Séadna mheadhanach

• Séadna mheadhanach is:
○ the same as the Séadna.
○ except the 1st and 3rd lines of the quatrain are 3 syllable words and the 2nd and 4th lines are 2 syllable words.
x x x x x (x x a)
x a x x x (x b)
x x x b x (x x c)
x b x c x (x b)

Syllabic Silliness by Judi Van Gorder

When writing verse be attendant,
confidant in the stillness
with syllable count dependant,
drill and chant shunning shrillness.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1168-seadna-seadna-mor-seadna-mheadhanach/
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

2nd Childhood (Form: Séadna Mheadhanach )

Observe how gramps does emulate
what kids create in youthful
wonder at almost everything.
He thinks that time is fruitful.

That youth he’d yearn to peculate
this late in lifetime’s reserve
because there’s something wonderful
in whatever they observe.

© Lawrencealot – January 21, 2015

Visual Template

Seadna Mheadhanch

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.

My example

The Girl in the Cape

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.

© Lawrencealot – January 21, 2015

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Cueca Chilena


Our Poetic Asides inaugural Poet Laureate, Sara Diane Doyle, has been busy-busy-busy this summer working with teen writers. But not too busy to share with her fellow Poetic Asides crew a new poetic form she developed with one of her students, David Edwards. Since Sara knows the form best, I’ll let her explain the form to you in her own words.
A few months ago I began exploring various poetic forms. With each form I tried, I would post my attempt on a forum for teen writers, where I am a mentor. One of the teens, David Edwards, got interested in forms, especially the “created” forms. He asked if anyone could invent a form and I said “sure!” Then, he got the crazy idea that we should create a form together.
To start, we wanted to throw in every poetic element that we really liked. David came up with the meter and feet and I added in the repeating line. We came up with the rhyme scheme and length together. The result is a form we call the Roundabout. In this form, the rhyme scheme comes full circle while offering repetition of one line in each rhyme set. 
The Roundabout is a four stanza poem, with each stanza consisting of 5 lines. The poem is written in iambic and the lines have 4 feet, 3 feet, 2 feet, 2 feet and 3 feet respectively. The rhyme scheme is abccb/bcddc/cdaad/dabba. Roundabouts can be on any subject. 
Several of the writers on our forum have written Roundabouts and have had a blast.” We would love for other poets to give it a try! Here are some examples to get you started.
by David Edwards
Around around the carousel
across the circles face
we cry we shout
we crash about
across the circles face
and ever always breakneck pace
by this unending route
and twists and turns
and breaks and burns
by this unending route
of ever always in and out
the yearling quickly learns
to run and yell
at ocean’s swell
the yearling quickly learns
to run and leap and then he earns
but he will never tell
there’s not a chase
that wins the race
but he will never tell.
When Spring Trips ‘Round
by Sara Diane Doyle
When wildflowers bloom once more
and raindrops touch the earth,
the faeries come
to start the hum
and raindrops touch the earth!
Come join the song, the dance the mirth!
Enjoy the juicy plum.
beneath the sun
’til day is done-
enjoy the juicy plum!
The clouds let out the beating drum-
rejoice with us as one.
Our joy we pour
for pain we bore-
rejoice with us as one.
Of gleeful hope, the snow knows none,
but speaks of faeries lore,
of magic birth,
the greatest worth
but speaks of faeries lore.

Pasted from http://www.writersdigest.com/editor-blogs/poetic-asides/poetry-craft-tips/new-poetic-form-the-roundabout
My Thanks to Poetic-Asides.

Specifications restated:
Roundabout is:
A 20 line poem, attributed to David Edwards
Stanzaic: Consisting of 4 five-line stanza
Metered: Iambic with feet of 4/3/2/2/3 per line
Rhyme Scheme: aBccB bCddC cDaaD dAbbA
Refrain: L2 is repeated as L5 in each stanza

My example


Roundabout (Roundabout)

The driver thought he’d save some time.
although the sign said no.
he’d always say
he knew the way
although the sign said no.

His load was long but even so
’twas shorter this-a-way.
He drove enough
and knew his stuff —
’twas shorter this-a-way.

He shrugged and said “I’ll be okay”,
he put the truck in gear.
He took his time
and did the crime;
he put the truck in gear.

Half through the loop, he could not clear;
it cost him many dime
to learn what’s so;
when he could go
it cost him many dime.

© Lawrencealot – January 20, 2015

Photo credit: taken by poet.

Visual template


Séadna Mòr

Séadna (shay’-na) is Gaelic for passage.The Séadnas are dan direach or direct meter forms which alternate syllable count from line to line. They are Celtic or ancient Irish Verse Forms, written with cywddydd (harmony of sound) and dunadh (ending the poem with the same word, phrase or line with which the poem began). Séadna (named for its main character.) is also an old Irish folktale by Peadar Ó Laoghaire (1839-1920), published in 1904 which is a favorite for beginning readers of Gaelic and is not written in verse.

• Séadna Mòr (shay’-na mor) stanza is:
○ the same as Séadna.
○ except L2 and L4 end in three-syllable words instead of monosyllable words.
x x x x x x (x a)
x a x x (x x b)
x x x b x x (x c)
x b x c (x x b)

And The Winners are . . . by Barbara Hartman

Cliff-swallows careen in between
twin pillars of portico.
Flights ferry mud balls for cement
— birds’ descent blights bungalow.

Gourd-shaped nests sprout out from stucco,
constant chatter — tremolo.
Smears and splatters on walls defy
hose. “Please don’t,” cry cliff-swallows

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1168#mheadhanach
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

Specifications restated:
Séadna Mòr (shay’-na mor) stanza is:
written in any number of quatrains.
syllabic 8-7-8-7.
written with L1 and L3, 2 syllable end words; L2 and L4, 3 syllable end words.
rhymed. L2 and L4 end rhyme, L3 rhymes with the stressed word preceding the final word of L4.
composed with alliteration in each line, the final word of L4 alliterating with the preceding stressed word.
The final syllable of L1 alliterates with the first stressed word of L2.

My example

No Sale Buk (Forn: Séadna Mòr )

Inflated by boldness assumed,
and consumed and debated
by some sycophants who perceived,
perhaps wise wit created.

Overrated, you have stated,
Yes I still sit unsated.
His sad self-promotion fizzled
and found him not inflated.

© Lawrencealot – January 19, 2015

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Seadna Mor

Rondeau Prime

• The Rondeau Prime is a short variation of the Rondeau originating in 13th century France. It allows more rhyme than the Rondeau, but incorporates its defining feature of the integration of the rentrement. (opening phrase of the first line which is repeated as a refrain.)
The Rondeau Prime is:
○ in French syllabic, in English tends to be iambic meter, line length is optional as long as the lines are relatively equal, with the exception of the shorter rentrement.
○ 12 lines, made up of a septet (7 lines) followed by a cinquain (5 lines).
○ rhymed, rhyme scheme abbccbR abbaR, R being the rentrement.

Wind on the Terrace by Judi Van Gorder7-12-05

A leaf in the wind taps the pane,
reminding me that you have gone.
Although my busy days move on,
it is small moments that I miss,
a gesture, glance, a touch, a kiss.
You went away before the dawn,
a leaf in the wind.

I watch the clouds bring in the rain,
the tears that fall and splash upon
the terrace of a time withdrawn,
the sound repeating your refrain,
a leaf in the wind.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1382#prime
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

Rondeau Prime
Type: Structure, Metrical Requirement, Repetitive Requirement, Rhyme Scheme Requirement
Description: Two-part French form that is isosyllabic except for the shorter refrains. The refrain is the first part of the first line.
Origin: French
Schematic: (Ra)bbaabR abbaR

R = refrain and first part of first line.
Line/Poem Length: 12

Pasted from http://www.poetrybase.info/forms/002/230.shtml
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.

Specifications restated, The Rondeau Prime is:
A 12 line poem of French origin, (variation of the Rondeau)
Syllabic in French, often iambic in English
Isosyllabic lines, except for the shorter refrain lines
Rhyme Scheme: (Ra)bbaabR abbaR,
where R is the first part of the first line and becomes the refrain.

My example

If Pigs Could Fly (Form: Rondeau Prime)

If pigs could fly men would have had
another bacon source of course
and fought their wars on pig and horse,
and knights courting their maidens fair
would routinely arrive by air
(and no-fly zones would be in force),
if pigs could fly.

Demand for goats would rise a tad
as farmers would of course endorse
a new refuse disposal source.
My backyard mud-hole would be rad
if pigs could fly.

© Lawrencealot – January 18, 2015

Visual template

Rondeau Prime

Choriambic dactylic fusion

This is a complex accentual-syllabic form invented by Glenn Meisenheimer writing on Allpoetry.com as gmcookie.

The Choriambic dactylic fusion is:
Stanzaic, consisting of any number of quatrains.
Each stanza is rhymed: (a/a)x(b/b)x, where x is unrhymed, and the letters
within parentheses indicate internal rhyme with the end word.
Each stanza is metered:
L1 and L1 are choriambic dimeter. A choriamb is a trochee followed by an iamb, thus DUM da da DUM.
L2 is catelectic dactylic tetrameter, thus [DUM da da] [DUM da da] [DUM da da] [DUM da ^]
* catalectic:  (kăt′l-ĕk′tĭk) adj.  adj. Lacking one or more syllables especially in the final foot.
L4 is catelectic dactylic trimeter, thus [DUM da da] [DUM da da] [DUM ^ ^]

This should all be made clear by the visual template below.

Here is the inventor’s first poem using this form:


Pounding away day after day,
Prying the gold from the heart of the mountain,
Digging the ore, searching for more,
That’s what the goblins all do.

When it gets dark time to embark,
Crawling from holes to the moon lighted surface,
Patter of feet, hunting for meat,
Deep in the darkening woods.

Man child is best, troublesome pest,
Juicy and tender when stewed or when roasted,
Rabbits are nice, deer will suffice,
Partridge or grouses will too.

Then they are gone just before dawn
Scurrying back to their home in the darkness,
Digging the ore, searching for more,
That’s what the goblins all do.

Pasted from <http://allpoetry.com/poem/11855944-Goblins-by-gmcookie>

My example

Gallivanting (Form: Choriambic dactylic fusion)

Riding the rails, sleeping in jails
youth was misspent if consensus is taken.
Sleeping in tents, riding the fence
these were the acts that he loved.

Going on hikes, riding on bikes
Travel was far more important than where to.
Seeing how life coped with it’s strife,
building himself on the fly.

Seas that he’d sail hunting for whale
toughened him up and exposed him to drinking,
planning to chase ladies in lace,
gambling with dice and with cards.

Hunting for gold, campsites were cold
metals he learned to decipher by looking.
Scattered around, wonders were found
When and wherever he went.

Filled up with life, finding a wife
knowing the place where he started was dandy,
he raised some kids, yep, that he did
here at the end of the line.

© Lawrencealot – January 15, 2015

Visual template

Choriambic dactylic fusion


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.

My Thanks to Linda Varsell Smith for her contributions above.

My example

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.

© Lawrencealot – January 13, 2015

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

Visual template



Retrac: 12 lines. Syllable Counts: 2-3-4-6-8-10-10-8-6-4-3-2
Rhyme Scheme: a-a-b-b-c-c-c-c-b-b-a-a.  Carter spelled backwards.


shines so bright
cosmic display
so many miles away.
So many types of stars to learn.
Incredible temperatures that burn
orbiting rapidly, black holes to spurn
Many of my wishes yet to yearn.
A multi-colored splay
awesome array
of night light.

My Thanks to Linda Varsell Smith for her contributions above.

My example

They Called Me Deely  (Form: Retrac)

Some names
are nicknames
that you have earned.
Some endear, some are spurned.
Deely was my place-holder word
for things I met, of which I’d never heard.
“What’s that deely for?” didn’t sound absurd,
friends knew to what I had referred
thus I was unconcerned
my word was learned
it became
my name.

© Lawrencealot – January 14, 2015


Retournello: Created by Flozari Rockwood
Any number of quatrains.
Syllabic Count: 4-6-8-4
Rhyme Scheme: a-b-b-a c-d-d-c e-f-f-e etc.

Doomsday: May 21, 2011

4a Some say Doomsday
6b earthquake cracks open graves.
8b Only the Christian dead God saves.
4a The rest Earth’s prey.
4c Believers rise–
6d the living and the dead,
8d rest in torment is what is said.
4c Fill crowded skies?
4e To date Rapture
6f some claim Bible reckons
8f October end of world beckons.
4e Left to nature.
4g We’ll wait and see
6h this is just another guess.
8h Time will tell if this time it’s yes–
4g this prophesy

My Thanks to Linda Varsell Smith for her contributions above.

My example

Our Parrot (Form: Retournello)

A neon green
and neon carrot bird
wears other colors quite absurd.
Isn’t it keen?

© Lawrencealot – January 13, 2015

Written for contest, exactly 15 words.

Visual template



1. Even numbered lines have the same rhyming sound.
2. Couplets.
3. The end words of the odd numbered lines with the title tell a brief story.
4. The number of couplets is unlimited.
5. The odd numbered lines do not rhyme but tell a story.
6. The even numbered lines are mono-rhymed.
In this example the even numbered mono-rhymes are coast, toast, most, host, boast.
The odd numbered lines tell the story. This Fourth of July July Fourth bursts with independence. The story is in bold.

This Fourth of July

Some grandchildren are away this July,
Two are in New Jersey on the east coast.
We won’t see grandchildren on this Fourth
so to them I salute a happy toast.
As the fireworks display bursts
less abundant than most
I will remember the times with
the grandchildren at the parties we host.
This year we celebrate adolescent independence
and the love of the grandchildren we boast.

My Thanks to Linda Varsell Smith for her contributions above.

Raccontino (Italian meaning narrator or story teller) is a poetic narrative written in any number of couplets linked by a single rhyme. Found at Writer’s Café. I’ve been unable to find a history or original example of this form. One source on line suggests this is an English form but no time frame is indicated nor other reasons given for this assumption. Because the name has Italian roots, is syllabic rather than metric (which is more typical of Italian poetry than English poetry) and carries a single rhyme (which is much easier in Italian than English), my assumption is that the frame itself also has Italian roots.

The Raccontino is:
• narrative, tells a story.
• written in any number of couplets.
• syllabic. The number of syllable is set by the first line. Whatever number of syllables occurs in the first line should continue throughout the poem.
• rhymed xa xa xa xa xa xa etc. x being unrhymed.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1162-raccontino/
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

Specifications restated
Raccontino is most likely of Italian origin.
It is:
A single stanza consisting of any even number of lines.
Rhymed: the rhyme pattern is xaxaxaxa…
Formulaic: The end words in the un-rhymed lines tell a brief story.
Isosyllabic: All lines having the same number of syllables, at the poet’s discretion.