Tag Archives: Skelton

Skeltonic Verse

By | | ,
Comments Off on Skeltonic Verse
My Summary:  Skeltonic Verse  is:
Any number of lines without a Stanza break
Each line consist of two heavy stresses and any number of unstressed syllable
Lines are mono-rhymed until the poet decides to begin a new rhyme.
The poem should have energy and be fun.
Skeltonic Verse is named after its creator, English poet John Skelton (1460-1529),who tutored King Henry the Eighth when he was just a prince, spent time in prison, was censured by the Church and in general, seemed to have a great amount of fun.
Sources I found useful with more information you may appreciate.
Skeltonic Verse which today is sometimes also referred to as Tumbling Verse, is from the 15th century when English poet John Skelton (1460-1529) created short lines which resemble the hemistich of the Tumbling Verse of King James. It is a subgenre of Georgic, didactic verse, the verse usually being instructional in nature. The lines are of irregular dipodic meter with a tumbling rhyme. 
Skeltonic Verse is:
  • written in any number of dipodic lines without stanza break.
  • dipodic which is a line with 2 heavy stresses and any number of unstressed syllables.
  • rhymed, tumbling rhyme is any number of monorhymed lines until the rhyme runs out of energy then the lines switch to a new mono-rhyme series. 
My thanks to Judi Van Gorder for the great PMO resource.
Skeltonics
Type:
Structure, Metrical Requirement, Rhyme Scheme Requirement
Description:
Developed by John Skelton (Happy Hank, the Wife Slayer’s poetic mentor and court poet), these are satirical rhymed dipodic lines. It is also known as Tumbling Verse. This requires explaining the difference between podic and accentual-syllabic verse. With accentual-syllabic verse, every syllable counts, both stressed and unstressed. If a line of verse is iambic pentameter, it will be ten syllables alternating between unstressed and stressed as: da_DUM da_DUM da_DUM da_DUM da_DUM.
“I dived beneath the desk to hide from her.”
Podic verse was kind of a looser midway point between the alliterative accentuals of the Anglo-Saxons and the accentual-syllabics that Chaucer adapted into English based on French forms that were rhymed and syllabic. So, podic verse is usually rhymed and has a certain number of stresses in the line, but the number of unstressed syllables doesn’t count. A dipodic line has two stresses. It might have from zero to four unstressed syllables, so the line can vary from two to six syllables and still be dipodic.
“Her eyes aflame
fire bright
cast her claim
all night.”
Although this quatrain varies between two and four syllables per line, they are all dipodic.
Skelton’s rhyming was also inconsistent. He might rhyme two lines in a row or ten, then he’d change rhymes for another indeterminate length, and then do it again.
My thanks to Charles L.  Weatherford who frequently provides more detail and insight than most.
My Example Poem
Dipodic What?
Dipodic Verse
Will be Terse.
Stress used just twice
to keep it nice,
short or long
a lilting song
or sounding gong
that won’t go wrong
if you adhere
to the rule here,
Now is that clear
My dear?
© Lawrencealot – 2013

Catena Rondo

By | | ,
Comments Off on Catena Rondo
Catena Rondo is a stanzaic form created by 20th century Canadian educator, author and poet, Robin Skelton. The form lends itself to the longer poem because of the repetition of lines. It has an unusual cadence within the quatrain, suggesting that L2 and L3 form a couplet leaving L1 and L4 as separate thought units within the quatrain. L2 is then repeated as the first and last lines in the next stanza. The repetition of lines reminds me of the Pantoum but more complicated. The form was found at Poet’s Garret.
The Cateno Rondo is:
 stanzaic, written in any number of 3 or more quatrains (12 lines or more) made up of 2 rhymed lines enveloping a rhymed couplet.
 meter optional at the discretion of the poet.
 rhymed, rhyme scheme ABbA BCcb CDdc DEed etc… (ABbABCcbCDdc, where the capital letter depict lines that are refrains) until the  enveloped couplet of the penultimate quatrain repeats L1 of the poem  MAam bringing the final quatrain back to the original scheme of the  1st quatrain ABbA.
It appear from this scenario that the only line of the last stanza that
could be original is L3 since L1, L2 and L4 are repetitions of the same
numbered lines of the first stanza.
Poet’s Garret makes it easier by suggesting the complete last stanza
be a repetition of the first stanza.
 composed with repetition the 2nd line of each stanza as L1 and L4 of the next stanza.
 The poem should come full circle and end up with the same rhyme scheme used in the 1st quatrain.
 Therefore it is important that 1st and 2nd lines of the poem be strong enough to end the poem.
This form is the brainchild of Robin Skelton,academic, writer, poet and anthologist. It is a Quatrain, and the second line forms a rhyming couplet with the third line and is also used as the first and fourth line of the following stanza. Any number of stanzas can be created this way and the final stanza is a repeat of the first. This gives a rhyme scheme of;
A. B. b. A.…. B. C. c B…. C. D. d. C….finally …
F. A. a. F…... A. B. b. A.….
There is no set meter. Here is an abbreviated example
So Misty through the Dream
The sun does shine upon the reeds.
The lake glistens; a twinkling dance;
On the hills, we three entranced.
The sun does shine upon the reeds.
The lake glistens; a twinkling dance.
Under water breathes like air.
We dip our heels, submerged, we dare.
The lake glistens; a twinkling dance.
Under water breathes like air.
A silvery light consumes the sun.
Deeper down, search we as one.
Under water breathes like air.
Cont till
We three stretch legs upon the lands.
The sun is shining on the reeds.
Up through the silvery lake of seeds
We three stretch legs upon the lands.
The sun does shine upon the reeds.
The lake glistens; a twinkling dance;
On the hills, we three entranced.
The sun does shine upon the reeds.
Moss Macan Ghoill
Some people mistakenly think that this form cannot support shorter forms and that it is only suited to poems over 5 stanza in length. It is because this form encourages longer poems simply because it encourages and makes longer poetry pleasurable. That is not to say that the poet cannot write shorter poems. The minimum of course must have a statement, a link and a closure, that is three stanza. Here is an example:
When Clouds Cry
When clouds cry it’s not because they’re sad
Rather it is because they are content
That most lovers have the right intent
When clouds cry it’s not because they’re sad
Rather it is because they are content
When clouds cry it’s not because they’re sad
Seeing lovers they realise things aren’t bad
Rather it is because they are content
When clouds cry it’s not because they’re sad
Rather it is because they are content
That most lovers have the right intent
When clouds cry it’s not because they’re sad
Ryter Roethicle
Example Poem
Tell Me When You’re Coming
When you come to Reno, tell me.
I buy drinks for my A.P. friends.
A poet’s friendship never ends.
When you come to Reno, tell me.
I buy drinks for my A.P. friends.
A.P. poets expand my life.
Keep me from pestering my wife.
As of yet, I don’t wear Depends.
A.P. poets expand my life.
An autograph I shall require
on one poem that lights my fire,
About love or war, peace or strife.
An autograph I shall require.
Offer good if I’m not in jail
or if I am, if you’ve got bail.
We’ve got a jail that you’ll admire.
Offer good if I’m not in jail
With gals I’ll speak of poetry,
with guys about what interests me,
and let you simply spin a tale.
With gals I’ll speak of poetry.
When you come to Reno, tell me.
Least you’ll get a libation free.
With gals I’ll speak of poetry.
When you come to Reno, tell me.
I buy drinks for my A.P. friends.
You’ve read me- thus I’ll make amends.
When you come to Reno, tell me.
Visual Template

.

When you come to Reno, tell me.