The Rhyming Wave is a poetry form created by Katharine L. Sparrow, American writer and poet who writes on Allpoetry.com.
The Rhyming Wave is:
Stanzaic: Consisting of 2 or more quatrains plus an ending couplet.
Metric: Lines 1 through 3 are iambic tetrameter and
line 4 is iambic trimeter.
Refrained: Syllables 6 & 7 of line one are repeated as syllables 2 thru 7 and syllable 8 is the same in both lines and syllables 1 & 2 are of line 3 are repeated in line 4
Refrain: The ending couplet is the first and the last line of the previous stanzas.
NOTE: The author is amenable to having poets substitute rhyming as well as identical syllables. I have done so in my example poem.
Rhymed: Rhyme scheme Aaab BBbc CCd AD, where the capital letters represent refrain words or refrain lines.
Here is the author’s own explanation. At the end I have included a visual template that may help some.
The Rhyming Wave is a form of my own invention. The instructions seem complicated, but once you start writing it, you will get it pretty quickly. A Rhyming Wave is so named because words repeat themselves, similar to waves lapping over and over again on the shore. A Rhyming Wave has at least 2 verses and an ending couplet. Each verse is four lines with the first three written in iambic tetrameter (4 “feet” of 2 syllables each) and the fourth line three feet, or six syllables. The ending couplet will be the first and last lines of the poem repeated. To write a Rhyming Wave you must know how to write in iambic meter. This is the da-DUM, da-DUM rhythm. If you don’t know how to do this, your Rhyming Wave may not come out sounding as it should. As with all iambic metered poems, it does not have to be PERFECT, but it should sound melodious to the ear.
– First line: 4 iambic feet (8 syllables)
She dwells among the foamy swells,
– Second line : syllables 6 and 7 of line one are repeated as syllables 2 through 7 (three times) and syllable 8 is also repeated as syllable 8.
the foamy, foamy, foamy swells–
– Third line: 4 iambic feet (8 syllables) last syllable rhymes with last syllable of lines one and two
Beneath the cresting waves she dwells,
– Fourth line: first 2 to 3 syllables (whichever fits) of line three are repeated/ six syllables only
beneath the ocean’s roll.
Verses 2 through 4, same pattern – first line of each verse rhymes with last line of previous verse:
Her song floats from a sandy shoal
a sandy, sandy, sandy shoal–
her voice that creeps into the soul,
her voice, a crooning trill.
And over all a misty chill
a misty, misty, misty chill–
she’ll sing again, it’s sure she will,
she’ll sing her haunting tune.
Her humming soothes the silver moon,
the silver, silver, silver moon,
where stars will span the ocean soon–
where stars will hear her song.
Ending couplet, first and last lines of the poem:
She dwells among the foamy swells,
where stars will hear her song.
The poem must have at least 2 verses, but there is no limit to the number of verses
Form: Rhyming Wave
She dwells among the foamy swells, the foamy, foamy, foamy swells– beneath the cresting waves she dwells, beneath the ocean’s roll.
Her song floats from a sandy shoal a sandy, sandy, sandy shoal– her voice that creeps into the soul, her voice, a crooning trill.
And over all a misty chill a misty, misty, misty chill– she’ll sing again, it’s sure she will, she’ll sing her haunting tune.
Her humming soothes the silver moon, the silver, silver, silver moon, where stars will span the ocean soon– where stars will hear her song.
She dwells among the foamy swells where stars will hear her song.
A cottage in the shady wood, the shady, shady, shady wood– amid soft, leafy arms it stood amid the woodland trees.
Perfume hung on the hazy breeze the hazy, hazy, hazy breeze where roses opened for the bees where roses blossomed red.
The roses climbed and gently spread, and gently, gently, gently spread– they made the walls a flower bed, they made the cottage sweet.
A respite in the steamy heat, the steamy, steamy, steamy heat– a cool and comfortable retreat a cool and quiet place.
A cottage in the shady wood, a cool and quiet place.
Created by Andrea Dietrich writing on PoetrySoup in Feb, 2015
It is syllabic, with lines of 11/9/7/5/3/1/3/5/7/9/11
Rhyme Scheme: AabbcbcbbaA
It requires a Refrain: Line 1 is repeated as Line 11.
Generally displayed centered.
Though not directed at you, the shoe may fit. It was, a general bit of wit. It mocked all the selfie crowd all around the cloud. They seem so proud and I know that the well-endowed feel they ought to shed their shroud and flaunt themselves just a little bit. Though not directed at you, the shoe may fit.
The following description and example are reposted with permission from Poetry Magnum Opus, with thanks to Judi Van Gorder for years of work on that fine resource.
Triad meaning three for which I have found 2 different forms of verse called a Triad.
The Triad is a genre from ancient Irish Verse rather than a verse form although the early examples are in 3 mono-rhymed triplets. Like the Treochair it is a departure from the quatrains of Dan Direach. More modern versions allow the structure to be at the poet’s discretion. Most importantly, the poem should include 3 related subjects and their character.
The elements of the early Triad are:
a poem that lists 3 related things and considers their effects.
many very early Triads were written in 3 mono-rhymed triplets. Meter is at the discretion of the poet.
modern interpretations of this form vary from free verse, a loose poetic form written in 3 couplets rhymed or unrhymed, or in nonce frames created specifically for the poem.
most importantly written including 3 related subjects, their character and relationship.
Here is a Triad written in the 3 mono-rhymed triplets
Uniquely Irish, The Shamrock by Judi Van Gorder
I don’t want to sound terse nothing could be worse I try to write a clever verse.
Of shamrock’s I will carp, may sound a bit too sharp not like sweet music on the harp.
In distant Ireland of all places they cover most of the bases even the art of shaving faces.
Seamrog, (Gaelic) shamrock, with its 3 leaves is said to represent not only the Holy Trinity, but also (the fruits of the spirit, faith, hope and charity), (love, valor and wit), (past, present and future) and uniquely Irish, (clever verse, music on the harp, and the art of shaving faces).
A variation of the Triad was published in Pathways for the Poet by Viola Berg 1977 and is attributed to Rena Ferguson Parks. It is a metered, rhymed invented form with a refrain.
The invented variation of the Triad is:
a poem in 22 lines made up of an octave, sixain and an octave in that order.
metric, all lines are iambic tetrameter accept the last line of each stanza which is a refrain in iambic dimeter.
rhymed, turned on only 2 rhymes, rhyme scheme xxxaxabA xxxabA xxxaxabA – b rhyme linking the stanzas and A being the refrain.
I have chosen for expediency to differentiate, by tagging the second version with the name “Park’s Triad”.
They’re Out of Names
Last week I found another life; it’s on the Internet, you know. If you are not already there you must be tied up playing games, or busy earning daily bread, or optimistic, chasing dames. you ought to join this word- before they’re out of names.
I could not use a name I knew; I tried a few and many more, then many others after those. “That name is taken”- screen proclaims. I can’t be Larry anymore, they’re out of names.
I teleport, and I can fly, and be a woman, or a man or be a robot or a beast, but I cannot be John or James. I can now choose to wander free or be one with more lofty aims. So join up now, and don’t be sore; they’re out of names.
• The Short Rondel might better be described as a short Rondeau than Rondel because this form uses the rentrement or first phrase of L1 as a refrain rather than the full line as in the Rondel.
The Short Rondel is: ○ a poem in 11 lines made up of sixain followd by a quintain. ○ isosyllabic, often 8 syllalbe lines, except for L6 & L11 which are the shorter first phrase of L1. ○ rhymed, rhyme scheme aabbcC ddeeC. r r r C x x x a x x x x x x x a x x x x x x x b x x x x x x x b r r r C x x x x x x x d x x x x x x x d x x x x x x x e x x x x x x x e r r r C
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1382#shortrondel My thanks to Judi Van Gorder for years of work on this fine PMO resource.
I Walk My Dog (Short Rondel)
I walk my dog to let him pee on damn near every pole we see. We do not walk to get somewhere, before we started we were there. In bright sunshine and in the fog I walk my dog.
He’s introduced me to new folk with whom we now will stop and joke. The children love my little guy and that is really part of why I walk my dog.
○ Serena(Occitan-serene song) is a song of the troubadours that appeared late in Provencal lyrical poetry and is the counterpart of the Alba. It builds around the theme of waiting for nightfall. Specifically a lover waiting to consummate his love, such circumstance would not communicate “serene” to me. The frame is at the discretion of the poet. ○ The Serena is also a modern day invented form created by Edith Thompson and found in Pathway for the Poet by Viola Berg. It uses head and tail rhyme. The invented Serena from Pathways … is: § is a poem in 11 lines. § syllabic, L1,L9,L11 are 4 syllables each. L2 & L10 are 3 syllables each and L3 thru L8 are 7 sylables each. § head and tail rhymed, the head rhyme is AAbbccddAAx and the tail rhyme is ABcxccddABb, x being unrhymed. § composed with a refrain, L1 & L2 are repeated as L9 & L10.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1111#serena My thanks to Judi Van Gorder for years of work on this fine PMO resource.
My effort here will deal with the specific invented form.
What’s the Doubt About (Form: Serena)
Rhyme is sublime I’m assured, heard as accent to a beat. Word is that excess is not neat; it ought be a discrete treat or aim may meet defeat. Bawdy rhyme one might applaud, flawed or not so help me God. Rhyme is sublime I’m assured. The truth’s obscured.
POETRY FORM 2 – CUECA CHILENA Posted on December 28, 2013 under form, poetry There’s seems to be not much around about this form, which I discovered many moons ago and made a quick note of. I will transcribe from my notes as I’ve found not one jot about it online. Cueca is also the national dance of Chile, although sometimes it is accompanied by song. My knowledge of Spanish doesn’t stretch to commenting on whether the National folk songs follow this form. The only poets I know from Chile are Neruda – who if he wrote a Cueca I don’t know it – and Nicanor Parra whose work is all about colloquial and informal arrangements so I can guarantee it isn’t a style for him. Still the ‘yes’ in the fifth line kind of makes it feel colloquial to me. When I’ve used this form I’ve written it quite relaxed. I enjoy the short lines, the unconventional rhythm. So, the poem my notes allude to is created thus: 8 lines long, with multiple stanzas (verses). the fifth line is a repeat of the fourth line with the addition of the word ‘yes’ at the beginning. It’s influenced by the Spanish Seguidilla poem which will come at some stage in the project. The rhyme goes A-B-C-B-B-D-E-D where each letter represents a certain rhyming sound at the end of a line, and the repeated letter shows where the next rhyme comes. Any more information on this style is welcome in the comments section. Remember you can continue for as many stanzas as you please.
I spent New Year’s Eve with singing boys Three nights before we parted Shouting rebel songs to Belfast’s streets And you were so light hearted yes, and you were so light hearted – Whilst I felt terribly abandoned In someone’s kitchen making tea As the New-Years sky slowly brightened.
Pasted from https://poetryform.wordpress.com/ My thanks to poetryform.wordpress.com
Specifications restated (as deduced.) The Cueca Chilena is: Origin: Chile, known primarily as a dance. Stanzaic, consisting of any number of 8 line stanzas. Syllabic: 9/7/9/7/8/9/9/9 Rhymed: Rhyme pattern: abcBBded Refrained: The 4th line, which should be end stopped is repeated in line 5. Formulaic: The word, “yes” is inserted as the first word in line 5.
The Girl in the Cape (Form: Cueca Chilena)
As symbol of love – how bright our moon, yet that’s from reflected light. More like the sun, you are radiant — from within springs your delight. Yes, from within springs your delight. No cosmetics need you ever wear. Your natural light would amplify the beauty of flowers in your hair.
Rhymethor: Title: 6 syllables. 3 rhyming quatrain stanza of 6 syllables Rhyme scheme: a-a–bb, c-c-d-d, b-b-a-a (an inverted stanza of 1st stanza) Concluding line of 12 syllables representing total number of lines. Display centered
Our Runaway Cosmos
Dark energy, dark matter bright stars–just a smatter Universe expanding beyond understanding
Other multiverses dimensions reverses concepts we once held true now a new point of view.
Beyond understanding universe expanding bright stars– just a smatter dark energy, dark matter
So little light. So much dark. All sparkles and darkles.
http://www.rainbowcommunications.org/velvet/forms/ My Thanks to Linda Varsell Smith for her contributions above.
Don’t Mock Any of Those Gods (Form: Rhymethor)
In case my words aren’t clear there’s repetition here. There’ve been gods by the bunch by vision, plan and hunch.
I need no fables wrought from whole cloth and then taught to children who believe most all that they receive.
By vision, plan and hunch there’ve been gods by the bunch there’s repetition here in case my words aren’t clear.
It works. A god’s an extra step. I’ll still be good.
Restated specifications A Ryhmethor is: A 13 line titled poem Stanazaic: Consisting of three quatrains plus a single line. Syllabic: 6/6/6/6/ 6/6/6/6 6/6/6/6 12 Rhymed: AABB ccdd BBAA x, Refrained: Where the final quatrain is the inverse of the first quatrain. Displayed centered on page
This is a form invented by Susan Budig for a challenge to the readers of The Poetic Asides Blog to create a new form. The Anapeat is based on anaphora, defined by Dictionary.com as ” Rhetoric . repetition of a word or words at the beginning of two or more successive verses, clauses, or sentences. “ The Anapeat repeats a phrase in several places within the poem. The poem consists of five stanzas of five lines each. The repeated phrase/line is the first line of the first stanza, the second line of the second stanzas, etc.
All or part of the phrase is also the title of the poem.
There is no line length, meter, or rhyme requirements, however rhyme and meter may be used if the poet chooses to do so.
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