the emapt empat (four four), like it's cousin the pantoum, originates from malaysia. like the pantoum, it contains an incidence of whole line refrain, and quatrains with alternating rhymes. there the similarities kinda end. while with the pantoum the number of stanza's is up to the author (though there are usually at least 3), with the empat emapt there is a set 4 stanzas. also, the only refrained line is the first line of the first stanza. but, it is refrained is different places in each subsequent stanza.
the rundown:
four stanzasthe meter or syl-count is up to the poet, but remain consistent throughout the piece. the first line in the fir
the sei per sei (italian for 'six by six') just kinda popped into my head while i was tramping out the vintage where the poetry is stored. while it is a very short stanza (yeah for micropoets everywhere), it is rather tricksey.
the rundown:
- 3 lines per stanza
- 6 syllables per line
- write as many or as few stanzas as suit your need
(here comes that tricksey bit)
- syllable 3 in lines one and three must rhyme/near rhyme with syllable 6 in line two
- syllable 6 in lines one and three must rhyme/near rhyme with syllable 3 in line two
in the following template the numbers represent the number of syllables in the line fragment and the letter
the bilbian (my last name is bilbee... what else would i call it?) sonnet came about on my bike ride home last night. i had the first and last line of the first stanza of the example below in my head and realized they were in iambic pentameter and that got the ball rolling...sorry, guys.
the rundown:
first off, it IS in iambic pentameter with a total of 14 lines... but that is the easy part.
the first and last lines of the first stanza have 2 seperate rhymes in common: one at the fifth syllable and one at the tenth. not only that, they should not so much refrain as echo one another.
a similar echo effect should appear in the third and six
How To Write A Villanelle In Its Many Forms by Nichrysalis, literature
Literature
How To Write A Villanelle In Its Many Forms
Warning: Fixed Form Poetry Approaching
The villanelle is a fixed form of poetry originating from the French that has grown in popularity in the English language. Over the years, the traditional villanelle has been put to great use by many notable poets, including, Dylan Thomas, Sylvia Plath, Elizabeth Bishop, Edwin Arlington Robinson, Theodore Roethke, and Oscar Wilde (double villanelle in traditional). There are also many wonderful, more modern and progressive examples of the form by poets today, such as Dan Lechay's Ghost Villanelle (traditional; altered language), Steven Cramer's Villanelle After a Burial (traditional; altered punctuati
The Word Sonnet is a 20th century form based on the sonnet. The form appears to have originated in 1985, but soon became popular in England and Canada.
The Word Sonnet consists of fourteen lines, each line consisting of a single word. Typically the Word Sonnet contains a sentence or several sentences. The Word Sonnet also lends itself to visual poetry, where the typographical nature of the poem itself provides meaning to the piece.
"Spontaneity" by *Parsat
Smiling,
we
sang
a
song
of
everlasting
love
with
a
hole
in
our
hearts.
I will note that this form is a sonnet almost only by name. It lacks a rhyme or metrical scheme, and superficially
haibun is originally a japanese poetry form. it consists of a prose / non-rhyming poetry element followed by a haiku element.
the prose/non-rhyming poetry element can be of any length or style and con be on basically any subject. and while the tone of this element is descriptive, it tends to be concrete and not overly emotional (though this is not a set rule).
the haiku element usually elaborates upon or explores an idea from the preceding non-rhyming element, though usually in less concrete terms. and while the norm for english haiku structure is a three line stanza with 5-7-5 syllable count, that is just the 'norm' and not the form that
the acrostic haiku (originally created by *Mattiello, a link follow in the comments) is a challenging form. one must first choose a word containing letters in multiples of 3 (since haiku have 3 lines). this word then is used as the acrostic, and theme, for the poem:
U
N
D
E
A
D
then, a liaison must be chosen to link each 3 letter segment of the word together. the liaison must be a word related to the theme set by the arostic and MUST begin with the last letter in the first 3 letter group and end with the first letter in the next group (in this instance the liaison is 'decompose'):
U
N
D
e
c
o
m
p
o
s
E
A
D
finally, one wr
pantoum is a malaysian form of poetry, highly cyclical and structured in nature. i feel the best way to describe it is to annotate a poem to highlight the structure. there is the added difficulty that in each stanza lines 1 and 3 and lines 2 and 4 must rhyme with one another.
the letters in parentheses denote an entire line of text, not simply a rhyme pattern:
holographic nothingness
(A) had a pattern
(B) with no meaning
(C) loose and scattered
(D) evading gleaning
(B) with no meaning
(E) simply racket
(D) evading gleaning
(F) thought refracted
(E)simply racket
(G) fey and delirious
(F) thought refracted
(H) interfer
the jabjong (korean for mongrel) is a form i devised by piecing together 2 of my favorite eastern forms: sijo and haibun. while i can see where it may be considered a sub-class of haibun, it differs in one major aspect: the introductory text MUST be a rhyming sijo. in my case (though not mandatory to the form) i prefer each of the 3 lines to be broken down into 2 sets of 7 syllables each:
we, who held court with the trees
before Andal castles stood;
we, who carved faces of gods,
'lumed in red sap, in white wood;
we, whose dreamings seemed magic,
shokuga (or hybrid) form is derived by placing haiku/senryu between the stanzas of a pantoum.
pantoum is a malaysian form of poetry, highly cyclical and structured in nature. i feel the best way to describe it is to annotate a poem to highlight the structure.
the letters in parentheses denote an entire line of text, not simply a rhyme pattern:
(A) tinkering
(B) with the forms
(C) thinkering
(D) with no norms
(B) with the forms
(E) as lab rats
(D) with no norms
(F) mind abstracts
(E) as lab rats
(C) thinkering
(F) mind abstracts
(A) tinkering
there is no limit to the number of stanzas, nor to the meter/syllable count