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Saw this prompt and gave it a try. Up the creek in 8 lines. SanctuaryDeep into the redwoodsand up the creek awaysis my sanctuary.A secret spacewhere the silent forestwelcomes my prayers,the giant trees liftthem to the heavens. ~~Judi Van Gorder

Hi Y'all, I have been away for over a year to care for my husband (with amazing assistance from St Joseph's Hospice) and to finish the last of my 40 year financial career. November 30, 2021 I closed my Agency two weeks after my husband of 58 years, passed. I'm still taking care of loose ends from my former life but I am tentatively picking up the pen and want to get back into writing. Reading that February is Haiku Month was the spark that I needed to ease in. So here I am on February 1, 2022, Chinese New Year - The Year of the Tiger. Maybe a haiku a day for 28 days will get me going. You are welcome to join me if you feel so inclined. I missed this community. ~~Tink 2022 #1 sleeping tiger wakes to the sounds of celebration Gong hei fat choy! jvg

"The Fire In My Soul Exposed" No council will house me, and my family resent me/ Everyday I feel lousy, and on the inside I'm empty Except for the rage that I feel, towards all of them/ Who were supposed to be close, to this thorn with a pen If I could reborn again, I'd definitely call in sick/ From the beginning to the end, I've had to forge to exist If it wasn't for my dog, I swear I'd call it quits/ Tired of calling for a God, whenever I'm falling to bits I'd slit my wrist just to feel, some kind of release from this world/ As since a kid all I could feel, was a disease and it's real I had to reveal what they done, and for that I went to jail/ Nearly killed by my mum, I took to rap to prevail Like the snail and the tortoise, I was aHead like the Hare/ Until the pale got nautious, and called the Fed for warfare With this head in despair, I'm more than prepared to go home/ And when I'm gone from here, they can have my poetry throne. Copyright 2021 The Elusive Mr Dunne (All rights reserved)

Explore the Craft of Writing Poetry French Verse The Rondeau is a 13th century generic term for all French fixed forms derived from dance rounds with musical accompaniment. The verse was originally sung by a leader and the chorus or refrain sung by a chorus and or the dancers. The defining feature of the Rondeau Family of Forms is the rentrement. (in French spelled rentrament) Members of the Rondeau family of forms are the Rondeau, the Rondeau Prime, Rondel, the Rondelet, the Triolet, and the Villanelle. The rentrament is the opening phrase or opening line repeated as a refrain. Theodore de Banville, 19th century French poet said of the rentrement, it is "both more and less than a line, for it plays the major role in the Rondeau's overall design. It is at once the subject and its means of expression." English poets integrate the rentrament more fully than the French who most often employ wit, treating the form as light verse. Conversely, the English attempt to make the rentrement more reflective with the metrical continuity of the other lines of the stanza. It is usually meditative, a lyrical destination, a memory. The Rondeau was narrowed to the poetic verse form we know today by the 17th century. The elements of the Rondeau are: a 15 line poem made up of a quintain, followed by a quatrain and ending in a sixain. syllabic, L9 & L15 are 4 syllables each and all other lines are 8 syllables each. In English it is usually metered, most often iambic tetrameter except the refrain which is iambic dimeter. composed with rentrement, a refrain repeated from the opening phrase of the poem. rhymed, using only 2 rhymes except for the refrain being unrhymed, rhyme scheme aabba, aabR, aabbaR (R being the refrain) a vehicle for serious verse, unlike the Triolet or Rondel which originate from the same source but tend to be lighter verse. All Men Are Free by Elliott Napier (Australian poet, 1870-1940) All men are free and equal born Before the Law!" So runs the worn And specious, lying, parrot-cry. All men are free to starve or sigh; But few to feed on Egypt's corn. There toils the sweated slave, forlorn; There weeps the babe with hunger torn; Dear God, forgive us for the lie "All men are free!" That man may laugh while this must mourn; One's heir to honor, one to scorn Were they born free? Were you? Was I? No! Not when born, but when they die And of their robes or rags are shorn, All men are free! St. Pat, a Rondeau by Judi Van Gorder 5-29-02 A gift of spring one early morn, a leggy little filly born. Adobe with a blaze of white, mane and tail of blackest night and on three legs white socks were worn. At sixteen hands she stood highborn, with quickstep gait to strut, forewarn, her carriage, speed, a true delight, a gift of spring. We rode as one, my heart was sworn; with me her faults and fears were shorn, together we were quite a sight, in pride and sorrow, I now write. Her early death, I'll ever mourn... my gift from spring. Palette by Judi Van Gorder The dark remains essential blight on canvas without depth of sight an empty plain to blind the eye with no line defined to vilify, a void to spend and fleece the light. For color's hues intrigue, ignite, expose the gravity of night and lure the mind to clarify. The dark remains. A war turns bloody-red in right or wrong. Black storms bring rain to fight the drought and when from pain we cry our joys come sweeter, multiply. The grit is here for me to write. The dark remains. Double Rondeau is simply doubling the pattern of the Rondeau. It can either be doubled in sequence (1 Rondeau following another Rondeau) or the like stanzas could be doubled and paired. The elements of the Double Rondeau are: A 30 line poem made up of a quintain, quartain, sixain, the same order repeated a second time or a 30 line poem made up of 2 quitains followed by 2 quatrains and ending with 2 sixains. metric, iambic tetrameter accept for the refrain which is iambic dimeter. All stanzas end with a rentrement. rhymed using either 2 or 4 rhymes. aabba aabR aabbaR aabba aabR aabbaR or aabba aabba aabR aabR aabbaR aabbaR or aabba ccddR aabR ccdR aabbaR ccddcR or aabba aabbR aabbaR ccddR ccdR ccddcR. Whether the poem is turned on 2 or 4 rhymes, the rentrement would remain the half line from the first line of the poem to be consistent throughout the poem especially when it is sequential (1 Rondeau pattern following another Rondeau pattern.) There could be 2 rentraments which alternate from the 1st line of each of the 1st and 2nd quintains when the like stanzas are paired. The Rondeau Prime is a short variation of the Rondeau originating in 13th century France. It allows more rhyme than the Rondeau, but incorporates its core feature, the integration of the rentrement. (opening phrase of the first line which is repeated as a refrain.) The elements of the Rondeau Prime are: in French syllabic, most often 8 syllable lines with L7 and L12 shorter, usually 4 syllable. In English tends to be iambic meter, line length is optional as long as the lines are relatively equal, with the exception of the shorter rentrement. 12 lines, made up of a septet (7 lines) followed by a cinquain (5 lines). rhymed, rhyme scheme abbccbR abbaR, R being the rentrement (the first phrase or line repeated as a refrain at the end of the stanzas.) Wind on the Terrace by Judi Van Gorder A leaf in the wind taps the pane, reminding me that you have gone. Although my busy days move on, it is small moments that I miss, a gesture, glance, a touch, a kiss. You went away before the dawn, a leaf in the wind. I watch the clouds bring in the rain, the tears that fall and splash upon the terrace of a time withdrawn, the sound repeating your refrain, a leaf in the wind. Rondeau Redoubled is not simply doubling the Rondeau. Instead of a rentrament at the end of each stanza, the rentrament appears only at the end of the poem and the 1st 4 lines of the poem become refrains sequentially placed at the end of each stanza. This apparently invented form was found in Pathways for the Poet by Viola Berg who gives Untermeyer, Pursuit pp 271-272 as a reference which I have been unable to access so far. The elements of the Rondeau Redoubled are: a poem in 25 lines, made up of 6 quatrains, the last quatrain has a tail. The rentrement, 1st phrase of the 1st line of the poem is repeated as the tail, the 25th or last line of the poem. metric, iambic pentameter. rhymed, rhyme scheme A1B1A2B2 babA1 abaB1 babA2 abaB2 babaR R being the rentrement. The 1st 4 lines of the poem become sequentially a refrain that is repeated as the last line of sequential quatrains. The rentrement or 1st phrase of the poem is repeated as the last line (25th) of the poem. The Rondel, Old French meaning small circle, is a 14th century verse form. It is a member of the Rondeau family of forms but differs from the Rondeau in the number of lines and the pattern of rhyme. The Rondel came to England in the 16th century. Sources indicate the Rondel is better suited to French than English yet Dobson's Wanderer is a fluid lyrical example of why the Rondel is adaptable to English. A variation of the Rondel is the Rondel Prime or French Sonnet. The elements of the Rondel are: a 13 line poem, made up of 2 quatrains followed by a quintain. isosyllabic, often written in 8 syllable lines, but the lines can be any number of syllables as long the measure is consistent throughout the poem. rhymed ABba abAB abbaA, A and B being refrains. In French one rhyme is feminine and one is masculine, it doesn't matter whether the feminine rhyme is the a or the b rhyme. composed with 2 rentrements. L1 is repeated in L7 and L13, L2 is repeated in L8. THE WANDERER by Henry Austin Dobson Falling for the French by Judi Van Gorder Love comes back to his vacant dwelling, - The old, old Love that we knew of yore! We see him stand by the open door, With his great eyes sad, and his bosom swelling. He makes as though in our arms repelling, He fain would lie as he lay before; - Love comes back to his vacant dwelling, - The old, old Love that we knew of yore! Ah, who shall keep us from over-spelling That sweet forgotten, forbidden lore! E'en as we doubt in our hearts once more, With a rush of tears to our eyelids welling. Love comes back to his vacant dwelling The Short Rondel might better be described as a short Rondeau than Rondel because this form uses the rentrement or first phrase of L1 as a refrain rather than the full line as in the Rondel. The elements of the Short Rondel are: a poem in 11 lines made up of sixain followed by a quintain. isosyllabic, often 8 syllalbe lines, except for L6 & L11 which are the shorter first phrase of L1. rhymed, rhyme scheme aabbcC ddeeC. r r r C x x x a x x x x x x x a x x x x x x x b x x x x x x x b r r r C x x x x x x x d x x x x x x x d x x x x x x x e x x x x x x x e r r r C The Rondelet is a relatively short poem using the entire opening line as its refrain. It is French in origin, another member of the 13th century Rondeau Family of Forms which is recognized by its use of the rentrement. The elements of the Rondelet are: a heptastich, a poem in 7 lines. in French syllabic. Syllable count per line are 4-8-4-8-8-8-4 In English tends to be iambic in pattern. composed with a rentrement, in the Rondelet the entire L1 is repeated as refrain in L3 and L7. rhymed. Rhyme scheme interlocks between the refrain AbAabbA. Two Deputies by Judi Van Gorder August's end by Barbara Hartman 8-19-05 So much to do before green hummingbirds depart so much to do before our final rendezvous when frost adorns gray spider's art and winter winds tear vines apart so much to do . . . Loneliness by Robert Murtaugh,(Fader) 8-14-05 In loneliness I sit and wait for someone new In loneliness My heart is filled with such duress But as I sit here feeling blue I wait to meet someone like you In loneliness. The Rondine is a little seen shortened version of the Rondeau dating back to at least the 16th century. The elements of the Rondine are: a poem in 12 lines made up of a quatrain, a tercet and ending in a quintet. syllabic 8 syllables per line accept L7 and L12 which are 4 syllbles each. In English metered, most often iambic tetrameter except the refrain which is iambic dimeter. composed with a refrain repeated from the opening phrase of the poem, rentrement. rhymed, using only 2 rhymes except for the refrain being unrhymed, rhyme scheme abba,abR, abbaR (R being the refrain) Happy Mother's Day The Triolet, the name didn't appear until 1486, but the form can be traced back 13th century France. It is a member of the Rondeau family as distinguished by the rentrement.The Triolet fell in and out of favor with French poets until the 19th century when it became part of the promotion of Romance Fixed Forms by Theodore de Banville. He promoted the form as playful or satirical. One challenge of the form is in managing the intricate repetition of lines so that it seems natural. The repeated line may vary in meaning to shift the emphasis of the poem. "The fifth and sixth lines both support the refrain and resist it. The support coming from re-establishing some formal stability after the irregularities of the third and fourth lines; and resist it by allowing a temporary release from its apparent stranglehold, usually accompanied by an expansion of the subject matter." The New Princeton Encyclopedia of Poetry and Poetics The elements of the Triolet are: an octa-stich, a poem in 8 lines. in English, most often written with variable line length and meter at the discretion of the poet. Originally in French, the lines were octasyllabic which would create an 8 by 8 effect. composed with a rentrement, L1 is repeated as L4 and L7. There is also repetition of L2 in L8. rhymed, with only 2 rhymes with the rhyme scheme ABaAabAB. most often playful or satirical, appropriate for light verse or occasional verse. Triolet by Ernest Henley; British Poet (1849-1903) Easy is the triolet, If you really learn to make it! Once a neat refrain you get, Easy is the triolet. As you see! I pay my debt With another rhyme. Deuce take it, Easy is the triolet, If you really learn to make it! Cat Tale by Judi Van Gorder The kitty flips her fluffy tail displaying inborn-regal grace, her half closed eyes create a veil. The princess flips her fluffy tail, aloof and pampered tips the scale. With feigned disinterest on her face, the kitty flips her fluffy tail, she moves with orchestrated grace. Villanelle (a rustic, peasant song or dance) is an intricate French verse that is distinguished by its pastoral subject matter and alternating refrain. A member of the Rondeau family, it expands on the Rondeau's signature, "rentrement", a repetition of the 1st line or phrase as a refrain, by also including the 3rd line as an alternating refrain. The Villanelle originated in the 15th century becoming standardized by the 17th century. The French use the form as a stanzaic form allowing as many tercets as one chooses. The English version is a fixed form limiting the number of lines to 19. Because of the repetition of 2 lines, the form does not allow the poet to tell a story. There can be no narrative and no way to create lineal progression, the poem goes round and round. The form is described by French poet, T. de Danville as "a plait of gold and silver threads into which is woven a third, rose-colored thread." The elements of the Villanelle are: metered, primarily iambic pentameter, however, trimeter and tetrameter were popular in the 19th century. in French stanzaic, written in any number of tercets and finally ending in a quatrain. in English, written in a total of 19 lines, made up of 5 tercets and ending with a quatrain. L1 and L3 of the first stanza, alternate as the refrain in the following tercets. The refrain lines may be altered a bit. composed with L1 and L3 of the first tercet repeated as the last two lines of the poem. written with only 2 end rhymes with a rhyme scheme of A¹bA², abA¹, abA², abA¹, abA², abA¹A². originally composed with a pastoral theme. Do Not Go Gentle into That Good Night by Dylan Thomas 1952 Do not go gentle into that good night Old age should burn and rave at close of day Rage, rage against the dying of the light. Though wise men at their end know dark I s right, Because their words had forked no lightning they Do not go gentle into that good night Good men the last wave by crying how bright There frail deeds might have danced in a green bay; Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray, Do not go gentle into that good night. Rage, rage against the dying of the light. Villanelle for Scottie by Judi Van Gorder My rascal son, you are a stand up man, much more than I could wish or hope you'd be and I will always be your biggest fan. You went away to school and said, I can! I cherish well the boy that I still see, my child, you grew into a searching man. With badge and gun your life's career began, you've served with valor and integrity, I burst with pride, I am your biggest fan. You fell in love and wed, I say, that's grand! She more than makes you smile it's plain to me, she is your perfect fit, you'll be her man. With joy, a noisy family was in the plan, three girls and now a boy have come to be, you made me Grandma , I'm a grateful fan. My daring son, I thrill at your success, I know you couldn't be more loved or blessed and now my boy, you've become an envied man, with love and pride. I am your biggest fan.

Explore the Craft of Writing Poetry Invented Forms Haiku Crystalline Verse is a small poem, limited to 17 syllables, whose primary focus appears to be to match the Japanese clarity of image with the English harmony of sound. It was inspired by the Haiku and like the haiku it may be at its best when written in present tense. Any reference that can place the verse in context much like the Japanese kigo (season) or kidai (symbolic seasonal reference) is recommended. The Crystalline employs the kireji (cutting word) of the haiku. The kireji in haiku is a word that "cuts off" one view and turns the reader to a different view. In a longer Japanese poem the kireji is 2 long lines inserted midway in the poem that change the direction of the poem not only in structure but in thought. A stand alone small poem such as the Crystalline emulates the long poem's kireji couplet long line frame and it should "cut" or turn the view from one line to the next. Unlike haiku which observes the image with objectivity and attempts to keep the ego out of the verse, the Crystalline invites the poet's subjectivity and permits the poet's thought and feelings to be communicated through the verse. The verse form was created by American poet Denis Garrison and more information can be found at his site, Short Verse. The elements of the Crystalline are: a complete couplet. It can be a stand alone poem or written in any number of couplets as a longer poem. Like the Renga, a longer poem of Crystalline stanzas can be written by alternating more than one poet. syllabic, 17 syllables. A regular Crystalline is 8-9 or 9-8 syllables per line. An irregular Crystalline is 2 lines totaling 17 syllables and broken where appropriate other than the 8-9/9-8 regular form. written with the English grammatical rules of syntax, caps and punctuation. In other words no all lower case, omitted punctuation, nor incomplete sentences commonly seen in English haiku. Good grammatical English applies. at the poet's discretion, written with poetic devices such as rhyme, onomatopoeia, metaphor, allusion etc. composed with a "cut" or pivot most often between L1 and L2. untitled. The dust of summer covers the shelf where in spring you last left your ring. Judi Van Gorder Crystalline Award Winners

Trey He lay, his head on my lap, his pained blue eyes begged, I stay. I stroked his fur, calmly spoke while he closed his tired eyes and slipped away The moan came from deep within First I didn't recognize the soulful sound came from me. Then sobs wrenched my chest and tears poured from my eyes. ~~Judi Van Gorder Prompt: Write an Endecha

Hi Tinker, I remember this one and as David so aptly puts it above it conveys "the enduring ache of senselessness, of loss" that will always stay with us. (I asked Tony if it was okay to post something here on the same subject that was previously posted on PP and he said it was okay if you had no objection.) Aftermath September's shattered leaves lie buried deep beneath soft shrouds of new November snow. They fell, still green, before their time to sleep - lost hopes and dreams that we will never know , the many trysts that now they cannot keep - all ruptured then, by one infernal blow. I wept for all those severed from the tree, but now I grasp each day that's left to me. Barbara Hartman, June 1, 2002

The Will I read of love, undying love, what does that mean, undying love? A rose withers, a blossom falls, --------------- what lives will die. Love is a will, a rush, a sigh, a touch, a cry, a hope, a rock. I read of love, undying love, --------------- what lives will die. Blush of new love we know must fade replaced in time with trust and grace. In rest, I will my love remain. -------------- What lives will die. ---------------------- --Judi Van Gorder A Baccresiezé

Explore the Craft of Writing Poetry French Verse The Sestina, Sestine or Sesta Rima (a song of sixes), is an intricate verse that includes repeating end-words (teleutons) in a strict pattern throughout the poem. The repetition allows the poet to shift from past to present or to create layers of meaning. Words that can have multiple uses either by way of being of different parts of speech or have different meanings can give the ensuing stanzas a different perspective. In the Sestina at its best, the end-words should relate to each other as an expressed whole. The Sestina is generally attributed to Anault Daniel, ( - 1210) a French mathematician and poet. The troubadours of the 13th century adopted the form and it eventually became popular with the Italian poets, particularly Petrarch and Dante. This popular and well known verse form should not to be confused with the Spanish Sextilla which when written with a specific rhyme scheme is sometimes referred to as a "sestina". The elements of the Sestina are: suited to a narrative because of its length and lack of rhyme. It gives the poet room to tell a story. in English most often iambic pentameter but sometimes iambic tetrameter. In French and Italian the Sestina is composed as syllabic verse. (whatever meter employed, the lines should be of equal length). contained in 39 lines, grouped into 6, sexains or sixains (6 line stanzas) followed by a 3 line unrhymed envoi or tornada (a salutation or sending forth) The last 3 lines gather up and deploy all 6 end-words. composed with 6 unrhymed end-words which must occur in every stanza but in a changing order that follow a set pattern. (this is known as lexical repetition) The order seems to turn the poem inside out, the first end-word eventually becomes the last. The pattern of end-words shift from stanza to stanza is a mathematical equation from which, if one were to write a 7th stanza, the pattern of the 1st stanza would be repeated in the 7th. (I read that, don't ask me to prove it.) The set pattern of shifting end-words from stanza to stanza is: 1st stanza 1 2 3 4 5 6 2nd stanza 6 1 5 2 4 3 3rd stanza 3 6 4 1 2 5 4th stanza 5 3 2 6 1 4 5th stanza 4 5 1 3 6 2 6th stanza 2 4 6 5 3 1 L1 envoi 2-5 (even numbered end words incorporated internally into the line.) L2 envoi 4-3 L3 envoi 6-1 Tallinn sestina - an emigration of the heart by DC Martinson Where's Leigh? by Judi Van Gorder With sugar cookie tucked neatly inside the pocket of his blue plaid shirt, today is like all others now. He drives to the home where some of the ladies coyly watch for him while she sits staring mutely at her lap, mind grasping for an unremembered past. With eyes lowered he modestly walks past the ladies, pupils alter to the light inside, she sits where she always sits, hands on lap. There's a soft sun and a warm breeze today, he gruffly takes her into the garden with him, away from the ladies and the smell of the home. He fights the urge to take her back, back home, to whisper, yell and laugh as in the past. Her strange responses make no sense to him, he wants his bride, who has been locked inside the tiny aging body, to emerge today, to tease and play and snuggle in his lap. He used to juggle children on his lap, 'was often noisy at their country home. Some sixty years, he still lives there today, the house is hushed in conflict with the past. At times too lonely to stay closed up inside he walks to town with cap pulled down, just him. A simple working man, most respect him, she was fun, the social one, the one who'd lap up the attention from others, yet inside their private world he was the hub at home, he led their children, then grandchildren past the snares of youth, to become his pride today. Too fast the years flowed to bring them to today. Though memory is gone, she calls for him, he hears his name from her lips and the past is now. He reaches for a hand in her lap, puts the cookie in her palm, her smile is his home. He checks his watch, too soon they'll call her inside. She won't recall today, she'll sit hands on lap, she asks for him, "where's Leigh?" "it's time for home" He steps past the ladies, tucking tears inside. Sestina Sonnet is an invented sonnet frame found at Poet's Collective that uses the English Sonnet frame but uses lexical repetition of the end words of the first quatrain in subsequent stanzas. The elements of the Sestina Sonnet are: a lyrical meditation. a quatorzain made up of 3 quatrains followed by a couplet. metric, iambic pentameter. pivot at discretion of poet. rhymed abab baba abab (a)b(a)b. (a) internal in final couplet end words repeated in different order, in the couplet W1 and W3 are internal. stanza 1: 1 2 3 4 stanza 2: 4 1 2 3 stanza 3: 3 4 1 2 Stanza 4 (3)4 (1)2 A Double Sestina can be composed in one of two ways. Sidney's Double Sestina, named for English poet, Sir Philip Sidney (1554-1586), simply doubles the frame of the Sestina, creating 12 sixains, followed by an envoy tercet. After the Sestina repetitive pattern of the 6 keywords has been completed in the first 6 stanzas, the same pattern and keywords are repeated in the next 6 stanzas. The envoy appears at the end of the poem not at the end of the first 6 stanzas. stanza 1: 1 2 3 4 5 6 stanza 2: 6 1 5 2 4 3 stanza 3: 3 6 4 1 2 5 stanza 4: 5 3 2 6 1 4 stanza 5: 4 5 1 3 6 2 stanza 6: 2 4 6 5 3 1 stanza 7: 1 2 3 4 5 6 stanza 8: 6 1 5 2 4 3 stanza 9: 3 6 4 1 2 5 stanza 10: 5 3 2 6 1 4 stanza 11: 4 5 1 3 6 2 stanza 12: 2 4 6 5 3 1 envoi: 5/2 3/4 1/6 Ye Goatheard Gods by Sir Philip Sidney or Swinburne's Double Sestina attributed to Algernon Swinburne (1837-1909) writing 12 12-line stanzas with a 6 line envoi in the following pattern of end words. stanza 1: 1 2 3 4 5 6 7 8 9 10 11 12 stanza 2: 12 1 9 11 4 7 2 8 3 10 6 5 stanza 3: 5 12 6 4 7 1 2 3 10 9 11 8 stanza 4: 8 5 7 6 4 12 10 2 3 11 1 9 stanza 5: 9 8 6 10 1 2 7 4 3 12 5 11 stanza 6: 11 9 6 10 4 2 7 1 12 8 5 3 stanza 7: 3 11 7 8 12 1 2 10 5 6 9 4 stanza 8: 4 3 9 6 5 10 1 7 12 11 8 2 stanza 9: 2 4 5 1 3 8 7 10 9 11 12 6 stanza 10: 6 2 9 3 8 1 7 5 10 4 11 12 stanza 11: 12 6 8 4 3 5 9 10 2 1 11 7 stanza 12: 7 12 6 3 9 11 5 8 4 2 10 1 envoi: 10/8 9/7 4/3 6/2 1/11 5/12 French Rhymed Sestina is a Sestina with rhyme in the 1st stanza, rhyme scheme abcbca. The rhyme scheme will change as the end words change position from stanza to stanza but they will always remain some combination of the rhyme of the 1st stanza. Newman Sestina is an invented form of the Sestina introduced by Bob Newman at Vol Central. It is written as any standard Sestina would be written but the key or end words are anagrams, eg form/from ant/tan scared/sacred etc. Well there really isn't an Ocarina but as suggested by Bob Newman at Vol Central, if a sestina was written with a combination of 8 key or end words, it would probably be named the Ocarina. The thought of tracking the sequential changes with the added 2 lines boggles my mind, but I am pretty sure it can be done. Rhymed Double Sestina is attributed to Algernon Swinburne and follows the end word pattern of the Swinburne's Double Sestina and is rhymed. Stanza 1 is abcabcdefdef all other stanzas follow the end word pattern as designed unfolding a different rhyme scheme using the same 6 rhymes for each. Rhyme stanza 1: a b c a b c d e f d e f stanza 1: 1 2 3 4 5 6 7 8 9 10 11 12 stanza 2: 12 1 9 11 4 7 2 8 3 10 6 5 stanza 3: 5 12 6 4 7 1 2 3 10 9 11 8 stanza 4: 8 5 7 6 4 12 10 2 3 11 1 9 stanza 5: 9 8 6 10 1 2 7 4 3 12 5 11 stanza 6: 11 9 6 10 4 2 7 1 12 8 5 3 stanza 7: 3 11 7 8 12 1 2 10 5 6 9 4 stanza 8: 4 3 9 6 5 10 1 7 12 11 8 2 stanza 9: 2 4 5 1 3 8 7 10 9 11 12 6 stanza 10: 6 2 9 3 8 1 7 5 10 4 11 12 stanza 11: 12 6 8 4 3 5 9 10 2 1 11 7 stanza 12: 7 12 6 3 9 11 5 8 4 2 10 1 envoi: 10/8 9/7 4/3 6/2 1/11 5/12 The Complaint of Lisa by Algernon Swinburne Sonnetina is a sonnet-like form using repeating end words. It is also an invented 10 line form found on a separate page Sonnetina (10 line) here. The elements of this (14 line)Sonnetina are: quatorzain made up of 3 quatrains followed by a couplet. metered, preferably iambic pentameter. pivot at discretion of poet. unrhymed but employing repeating end words in the following pattern: stanza 1: 1234 stanza 2: 4123 stanza 3: 3412 envoi: 1/2 3/4 . . 1 and 3 internal / 2 and 4 endwords. Swinburne's Rhymed Sestina uses alternate rhyme and changes the end word patterns from the original Sestina pattern to maintain an alternate rhyme pattern. This is attributed to English poet Algernon Swinburne. Rhyme: a b a b a b End-word pattern: stanza 1: 1 2 3 4 5 6 stanza 2: 6 1 4 3 2 5 stanza 3: 5 6 1 4 3 2 stanza 4: 2 5 6 1 4 3 stanza 5: 3 2 1 6 5 4 stanza 6: 4 3 2 5 6 1 envoi: 1/4 2/3 5/6 The Tritina is a very short form of the Sestina introduced by American poet Marie Ponsot. The elements of the Tritina are: stanzaic, written in 3 tercets followed by a single line envoy. metric, iambic pentameter. written with an enfolding end word pattern of stanza 1: 1 2 3 stanza 2: 3 1 2 stanza 3: 2 3 1 envoi: 1 2 3 Aleluja - 1 by DC Martinson I talk with my God through my missal. I'm not friendly enough for banter. I can't get from liturgy to love. When will my heart be open to love? When will my head not need the missal? When will my lips feel free to banter? I envy those who with God banter. I despise those whose souls have met love. I refute those not needing missal. Missal, bid me banter God through love!

Explore the Craft of Writing Poetry The Sonnet Sonnet Comparison Chart English Verse The Shakespearean, English or Elizabethan Sonnet By Shakespeare's time, (his works are believed to date from 1590 through 1613), the sonnet had already been established in English poetry, thanks primarily to Wyatt, Surrey and Spenser William Shakespeare utilized and popularized the sonnet with the declamatory couplet. His popularity springboarded the sonnet to a prominent place in English literature and become the 2nd dominant sonnet form along side the Petrarchan or Italian Sonnet. The Shakespearean Sonnet, sometimes called the English Sonnet or Elizabethan Sonnet, does not use the octave/sestet structure of the Italian Sonnet. It is usually found in three quatrains ending with a rhyming couplet. Although the Italian form often pivots between the octave and the sestet, the Shakespearean Sonnet pivots deeper into the poem, sometime after line 9 or 10. Shakespeare even delayed the pivot until the 13th line in his Sonnet 30. Wherein the Italian sonnet discloses the epiphany of the subject slowly, the Shakespearean Sonnet makes a swift leap to the epiphany at the ending couplet. Shakespeare knew well the sonnet sequence is not a way of telling a story, but exists for the sake of prolonged lyrical meditation. His thoughts, his dreams, his loves all playout in this musical form. The elements of the English or Shakespearean Sonnet are: a quatorzain made up of 3 quatrains and ending in a rhymed couplet. metric, written in iambic pentameter. Sometimes the opening line of the sonnet begins with the first foot, a trochee before the poem falls into a regular iambic pattern. composed with the volta (a non physical gap) or pivot (a shifting or tilting of the main line of thought) deep into the poem, varied but always well after the 2nd quatrain. developed so that each quatrain progresses toward a surprising turn of events in the ending couplet. The epiphany of the poem arrives in a swift leap at the end. rhymed with up to 7 rhymes with a rhyme scheme is abab cdcd efef gg. composed with an ending rhymed couplet which should be declamatory and the defining feature of the sonnet. This couplet is often the loudest, most powerful part of the sonnet. Twelfth Night Sonnet by Judi Van Gorder from Act I Scene IV by William Shakespeare Viola, shipwrecked, pretends to be a boy in the service of Duke Orosini. She falls in love with him. He, thinking her his male servant sends her on an errand to woo the fair Olivia for him. Her response as Shakespeare wrote it is: Viola:"I'll do my best To woo your lady:" Aside Viola says: "yet, a barful strife! Whoe'er I woo, myself would be his wife." Instead of Shakey's response, here is what I think she really said in sonnet form….. In your command I pledge I'll do my best To sing of you as hero, strong and fair and press the thought of you inside her breast that for your love, tis nothing she won't dare On your behalf with ruptured heart I meet To woo Olivia, the lovely lass and lay sweet blossoms at her dainty feet allowing all my hopes and dreams to pass Oh would that you could see beyond my dress No lad am I to tell your ribald jokes, A maid am I who pines for your caress and on your love for her, forever chokes. Alas I find this scene "a barful strife! Whoe'er I woo, myself would be his wife." For Pauline by Judi Van Gorder Again, brand new the acts of life unfold in chaos as her mind is purged and hurled. At every turn she must be watched and told, in vain she tries to comprehend her world. Before, she was a mother, now a child. Routine and care create dramatic masks when eyes look lost where once they probed and smiled. In fright she looks for him, Where's Leigh? She asks. Bewilderment and dread can lead to rage, Where's Leigh? her voice demands, the same refrain. Serenity and ease should come with age still, loyal friends and those she loved remain. The mystery delays instinctive tears while she resides unconscious of our fears. What Holds by A Baez For My Granddaughter by Judi Van Gorder Now for the real deal ..... XVIII. To His Love by William Shakespeare(1564-1616) SHALL I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd. But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wanderest in his shade, When in eternal lines to time thou grow'st:— So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. CXCVIII. "Bright Star! by John Keats(1795-1821) BRIGHT Star! would I were steadfast as thou art— Not in lone splendor hung aloft the night, And watching, with eternal lids apart, Like Nature's patient sleepless Eremite, The moving waters at their priest-like task Of pure ablution round earth's human shores, Or gazing on the new soft fallen mask Of snow upon the mountains and the moors:— No—yet still steadfast, still unchangeable, Pillow'd upon my fair Love's ripening breast To feel for ever its soft fall and swell, Awake for ever in a sweet unrest; Still, still to hear her tender-taken breath, And so live ever,—or else swoon to death. Burns Sonnet is named for Robert Burn's attempts at writing the sonnet form. He used the frame of the English or Shakespearean Sonnet form except, his Scottish burr shines through. Iambic pentameter was not natural to him and was therefore not attempted. The elements of the Burns's Sonnet are: a quatorzain made up of 3 quatrains followed by a couplet. written with lines approximate length, with the rhythm of a Scottish brogue. rhymed abab cdcd efef gg. pivot or volta late in sonnet A Sonnet upon Sonnets by Robert Burns Fourteen, a sonneteer thy praises sings; What magic myst'ries in that number lie! Your hen hath fourteen eggs beneath her wings That fourteen chickens to the roost may fly. Fourteen full pounds the jockey's stone must be; His age fourteen--a horse's prime is past. Fourteen long hours too oft the Bard must fast; Fourteen bright bumpers--bliss he ne'er must see! Before fourteen, a dozen yields the strife; Before fourteen--e'en thirteen's strength is vain. Fourteen good years--a woman gives us life; Fourteen good men--we lose that life again. What lucubrations can be more upon it? Fourteen good measur'd verses make a sonnet. Reversed English Sonnet is simply a Shakespearean or English Sonnet with a reversed order of stanzas and rhyme scheme. aa bcbc dede fgfg "Sonnet Reversed" by Rupert Brooke Hand trembling towards hand; the amazing lights Of heart and eye. They stood on supreme heights. Ah, the delirious weeks of honeymoon! Soon they returned, and, after strange adventures, Settled at Balham by the end of June. Their money was in Can. Pacs. B. Debentures, And in Antofagastas. Still he went Cityward daily; still she did abide At home. And both were really quite content With work and social pleasures. Then they died. They left three children (besides George, who drank): The eldest Jane, who married Mr Bell, William, the head-clerk in the County Bank, And Henry, a stock-broker, doing well. Returning to Italy Caudate Sonnet