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Tag Archives: stanzaic
Septet II
Septet II
Type: Structure, Metrical Requirement
Description: An English syllabic form with line syllable counts of: 3, 5, 7, 9, 7, 5, 3
Origin: England
Schematic:
xxx
xxxxx
xxxxxxx
xxxxxxxxx
xxxxxxx
xxxxx
xxx
Rhythm/Stanza Length: 7
Line/Poem Length: 7
Pasted from http://www.poetrybase.info/forms/005/570.shtml
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.
_________
• Septet II is an invented form using the 7 lines of the septet and adding a syllable count to the lines. Its origin is England according to Poetry Base.
The Septet II is:
○ stanzaic, written in any number of septets, (7 line stanzas).
○ syllabic, 3-5-7-9-7-5-3 lines.
○ unrhymed or rhyme at the discretion of the poet.
Blackberry Patch by Judi Van Gorder
Summertime
along the roadway
cardboard paths wind through brambles
where locals freely come to pick sweet
berries from the prickly vines.
Purple juices stain
my fingers.
Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1197-forms-found-at-poetry-basepoetry-gnosis/
My thanks to Judi Van Gorder for years of work on this fine PMO resource.
My example poem
It Must Have Been Something I Ate (Septet II)
Cogitate
let thoughts incubate,
deliberate at some length
contemplate if thinking is your strength,
then speculate and
ruminate.
© Lawrencealot – August 19, 2014
Visual Template

Keatsian Ode
Keatsian Ode Description: The Keatsian or English Ode is written in iambic pentameter with three verses with rhyme scheme ababcdecde. Each verse has new rhymes, although it follows the same scheme, so technically: ababcdecde fgfghijhij klklmnomno for the whole schmeer. Another expert says it can be any number of verses, and since Keats himself wrote an eight-verser, we’ll agree with him. Attributed to: John Keats Origin: English Schematic: Rhyme: ababcdecde
Pasted from http://www.poetrybase.info/forms/001/158.shtml My thanks to Charles L. Weatherford for years of work on this fine Poetrybase resource.
Other Odes: Aeolic Ode, Anacreontic Ode, Choral Ode or Pindaric Ode or Dorian Ode,
Cowleyan Ode or Irregular Ode, Horatian Ode, Keatsian or English Ode, Ronsardian Ode
Thematic Odes:
Elegy, Obsequy, Threnody Ode
Elemental Ode
Genethliacum Ode
Encomium or Coronation Ode
Epithalamion or Epithalamium and Protholathiumis
Palinode Ode
Panegyric or Paean
Triumphal Ode
Occasional Verse
My example
Owed to My Coffee Cup (Keatsian Ode)
My coffee cup begins my daily grind.
Oh coffee cup you are my calming friend;
you pacify and organize my mind.
I use you for most any coffee blend,
yet holding drinks is least of what you do.
I hold you sometimes just to strike a pose
It buys me time to think upon my feet –
contemplative while sipping from my brew
you are a point of focus I suppose
while I compose a thought that seems complete.
© Lawrencealot – August 12, 2014
Swinburne 7776
This is an octain form patterned on Algernon Charles Swinburne’s “Before Dawn.”
I simply named this form after it’s syllable pattern since Swinburne created several distinct octave forms.
It is:
Stanzaic: consisting of any number of octains.
Metered: Iambic Trimeter.
Rhyme pattern: aaabcccb, where only the b-rhymes are masculine.
Before Dawn by Algernon Charles Swinburne
SWEET LIFE, if life were stronger,
Earth clear of years that wrong her,
Then two things might live longer,
Two sweeter things than they;
Delight, the rootless flower,
And love, the bloomless bower;
Delight that lives an hour,
And love that lives a day.
From evensong to daytime,
When April melts in Maytime,
Love lengthens out his playtime,
Love lessens breath by breath,
And kiss by kiss grows older
On listless throat or shoulder
Turned sideways now, turned colder
Than life that dreams of death.
This one thing once worth giving
Life gave, and seemed worth living;
Sin sweet beyond forgiving
And brief beyond regret:
To laugh and love together
And weave with foam and feather
And wind and words the tether
Our memories play with yet.
Ah, one thing worth beginning,
One thread in life worth spinning,
Ah sweet, one sin worth sinning
With all the whole soul’s will;
To lull you till one stilled you,
To kiss you till one killed you,
To feed you till one filled you,
Sweet lips, if love could fill;
To hunt sweet Love and lose him
Between white arms and bosom,
Between the bud and blossom,
Between your throat and chin;
To say of shame—what is it?
Of virtue—we can miss it;
Of sin—we can but kiss it,
And it’s no longer sin:
To feel the strong soul, stricken
Through fleshly pulses, quicken
Beneath swift sighs that thicken,
Soft hands and lips that smite;
Lips that no love can tire,
With hands that sting like fire,
Weaving the web Desire
To snare the bird Delight.
But love so lightly plighted,
Our love with torch unlighted,
Paused near us unaffrighted,
Who found and left him free;
None, seeing us cloven in sunder,
Will weep or laugh or wonder;
Light love stands clear of thunder,
And safe from winds at sea.
As, when late larks give warning
Of dying lights and dawning,
Night murmurs to the morning,
“Lie still, O love, lie still;”
And half her dark limbs cover
The white limbs of her lover,
With amorous plumes that hover
And fervent lips that chill;
As scornful day represses
Night’s void and vain caresses,
And from her cloudier tresses
Unwinds the gold of his,
With limbs from limbs dividing
And breath by breath subsiding;
For love has no abiding,
But dies before the kiss;
So hath it been, so be it;
For who shall live and flee it?
But look that no man see it
Or hear it unaware;
Lest all who love and choose him
See Love, and so refuse him;
For all who find him lose him,
But all have found him fair.
Pasted from <http://www.poemhunter.com/poem/before-dawn-7/>
My example poem
Putting Decorum Before ‘Em (Swinburne 7776)
I turned and saw you staring
and knew you were comparing
my dress with girls more daring
than shyness lets me be.
Some say my clothes are fusty,
well it’s because I’m busty
and seem to make men lusty
when there’s too much to see.
While I’m too shy for posing
and chesty flesh exposing
I find myself supposing
that I could test the guys.
I’ll lean across the table
like Greta did with Gable
and see if you are able
to look me in the eyes.
© Lawrencealot – July 31, 2014
The Herrick
• The Herrick makes use of alternating feminine and masculine end words. It is a verse form named for Robert Herrick (1591-1674) and patterned after his poem To the Virgins to Make Much Time.
The Herrick is:
○ stanzaic, a poem of 4 quatrains. (16 lines)
○ metered, alternating tetrameter and trimeter lines. Odd number lines are tetrameter ,even numbered lines are trimeter.
○ rhyme, rhyme scheme abab cdcd efef ghgh. Odd numbered lines are masculine rhyme, even numbered lines have feminine rhyme.
To the Virgins, to Make Much of Time by Robert Herrick (1st stanza)
Gather ye rose-buds while ye may:
Old Time is still a-flying;
And this same flower that smiles to-day,
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he’s a-getting,
The sooner will his race be run,
And nearer he’s to setting.
That age is best which is the first,
When youth and blood are warmer ;
But being spent, the worse, and worst
Times still succeed the former.
Then be not coy, but use your time,
And while ye may go marry :
For having lost but once your prime
You may for ever tarry.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=668
My thanks to Judi Van Gorder for years of work on this fine PMO resouce.
My Example poem
Are Caterpillars Cognizant?(The Herrick)
When caterpillars go to sleep
I wonder if they’re knowing
that while their sleep is very deep
their lovely wings are growing?
Is metamorphosis a shock
or is it all expected?
Do larvae young ones watch the clock
and know it’s all connected?
When they crochet that crusty shell
that doesn’t look delicious
and hide in sight so very well
are they themselves suspicious?
Like teenage girls that want a bust
anticipating greatly
do they awake with pride or just
think, “What has happened lately.”
The Tennyson
• The Tennyson is a stanzaic form patterned after Ask Me No More by English poet,Alfred Lord Tennyson (1802-1892).
The Tennyson is:
○ stanzaic, written in any number of cinquains.
○ metric, iambic, L1-L4 are pentameter and L5 is dimeter.
○ rhymed, rhyme scheme abbaC deedC fggfC etc.
○ written in with L5 as a refrain repeated from stanza to stanza.
Ask Me No More by Alfred Lord Tennyson
Ask me no more: the moon may draw the sea;
The cloud may stoop from heaven and take the shape,
With fold to fold, of mountain or of cape;
But O too fond, when have I answer’d thee?
————–Ask me no more.
Ask me no more: what answer should I give?
I love not hollow cheek or faded eye:
Yet, O my friend, I will not have thee die!
Ask me no more, lest I should bid thee live;
————–Ask me no more.
Ask me no more: thy fate and mine are seal’d:
I strove against the stream and all in vain:
Let the great river take me to the main:
No more, dear love, for at a touch I yield;
————–Ask me no more.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=668
My thanks to Judi Van Gorder for the wonderful PMO resource.
My Example Poem
Wastrel ( The Tennyson)
I wasted time throughout my early years.
and emphasized my chase for corporate gold.
I knew of course, that everyone grows old
unless an early death brings loved-ones tears.
I wasted time.
I wasted time while children’s magic bloomed,
and took for granted miracles in play.
I let too many moments slip away.
I failed to nurture love that was presumed.
I wasted time.
I wasted time just letting days go by.
But now I savor simple daily things-
a child that laughs, a parakeet that sings-
and cannot help but often wonder why
I wasted time.
© Lawrencealot – July 29, 2014
Visual Template
Depiction Prime
The Depiction Prime was created by Ashrus of Allpoetry.
It is:
A 6 line poem.
Stanzaic: having two three-line stanzas.
Syllabic: each stanza having lines of 4/6/5 syllables.
Formulaic: First stanza depicts the appearance of the subject of the poem, but never tells what the subject is. This stanza just describes its colour, look, beauty or style.
The First line of the next stanza may give a hint about the subject. Last two lines reveal the subject matter clearly. Lucid language is preferred in these three lines.
Rhyme pattern: xxa xxa. Last lines of both stanzas must rhyme.
Meter unspecified.
My example poem
Super Moon (Depiction Prime)
Tangerine arc
peeks over hill, becomes
crescent, then an orb.
Perigee time
make plains and craters seem
too grand to absorb.
© Lawrencealot – July 13, 2014
The Phillimore
The Phillimore is a stanzaic form that moves from dimeter to pentameter and back again. It is named for John Swinnerton Phillimore (1873-1926) and patterned after his poem In a Meadow.
The Phillimore is:
- stanzaic written in any number of octaves. (original poem has 6 octaves)
- metered, L1, L4,L6 and L8 are dimeter, L2,L3,L5, and L7 are pentameter.
- rhymed, aabbccdd.
In a Meadow by John Swinnerton Phillimore
THIS is the place
Where far from the unholy populace
The daughter of Philosophy and Sleep
Her court doth keep,
Sweet Contemplation. To her service bound
Hover around
The little amiable summer airs,
Her courtiers.
The deep black soil
Makes mute her palace-floors with thick trefoil;
The grasses sagely nodding overhead
Curtain her bed;
And lest the feet of strangers overpass
Her walls of grass,
Gravely a little river goes his rounds
To beat the bounds.
—No bustling flood
To make a tumult in her neighbourhood,
But such a stream as knows to go and come
Discreetly dumb.
Therein are chambers tapestried with weeds
And screen’d with reeds;
For roof the waterlily-leaves serene
Spread tiles of green.
The sun’s large eye
Falls soberly upon me where I lie;
For delicate webs of immaterial haze
Refine his rays.
The air is full of music none knows what,
Or half-forgot;
The living echo of dead voices fills
The unseen hills.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=668
My thanks to Judi Van Gorder for years of work on the fine PoetryMagnumOpus resource.
My example poem
With Love Possessed (The Pillimore)
I won’t repent.
I love your touch, your hair, your smile, your scent.
Anticipation takes my breath away
throughout the day.
A gesture made, a turning of your head,
with nothing said
provokes desire and happiness in me
for all to see!
If you ignite
desire by accident it’s quite alright
for fates have so aligned so both that lust
is right and just.
When I’m away, I agonize my dear,
that you’re not here.
Dispelled is every other form of strife
my darling wife.
© Lawrencealot – June 10, 2014
Visual template
The Abercrombie Poetry Form
The Abercrombie is a stanza pattern using sprung rhythm and an interlocking rhyme scheme. It is patterned after Hymn to Love by British poet, Lascelles Abacrombie (1881-1938).
The Abercrombie is:
• stanzaic, written in any number of octaves made up of 2 quatrains.
• metric, written in sprung rhythm with L1,L3,L5,L7 are pentameter, L2 & L6 are tetrameter and L4 & L8 is trimeter.
• rhymed, interlocking rhyme scheme abac dbdc, efeg hfhg, etc. L4 and L8 are feminine rhyme. The interlocking rhyme is within the octave and does not extend to the next octave.
Hymn to Love by Lascelles Abercrombie
We are thine, O Love, being in thee and made of thee,
As théou, Léove, were the déep thought
And we the speech of the thought; yea, spoken are we,
Thy fires of thought out-spoken:
But burn’d not through us thy imagining
Like fiérce méood in a séong céaught,
We were as clamour’d words a fool may fling,
Loose words, of meaning broken.
For what more like the brainless speech of a fool,
The lives travelling dark fears,
And as a boy throws pebbles in a pool
Thrown down abysmal places?
Hazardous are the stars, yet is our birth
And our journeying time theirs;
As words of air, life makes of starry earth
Sweet soul-delighted faces;
As voices are we in the worldly wind;
The great wind of the world’s fate
Is turn’d, as air to a shapen sound, to mind
And marvellous desires.
But not in the world as voices storm-shatter’d,
Not borne down by the wind’s weight;
The rushing time rings with our splendid word
[Like darkness fill’d with fires.
For Love doth use us for a sound of song,
And Love’s meaning our life wields,
Making our souls like syllables to throng
His tunes of exultation,
Down the blind speed of a fatal world we fly,
As rain blown along earth’s fields;
Yet are we god-desiring liturgy,
Sung joys of adoration;
Yea, made of chance and all a labouring strife,
We go charged with a strong flame;
For as a language Love hath seized on life
His burning heart to story.
Yea, Love, we are thine, the liturgy of thee,
Thy thought’s golden and glad name,
The mortal conscience of immortal glee,
Love’s zeal in Love’s own glory.>
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=668
My thanks to Judi Van Gorder for her wonderful resource site.
This is a FORM that I shall not attempt to write, for I cannot properly determine rhythm that is accentual or “sprung”. This is merely included for a more complete reference to those studying forms named for British Poets.
(abacdbdc)
Cyrch a Chwta
Cyrch a Chwta
Type:
|
Structure, Metrical Requirement, Rhyme Scheme Requirement, Stanzaic
|
Description:
|
(kirch a choota) An octave of seven-syllable lines rhymed aaaaaaba with cross-rhyme of b in the third, fourth, or fifth syllable of line 8.
|
Origin:
|
Welsh
|
Schematic:
|
Rhyme: aaaaaaba
Meter: xxxxxxx xxxxxxa
xxxxxxa xxxxxxa xxxxxxa xxxxxxa xxxxxxa xxxxxxb xxbxxxa or xxxbxxa or xxxxbxa |
Rhythm/Stanza Length:
|
8
|
Pasted from <http://www.poetrybase.info/forms/000/69.shtml>
My thanks to Charles L. Weatherford for his fine Poetrybase resource.
Example Poem
My Tree (Cyrch a Chwta)
My dad went to war, but he
took time first to plant a tree
when I was a baby, wee.
Dad never came back to me,
he perished when I was three.
I learned of him at mom’s knee
That tree gave shade, let me swing.
That’s something dad knew would be.
© Lawrencealot – April 24, 2014