From Wikipedia, the free encyclopedia
A story pun (also known as a poetic story joke or Feghoot) is a humorous short story or vignette ending in an atrocious pun (typically a play on a well-known phrase) where the story contains sufficient context to recognize the punning humor.[1] It can be considered a type of shaggy dog story.
Example Poem
Court Decision
The battle now has reached the courts my friend.
The water war of Podunk,  is coming to an end.
Environmental advocates want the water  free
to bog the land of that farmer –  Doug McFee.
that bog, is home to frog, and speckled gink
we can’t disturb them.  That’s what the whackos think
Doug had thought it wonderful what he had planned
it would divert the water, so he could use his land.
McFee’s five hundred foot canal  – it would take –
the unwanted seepage from his land and put it in lake.
The Podunk townfolk said if they were voting
they’d like that water to facilitate their boating.
“Nay”, was the environnmentalists’  reply
We cannot allow the Red-Spotted Newt to die.
So it’s up to the court now I’m afraid
To  decide:  Is it row versus wade?
© Lawrencealot – January 28, 2012

Glosa, Glose, or Gloss

It was only the Mississippi Poetry Society which called this form by the name Gloss.  And only they, in a contest that specified 4 sextet stanzas with ENVELOPE repetition.
 I give you links to all reference quoted here;  there are substantial differences in interpretations of the formal requirements.they disagree on much.  ‘Tis a fun form to write, enjoy yourself.
Structure, Repetitive Requirement, Other Requirement
A glose starts with a texte and comments on it through expanded discussion. In other words, it takes the texte, which may be a stanza of any number of lines and then creates a stanza for each of those lines. The stanzas do not have to be the same number of lines as the texte. The sonnet redoubled is a form of glose. The text line appears as a repetition at the end of the verse that is glossing it.
See Also:
Pasted from <http://www.poetrybase.info/forms/001/130.shtml>

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

Glose (or Glosa)
The glose originated in Spain, where it is known as the glosa.
It has two parts, which are normally written by different authors.
The first part – the texte or cabeza – consists of a few lines which set the theme for the entire poem. Typically this will be a stanza from a well-known poem or poet – although it is perfectly permissible to write your own texte.
The second part – the glose or glosa proper – is a gloss on, or explanation of, the texte. It takes the form of an ode, with one stanza per line of the texte. Each stanza in turn expands upon its corresponding line of texte, and ends with a repetition of it. 
An example will make this clearer.
Another blow for press freedom
The painful warrior famoused for fight
After a thousand victories once foiled
Is from the book of honour razèd quite
And all the rest forgot for which he toiled.
A thug, about him something of the night,
But our thug, who took up arms and stood firm,
Brave, strong and tall for what he thought was right.
A hero, though he’d blush to hear the term,
The painful warrior famoused for fight.
A realist, this craggy hunk; hard-boiled,
But never thought to find a single blot
On his once proud escutcheon.  Now it’s soiled
Beyond recall. His reputation’s shot,
After a thousand victories once foiled.
He rails against his fate, the sudden blight
That chills him. Life will never be the same.
The days drag by. He lies awake at night,
Cold, haunted by the knowledge that his name
Is from the book of honour razèd quite.
His future, once so bright, has now been spoiled;
His past’s no longer what it used to be.
Admirers he once had have all recoiled,
Wiped tapes, burnt photos, pulped biography,
And all the rest forgot for which he toiled.
The texte here comes from Shakespeare‘s sonnet 25. For the glose, I chose to use 5-line stanzas rhyming ababa. 4-line or 8-line stanzas are more usual, but any kind of ode stanza is acceptable.  

My thanks to Bob Newman for his years of work on the wonderful Volecentral resource.

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.
Here is the form explained by the Mississippi State Poetry Society, which had a contest for poems in this form in 2010:
Any subject. Form: Gloss. An expansion of a well-known poet’s quatrain in iambic tetrameter or iambic pentameter. This quatrain, the text, must be given as an epigraph under the title of one’s poem, along with the title of the poem it is from and the name of the poet who wrote it. Following are four sextet stanzas. 24 lines, each stanza beginning with a line from the text, with four original lines added in a rhyme scheme of one’s own choosing, and closing with the same line from the text. Sponsored by the Mississippi Poetry Society, Inc.
1st Prize: $25, 2nd Prize: $20, 3rd Prize: $15.

My commentary:
TEXTE or CABEZA – Various sites seem in Agreement
The second part – the glose or glosa proper – is a gloss on, or explanation of, the texte.
NEWMAN – Stanza ENDS with LINE from TEXTE
POETRY-NUT – 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. (xxxxxaxxaA)
MPS – (Contest) 4 sextet stanzas with ENVELOPE repetition.
Many variations are noted to occur, and various form names have been proposed to account for some of them, Top Glose, and Double Glose are two.  I may well choose to add them separately to my list. The final take for me now is:
That you the poet choose the TEXT that can inspire the poem that follows, and you are at least in part paying tribute to that author. If your individual glossing results in a pleasant read for another, I’ll think you’ve succeeded.

Related forms listed here: Glose, Double GloseTop Glose

Example Poem
Where I’m Most at Home (Glosa, Glose, or Gloss)
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 I begin my climb today.
When half-way there I stop and watch below
as a coyote slowly wends his way
through grasses tall, across the green meadow.
I watch him go and then I find the falls.
Slow running streams that teem with rainbow trout
are 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.

 (c) Lawrencealot – August 2014
Visual Template
You may choose ANY rhyme scheme.


The Monometric Form was
Invented by  Walter E. Ferguson III, aka Thunder_Speech on Allpoetry
The form can be manifest in three modes:
The norm is Augmented Monometric, illustrated below by that author’s poem.
This form requires the poet to begin with a couplet, then augment
each succeeding stanza with one more line.
Each stanza is to be independent mono-rhyme.
Lines can be of any constant meter, e.g.,
Iambic trimeter, Iambic tetrameter, Iambic pentameter, etc..or
Trochaic tetramter, trochaic pentameter, etc., or
Amphibrach Dimeter, amphibrach Trimeter, etc..
To summarize, the poet may choose ANY consistent meter and feet, and
then apply mono-rhyme to increasing length stanzas.
If the poet chooses to start with his maximum stanza length and subtract one line
each stanza, ending with a couplet, it is then called a Diminished Monometric.
Clearly an enterprising poet could append each type and have a Reversing Monometric.
Example Poem
Routine   (Reversing Monometric)
Joe digs the hole each day.
It’s always been that way.
I stick the bloody pole
into the bloomin’ hole
That’s always been my role.
The hole’s then filled by Ned.
while Joe goes on ahead.
I fetch poles from the shed,
so nothing need be said.
Well I was sick one day.
Work went on anyway.
They knew their jobs okay.
They did them the same way.
Joe dug; Ned filled the hole.
They both knew their own role
but didn’t know the goal.
It’s OK, now I’m back.
We’ll get the fence on track.
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A poem praising a person place or thing.
Related forms:

Other Odes: Aeolic Ode, Anacreontic Ode, Choral Ode or Pindaric Ode or Dorian Ode,Cowleyan Ode or Irregular Ode, Horatian Ode, Keatsian or English OdeRonsardian Ode 
Thematic Odes: Elegy, Obsequy, Threnody Ode Elemental Ode Genethliacum Ode Encomium or Coronation Ode Epithalamion or Epithalamium and Protholathiumis Palinode Ode Panegyric or Paean Triumphal Ode Occasional Verse

Ottava Rima

A Ottava Rima is a poem written in 8-line octaves.
Each line is of a 10 or 11 syllable count in
the following rhyme:
one octave poem. abababcc
two octave poem. abababcc, dededeff
three octave poem. abababcc, dededeff, ghghghii
…so on and so on
Example Poem
Hereafter What?
Amazing homeostasis defies
entropy, seemingly with thoughtful change.
Through positive and negative replies
to stimuli it locks into a range.
A cell no more thinks than a piglet flies.
Ours try for constant Ph to arrange.
Each does its stupendous job then it dies.
With no need to fret where its future lies.
All instructions are D.N.A.  coded,
as is their time to “die”, then they’re replaced-
or not.  A mountain grows then’s eroded,
while vapor turns to water being chased
through mountains cracks; more rocks are exploded,
Sometimes this cycle seems to be a waste.
Yet, waste or not it will play to the end.
That sir, is how my life will work, my friend.
Man’s invented God since men could converse,
for death was never obscure- purpose was!
For most all, life was hard and they feared worse.
Hence gods were wrought to whom to plead their cause.
I’ve actualized myself though time  is terse.
I’ve lived, live yet, and require no applause.
Life’s tiller needs no Maker’s mighty hand.
His role fulfilled with big bang, on demand.
Those faith imbued may feel for me as I
so feel for them, saddened they’re not complete.
“They’re in a better place” will comfort my
peers – not I.  “They” must mean souls, not discrete
tokens.  Those souls pre- and post- life rely
on no puppet master, on no hymn sheet.
If soul there be then soul there is right now,
and will be then continuing, somehow.
(c) Lawrencealot – May 28, 2012
Visual Template


Partenza Represa

The Partenza Represa created by: Dawn Slanker
It contains any number of four line stanzas which can rhyme or not rhyme
depending on preference. The most important features of this form are that
it maintains strict syllable line count of your choosing:
8*6*8*6, 8*8*8*8, 10*10*10*10, etc…and that each line must begin
(anywhere you like) with the last portion of the preceding line.
Also, it’s important to point out that you have the option of either
continuing the first line of each stanza with a refrain from the line
preceding it or you may choose to begin an entirely new line for each stanza.
IMHO that makes this one of the most versatile forms I have yet addressed:
Any meter, any line length, any or no rhyme, word refrains
Example Poem
They Fart Melodies
Some folks believe their shit don’t stink.
Their shit don’t  stink, some people think.
Some people think, It seems to  me,
It seems to me- You may agree.
Suggest they’ve faltered and you’ll see.
You’ll see amazment- “What?  Not me!
Not me, the fault is in your view.
Your  view if critical– untrue!”
Their poop’s foil-wrapped, it has no smell.
It has no smell, a fool can tell.
A  fool can tell they’re always right.
They’re always right; therein’s our plight.
Fawn, applaud, and give them respect.
Respect even what’s not correct.
Correct them once and you’ll be banned.
You’ll be banned: You don’t understand
© Lawrencealot – April 30, 2012
Example visual template
Partenza Represa

Sonnetina Tre

1. The form is created from three stanzas.
 These consist of two quatrains and one couplet.
2. The normal structure has the two quatrains first followed by
a concluding couplet. 
Variations on this include the mini-Dorn (see Dorn sonnet)
structure which has the  couplet in the middle, 
it is also possible to begin with the couplet.
3. There is no set meter or rhyme scheme, 
though iambic pentameter or tetrameter is quite usual.
Rhyme Scheme: abab ccde deor abba dd deed
Example Poem
Girswold Fuzzy Longbottom  (Sonnetina tre)
I’ve never owned a Yorkie pup you see,
That breed has always been the owner here.
Though Griz is second such to live with me,
He makes it clear to other pets that dear
grandpa is his toy.  When I am not home
my wife can have his love.  He’ll sit or lay
most quietly with her; submit to comb
and bath.  When I’m around he wants to play.
He never comes to me without his ball
for that’s his favorite dog game of all.
(c) Lawrencealot
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Sonnetina Cinque

1. This form comprises of two cinquains.
2. There is no set meter or rhyme scheme, though iambic pentameter or tetrameter is common.
iambic tetrameter, rhyme scheme aabba OR abbaa
3. The first cinquain gives a statement or sets up a question.
The second cinquain provides a counterpoint to that statement or answers the question.
Example Poem
Maybe   (Sonnetina Cinque)
A gentleman must always know
A “maybe” spoken by his date
means actions planned “might” have to wait.
While “yes” is clear and signals ” go,
“Maybe” seems meaning “yes,but slow.”
She needs some help and time to think
which will be moot if you inspire
emotionally ignited fire.
A “maybe’s” changed with just a wink
and kisses helped along with drink.
© Lawrencealot – January 6, 2013
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Sonnetina Quatro

1. The form comprises of two stanzas. These are a sestet and a quatrain.
2. The sestet and quatrain may appear either way round, but the more usual design is the sestet first.
Rhyme Scheme: ababab cdcd
Example Poem:
Then the Dog Ran Off    (Sonnetina Quatro)
I taught my dog to drive my truck
so I could ride and play guitar.
When I get drunk I’m still in luck,
He drives home from the country bar.
A trooper stopped us.  That did suck;
We were not going very far.
The truck’s impounded.  I’m in jail,
A license I forgot to get.
Yes, it’s a sad and sorry tale.
My license won’t work for my pet.
 © Lawrencealot – January 5, 2012
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