Tag Archives: word form

Tho Bon Chu

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The following description and example are reposted with permission from Poetry Magnum Opus, with thanks to Judi Van Gorder for years of work on that fine resource.

Tho Bon Chu or Four Word Verse is written as its name implies, measuring the number of words per line rather than syllables. The elements of the Tho Bon Chu are:

  1. stanzaic, written in a series of couplets.
  2. measured by the number of words in the line, each line has 4 words.
  3. rhymed, tonal rhyme in 1 of 2 distinct patterns and often end-rhymed at the poet’s discretion. w=word Language specific.
    When end-rhymed.           
    w ♭w a#
    w # w a♭
    or
    w # w a♭
    When not end-rhymed
    w ♭w #
    w ♭w a#
    w # w ♭
    or
    w # w ♭
    w ♭w #

My Example

Form: Tho Bon Chu

Since I have no notion about the Vietnamese tonal qualities for words, I have anglicized the rules to interpret Sharp tones as end-stressed words and Flat tones, as not.

Hollering

Sounds normal to shout
with children at home.
To shout in office
is not my suggestion.

© Lawrencealot – February 11, 2015

William Kenneth Keller, writing on Allpoetry as Shades of Bill added this comment and poem which do much to explain the concept which I merely relegated to stress. I am including his work as it really helps things make a little more sense.

The idea of tonality in poetry intrigues me! So here is my humble take on this. In English a word’s pitch comes two ways: stress, (rise and fall) and the tonality assigned to vowel sounds. (long or short)

Here is how I would assess your first line:
‘ow’ in ‘sounds’ would define the baseline for line. (This brings up an interesting point: you can have a baseline that changes line to line, or an overall baseline carried throughout the poem; the latter obviously far more difficult than the former.)
‘or’ in ‘normal’ should be flatter than baseline. (It is: the voice drops slightly.)
‘ooh’ in ‘to’ should sound at same pitch as baseline’. (It seems close enough.)
‘ow’ in ‘shout’ should be sharper than baseline. (It is identical. As an example, the ‘ee’ in ‘sleep’ is pitched slightly higher than the ‘ow’ in ‘sounds when voiced.)

So I took a light-hearted stab at it:

She walks too stiff
Like an old lady
Talks like a sailor
Too long at sea
Looks like an angel
And so I stay

Might not be suitable as an example, but it does seem to have that necessary rise and fall to it. I may try to give it another go, but regardless, the idea of pitch and tonality is going in my Batman Utility Belt!

Bill Keller

Atarlis Fileata

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Atarlis Fileata (a-ar-lee fee-lay-ah-tay), which is Gaelic for “repeating poetic” is a stanzaic verse which doesn’t seem to adhere to the standards of the ancient Irish forms. So I can only assume this is a more recent invented form, possibly the creation of Cathy at Mosaic Musings although she doesn’t indicate it as such. 

The Atarlis Fileata is:
• stanzaic, written in any number of septets but each septet must be able to stand alone, therefore a narrative would not be appropriate.
• measured by number of words not syllables or metric feet with 2-3-4-5-4-3-2 words per line.
• rhymed, A B a x a B A.
• composed with a refrain, L1 is repeated as L7 and L2 is repeated as L6, 

Heat of Autumn by Judi Van Gorder

Colors turn
warm my view
while damp leaves burn
and toast my frigid fingers 
send thoughts to churn
warm my view
colors turn

Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=2169
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

I Vote Wrong (Atarlis Fileata)

I try
although it’s meaningless,
that I won’t deny.
Candidates I vote for lose.
I don’t know why;
although it’s meaningless
I try.

© Lawrencealot – November 11, 2014

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Atarlis Fileata

Jorio

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Welcome to the home of the jorio, a verse form I created. It’s a very simple concept, which I’ll explain.
A jorio is 4 lines, with each line 4 words. As I’ve described it before: poetic cubism…
The idea behind the jorio, is that I’ve always had the feeling that people felt that poetry was long and complicated. I wanted to show that it did not necessarily needed to be so. A jorio is (usually) not that difficult to read. It is more often about the image it evokes, than a deeper meaning or symbolism. Though you can always find something…
Joria (plural of jorio) are moments in time, feeling, image. A fleeting instant captured into words.

Pasted from https://www.fictionpress.com/u/505545/Niels-Stegeman

My example

Tears Bring Smiles

A scene of tears.
That scene’s a lie.
Man helping nature
Brings smiles to faces.

(c) Lawrencealot – October 17, 2014

Punnett

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Invented by: Marc Arnts, marnts@yahoo.com

“I was very briefly at Allpoetry, but am mainly associated with writing.com. I invented this form for a contest where we were asked to devise a form based upon our occupation. As a former biology teacher, the Punnett sort of invented itself. The poems themselves should be centered on the page.”

(Punnett squares are used in Biology to assess the ratio of possible genotypic outcomes when crossing traits among a species.)

The Punnett – This form is based on the ratios in a Punnett Square.
The poem must be about a biological topic, with the first line being a
part of or offspring of the last line.
The form has nine lines, with a word count of 1/2/1/2/4/2/1/2/1.
There is no rhyming structure.

Leaf

Leaf
Trembling, rustling
Rest
Wind blown
Soaking up the sun
Building nourishment
Falling
From this
Tree

Cub

Cub
Playing, learning
Sleeping
Prairie hunter
Chasing after wild game
Agile sprinter
Stalking
Tall grass
Tiger

 

My Example poem.

Birdhouse Birthday Breakfast (Punnett)

Egg
sparrow laid
in
my birdhouse
hatches just in time
to become
a
meal for
Blue-jay!

© Lawrencealot – August 18, 2014

Lushi

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From WIKIPEDIA
 
Lushi or lüshi (traditional Chinese: 律詩; simplified Chinese: 律诗; pinyin: lǜshī; Wade–Giles : lü-shih) refers to a specific form of Classical Chinese poetry verse form. One of the most important poetry forms of Classical Chinese poetry, the lushi refers to an eight-line regulated verse form with lines made up of five, six, or seven characters; thus:
  • Five-character eight-line regulated verse (wulu): a form of regulated verse with eight lines of five characters each.
  • Six-character eight-line regulated verse is relatively rare.
  • Seven-character eight-line regulated verse (qilu): a form of regulated verse with eight lines of seven characters each.
All lushi forms are rhymed on the even lines, with one rhyme being used throughout the poem. Also, and definitionally, the tonal profile of the poem is controlled (that is, “regulated”).
 
 
 
And since, the Lushi, according to the above, must be “Regulated Verse” what the heck is that?
 
Regulated verse consisting of the three jintishi or “new style poetry” forms of lushi, jueju, and pailu while retaining the basic characteristics are distinguished from the gushi or “old style poetry” by the addition of a number of formal rules, most of which they share in common, but in some of which they differ. These rules include:
  • Number of lines are limited to four for jueju, eight for lushi, and an unlimited, greater, even number for the pailu. In each case, the poem is arranged in paired lines in the form of couplets.
  • Line lengths are all the same in terms of syllables or characters throughout any given poem. Generally, the line length is fixed at five or seven or characters per line; although, there are some poems which have a six character line-length. The line length is also used for the purpose of further classifying the main three forms of regulated verse into subtypes.
  • Rhyme is mandatory. Rhyme, or rime, is based on a sometimes somewhat technical rhyme scheme. The rhyme of a poem can be difficult to determine, especially for older poems as pronounced in modern versions of Chinese; however, even as early as the Tang Dynasty, formal rhyme might be based upon authoritative references in a rime table or rime dictionary, rather than on actual vernacular speech. Generally level tones only rhyme with level tones, and non-level (or “deflected”) tones only formally rhyme with other non-level tones. Also, the first line of the poem may also set the rhyme, more often in the seven-character form than the five-character.
  • The pattern of tonality within the poem is regulated according to certain fixed patterns of alternating level and deflected tones. Although there is some question as to the status of tone in older forms of Chinese, in Middle Chinese (characteristic of the Chinese of the Sui Dynasty, Tang Dynasty, and Song Dynasty), a four tone system developed. For the purposes of regulated verse, the important distinction is between the level tone (similar to the modern Mandarin Chinese first tone) and the other three tones which are all classified in the category of deflected tones.
  • Parallelism is a feature of regulated verse. The parallelism requirement means that the two parallel lines must match each word in each line with the word which is in the same position in the other line, the match can be in terms of grammatical function, comparison or contrast, phonology, among other considerations: the degree of parallelism can vary and the type of parallelism is crucial to the meaning of a well-written regulated verse poem. Phonological parallelism can include various considerations, including tonality. Grammatical function parallelism examples include matching colors, actions, numeric quantities and so on. In the eight-line lushi form, which is composed of four couplets, the middle two couplets have internal parallelism; that is, the third and fourth line are parallel with each other and the fifth and sixth lines are parallel with each other. The jueju is more flexible in terms of required parallelism, although it may be present. The pailu requires parallelism for all couplets except for the first and last pair.
  • The caesura, or a pause between certain phrases within any given line is a standard feature of regulated verse, with the main rule being for a major caesura preceding the last three syllables within a line. Thus, in the six-line verse the major caesura divides the line into two three-character halves. Furthermore, in the seven-character line, there is generally a minor caesura between the first and second pairs of characters.
 
 
Besides the tonality parallelism that English cannot duplicate, we can substitue Literary Parallelism.
Parallelism: Similarity of structure in a pair or series of related words, phrases, or clauses.
Parallelism takes place when two similar phrases are joined to make just one sentence. Or when you combine subjects, object or adjectives with conjunction.
 
Sigh…
I hope only someone who is [a] bi-lingual in in Chinese and English,  [b] more intelligent than I, and [c] a poet will be able to properly define how we should specify the correct writing of these poems in English, but here is my attempt to provide a common starting point.
 
Corrections and enhancements eagerly sought.
Restated Rules –  Lushi for Dummies
The poem is eight lines long.
There is not meter required.
It is word based: Each line must have the same number of words, either 5,6, or 7.
Even lines should exhibit mono-rhyme.
Caesura (a pause) should separate clauses.
The first couplet should set-up the poem.
The final couple should provide the conclusion.
The middle two couplets should develop the theme.
There should be some type of parallelism between alternate lines of the development quatrain.
Example Poem
Grandpa’s Visit     (Lushi)
grandfather enters room; grandson smiles
toddles towards papa; wanting play.
boy, man watch each other
each watching the other’s way
boy and grandpa mutually focused
each learning from each today.
grandson points down- to floor
that means, “Papa, here! stay!
© Lawrencealot – November 24, 2013
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Note I chose the five character poem this time.

Loop Poetry

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Loop Poetry is a poetry form created by Hellon. There are no restrictions on the number of stanzas nor on the syllable count for each line. In each stanza, the last word of the first line becomes the first word of line two, last word of line 2 becomes the first word of line 3, last word of line 3 becomes the first word of line 4. This is followed for each stanza. The rhyme scheme is abcb.
 
Variations: 
 
1. Stanzas, writers choice on the number, no rhyming, the last word, first word scheme is maintained. 
 
2. One long stanza, no limit on number of lines, no rhyming scheme, the last word, first word scheme is maintained.
 
3. Couplets mixed with 4 line stanzas, the last word, first word scheme is maintained in the stanzas. It can also be used in the couplets.
Rhyme scheme is ab, cc, defg, hh, ii, jklm, nn, oo.
 
Example #1:
How I See You
 
Eyes that don’t see
see the things that you do
do you wish me to describe
describe how I see you…
 
Skin so delicate
delicate as a rose
rose that will blossom
blossom as it grows.
 
Hair moving gently
gently you tease
tease…softly whispering
whispering summer breeze.
 
Voice so melodic
melodic singing birds
birds, such sweet tunes
tunes…enchant like your words.
 
Dress…rustling
rustling tress bare
bare as leaves fall
fall, the colour of your hair.
 
Your perfume..sweet fragrance
fragrance frangipani’s bring
bring back many memories
memories of spring.
 
Yes…I am blind
blind, yet I see
see in my mind
mind you fill will glee.
 
Copyright © 2009 Hellon
 
Example #2:
Bloody eyes
 
Bloody eyes..watching..waiting
waiting in gloomy shadows
shadows of night
night so…still
still they watch, still they wait
wait for you
you..the next victim
victim of evil
evil that lurks
lurks in silence
silence then…screams
screams…then silence
silence of night
night of shadows
shadows of gloom..waiting
waiting…watching
watching..bloody eyes
 
Copyright © 2009 Hellon
 
Example #3:
Picture Frame
 
Looking out at the world from a picture frame
smile frozen in time.. skin of porcelain
 
Eyes of green meadows on a warm summer’s day
auburn hair falling cascades to disarray…
 
disarray like her life
life changed this young girl
girl with a past
past life..secrets hidden
 
around the frame wallpaper is faded
just like her life, over…jaded
 
smile frozen in time behind emerald eyes
there in a past entwined with lies
 
Lies…there were many
many secrets..haunting
haunting her now
now re-living the nightmare
 
Fear of a night she would rather forget
so long ago still she lives with regret
 
picture frame now smashed, shattered glass on the floor
just like her life, dreams are no more.
 
Copyright © 2009 Hellon All Rights Reserved
 

 

Too many options for this poet to choose among!

Blitz Poem

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  • The Blitz Poem is an invented verse form found on line at Shadow Poetry, it was created by Robert Keim. As the name implies it is a rush of phrases and images with rapid repetition as if creating a sudden and intense attack on the senses. It is a kind of twisted Chain Verse. The Blitz is:
    • stanzaic, written in 25 couplets, a total of 50 lines.
    • unmetered. Lines should be short, but at least 2 words, like rapid fire.
    • unrhymed.
    • composed with words that are repeated from line to line in the following pattern:
      • L1 A short phrase, can be cliché.
      • L2 The first word of L1 is repeated as the first word of L2. From here on, the last word of the even numbered line is repeated as the first word of each line in the next couplet through L48.
      • L49 is the repetition of the last word of L48.
      • L50 is the repetition of the last word of L47.
    • unpunctuated.
    • titled, which includes the first words of L3 and L47.
Many Thanks to Judi Van Gorder for the above.
Here are the rules:
  • Line 1 should be one short phrase or image (like “build a boat”)
  • Line 2 should be another short phrase or image using the same first word as the first word in Line 1 (something like “build a house”)
  • Lines 3 and 4 should be short phrases or images using the last word of Line 2 as their first words (so Line 3 might be “house for sale” and Line 4 might be “house for rent”)
  • Lines 5 and 6 should be short phrases or images using the last word of Line 4 as their first words, and so on until you’ve made it through 48 lines
  • Line 49 should be the last word of Line 48
  • Line 50 should be the last word of Line 47
  • The title of the poem should be three words long and follow this format: (first word of Line 3) (preposition or conjunction) (first word of line 47)
  • There should be no punctuation
There are a lot of rules, but it’s a pretty simple and fun poem to write once you get the hang of it.
Many Thanks to Robert Lee Brewer for the above.
 
Example Poem:
 
Dudes to Party   (Blitz Poem)
pop some corn
pop some  tarts
tarts  tastes good
tarts needs heat
heat that tart
heat the cider
cider gets warm
cider smell invites
invites the neighbor
invites neighbor’s wife
wife is a tart
wife is a  friend
friend with benefits
friend indeed
indeed we’re swinging
indeed we’re singing
singing folksongs
singing Christmas Carols
Carol’s the wife
Carol’s now dancing
dancing on table
dancing with guys
guys like popcorn
guys like tarts
tarts are sweet
tarts get warm
warm the popcorn
warm the brew
brew some for me
brew some for you
you laugh and sing
you brought joy
Joy is single
Joy will mingle
mingle under mistletoe
mingle everywhere you know
Know she’s a tart
Know fun’s to start
start to hug
start to kiss
kiss the missus
kiss the miss
miss nothing
miss Trixie is here
here is the fun
here is the party
party on dudes
party hearty
hearty
dudes
© Lawrencealot – November 27, 2013
Visual Template
(Note: Template was not in compliance, the First word of the Title, must be the last word of the poem.

Brevette

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The Brevette
The Brevette, created by Emily Romano consists of a subject (noun), verb, and object (noun), in this exact order.    The verb should show an ongoing action. This is done by spacing out the letters in the verb. There are only 3 words in the poem, giving it the title Brevette.
snail
l e a k s
slime
Each of the three words may have any number of syllables, but it is desireable that the poem have balance in the choice of these words. Unlike haiku, there are no other rules to follow.
Example #1:
rainbow
r a d i a t e s
spectrum
erosion
r e – c r e a t e s
landscape
death
c h a s e s
My example poemDoesn’t It?
dogma
d i m i n i s h e s
thought

Trinet

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The Trinet, created by zion, is a form with these specifications:
 
Line 1 – 2 words
Line 2 – 2 words
Line 3 – 6 words
Line 4 – 6 words
Line 5 – 2 words
Line 6 – 2 words
Line 7 – 2 words
 
Repeat this pattern 2 more times, if centered correctly it looks like three crosses.
 

Rhyme and meter unspecified.
Specifications restated:
lexical- words required per line: 2/2/6/6/2/2/2
21 lines
centered

 
Example Poem
 
Day at the Marina
 
Warm sun
kids run
playing excitedly on expanse of green.
Teaching sister how drown wiggly worms.
Folks watch
with smiles
from shade.
 
Picnic treats
cooler filled
with drinks and potato  salad, ice;
basket holds other things as nice:
Fried chicken
potato chips
yummy dips.
 
Let’s stay
all day
is the kid’s refrain. Indefatigable they
remain.  Wish parents were that way.
Having fun
is tiring,
Is’nt it?
 
© Lawrencealot – May 12, 2013

Compound Word Verse

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The Compound Word Verse is a poetry form invented by Margaret R. Smith
that consists of five 3-line stanzas, for a total of 15 lines.
The last line of each stanza ends in a compound word and
these compound words share a common stem word which is taken from the title.
(In the example below the stem word is “snow” from the title “The Unexpected Snow”;
the compound words related
to the title are snowflakes, snowdrifts, snowstorms, etc.)
The Compound Word Verse has a set rhyme scheme and meter as follows:
Rhyme Scheme: aab
Syllabic: 8/8/3
Formulaic
Example Poem
Dancing in the Rain
Choking on dust– driving cattle.
Pushin’ them home’s been a battle.
It’s rainless.
A local  Injun decided
he could help so he provided
a  raindance.
I’ll be home with my gal to night.
So guess what? It’s starting… all right!
Some rainfall.
As I ran from the barn my true
love was running toward me through
a rainstorm.
Dancin’ wet together so free;
each damp and hot… today there’ll be
no raincheck.
© Lawrencealot – April 17, 2012
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