Markette: Created by Michael Degenhardt.
Rhymed Quatrains.

Syllable Count: 11/10/9/5
Rhyme Scheme: aaab cccd ddde fffe

No Place to Call Home

Partners Place –Housing First: An initiative to provide permanent housing
for chronically homeless persons

a11 In our town homeless people live under bridge.
a10 They camp out by railroad tracks or on a ridge.
a9 Some people care, try to help abridge
b5 gaps in services.
c11 The chronically ill, addicted, jobless,
c10 poverty, life situation painful mess–
c9 some folks try to raise our consciousness
d5 and want to make dent.
d11 Shelter, a place to call home, they will pay rent–
d10 percentage of income from government,
d9 coordinate needs as seen evident.
e5 working together.

f11 Grants, donations, they have built a safe, new place–
f10 apartments where residents interface,
f9 live with others, meet staff at own pace–
e5 safe from the weather.
My Thanks to Linda Varsell Smith for her contributions above.

My example

For a Happy Next Year (Form: Markette)

This very troubled year will certainly end
I hope the best for you next year, my friend.
We can’t tell what the next might portend;
may yours be joyful.

Sub-cultures rising up and promising strife
give little care how they affect your life.
agendas they hold make discord rife.
Practice brotherhood.

Though agitators provoke and relish hate,
if we respond we make their traction great.
So stay with those you appreciate.
Stay well and happy.

Avoid the fools who pander harsh foolishness.
No confront is going to solve this mess.
We need Hellos more and “Hell no’s” less.
Accumulate friends.

© Lawrencealot – December 29, 2014

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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

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Double Ballad Stanza

Dipodic Quatrain

Dipodic Quatrain is a quatrain written in podic or folk meter with 2 stressed syllables per line.
• Podic Verse or folk meter is a measure of verse simply based on the number of heavily stressed syllables in a rhymed line. The number of unstressed syllables are not considered. It is a hold over from Alliterative verse of the Anglo Saxons but instead of the irregular strophic verse, stanzas and rhyme are employed, something learned from the Normans.
The Dipodic Quatrain is:
• stanzaic, written in any number of quatrains.
• podic, written with 2 heavy stresses per line with no regard to the number of unstressed syllables.
• rhymed, rhyme scheme either abab cdcd etc. or aabb ccdd etc.

Crisis by Judi Van Gorder

Trouble is here
folks out of work
lost career
no pork.

Money tight
rolling up sleeves
taxes bite
family cleaves.

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

My attempt

Sacrifice for Rhyme 

Any time
I pen a verse
And use bad rhyme
It makes it worse.

Heaven knows,
my thoughts aren’t deep,
attempts at prose
puts folks to sleep.

I think dipodic
quatrains could
be hypnotic
if written good.

© Lawrencealot – December 2, 2014

Nibelungen Strophe 

The  (Middle High German) or Kurenberg Verse (Norse) is a stanzaic form named for the metric and lyrical structure of the 13th century Germanic, Norse legend of the Burgundians sometimes known as Nibelung hoard. It tells the story of their royal geneology, adventures and antics. It is epic poetry
The NibelungenStrophe (Middle High German) or Kurenberg Verse (Norse) is a stanzaic form named for the metric and lyrical structure of the 13th century Germanic, Norse legend of the Burgundians sometimes known as Nibelung hoard. It tells the story of their royal geneology, adventures and antics. It is epic poetry. One of the kings was a dwarf and is so portrayed in Richard Wagner’s opera, “der Ring des Nibelungen”. The name Niblung has become associated with a dwarf or a legendary race of dwarves.
The defining features of the Nibelungen Strophe are:

  • metric, accentual, long lines or Germanic lines, which are made up of 2 hemistiches, or short lines referred to as Anvers and Abvers.
Anvers, is the first hemistich or short line which always has 4 strong beats or stressed syllables. Usually ends with a feminine or falling syllable. Abvers, is the second hemistich or short line in all but the last line of the quatrain and usually carries 3 strong beats or stressed syllables ending in a rising or masculine end rhyme.
  • stanzaic, written in quatrains made up of 2 complete and closed couplets.
  • rhymed, rhyme scheme of the Abvers or 2nd short line is aabb ccdd etc. Only occasionally does the 1st short line or Anvers carry rhyme at the caesura.
  • composed with the last line of the poem written in 2 Anvers. In other words the poem almost always ends with a feminine or falling end syllable.
xX xX xxX xXx , xxX xX xAxxX xX xX Xx , xX xxX xAxX xX xX Xx , xX xX xB
xX xX xX Xx , Xx xX xxX Xb
anvers , abversanvers , abversanvers , abvers 
anvers , anvers

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

German and Austrian Poetic Forms:

Bar Form, Dinggedicht, Goliardic VerseKnittelvers, Minnesang, Nibelungen, Schuttelreim

Visual template
For those wanting to give this a try. I’ll pass having no knowledge of the subject to inclination to pen an epic.

Nibelungen Strophe

Deachnadh Mor

Deachnadh Mor


Structure, Metrical Requirement, Rhyme Scheme Requirement, Other Requirement, Stanzaic


Supposedly pronounced da-GNAW-moor, this is a complex Irish syllabic form. Here are the rules:

  1. The form is a stanzaic quatrain form.

  1. Lines one and three have eight syllables.

  1. Lines two and four have six syllables.

  2. The lines have di-syllabic endings, meaning the last two syllables are both involved in the consonation.

  1. The stanza consonates in an alternating (abab) pattern.

  1. There are at least two cross-rhymes in each couplet.

  1. The final word of line three rhymes with a word in the interior of line four.

  1. The internal rhyme in the first couplet can consonate instead of true rhyme.

  2. In the second couplet, rhymes are exact.

  3. Two words alliterate in each line.

  4. In line four, the final word alliterates with the previous stressed word.

  5. The poem (not the stanza) should end as it began, with a word, phrase or line the same. (Dunadh)

Obviously, with so few syllables packing so many forms of binding, it will probably be that each syllable will participate in multiple ways. One syllable might be alliterative internally, rhyming within the couplet, and consonating with the alternate line. This is not a form for beginners, and works much better in other languages, such as Gaelic. To the ancient Celts, poetry was magic. Their forms are very complex to keep the magic among the priestly (Druidic) classes. One of their poets often had the equivalent in study to a doctoral degree in our society.








(aa) = Di-syllabic consonation.
(bb) = Di-syllabic consonation.
á = True rhyme.
c, d = true rhymes or consonations binding the couplet.
e, f = true rhymes binding the couplet.

This schema does not show the alliteration.



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


Restated specifications:

Begin the poem with a two-syllable word, which will become the poem’s final word.
L1-5 (Line one syllable 5) must R/C (rhyme or consonate with L2-2.
Two words in line should alliterate.
L2-4 must R/C with L1-2. Two words in line should alliterate.
L3-2 must true rhyme with L4-4. Two words in line should alliterate.
L3-5 must true rhyme with L4-2. Two words in line should alliterate.
L4-3 must true rhyme with L3-8. Two words in line should alliterate.
Final Stanza.
The last word must be the first word of Stanza 1,
therefore will determine the end-rhyme for L2 and L4.

Venicebard – Okay, here comes some tough love. You’re missing the aicill rime (end-word rimed with word within following line) in the second couplet. Also, I’m afraid when modern specs (for Irish forms) speak of ‘consonance’, they actually mean assonance (the two words were considered equivalent a half century ago, except perhaps in the technical speech of linguists), though today the technical meaning is agreement of more than one sound (can include vowel). The cross-rimes in Dan Direach allow assonance in cross-rimes of first couplet of quatrain. Full rime in Irish, of course, itself allows substitution of like-sounding consonants (p-t-k, etc.) (By the way, this form is so close to the modern specs for Rannaigheacht Bheag as to be suspect.) It is in the Welsh forms (and proto-Welsh measures) that consonance in its modern technical meaning is utilized extensively, but the specs for Irish forms given in John O’Donovan’s A Grammar of the Irish Language show that it was what we call assonance that was called for where the modern specs tend to say ‘consonance’. (Many Irish poets themselves may be unaware of this, however, not having looked into the history of their tradition, and indeed I have only the one source to go by so far, more or less.) -Gary Kent Spain, posting as Venicebard on Allpoetry.

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Deachnadh mor

Curtal Long Hymnal Stanza

Curtal Long Hymnal Stanza

Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Stanzaic
Description: A stanzaic form composed of three lines of iambic tetrameter and one of iambic dimeter rhymed abab.
xX xX xX xA
xX xX xX xB
xX xX xX xA
xX xB
Rhythm/Stanza Length: 4

Pasted from
My Thanks to Charles L. Weatherford for the wonderful PoetryBase resource.

Note: The ONLY difference between this and the Curtal Quatrain is the rhyme scheme.

My Example Poem

My All [Corrected] (Curtal Long Hymal Stanza)

My friends will not critique my verse
they think that they are being kind.
my enemies are even worse
and I don’t mind.

Those folks would shout and jump with glee
and guffaw loudly when I goof
but they ignore me so can’t see
my error’s proof.

I wrote this form with half the count
of syllables required last week.
for feet took double that amount
so thus this tweak.

© Lawrencealot – May 10, 2014

Visual Template

Curtal Long Hymnal Stanza

Curtal Quatrain

Curtal Quatrain (French- cut short) is a 19th century American verse form made popular by Archibald Mac Leish. This is not the quatrain used in theCurtal Sonnet of a few of decades before. The sonnet may have influenced the creation of this verse form but the sonnet’s quatrain is 4 lines of iambic pentameter with a trimeter tail added as a 5th line. In the Curtal Quatrain the 4th line is the shorter line.

Curtal Quatrain is:
• stanzaic, written in any number of quatrains.
• metered, primarily iambic. L1, L2, L3 are pentameter and L4 is dimeter.
• rhymed. Rhyme scheme xaxa

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

My example

Fresh Start (Curtal Quatrain)

Some days you rise, intent on making hay
but by the time the coffee’s brewed to taste
the fine aroma announces that it’s
too fresh to waste.

‘Twould be a crime to let it sit and burn,
degrading coffee oils and caffeine too.
It’s best I guess, to postpone things and just
enjoy the brew.

© Lawrencealot – November 24, 2014

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Curtal Quatrain

Cuaderna Via

Cuaderna Via (frame way) is a strict, syllabic stanzaic form that dominated most of the serious Spanish poetry for the 13th and 14th centuries until the 15th century when it was replaced by the more generic Art Major. The Cuaderna Via was the introduction of syllabic verse into Castillian poetry. It appears to have been originated by the Spanish clergy under French influence, hence the alternative names of mester de clerecía and nueva maestría. It is also known as alejandrino (14) since Spanish verse is often named for the number of syllables the lines contain, the alejandrino is now classified as a verse of Art Major.

One of the earliest known Spanish poets to utilize the form was Gonzalo de Berceo 1190-1264 and some of the best known Cuaderna Via’s were 14th century Juan Ruiz’s Libro d Buen Amor and Pedro López de Ayala’s autobiographic, Rimado de Palacio which was a satire of contemporary society.

This stanzaic form is known for its “rigidity of form: syllables are counted carefully” NPEOPP. In addition to the rigid meter, only true rhyme is allowed.

The Cuaderna Via is:
• stanzaic, written in any # of mono-rhymed quatrains.
• syllabic, 14 syllable lines divided into hemistiches of 7 syllables each, often broken by caesura. There is no wiggle room in syllable count.
• mono-rhymed. The rhyme must be true rhyme, no slant rhyme, assonance or consonance.
Rhyme scheme aaaa, bbbb etc. Apparently this is a form for purists.

First Day of Chemo by Judi Van Gorder
The morning chill waits for her, the cold arrived in the night, 
she lies beneath her down quilt, still as a doe before flight.
The dreaded day has arrived, resolve mixed with fear holds tight.
She knows it’s what must be done and she swallows down her fright.

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

My example

Ferguson Forecast (Cuaderna Via)

Black hands hold up signs that say (If) “No Justice!!” (then) “No Peace!! “
Ferguson’s a flash point now fueled by hatred of police.
Race baiters have their showcase, and they’re wanting no surcease.
No matter what the verdict – I know violence will increase.

Bigotry will flourish here, where race hatred’s been inbred.
I can’t tell where the truth lies, from what both have done and said.
Don’t take rage to city streets; stay with those you love instead,
for justice will not be served by assuring more are dead.

© Lawrencealot – November 22, 2014

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Cuaderna Via

Cethramtu Rannaigheacht Mor

The Cethramtu Rannaigheacht Mor is a relatively simple stanzaic Irish Verse Form. 

The Cethramtu Raanigheacht Mor is:
• written in any number of quatrains,
• syllabic, each line has 3 syllables.
• rhymed xaxa xbxb etc, x being unrhymed.
• written with the defining features of most Celtic poems, cywddydd (harmony of sound) and dunadh (ending the poem with the same word, phrase or line with which the poem began) 
Swinging Door by Judi Van Gorder

Open door
lets her roam,
in and out
of her home. 

Fun with toys
bright play things,
when she swings
the bell rings.

She’ll not leave
here’s hopin’,
through the door
left open.

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

My example

Looks Better – (Cethramtu Rannigheacht Mor)

White and wet
heavy snow
falling fast
cars can’t go.

Stay inside.
Read a book.
Time off work’s
what I took.

Snuggle up
with a wife
just your own;
avoid strife.

daunting chores –
out of doors.

a delight
at Christmas
‘cus it’s white.

© Lawrencealot – Nov 20, 2014

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Cethramtu Rannigheacht Mor

Linked Refrain

This is a form created my Mary Lou Healy, writing as Mlou on
It is patterned after her own “Autumn’s Imperious Call”.

I’m blown away on the wildling winds of fall.
Almost, it seems, I have no will at all
but melt into those colored dancing streams
that swirl and whirl, painting my leaf-filled dreams.

Painting my leaf-filled dreams with amber light
that glows and goes straight to the heart of things.
This is the season when my hopes take flight
and soar to more ardent heights on burning wings.

On burning wings, my autumn days are borne
into an endless sky.  I must obey
the bright command.  As leaves from trees are torn,
on falling, calling notes,  I’m blown away.

Pasted from

It shares the stanzaic nature and rhyme pattern of the Swap Quatrain but is unique in meter, and by nature of it’s inter-stanza linkage. I have named in the Linked Refrain.

The Linked Refrain is:
Stanzaic: Consisting of 3 or more quatrains
Metered: Iambic Pentameter
Rhymed: aabb cdcd efef, etc
Refrain: The last portion of the last line of each stanza becomes the first part of the next stanza, except for the final stanza. It’s last portion is the first portion of the first stanza.

My example

2nd Amendment to U.S. Constitution (Linked Refrain)

A last resort is revolution, friend,
when tyranny and foul abuse must end.
Dependency sets liberty askew
when laws are slanted by a monied few.

A moneyed few will finally take control
as Tytler showed us, only all too well.*
The point is reached where voting plays no role
and masters then arise we can’t expel.

We can’t expel dictators- we’re but slaves
and will accept a fair amount of pain.
The point will come when men prefer their graves
to bondage. Then of course we’ll fight again.

We’ll fight again; the question is, with what?
We’ll not have laser drones or planes or tanks
nor will the masters use them to rebut
our will for fear of rage within the ranks.

Within the ranks of tyrants in the past
their scheme has been disarm – exterminate!
Won’t we be safer minus guns they asked?
Hell no! The facts are such I’d hesitate.

I’d hesitate for social crime alone,
disarmed against a thief I’d come up short.
I’m keeping every single gun I own
for patriots they are a last resort.

© Lawrencealot – November 3, 2014

* See a brief descripton of the Tytle cycle here:
http: article-03-14-09.html

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Linked Refrain