• The Taylor is an invented form, patterned from Upon a Spider Catching a Fly by Edward Taylor (1642-1729) who some call the finest colonial poet although his work was not published until 1939. A puritan poet, his poems are lyrical and yet reflect a staunch Calvanist tone.
The Taylor is: ○ stanzaic, written in any number of cinquains. ○ metric, iambic, L1 trimeter, L2 and L4 dimeter, L3 tetrameter, L5 monometer. ○ rhymed or at least near rhymed ababb cdcdd efeff etc. ○ Upon a Spider Catching a Fly by Edward Taylor
Thou sorrow, venom elf. Is this thy play, To spin a web out of thyself To catch a fly? For why?
I saw a pettish wasp Fall foul therein, Whom yet thy whorl pins did not clasp Lest he should fling His sting.
But as afraid, remote Didst stand here at And with thy little fingers stroke And gently tap His back.
Thus gently him didst treat Lest he should pet, And in a froppish waspish heat Should greatly fret Thy net.
Whereas the silly fly, Caught by its leg, Thou by the throat took’st hastily And ‘hind the head Bite dead.
This goes to pot, that not Nature doth call. Strive not above what strength hath got Lest in the brawl Thou fall.
This fray seems thus to us: Hell’s spider gets His entrails spun to whipcords’ thus, And wove to nets And sets,
To tangle Adam’s race In’s stratagems To their destructions, spoiled, made base By venom things, Damned sins.
But mighty, gracious Lord, Communicate Thy grace to break the cord; afford Us glory’s gate And state.
We’ll Nightingale sing like, When perched on high In glory’s cage, Thy glory, bright, And thankfully, For joy.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=616 My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Broken Names (Form: Taylor)
I have a friend named Jack, his brother’s Al. Their mother wants her old name back to boost locale morale.
Since Ackbarr’s now her name she thinks it’s broken, perverted by the Islam game when it’s a token spoken.
One can’t now yell, “Hi, Jack” most any where nor “Allen Ackbarr, glad you’re back! You been somewhere by air?”
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. Crash 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
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.
Pathways for the Poet by Viola Berg (1977) is a book for and by educators. Classic poetic forms as well as many invented forms which appear to have been invented as teaching tools or exercizes for use in workshops or classrooms are included. Some of these invented forms I have found in use in internet poetry communities, a testament to their staying power. On this page I include the metric invented forms found there in which appear to be exclusive to the community of educators from whom Ms. Berg drew her support. I have yet to find these in any other source. I have included the syllabic invented forms on a separate page. Whether classroom exercise or sharpening your skill as a writer, some of these forms can be fun to play with.
• Arkaham Ballad can be identified by the last line of each stanza being repeated as the first three metric feet of the next stanza. One more invented stanza form appears to be a teaching tool created by Queena Davidson Miller. It is not really a ballad but is suited to relate current events and news articles.
The Arkaham Ballad is: ○ stanzaic, written in any number of cinquains. ○ accentual syllabic, iambic, L1, L3, L4 tetrameter and L2 and L5 trimeter. ○ rhymed, rhyme scheme xabba xcddc xeffe etc. x being unrhymed. ○ composed with L5 repeated as the 1st three metric feet of L1 of the next stanza. ○ suited to current events and the news.
Police Shooting by Judi Van Gorder
They say an unarmed man was shot by cops who’ve run-a-muck. A family man who cut some hair and shaved a face or two. A pair of punks highjacked a truck.
The punks highjacked a truck and he was at the same address, police arrived and shots were fired, the barber hit and soon expired The why of it a guess.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=1199#dionol My thanks to Judi Van Gorder for years of work on this fine PMO resource.
Conduct Unbecoming (Arkaham Ballad)
Subcultures determine the flow when hate has been accrued. For race and religion involve some problems most hard to resolve. Perhaps mankind is screwed.
Perhaps mankind is screwed my friend, as Ferguson has shown, and Watts before, and Rodney King, and every other racial thing. The hateful seeds are sown.
The hateful seeds are sown by acts that we can justify. We’ll plunder, hurt, and break the laws and disregard, it harms our cause but still won’t satisfy.
• The Russell is a verse form composed of three alternating rhyme quatrains written with the first 3 lines iambic pentameter and the fourth line iambic trimeter. It is patterned after The Great Breath by George William Russell (1867-1935),
The Russell 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.
The Great Breath by George William Russell
ITS edges foam’d with amethyst and rose,
Withers once more the old blue flower of day:
There where the ether like a diamond glows,
Its petals fade away.
A shadowy tumult stirs the dusky air;
Sparkle the delicate dews, the distant snows;
The great deep thrills–for through it everywhere
The breath of Beauty blows.
I saw how all the trembling ages past,
Moulded to her by deep and deeper breath,
Near’d to the hour when Beauty breathes her last
And knows herself in death.
Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=668>
My thanks to Judi Van Gorder for the years of effort on the wonderful PoetryMagnumOpus resource.
My example Poem
Picture credit: Robert Dowling
Somewhere a Prince (The Russell)
There’s room to land a flying dragon here and I’m above the clouds so don’t get wet. It’s falling off the edges that I fear, I’m higher than Tibet.
My prince desired to keep me safe and chaste. Deliveries are made each week or two. I hope the campaign’s through and done post-haste. There’s no one here to do.
If he don’t win, I hope the dragon knows to bring along the prince who does prevail. the winner will be handsome I suppose to make a happy tale.
The Three-peat Refrain was invented by Mark Andrew J. Terry of Allpoetry.
It is a 13 line poem.
It is stanzaic, consisting of two quintets and a three line tail.
It is syllabic: 4/4/8/8/6
It is metric written in iambic dimeter, trimeter, and tetrameter.
It is rhymed: AbbcbAddcdAcd
Where the first line is a Refrain, repeated in each stanza.
is a verse form patterned after a single stanza in “Ode” by Arthur William Edgar O’Shaughnessy (1844-1881).
The O’Shaughnessy is:
○ stanzaic, written in any number of octaves.
○ metered, sprung rhythm, alternating trimeter and tetrameter lines. The odd number lines are trimeter and the even number lines are tetrameter.
○ rhymed, rhyme scheme abababab. The odd numbered lines are femininerhyme and the even numbered lines are masculine rhyme.
Ode by Arthur O’Shaughnessy
WE are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.
With wonderful deathless ditties
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song’s measure
Can trample an empire down.
We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself with our mirth;
And o’erthrew them with prophesying
To the old of the new world’s worth;
For each age is a dream that is dying,
Or one that is coming to birth.
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=668
My thanks to Judi Van Gorden for creating the fine resource at PMO.
Sprung rhythm is a poetic rhythm designed to imitate the rhythm of natural speech. It is constructed from feet in which the first syllable is stressed and may be followed by a variable number of unstressed syllables. The British poet Gerard Manley Hopkins claimed to have discovered this previously unnamed poetic rhythm in the natural patterns ofEnglish in folk songs, spoken poetry, Shakespeare, Milton, et al. He used diacritical marks on syllables to indicate which should be drawn out (acute e.g. á ) and which uttered quickly (grave, e.g., è).
Some critics believe he merely coined a name for poems with mixed, irregular feet, like free verse. However, while sprung rhythm allows for an indeterminate number of syllables to a foot, Hopkins was very careful to keep the number of feet he had per line consistent across each individual work, a trait that free verse does not share. Sprung rhythm may be classed as a form of accentual verse, due to its being stress-timed, rather than syllable-timed, and while sprung rhythm did not become a popular literary form, Hopkins’s advocacy did assist in a revival of accentual verse more generally.
Pasted from <http://en.wikipedia.org/wiki/Sprung_rhythm>
For a thoroughly technical treatise on Sprung Rhythm see:
Note: The Ode presented above does NOT comply with the specifications presented, in that the second stanza has a rhyme pattern of a a b b a b a b.
My example poem:
In Transit (The O’Shaughnessy)
She made my ride to work a pleasure
Although she dressed in casual clothes
She’d beat the rest by any measure.
When first I thought to speak I froze.
But transit-time provided leisure
and we both used it I suppose
to stoke romance we’ll always treasure
for on this night I shall propose.
• The Gilbert is a verse form in which a theme reoccurs in different settings from stanza to stanza. It is named for William Schwenk Gilbert (1836-1911) of Gilbert and Sullivan fame, (operettas for which Gilbert provided the lyrics). The form is patterned after his poem The House of Peers.
The Gilbert is:
○ written in 3 septets.
○ metered, L1,L3,L4,L6,L7 are tetrameter , L2 and L5 are trimeter.
○ rhymed, rhyme scheme xabbacc xdeedff etc. x being unrhymed.
The House of Peers by WS Gilbert
When Britain really ruled the waves –
In good Queen Bess’s time)
The House of Peers made no pretence
To intellectual eminence,
Or scholarship sublime;
Yet Britain won her proudest bays
In good Queen Bess’s glorious days!
When Wellington thrashed Bonaparte,
As every child can tell,
The House of Peers, throughout the war,
Did nothing in particular,
And did it very well;
Yet Britain set the world ablaze
In good King George’s glorious days!
And while the House of Peers withholds
Its legislative hand,
And noble statesmen do not itch
To interfere with matters which
[They do not understand,
As bright will shine Great Britain’s rays,
As in King George’s glorious days!
Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=668
My thanks to Judi Van Gorder for her years of effort in creating this fine PMO resource.