Tag Archives: meter none

Ochtfochlach

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The ochtfochlach is an Irish verse formof 8 lines with a consistent but unspecified length and meter. The rhyme scheme is aaab cccb. (aaabcccb)
The Ochtfochlach
I like the form and rhythm, too;
It fits and wears like well-made shoe.
With luck it lasts a whole life through
And looks no worse for wear.
Iambic feet can march along
And lend their cadence to a song
With beats that switch from soft to strong,
A pace that’s light to bear.
My example poem
Fochlach It   (Ochtfochlach)
The Ochtingfochlach rocks
it’s not some damn flummox;
I penned this wearing socks,
and yes, without my shoes.
Define most any style
this form will soon beguile
and render forth a smile.
So what is there to lose?
© Lawrencealot – December 4, 2013
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There is no requirement for meter or line-length, though I chose iambic trimeter for this write.

Lushi

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From WIKIPEDIA
 
Lushi or lüshi (traditional Chinese: 律詩; simplified Chinese: 律诗; pinyin: lǜshī; Wade–Giles : lü-shih) refers to a specific form of Classical Chinese poetry verse form. One of the most important poetry forms of Classical Chinese poetry, the lushi refers to an eight-line regulated verse form with lines made up of five, six, or seven characters; thus:
  • Five-character eight-line regulated verse (wulu): a form of regulated verse with eight lines of five characters each.
  • Six-character eight-line regulated verse is relatively rare.
  • Seven-character eight-line regulated verse (qilu): a form of regulated verse with eight lines of seven characters each.
All lushi forms are rhymed on the even lines, with one rhyme being used throughout the poem. Also, and definitionally, the tonal profile of the poem is controlled (that is, “regulated”).
 
 
 
And since, the Lushi, according to the above, must be “Regulated Verse” what the heck is that?
 
Regulated verse consisting of the three jintishi or “new style poetry” forms of lushi, jueju, and pailu while retaining the basic characteristics are distinguished from the gushi or “old style poetry” by the addition of a number of formal rules, most of which they share in common, but in some of which they differ. These rules include:
  • Number of lines are limited to four for jueju, eight for lushi, and an unlimited, greater, even number for the pailu. In each case, the poem is arranged in paired lines in the form of couplets.
  • Line lengths are all the same in terms of syllables or characters throughout any given poem. Generally, the line length is fixed at five or seven or characters per line; although, there are some poems which have a six character line-length. The line length is also used for the purpose of further classifying the main three forms of regulated verse into subtypes.
  • Rhyme is mandatory. Rhyme, or rime, is based on a sometimes somewhat technical rhyme scheme. The rhyme of a poem can be difficult to determine, especially for older poems as pronounced in modern versions of Chinese; however, even as early as the Tang Dynasty, formal rhyme might be based upon authoritative references in a rime table or rime dictionary, rather than on actual vernacular speech. Generally level tones only rhyme with level tones, and non-level (or “deflected”) tones only formally rhyme with other non-level tones. Also, the first line of the poem may also set the rhyme, more often in the seven-character form than the five-character.
  • The pattern of tonality within the poem is regulated according to certain fixed patterns of alternating level and deflected tones. Although there is some question as to the status of tone in older forms of Chinese, in Middle Chinese (characteristic of the Chinese of the Sui Dynasty, Tang Dynasty, and Song Dynasty), a four tone system developed. For the purposes of regulated verse, the important distinction is between the level tone (similar to the modern Mandarin Chinese first tone) and the other three tones which are all classified in the category of deflected tones.
  • Parallelism is a feature of regulated verse. The parallelism requirement means that the two parallel lines must match each word in each line with the word which is in the same position in the other line, the match can be in terms of grammatical function, comparison or contrast, phonology, among other considerations: the degree of parallelism can vary and the type of parallelism is crucial to the meaning of a well-written regulated verse poem. Phonological parallelism can include various considerations, including tonality. Grammatical function parallelism examples include matching colors, actions, numeric quantities and so on. In the eight-line lushi form, which is composed of four couplets, the middle two couplets have internal parallelism; that is, the third and fourth line are parallel with each other and the fifth and sixth lines are parallel with each other. The jueju is more flexible in terms of required parallelism, although it may be present. The pailu requires parallelism for all couplets except for the first and last pair.
  • The caesura, or a pause between certain phrases within any given line is a standard feature of regulated verse, with the main rule being for a major caesura preceding the last three syllables within a line. Thus, in the six-line verse the major caesura divides the line into two three-character halves. Furthermore, in the seven-character line, there is generally a minor caesura between the first and second pairs of characters.
 
 
Besides the tonality parallelism that English cannot duplicate, we can substitue Literary Parallelism.
Parallelism: Similarity of structure in a pair or series of related words, phrases, or clauses.
Parallelism takes place when two similar phrases are joined to make just one sentence. Or when you combine subjects, object or adjectives with conjunction.
 
Sigh…
I hope only someone who is [a] bi-lingual in in Chinese and English,  [b] more intelligent than I, and [c] a poet will be able to properly define how we should specify the correct writing of these poems in English, but here is my attempt to provide a common starting point.
 
Corrections and enhancements eagerly sought.
Restated Rules –  Lushi for Dummies
The poem is eight lines long.
There is not meter required.
It is word based: Each line must have the same number of words, either 5,6, or 7.
Even lines should exhibit mono-rhyme.
Caesura (a pause) should separate clauses.
The first couplet should set-up the poem.
The final couple should provide the conclusion.
The middle two couplets should develop the theme.
There should be some type of parallelism between alternate lines of the development quatrain.
Example Poem
Grandpa’s Visit     (Lushi)
grandfather enters room; grandson smiles
toddles towards papa; wanting play.
boy, man watch each other
each watching the other’s way
boy and grandpa mutually focused
each learning from each today.
grandson points down- to floor
that means, “Papa, here! stay!
© Lawrencealot – November 24, 2013
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Note I chose the five character poem this time.

Licentia Rhyme Form

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This is an invented form created by Laura Lamarca.
This is an isosyllabic poem (all lines have 11 syllables)
It is stanzaic, consisting of five 12 lines line stanzas, (60 lines)
It is rhymed.  The Rhyme pattern is  AABBCCDDEEAA, BBffgghhiiAA, CCjjkkllmmAA etc.
It is a Refrain Poem with the nth couplet of the first stanza being the 1st couplet of the nth stanza and the first couplet is also the final couplet of every stanza.
Meter optional.
Example Poem
Environmentally Friendly     (Licentia Rhyme Form – almost)
“He sprinkled smiles to folks he met every day.”
Let those words, when he’s gone, be what people say.
A tree provides some refuge from heavy rain
his mirth provided escape from dull disdain.
A shopping trip or a walk was not worthwhile
if while about he’d not make some person smile.
His own good cheer was augmented without fail
if laughs arose from his own invented tale.
The thoughtless actions to which we all are prone
he overlooked, lest perhaps they were his own.
“He sprinkled smiles to folks he met every day.”
Let those words, when he’s gone, be what people say.
A tree provides some refuge from heavy rain;
his mirth provided escape from dull disdain.
A brief respite from the downpour bolsters one
with will to press on with what they have begun.
Though laughing won’t remove underlying woes,
it unpollutes the place where folk’s upset grows.
A friendly howdy do when it it’s not required
may spread along the day leaving some inspired.
He gives away his smile but before he’s gone,
you’  notice that there’s another pasted on.
“He sprinkled smiles to folks he met every day.”
Let those words, when he’s gone, be what people say.
A shopping trip or a walk was not worthwhile
if while about he’d not make some person smile.
A child too shy to talk will still tell his folks
that he had fun with that old guy telling jokes.
He’s pause for drivers anxious to push ahead
and choose a more distant place to parking stead.
He’d open doors for the ladies- (what a thought),
He behaved the way the kids of old were taught.
He figured gloominess was but state of mind
and helped all he met just leave that state behind.
“He sprinkled smiles to folks he met every day.”
Let those words, when he’s gone, be what people say.
© Lawrencealot – December 3, 2013
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This is NOT a Licentia Rhyme From in that it does NOT have five stanzas.

 

Chain of Abolition

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“Chain of Abolition” Poetry Form
A poem of 22 lines, invented by Natydel of Allpoetry.com
Syllable Count: 4/5/6/7 /3/4/5/6/7/2/3/4/5/6/7/1/2/3/4/5/6/7
Rhyme Scheme: abcd eabcd feabcd gfeabcd (abcdeabcdfeabcdgfeabcd)
There is no meter requirement.
It is required that there be a line between stanzas.

Example Poem

Flying Out of Singapore

{a parody of signing off, forevermore}

enticing eyes
a curvaceous view
glossy lips, inviting
me to ravage you once more;

intimate
does member rise,
wanting inside you
lack of thought is fright’ning
Can you take it just once more?

kiss me!
speculate
about its size–
just as though it’s new
a kiss so exciting
I’d not take you for a whore.

hush-
I see
delicate
smooth silky thighs,
moist tastes to pursue
curves with pleasure writhing;
then we’re through forevermore-

(c) Lawrencealot – Sept 12, 2012

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Twisted End

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The Twisted End form is a creation of Nichole Alexander.

 This is a stanzaic poem consisting of four or five tercet stanzas.
Each stanza has independent monorhyme.
There is no line-length or meter requirement.
The defining requirement of the form is that some part  of each of the first two lines be “twisted” together in forming the third stanza line which MUST INCLUDE INTERNAL RHYME.

 

 

 

Example Poem

Write a Twisted End   (Twisted End)

 You must depend on rhyme as your good friend
with mono and internal rhyme to blend
depend on your internal rhyme to end.

The Twisted End sets forth no metric tone.
but permits choice if poet is so prone.
The Twisted End my friend permits your own.

No poetic device is disallowed.
A verse endowed will rise above the crowd.
Device endowed attempts should make one proud.

Alliterate or write with metaphor
or obfuscate and be a common boor.
Allit with wit makes common a bit more.

 © Lawrencealot – March 13, 2013

 

 
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Cinq Trois DecaLa Rhyme

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A Cinq Trois DecaLa Rhyme
15 syllables per line
10 Lines
Rhyme scheme of aabbcccabc
Meter optional.
Formal poetic style by: Laura Lamarca
Example Poem

A Yellow Rose

A yellow rose to me is  like no other, nor can it be.
You told me of your hidden yellow rose before ever we
met and I thought then it something special you and I would share.
We did, and now they must flourish in bouquets and in your hair.
Their yellow brightness calls out exuberant and happy cheer
and their perfume never fails to invoke images of you, dear
While every rose is special, our shared preferance stands out clear.
Of course, it’s only because of you, that much I clearly see,
that yellow was promoted in my mind such that I’m aware
that all is incidental to the fact that your love is here.

(c) Lawrencealot – April 5, 2012

Cortes Nonet

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Invented by Josephine Ann Louise Cortes-Love  aka MajesticRose on AllPoetry, March 2012.
It was inspired by the original Nonet.
TO WRITE IN THIS FORM YOU NEED THE FOLLOWING RULES:
14 lines (2 stanzas, 7 lines each)
First stanza syllable count as follows:  5/7/9/11/13/15/17
Second stanza syllable count as follows:  17/15/13/11/9/5
The last word of each line is the first word of the next line.  (word form)
The first word of the second stanza can either be the last word of the first stanza OR a new word
The poem can rhyme or have no rhyme at all
Example Poem

Dedicated to Majestic Rose
To write a Cortes
Cortes Nonet , I do mean,
Mean minded MajesticRose means that
that requirement that each line carries on so
so smoothly  with the last word from the prior line  if you,
you ambitious poet, think your muse can run free you may lose.
Lose just one word and you will be hitting delete way too many times.
Due to the already significant demands save trying to rhyme.
Rhyme if you wish.  It is allowed I shall attempt it this time.
Time is on my side for I am half way through this verse.
Verse being used here to mean stanza, what’s worse,
worse than that, I’ll run out of couplets-
couplets needed to rhyme more.
More is out the door.
   (c) Lawrencealot – June 1, 2012

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Cyclone

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This form is a Cyclone invented by Sector-Hunter
*A cyclone is a poem that wraps around to form a loop it is made of 10 stanzas where the last 3 say what the first 3 said* (44 lines)
*1. The first three stanzas are in lines of 4 with a syllable count of 4,5,6,7*
*2. The next 4 stanzas are in lines of 5 with a count of 4,5,6,7,8 and lead up to the last three stanzas with a word or the whole line that will flow into the last 3 and cause the poem to loop *
*3. The last 3 stanzas are also in lines of 4 and the same count as the first 3 and they have to say the same thing as the first three stanzas*
There is no meter requirement;  the illustrated poems shows the sample rhyme pattern,
But the author states rhyme optional.
Example Poem

Write a Cyclone
Write a cyclone.
It’s not tough to do.
Count syllables alone.
Just make sure your count is true.
Use couplet rhyme
masculine or not.
No rhyme at any time
Is okay, so take a shot.
Inventor says
no meter required
so without rhyme this lays
pretty barren, uninspired.
Right here we change
from quatrain stanzas
to quintets giving range
for more verbal bonanzas.
Pen something serious or strange.
Since we are free
for practically all
lengths of words can now be
combined somewhere; have a ball!
Use complicated words with glee.
It’s fun to slip
into playful mode.
Like hearing water drip.
Dripping splish, splash the whole load-
let onomatopoeia rip.
I’ve had some fun,
joshed and played around.
End with what has begun
That makes the poem fly I’ve found.
So when I pen this line, I’m done.
Write a cyclone.
It’s not tough to do.
Count syllables alone.
Just make sure your count is true.
Use couplet rhyme
masculine or not.
No rhyme at any time
Is okay, so take a shot.
Inventor says
no meter required
so without rhyme this lays
pretty barren, uninspired.
© Lawrencealot – July 12, 2012

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dandizette

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Dandizette form created by discoveria of Allpoetry.com
3 six line stanzas
the form is partially inspired by the villanelle, and features a tricky repetition of four refrain lines in the final stanza.
the syllable count for the first twostanzas  is  8/6/8/8/6/8.
The last stanza has lines of  6/6/6/6/8/8 syllables.
The rhyme scheme is ababcb cbcdcd bcbcee. (ababcbcbcdcdbcbcee)
The final stanza is composed of lines 2, 5, 8, 11 from the previous two stanzas, plus a concluding rhyming couplet.
Where they reappear in the last stanza, the four repeated lines should make sense together as well as making sense where they are first used. Meter is optional.
Example Poem
Beneath the Dancing Lights  (Dandizette)
Every fellow  here wants first dance.
She is a lovely tease
though proper for a girl from France.
With her shape she does dress to please
with bodice cut so low.
‘Twould be a thrill to watch her sneeze.
Tonight the breeze will lightly blow
outside beneath the trees
the lights will swing and sway as though
they are dancing too.  As on stage
in dancing lights she’ll glow.
She’ll attract men of any age.
She is a lovely tease
with bodice cut so low.
Outside beneath the trees
in dancing lights she’ll glow.
She will light up many man’s life.
And she’ll tick off many a wife.
(c) Lawrencealot – March 2, 2012
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Dreamscape

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This form was invented by Sector-Hunter on Allpoetry.com  simply for people to have
fun while creating short poems with internal rhyme.

The Dreamscape is a form with only the following requirements:

There are two tercet stanzas.

The first two lines in each have rhyming beginning and ending words.

The third line needs no rhyme, and summarize the first two.
No line length or meter requirements.

I tried to show the smallest possible stanza, along with normal one.

Example Poem