You have the right to earn your way.
Dependence leads toward a slave state.

Because he see a vote “souffle”
our President will not abate
the flow that’s growing everyday.
Make certain you’ve become aufait.
You have the right to earn your way.

© Lawrencealot – December 22, 2014

Note: Although I have not specified the rhyme scheme for this poem,
The final stanza might be: ababa using sight rhyme for the final couplet, or abaaa using true rhyme.

Visual Template


(Note: this template is for iambic tetrameter, but no specific meter is required. Some of the rhyme schemes show where for poems written in iambi pentameter or other accentual frames.)

The only REQUIRED rhyming lines are the refrains.

These different rhyme schemes, (and others) came from entrants to one contest two years ago.

Top Glose

Top Glose
Type: Structure, Repetitive Requirement, Other Requirement
Description: A variant of the Glose where the repetition from the texte appears as the first line of the glossing verse.
Attributed to: “The Dread Poet Roberts”
Origin: American

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

Since there are numerable differences in the interpretation of the proper formal requirement of the Glose, sub-forms have been invented which specifically mandate requirements which might or might not be chosen when writing a Glose.

The glose originated in Spain, where it is known as the glosa.

I am presenting here only one reference to the Glose itself, from a site which appears no longer active, (November 2014) but which presented the following fine overview.

The Glosa was used by poets of the Spanish court and dates back to the late 14th and early 15th century. For some reason, it has not been particularly popular in English. A search of the Internet search will uncovered a meager number of brief references to the form. From the limited information it is learned that the traditional structure has two parts. The first part is called the texte or cabeza. It consists of the first few lines (usually four) or the first stanza (usually a quatrain) from a well-known poem or poet. It has become permissible to use lines from a less well-known poet, or even from ones own verse.
The second part is the glose or glosa proper. This is a “gloss on,” an expansion, interpretation or explanation of the texte. The formal rule describes the glosa as consisting of four ten-line stanzas, with the consecutive lines of the texte being used as the tenth line (called the glossing) of each stanza. Furthermore, lines six and nine must rhyme with the borrowed tenth. Internal features such as length of lines, meter and rhyme are at the discretion of the poet. Examples of this will be found in this chapbook collection.
As with most poetic forms, unless dictated by strict contest requirements, poets have taken the liberty to vary the format. In addition to the glosa’s traditional ten-line stanzas, one will find 4-, 5- and 8-liners. They will be found written in free verse, with meter, and with rhyme. In the shorter variations. You will find variations in which the first line of each stanza (taken from the original texte) repeated again as the last line – added as a refrain. When the first line is repeated as the refrain at the end of a poem the stanza form is referred to as an Envelope.
Another variation of a short glosa poem has to do with the location of the borrowed line. It can be the first line, the last line, or one inserted into the body of the stanza. Yet another variation is the use of the first four lines of a prose piece as the texte.
Pasted from <>

Restated specification for the Top Glose
The first part is called the texte or cabeza. It consists of the first few lines (usually four) or the first stanza (usually a quatrain) from a well-known poem or poet. It has become permissible to use lines from a less well-known poet, or even from ones own verse. It is presented as an epigram beneath the title of your own poem
The following Glose or Glosa proper is
Stanzaic: consisting of as many stanzas, as there are lines in your texte,
each having a line length of the poets choosing
Metered: With a consistent meter of the poet’s choosing
Rhymed or not with a pattern of the poet’s choosing
Formulaic: Each line of the texte shall be the first line of a stanza.

Related forms listed here: Glose, Double GloseTop Glose


My Example

Where I’m Most at Home (Top Glose)

After  the opening stanza of
“This Place that I Call Home”  by Mvincent
” I am a lover of tall mountain peaks
when softly draped with blankets of fresh snow;
of alpine lakes and gleaming waterfalls,
slow running streams that teem with rainbow trout—”
I am a lover of tall mountain peaks
and desert flowers nestled twixt the sage
which climbs the foothills ’til it’s all replaced
by pine and spruce and fir.  Much flora seeks
out places in pre-alpine meadow– a stage
where it’s a hit that is too soon displaced.
When softly draped with blankets of fresh snow
my backyard even seems a visual treat.
The mountains dress in heavy coats of white
The snow depth measured in the scores of feet.
The hearty play and ski to their delight.
The mountains save  that pack so life can grow.
Of alpine lakes and gleaming waterfalls
I dream as my begin my climb today.
When half-way there I stop and watch below
as a coyote slowly wends his way
thru grasses tall, across the green meadow.
I stay ’til he’s gone, then I’ll find the falls.
Slow running streams that teem with rainbow trout
is far below me now and I’m at peace
and touching heavens breath.  Soon I’ll decide
to leave and fish for dinner.  I’ll not cease
to wonder at the calm enjoyed beside
slow running streams that teem with rainbow trout.
 © Lawrencealot – February 27, 2013

Visual Template
This template was created for iambic pentameter stanzas.