How familiar is that grand old checker cab where passengers sometimes feel compelled to gab, for like a barkeep, it’s covered by the tab. Put tradition and romance off to the side, Sometimes a taxi’s a must if you’re to ride. Frequently it’s hard to find a better guide.
The following description is reposted with permission from The Poets Garret, with thanks to Divena Collins.
The Enclosed triplet is a very interesting form and if the a.b.a..b.c.b. format is used it forms the basis for the Sicilian Triplet , Terza Rima, using the enclosed word as continuity, or where lines or words are repeated there is the Villanelle, or later the Terzanelle.
The alternative left with is to have the centre unrelated completely as shown below.
How would we know if our feelings are low So low that teardrops stain porcelain faces When faces are painted a warm loving glow
Which glows through when a lover embraces If his embraces are few how may we know Shall love flow when a tender heart races.
How can it be when true love hurts so much So much it can break in two loving hearts When hearts may respond to a sensual touch.
For touch prevents them from falling apart Playing a part of true lovers games as such To stop love from hurting is a work of art.
It could be that love came much too late That it was never to be for you and me For the love we had then was our fate.
Form: Enclosed Triplet
Some words I think I must abhor for they are words I seldom use but now I’ll try to use them more.
Like pardon, when I mean excuse me madam, will you move your ass? Or, loose by people who mean lose.
Correcting them, when done with class, requires that I must bite my tongue; when poets do it, it’s most crass.
The following desription is reposted with permission from Form and Formlessness, with thanks to Erin A. Thomas, who also writes on Allpoetry as Zahhar.
My 1st trisect poem. The trisect is my own semantically complex poetic form which I will use to help me with developing my use of depictive language.
E merge nce
walls of paper kept the world at bay cubes of indistinction none would see where settled there within a watcher peered
the dusty brown a perfect camouflage propped against a wall or by a hedge passed a thousand times by reckless feet
corrugated fibers held the wind so that the space inside was made to form a child’s island haven from the storm
sometimes it was a spaceship among the stars sometimes a moon-base on a barren scape sometimes a roving tank all battle-scarred but always it provided safe escape
shaped from molten vats of ore molded by a burning greed riveted with violent force pieces merge to fill a need
manifest from heavy silence oils surge and slowly drip uncertainty across the roads
power charges through its frame explosions channeled in its chest to serve a senseless master’s will
tires grind an alley’s dirt shadows steer a ghostly wheel the phantom grill athirst for blood
black lightning strikes the living clay evaporating life from every limb suspending consciousness alone void of breath yet interfused with fear
tires spin throughout the dark an engine roars above a twisted neck inches from a lifeless face psychic tethers anchored in vibration
a heedless monster lumbers back the shelter shattered open like a nest blood resumes its former course and wild bones reanimate the flesh
a figure stands and staggers numb with pain screams and scampers filled with terror headlights rear and fade away a child’s bones left fractured like his mind
The first segment focuses on cardboard. I used to create cardboard forts when I was a child—sometimes very elaborate—and hang out in them all day long. Some of them would be portable, and some would be built in vacant lots or alleyways blocks or miles from home. They were always very well camouflaged, so my little hideout would remain my little hideout. The portable ones I’d often setup at the edge of a busy parking lot, made to look like a pile of scrap cardboard, where I’d hang out and just watch people without them knowing. These simple forts were a safe haven for me, a private place to go and be away from troubles and worries. And I had my share.
The second segment focuses on the automobile, the car. I remember reading up on their manufacturing process and design, and the primary materials used in their construction, before starting this segment.
The third segment focuses on a little mishap I had in one of those cardboard forts as a 14 year old, which involved a car. It was in an alleyway a few blocks from home. City blocks. Los Angeles City blocks. About a mile away at least. I had some big fight with my mother that day and decided I’d just have my own space that night in a cardboard fort I and a friend had built a day or two before. It was a beautiful fort, with four separate compartments, each of which were big enough to lay out flat in. The whole thing was masterfully camouflaged with various sorts of debris from the area, including dead palm branches and branches of other sorts. In the end it looked like a slash pile, just a bunch of branches and other random materials tossed into a pile—but it was hollow, and there were access points.
That night as I slept a car slammed into the fort and ran over my right arm, shoulder, and neck, breaking the upper arm longways from near the elbow across to the top near the ball socket, and blew a piece out of the ball socket itself. My neck was severely sprained—which is of course a miracle. It was possible to make out the tire treads on my throat. How I happened to be aligned such that the tire didn’t snap my head one way and pop my skull off the spine like a bottle opener I have no idea.
This was my first NDE. I have no way to prove it, but I just know. I know what I experienced, and I was dead for at least a moment—and a moment is long enough to be dead. Sometime I’ll dedicate some poetry and discussion to that experience. But as I “returned”, after the car had somehow managed to back up off me without running over my neck a second time, I sprang up in a panic, and it came toward me again, then stopped, then backed all the way down the alley and around the far corner, as if in a mad rush to escape affiliation with the mishap. I’ll never forget the sight of those headlights.
I was near a series of hotels. And each time I knocked, with my left arm since right wouldn’t respond, the owners would come to the door and I’d ask for help and they’d slam the door on me. It sucked. In this manner I ended up up making my way half a mile to an apartment complex my mom had lived in a year or so before, where some people knew me, and an ambulance was called.
The following description is reposted with permission from Poetry Maqnum Opus, with thanks to Judi Van Gorder for years of work on that fine resource.
The Troisieme is a verse form introduced by Viola Berg. The content is broken into 4 parts, an introduction in the 1st tercet, an expansion in the 2nd tercet, a parallel or contrast in the 3rd tercet and a summary or conclusion in the couplet.The structural elements of the Troisieme are:
stanzaic, written in 3 tercets followed by a couplet.
syllabic, 3-5-7 3-5-7 3-5-7 9-9 syllables each.
It’s Finally Here
Holidays have turned the corner, the Christmas season begins.
Ornaments boxed with care last year, unpacked and hung on the tree.
Twinkling lights, and red bows adorn garland strung around the room.
Candy canes and shaped sugar cookies fresh from the oven for you and me. ~~Judi Van Gorder
Man alone will plot against his kind because of words one man deemed were true. They promote a life beyond this realm.
Dismiss all logic! Faith overcomes! The next life counts promises much more. Believe those words and your pain dissolves.
That others think those words are fiction marks them somehow as threats deserving Your enmity lest you come to doubt.
The plots and counter-plots marred reality and placed our morality below the wolf.
Englyn penfyr, én-glin pén-fir or short ended englyn in the old style, is the 1st codified Official Welsh Meter, anEnglyn. The oldest Welsh poetry in manuscript (early 9th century) was found written in the margin of the Juvencus Metrical Version of the Psalms, preserved in the Cambridge University Library. It is said to be stanzas written in praise of the Trinity in the englyn penfyr meter. Both the Englyn penfyr and the Englyn milwr are associated with “primitive Britain” and were out of vogue by the 12th century.
The englyn penfyr is:
stanzaic, written in any number of tercets.
syllabic, a 10 syllable line followed by two 7 syllable lines.
rhymed, mono rhymed, the main rhyme (the dominant rhyme of the stanza) of L1 found in the last half of the line followed by caesura end rhymes with L2 and L3.
composed with an addendum, a “gair cyrch” in L1 (syllables in the last half of a line that follow the main rhyme marked by caesura. The gair cyrch end rhyme is to be echoed or consonated as secondary rhyme in the 1st half of L2. The caesura often appears as a dash.)
Y wlad mewn gwisg o flodau -yn galw
Dwy galon i lwybrau
Yr ifanc drwy yr hafau
x x x x x x x A x b
x x b x x x A
x x x x x x A
The countryside, in its floral dress, calls
two hearts to roam the paths
of the young through summer days.
by Dosbarth Tanyroes “Y Flwyddn” 20th century found in Singing in Chains by Mererid Hopwood
Englyn byr cwca is a shortened crooked rhyme and is not one of the 24 Official Welsh Meters.
Englyn bry cwca is: • stanzaic, written in any number of tercets. • syllabic, 7-10-6 syllable lines. • rhymed, rhyme scheme aba, cdc, etc. The L2 end rhyme appears internally midway in L3. x x x x x x a x x x x x x x x x b x x b x x a
A Look Forward byJudi Van Gorder
Vows, “in sickness and in health”, they’re hard to see when strong and young in love, time is part of the wealth. But years turn and visions blur, the body slows and vitality goes, hopes and woes are deferred.
Here we are in winter’s dawn, through grace or luck our days continue bright. We shun the night upon which one life will first depart. Only “death and taxes” they say, “are sure”. mature, we play our part.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=960\ My thanks to Judi Van Gorder for years of work on this fine PMO resource.
AM and PM (Englyn bry cwca)
Relentlessly time moves on with urging when we’re young; we’d like a blitz until it’s almost gone.
In the winter of life’s year time slows our body making us aware we ought share our lives cheer.
The Triversen, (triple verse sentence), is a sentence broken into three lines. It has also been referred to as a “verset”, a surge of language in one breath.
The Triversen was originated by William Carlos Williams as a “native American” poetic form of the 20th century. According to Lewis Turco in his Book of Forms, it is “one of the most innovative things done to modern free-verse.” It introduced the “variable foot” to free verse. As best as I can understand, the “variable foot” is a phrase or portion of a sentence contained within a line.
The Triversen is: • accentual. The rhythm of normal speech, employing 1 to 4 strong stresses per line. • stanzaic, written in any number of tercets. Each tercet is a sentence broken into 3 uneven lines, each an independant clause. • grammatical. The sentence is broken by line phrasing or lineating or sense units. There should be 3 units. L1 is a statement of fact or observation, L2 and L3 should set the tone, imply a condition or associated idea, or carry a metaphor for the original statement. • unrhymed. • alliterated. Alliteration accentuates stress.
Eventide by Judi Van Gorder 8-20-05
Sunset silence is interrupted by a cursory “rib-it”.
Diminishing sun slides behind the horizon.
Twilight arrives with a hic-up and a wink.
On Gay Wallpaper by William Carlos Williams
The green-blue ground is ruled with silver lines to say the sun is shining.
And on this moral sea of grass or dreams like flowers or baskets of desires
Heaven knows what they are between cerulean shapes” laid regularly round.
Mat roses and tridentate leaves of gold threes, threes, and threes.
Three roses and three stems the basket floating standing in the horns of blue.
Repeated to the ceiling to the windows where the day
Blow in the scalloped curtains to the sound of rain
Copied from: http://www.poetrymagnumopus.com/index.php?showtopic=618
My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Water Lilies (Triversen)
Water lilies on pond’s surface lie in wait just as though expecting us.
Posed on pads in proud profusion as they might for Claude Monet; only now, awaiting us.
Water lilies seem eternal you and I have just begun.
The Depiction Prime was created by Ashrus of Allpoetry.
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.
My example poem
Super Moon (Depiction Prime)
peeks over hill, becomes
crescent, then an orb.
• The Kerf is a verse form in tercets and is attributed to Marie Adams.
The Kerf is:
○ a poem in 12 lines made up of 4 tercets.
○ syllabic, 6/7/10 per line.
○ rhymed, rhyme scheme abc abc dec dec.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1882#baccresiez
My Thanks to Judi Van Gorder for the wonderful resource at PMO
My Example Poem
If She Says “What ?” (The Kerf)
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