Swinburne Quatrain

This form is based upon Algernon Charles Swinburne’s “Faustine”

It is:
Stanzaic, four or more quatrains
Metric: Alternating iambic tetrameter and iambic bimeter
Rhymed abab cbcb dbdb, etc.
Word Refrain: L4 final two-syllable word.

My Example
Celest
 Celeste2
The wranglers and the sheep men came
      to town to rest
and raise some hell and find a dame
      like sweet Celeste.
`
They’d play some cards and take a bath
      then do their best
to be the first to trod a path
      unto Celeste.
Most every man thought other girls
      were second best
to looks and legs and raven curls
      of dark Celeste.
And sometimes even married men
      it’s been confessed,
would come to quench a thirsty yen
      for warm Celeste.
Since she could pick and choose each night
no one transgressed
for she’d not tolerate a fight,
petite Celeste.
When men showed class and manners they
      could be the guest
and leave the bar at end of day
        with dear Celeste.
But many others she’d excite
      as night progressed
by sitting on their laps – the light
      and lithe Celeste.
The pastors son, forbidden (though
      he was obsessed)
was never able, that we know,
      to touch Celeste.
He’d watch her walking to the bar-
      his love repressed,
and watch with wonder from afar
      the rare Celeste.
When outlaws came to town and chose
      then to molest
the gals – the preacher’s son arose
      to help Celeste 
The bandits left the preacher’s son
      quite unaddressed
and with a rifle he killed one
      who touched Celeste.
That turned the tide and folks refused
      to be oppressed.
The terror quickly was defused
      for sweet Celeste.
She went to church the Sunday next
      and finely dressed,
and left the townfolk all perplexed,
      did calm Celeste.
She sat next to the boy that day;
      their love progressed.
In autumn the boy moved away
      with his Celeste.
© Lawrencelot – May 9, 2014 

Zenith

Pathways for the Poet by  Viola Berg (1977) is a book for and by educators. Classic poetic forms as well as many invented forms which appear to have been invented as teaching tools or exercizes for use in workshops or classrooms are included. Some of these invented forms I have found in use in internet poetry communities, a testament to their staying power. On this page I include the metric invented forms found there in which appear to be exclusive to the community of educators from whom Ms. Berg drew her support. I have yet to find these in any other source… Whether classroom exercise or sharpening your skill as a writer, some of these forms can be fun to play with.

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• Zenith is a stanzaic form with meter and line length left to the discretion of the poet. It was introduced by Viola Berg.

The Zenith is:
○ stanzaic, written in any number of sixains.
○ meter at discretion of poet.
○ rhymed, abcabc defdef etc.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1199#dionol
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Debt Forgiveness

Debt Forgiveness (Zenith)

Alice made a bet
the gun wasn’t loaded
picked it up to look.
Skipped out on that debt
when the shell exploded
so she’s not upset.

© Lawrencealot – September 30, 2014

Picture source: kimoutloud.com

Visual Template
There really can be no definitive template
For meter and line-length is a the poet’s discretion.

Zenith

Louise

Pathways for the Poet by Viola Berg (1977) is a book for and by educators. Classic poetic forms as well as many invented forms which appear to have been invented as teaching tools or exercizes for use in workshops or classrooms are included. Some of these invented forms I have found in use in internet poetry communities, a testament to their staying power. On this page I include the metric invented forms found there in which appear to be exclusive to the community of educators from whom Ms. Berg drew her support. I have yet to find these in any other source. …. Whether classroom exercise or sharpening your skill as a writer, some of these forms can be fun to play with.
  

The Louise is a stanzaic form that seems to be an exercise in using feminine and masculine endings. It was created by Viola Berg.

The Louise is:
stanzaic, written in any number of quatrains.
metered. L1, L2, L3 are pentameter (5 metric feet), L4 is iambic dimeter (2 metric feet)
composed with L1 and L3 with feminine (unstressed) endings.
rhymed. L2 and L4 rhyme. Rhyme scheme xaxa xbxb etc x being unrhymed.
Land Ho! by Judi Van Gorder
So long ago, adventure for a sailor, 
with well supplied, staunch ships Columbus sailed 
without a means to navigate the water 
New land they hailed.
 
Pasted from  http://www.poetrymagnumopus.com/index.php?showtopic=1199#dionol
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Commanding Stuff   (Louise)

 Commanding Stuff

The lightning slicing through the sky can frighten
the most established and contented folk
but others wait for thunder’s crash proclaiming
it’s not a joke.

 

© Lawrencealot – September 15, 2014

Picture credit: Theresa Clark from Pinterest

Visual Template

Louise

Cycle

Pathways for the Poet by Viola Berg (1977) is a book for and by educators. Classic poetic forms as well as many invented forms which appear to have been invented as teaching tools or exercizes for use in workshops or classrooms are included. Some of these invented forms I have found in use in internet poetry communities, a testament to their staying power. On this page I include the metric invented forms found there in which appear to be exclusive to the community of educators from whom Ms. Berg drew her support. I have yet to find these in any other source. I have included the syllabic invented forms on a separate page. Whether classroom exercise or sharpening your skill as a writer, some of these forms can be fun to play with.

• Cycle appears to be an exercise in meter and rhyme. This invented verse form was created by Paul Emile Miller.

The Cycle is:
○ stanzaic, written in 3 quatrains.
○ metric, L1 and L3 tetrameter made up of a trochee followed by a dactyl and 2 iambs; L1 and L3 often use feminine end words. L2 and L4 are iambic trimeter. “Pathways” description and example are in conflict, the description of meter here fits with the example poem.
○ rhymed, abab cbcb dbdb.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1199#dionol
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Naturally Selected (Cycle)

Defunct vestigials are proof I reckon,
(denying dogma’s claims)
demonstrating clearly changes beckon,
in life’s ambiguous game.

Natures monologue denies we’re molded,
pre-cast, annealed in flame.
Mankind draws then repeats, hand un-folded –
survival’s life’s whole aim.

Limitations, norms, exceptions, changes
responding – not the same.
Bio plasma slowly rearranges,
without thought, overcame.

© Lawrencealot – September 4, 2014

Visual template

Cycle

Tango

I found a few invented forms which appear to be exclusive to The Study and Writing of Poetry; American Women Poets Discuss Their Craft, 1983. The book is a collection of essays from 50 American women poets, each essay provides insights into a multitude of topics from poetic genres, stanzaic forms, to writing techniques. This book provided some addition insights and background information on several stanzaic forms that I thought I had researched fully. I liked this book, it pays attention to the details.

• The Tango is an invented stanzaic form introduced by Chiquita LoJuana Gonzolas Sills.

The Tango is:
○ stanzaic, written in any number of quatrains.
○ syllabic, 9-10-11-12 syllables per line.
○ rhymed, xaxa xbxb etc. x being unrhymed.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2008#anna

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

My example

Necessarily Silent Moderate Muslims (Tango)

Islamic radicals decided
that Christian heads are grown on necks to chop.
And though their Koran advocates the killing,
methinks the drama and the horror ought to stop.

You’ve seen my verse suggesting temperance
and tolerance for those who live in peace.
I was so wrong! Intolerance is needed
by Muslim moderates for violence to cease.

Yet having read their holy book, I
see moderates will have to pick and choose
what passages they must refuse in keeping
with morality. Anything they choose, they lose.

© Lawrencealot – August 22, 2014

Visual template
Tango

Deibhidhe Guilbnech Dialtach

Deibhidhe (jay-vée) and its variations are dán direach. These ancient Irish Verse Forms carry a deibhidhe or light rhyme. Meaning that each rhymed couplet rhymes a stressed end syllable with an unstressed end syllable. In English rhyme is usually between 2 stressed syllables (yellow/ mellow, time/ rhyme ) but Celtic verse often deliberately rhymes a stressed and unstressed syllable (distress / angriness, west / conquest), easier said than done. As with most ancient Irish forms the Deibhidhes are written with cywddydd (harmony of sound) and dunadh (ending the poem with the same word, phrase or line with which the poem began)Note: When writing in English it is sometimes very difficult to meet the stringent requirements of dan direach, so example poems are included that may not always demonstrate all of the features described.

• Deibhidhe Guilbnech Dialtach is:
○ written in any number of quatrains,
○ each line has 7 syllables.
○ rhymed, aabb.
○ alliterated, alliteration between two words in each line,
○ all end-words should consonate.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1173#guilbnech
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

A wonderful example I found:

A Deibhidhe* on Clocks Stuck at Midnight
by Gary Kent Spain

angel imp with withered wing
from chains delivered limping
then bossed, denied might and means
while men tossed you pied pipedreams

drab duality’s fall meant
full equality’s advent:
did distaste since harbored hide
hate’s misplaced ardor inside?

how clamped tight is your grasp, ghost
of the past: light the lamppost
change the spinner, hound out hell
bound by your inner angel

* (pronounced “jay-vee”)

Kent’s notes
Deibhidhe (pronounced “jay-vee”) is an ancient Irish measure consisting of 7-syllable lines rimed in couplets on the last syllable, stressed with unstressed. This poem has all the bells and whistles of Dan Direach (‘strict meter’): cross-rimes on every stress, alliteration in every line—preferably between last two stressed words (this last a requirement in the 3rd and 4th lines of each quatrain)—and the dunadh (first syllable, word, phrase, or line repeated in closing).
This poem (I think fairly obviously) addresses keeping up with the last half-century’s change in the general attitude towards race in America (on the part of those who were once victims of widespread discrimination and prejudice).

My example poem

Or, More Likely, Snow (Deibhidhe Guilbnech Dialtach)

Streamlets rushing from mountain’s source
become cascading creeks of course.
Creeks combine in the course of time
with mountain’s mandate being prime.

The brooks that babble then will merge
into a river’s rapid surge
and kissing, carve the mountain’s face
removing, rock which slowed its pace.

Great and ginormous rivers flow
to seas– there seized into escrow
where they await their great refrain
on mountain tops to fall as rain.

© Lawrencealot – August 7, 2014

Visual Template

Deibhidhe Guilbnech Dialtach

Breccbairdne

The Breccbairdne is oglachas, a casual imitation of dán díreach, an ancient, stanzaic Irish Form in which all end words are 2 syllables.

The defining features of the Breccbairdne are:
• written in any number of quatrains.
• syllabic, L1 is 5 syllables and L2,L3,L4 are 6 syllables each.
• rhymed xaxa xbxb etc x being unrhymed.
• all end-words are 2 syllables each.
• written with the defining features of most Celtic poems, cywddydd (harmony of sound) meaning alliteration, consonance and assonance and dunadh (ending the poem with the same word, phrase or line with which the poem began).

x x x (x x)
x x x x (x a)
x x x x (x x)
x x x x (x a)

Easy to Please by Judi Van Gorder
Faces of children
from different places
will wiggle with giggles
to make funny faces.
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=1179>
My thanks to Judi Van Gorder for years of work on the PMO resource.
My example poem

Roses (Breccbairdne)

Roses revealing
appeal to near noses
share scents from their flowers;
thorns safeguard the roses.

© Lawrencealot – August 4, 2014
Visual Template  (4 lines or multiple)
Breccbairdne

The Thorley

The Thorley is a stanzaic form patterned after the poem Chant for Reapers, by English poet, Wilfred Thorley 1878.

The Thorley is:
○ stanzaic, written in any number of quatrains.
○ metered, accentual with alternating lines of L1 & L3 with 5 heavy stesses and L2 & L4 with 3 heavy stresses. The trimeter lines have feminine endings.
○ unrhymed.

Chant for Reapers by Wilfred Thorley
WHY do you hide, O dryads! when we seek
Your healing hands in solace?
Who shall soften like you the places rough?
Who shall hasten the harvest?
Why do you fly, O dryads! when we pray
For laden boughs and blossom?
Who shall quicken like you the sapling trees?
Who shall ripen the orchards?
Bare in the wind the branches wave and break,
The hazel nuts are hollow.
Who shall garner the wheat if you be gone?
Who shall sharpen his sickle?
Wine have we spilt, O dryads! on our knees
Have made you our oblation.
Who shall save us from dearth if you be fled?
Who shall comfort and kindle?
Sadly we delve the furrows, string the vine
Whose flimsy burden topples.
Downward tumble the woods if you be dumb,
Stript of honey and garland.
Why do you hide, O dryads! when we call,
With pleading hands up-lifted?
Smile and bless us again that all be well;
Smile again on your children.
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=668>
My thanks to Judi Van Gorder for years of effort creating this fine PMO resource.
My Example

My Nose (The Thorley)

Say what you will about my larger nose
I seldom think about it.
It anchors well the other facial parts
a package deal, I reckon.

Note: my nose is notable I think
spread out long and spacious.
Seldom seeing it myself allows
measured self-contentment.

© Lawrencealot – August 2, 2014

Note: Stanza 1 is iambic, stanza 2 is trochaic. Both meet the accentual requirement of The Thorley.

Visual Template
Any arrangement with 5 and three stresses for the respective lines will work. This template shows two common meters.

The Thorley

The Kipling

• The Kipling is a stanzaic form that uses anapestic and iambic meter with internal rhyme. Named for Rudyard Kipling (1865-1936) and patterned after his poem L’ Envoi.

The Kipling is:
○ stanzaic, written in any number of quatrains.
○ metered, the odd numbered lines are hexameter, the even numbered lines are trimeter. The first metric foot of each line is an anapest followed by either 5 iambs or 2 iambs depending on the length of the line.
○ rhymed, rhyme scheme aa-b-cc-b dd-e-ff-e etc. The odd numbered lines employ internal rhyme.

L’Envoi by Rudyard Kipling (1st stanza)

When Earth’s last picture is painted, and the tubes are twisted and dried
When the oldest colors have faded, and the youngest critic has died
We shall rest, and, faith we shall need it–lie down for an aeon or two,
‘Til the Master of All Good Workmen shall set us to work anew!

And those that were good will be happy: they shall sit in a golden chair;
They shall splash at a ten-league canvas with brushes of comet’s hair;
They shall find real saints to draw from–Magdalene, Peter and Paul;
They shall work for an age at a sitting and never be tired at all!

And only the Master shall praise us, and only the Master shall blame;
And no one shall work for money, and no one shall work for fame;
But each for the joy of the working, and each, in his separate star,
Shall draw the Thing as he sees It for the God of Things as They Are!

Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=668>
My thanks to Judi Van Gorder for years of work on the great PMO resource. Her site points to the source for the listing of many forms named after English poets.  However the poem she references is not the correct one.

I am providing the real L’Envoi poem, with which the detailed specifications above do come fairly close.

L’Envoi
There’s a whisper down the field where the year has shot her yield,
And the ricks stand gray to the sun,
Singing: — “Over then, come over, for the bee has quit the clover,
And your English summer’s done.”
You have heard the beat of the off-shore wind,
And the thresh of the deep-sea rain;
You have heard the song — how long! how long?
Pull out on the trail again!

Ha’ done with the Tents of Shem, dear lass,
We’ve seen the seasons through,
And it’s time to turn on the old trail, our own trail, the out trail,
Pull out, pull out, on the Long Trail — the trail that is always new.

It’s North you may run to the rime-ringed sun,
Or South to the blind Horn’s hate;
Or East all the way into Mississippi Bay,
Or West to the Golden Gate;
Where the blindest bluffs hold good, dear lass,
And the wildest tales are true,
And the men bulk big on the old trail, our own trail, the out trail,
And life runs large on the Long Trail — the trail that is always new.

The days are sick and cold, and the skies are gray and old,
And the twice-breathed airs blow damp;
And I’d sell my tired soul for the bucking beam-sea roll
Of a black Bilbao tramp;
With her load-line over her hatch, dear lass,
And a drunken Dago crew,
And her nose held down on the old trail, our own trail, the out trail
From Cadiz Bar on the Long Trail — the trail that is always new.

There be triple ways to take, of the eagle or the snake,
Or the way of a man with a maid;
But the fairest way to me is a ship’s upon the sea
In the heel of the North-East Trade.
Can you hear the crash on her bows, dear lass,
And the drum of the racing screw,
As she ships it green on the old trail, our own trail, the out trail,
As she lifts and ‘scends on the Long Trail —
the trail that is always new?

See the shaking funnels roar, with the Peter at the fore,
And the fenders grind and heave,
And the derricks clack and grate, as the tackle hooks the crate,
And the fall-rope whines through the sheave;
It’s “Gang-plank up and in,” dear lass,
It’s “Hawsers warp her through!”
And it’s “All clear aft” on the old trail, our own trail, the out trail,
We’re backing down on the Long Trail — the trail that is always new.

O the mutter overside, when the port-fog holds us tied,
And the sirens hoot their dread!
When foot by foot we creep o’er the hueless viewless deep
To the sob of the questing lead!
It’s down by the Lower Hope, dear lass,
With the Gunfleet Sands in view,
Till the Mouse swings green on the old trail,
our own trail, the out trail,
And the Gull Light lifts on the Long Trail —
the trail that is always new.

O the blazing tropic night, when the wake’s a welt of light
That holds the hot sky tame,
And the steady fore-foot snores through the planet-powdered floors
Where the scared whale flukes in flame!
Her plates are scarred by the sun, dear lass,
And her ropes are taut with the dew,
For we’re booming down on the old trail, our own trail, the out trail,
We’re sagging south on the Long Trail — the trail that is always new.

Then home, get her home, where the drunken rollers comb,
And the shouting seas drive by,
And the engines stamp and ring, and the wet bows reel and swing,
And the Southern Cross rides high!
Yes, the old lost stars wheel back, dear lass,
That blaze in the velvet blue.
They’re all old friends on the old trail, our own trail, the out trail,
They’re God’s own guides on the Long Trail —
the trail that is always new.

Fly forward, O my heart, from the Foreland to the Start —
We’re steaming all-too slow,
And it’s twenty thousand mile to our little lazy isle
Where the trumpet-orchids blow!
You have heard the call of the off-shore wind,
And the voice of the deep-sea rain;
You have heard the song — how long! how long?
Pull out on the trail again!

The Lord knows what we may find, dear lass,
And The Deuce knows what we may do —
But we’re back once more on the old trail, our own trail, the out trail,
We’re down, hull down on the Long Trail — the trail that is always new.
My example poem

Taxi Mommy (The Kipling)

When my mommy says “Let’s go!”, she means it, that I know
we don’t waste a minute then.
To the school, or to the doc, we’re driven by the clock
When it’s time we move, amen!

But when trips dictate that she must wait for dad or me
she’s okay, she holds her own;
while not bored or anxious yet, you can almost make bet
then she’s tapping her cell-phone.

© Lawrencealot – July 1, 2014
Visual Template

The Kipling

 

The Dowson

• The Dowson is patterned after the poem They Are Not Long, the Weeping and the Laughing by English poet Ernest Dowson (1867-1900). It is this poem that coined the phrase, “the days of wine and roses.” Dowson died at the age of 32 a direct result of his alcoholism.

The Dowson is:
○ stanzaic, 2 quatrains.
○ metered, L1-L3 pentameter, L2 trimeter, L4 dimeter.
○ rhymed abab cdcd, L1-L3 of each stanza ends in feminine rhyme and L2-L4 is masculine rhyme.
They Are Not Long, The Weeping and the Laughing by Ernest Dowson

They are not long, the weeping and the laughter,
Love and desire and hate:
I think they have no portion in us after
We pass the gate.
They are not long, the days of wine and roses:
Out of a misty dream
Our path emerges for awhile, then closes
Within a dream.
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=668>
My thanks to Judi Van Gorder for years of work on the fine PMO resource.
*Note: Although is it not set forth above, I noticed that his poem has each line 2 beginning with a trochee, thus I formed my template below with that construct.
My example poem
Make Time Race (The Dowson)
Though time decays most everything it touches
we can and should have fun.
Though mountains crumble finally in time’s clutches,
We’re not yet done!
The wine and roses really matter, mister.
Life is, it seems, too short.
The thrill, the heat, the trembling when you kissed her.
Enjoy! Cavort!
© Larencealot – June 27, 2014
Visual template
The Dowson