Tag Archives: interlaced rhyme

Florette

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The Florette, created by Jan Turner, consists of two or more stanzas for either of the two versions.
Version 1 – Quatrain Stanazas
Rhyme scheme: aaba , with interlaced rhyme in line four, where syllable eight shares the “b” rhyme.
 Syllabic:           8/8/8/12 
Meter:               Iambic
Version 5 – Quintet Stanazas
Rhyme scheme:  aabba,  with interlaced rhyme in line five, where syllable eight shares the “b” rhyme.
 Syllabic:             8/8/8/8/12 
Meter:                 Iambic
Sample Poem
Meeting for a Drink     (Florette)While sitting near my fountain, dear
a pretty yellow finch appeared.
When he came by to say hello
it thrilled me much to simply know I wasn’t feared.
He studied me expression wise,
as if the sight was no surprise;
he groomed his feathers, seemed to think,
then bowed to me and took a drink, just we two guys.
© Lawrencealot – November 28, 2013
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Essence

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Stanzaic, any number of couplets
Isosyllabic, Hexasyllabic lines
Rhyme Pattern: xbxcxa xbacxa, where b and c are interlaced rhyme, AND c is optional.
      Note: The b and c rhymes can be found on any syllables.
  • Essence is a rhyming hexasyllabic couplet with internal rhyme with a twist. Normally in English prosody “internal rhyme” refers to a word within the line rhyming with the end word of that line or the end word of the previous line. However in this verse form internal rhyme refers to words from somewhere within the line rhyming internally within the next line, it could be 1 or 2 rhymes. (This could be tricky in only 6 short syllables.) Found at ShadowPoetry.com and attributed to Emily Romano, published in P.O.E.T. magazine in 1981.
    The essence is:

    • stanzaic, written in any number of couplets.
    • syllabic, hexasyllabic lines.
    • end rhymed as well as interlaced rhyme. x b x x c a b x c x x a The b and c interlaced rhymes may be placed in any position within the lines, the c rhyme is optional.
Two short lines with end rhyme
sort within, tend to time.
——Judi Van Gorder
 
 
My great thanks to Judi of PMO, for the above.
II made one change in the description.  Instead of referring to the b and c rhymes as internal rhyme, I called them interlaced rhyme.
Rhyming a word in the middle of one line with a word in the middle of another is called interlaced rhyme.
Here, thanks to Bob Newman of Volecentral, is the most definitive list of rhyme types I have ever encountered.   http://www.volecentral.co.uk/vf/rhyme.htmNote: I would also disagree with the indicated rhyming convention, but guess I will not insist it be x a x b x c  since the previously indicated pattern bestows the a-rhyme upon the end-rhyme position.
Isosyllabic: 6/6/6/6/6/6
Rhymed (bca)(bca) (Interlaced rhyme)
My  Example Poem
Bye Bye,  Bad Boy      (Essence)
Next time you reel me in
to climb and feel and sin,
I plan to take to bed
a man to slake instead.
© Lawrencealot – Thanksgiving day 2013
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Essence

Romantic Stanza

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Stanzaic:   Any number of quatrains.
Syllabic:    Multiple versions. I have seen 11/11/10/7, but documented here are:
                 the Wordsworth version: 11/11/11/7, and the 11/10/11/7 version.
Meter:     Dactylic, with the final foot being either catalectic or brachycatalectic
                (lacking either one or two syllables).  
Rhyme:    cross rhyme, end-rhyme abab.
Refrain:   The first 7 syllable of line one making up line 4.
Romantic stanza
Type:
Structure, Metrical Requirement, Repetitive Requirement, Rhyme Scheme Requirement, Stanzaic
Description:
Alternating quatrains of basically dactylic meter where lines one and three have eleven syllables, line two has ten, and line four is the first seven syllables of line one.
Attributed to:
Maksim Bahdanovic, stanza so named by Bob Newman
Origin:
Belarus
Schematic:
Rhyme: (Ba)baB
Meter:
Xxx Xxx Xxx Xx
Xxx Xxx Xxx X
Xxx Xxx Xxx Xx
Xxx Xxx X
Starting Point:
With each quatrain, start with the first/last line, since that line establishes your rhymes.
Maksim Bahdanovič (1891-1917) was the greatest lyric poet in the Belarusian language, and one of his best-loved poems is entitled simply Romance. It begins, “Venus, new-risen above us appearing…” The verse form it uses is unusual and quite tricky. There is no standard name for it, so I have chosen to call it the romantic stanza. As an example, here is an alternative version of a well-known poem by Wordsworth: Daffodils
The form was named Romantic Stanza by Bob Newman
 
Example PoemsOut Genesis
Clustering, combining dust aggregates in time
Assembling Hydrogen particles as they must
be a bit weightier so they may start their climb.
Clustering, combining dust.
Billions of our years go by with no life at all.
Galaxies born, made of stars that explode and die.
Pressures of their dying create life’s wherewithal.
Billions of our years go by.
Busting outward from that blast, heavy elements
driven here by cosmic winds let know life commence.
all living things spring from cataclysmic events
bursting outward from that blast.
© Lawrencealot – January 26, 2013
unpublished
Since the specifications contain so much variance, I did the above in formal Dactylic tetramter, and the following in the indicated 11/10/11/7 format.
Neither are exactly the pattern used by the creator’s famous poem.
Our Genesis   (Romantic Stanza – 11/10/11/7 Version)
Clustering, combining dust aggregating
assembling Hydrogen just as it must.
Assembling atoms, Helium’s a-making,
Clustering, combining dust.
Billions of our years gone by with life absent.
Galaxies born, made from stars as they die.
Pressures of their dying create content .
Billions of our years gone by.
Busting outward from that blast, all elements
required for biologic life at last.
All living things sprung from stars’ final events,
bursting outward from that blast.
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Guzzanelle

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This is a modern form created by mixing a Ghazal with a Villanelle.
Form Type: Syllabic
Origins: American
Creator: Thomas Rodes
Number of Lines: 22
Rhyme Scheme: A1+r,b,A2+r – a+r,b,A1+r – a+r,b,A2+r – a+r,b,A1+r – a+r,b,A2+r – a+r,b,A1+r,A2+r
Meter: Undefined
Rules
1. The form is created from 6 triplets and a quatrain.
2. Line one is repeated as lines 6, 12, 18, 21.
3. Line three is repeated as lines 9, 15, 22.
4. The ‘a’ rhyming lines all have the same refrain following after the rhyme.
5. Each stanza may enjamb within itself but must be a complete unit in itself, there is no enjambing across stanzas.
6. Each stanza should be free standing they don’t need other sense to be a complete meaning unit. There doesn’t need to be a linkage between stanzas.
Example Poem

Real Help Possible      (Guzzanelle)
Have humankind become concerned too late.
Are legates from the stars our only hope?
Have our sentient cousins returned too late.
If violence wins, then we have earned our fate?
Have we played out our ecologic rope?
Have humankind become concerned too late.
The recondite crop marks unlearned folks hate
are verified as messages of hope.
Have our sentient cousins returned too late.
Symbolic mathematics discerned of late
that human’s self-hate carved a slippery slope.
Have humankind become concerned too late.
Some hate the Toran and some spurn the Pope.
In all fields of dogma, men only grope.
Have our sentient cousins returned too late.
We may leave fossil fuels unburned yet sate
our needs expanding in desire and scope.
Have humankind become concerned too late.
A profusion of wealth unturned awaits;
What man knows now is subpar, but we’ll cope.
Have humankind become concerned too late.
Have our sentient cousins returned too late.
© Lawrencealot – February 15, 2013
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Individualtean

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The individualtean is a form invented by chasingtheday of allpoetry.com.
In consists of 5 rhymed variable length stanzas
with the following end-rhyme pattern: abcbac def abcbac def gg
Rhyme may be perfect, slant or assonance.
Stanza 1 Consists of lines with 10/8/6/8/10/6 Syllables
Stanza 2 Consists of lines with 3/4/7 syllables
Stanza 3 Consists of lines with 10/8/6/8/10/6 Syllables
Stanza 4 Consists of lines with 3/4/7 syllables
Stanza 5 Is a couplet, each line with 10 syllables.
The form requires the ending syllable of lines 2 and 12 to rhyme with the first word of the following line.
In addition the last word of every stanza must rhyme with the first word of the following stanza.
There is NO requirement for any meter discipline.
Example Poem
Another Kiss Waitin’  (Individualtean)
Kisses tempt the strongest, noblest of men.
Indeed, all men are much moved by
Sighs, hugs, and words of care,
Still nothing lifts us quite so high–
Except knowing that kiss will come again,
Starving until it’s there.
Where my dear
inside my heart
resides the dreams of your lips?
Whips  and chains encumber some  and bring pain
Although with orders I comply
I bide my time I swear
Thinking of you kisses, Oh My!
Invigorated, treat hurts with disdain.
Nothing can bring despair.
Fair one, near
Or far I start
Remembering our hist’ry.
Memory of warm lips rewarded me.
Every time my feet brought me back to thee.
© Lawrencealot – August 13, 2012
This visual  template should help
Note: b-c in the rhyme indicator column, means that the
first word must use b-rhyme, the end-line must use c-rhyme.

Margerinesoar Noir

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Margerinesoar Noir  ( Dark winged beauty)
form was created by Amanda J. Norton on June 2, 2012.
Isosyllaibc: All lines are 10 syllables.
All end-rhyme is mono-rhyme.
Interlaced separate mono-rhyme occurs on syllable 5 of each line.
The poem consists of two tercets, each followed by a couplet,
then a concluding quatrain.
The first line of the poem, is also the first line of the first couplet.
Finally, the 2nd line of the poem becomes the first line of the quatrain,
and the 2nd line of the first couplet becomes the
2nd line of the quatrain.
Example Poem
Use a New Form (Margerinesoar Noir)
Let us not abuse a form of our own.
A poet pursues truth with words on loan.
It should not confuse, lest poets disown.
Let us not abuse a form of our own.
Make pattern amuse, and not make folks groan.
Write of lover’s coos, or of Fred Flintstone,
or paying our dues for chances we’ve blown,
of evil in pews, or wild oats we’ve sown.
Whatever your muse drops into your zone–
Remember to choose your own words alone.
A poet pursues truth with words on loan.
Make pattern amuse, and not make folks groan.
If words can bemuse then we’ll not bemoan
the efforts we use to make it our own.
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