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Rhyming patterns are referring
to the rhyme at the end of lines,
so all 'a' lines rhyme with
each other and all 'b' lines rhyme with each other and so on.
Rhythm patterns are made by
the emphasis that goes on the syllables when spoken.
Below are two tables outlining
the types of rhythm pattern.
(For best results, this stress
should be the natural emphasis that would used in speech.)
A light hearted 'lecture'
on writing traditional
children's poetry by L. Tilander
NAMES OF METRICAL FEET:
Iambic | weak strong |
Trochaic | strong weak |
Anapaestic | weak weak strong |
Dactylic | strong weak weak |
Amphibrachic | weak strong weak |
NAMES OF LINES OF POETRY:
Monometer | one metrical foot per line |
Dimeter | two metrical feet |
Trimeter | three metrical feet |
Tetrameter | four metrical feet |
Pentameter | five metrical feet |
Hexameter | six metrical feet |
Heptameter | seven metrical feet |
LIMERICKS
Humorous metered poems of
five lines with this rhyming pattern: aabba
The metre is usually in this
form of syllabic stress:
Lines 1,2 and 5: weak
strong, weak weak strong, weak
weak strong
Although the first metrical
foot is usually only 'weak strong' it could be 'weak weak strong'
It therefore has three anapaestic metrical feet - anapaestic trimeter.
Lines 3 & 4: weak
strong, weak weak strong - one less metrical foot
-anapaestic dimeter
DOUBLE LIMERICKS
Both the rhyme pattern and
the meter are extended into ten lines:
Rhyme:ababccddab
Rhythm:
Lines 1,2,3,4,9,10 - anapaestic
dimeter
Lines 5,6,7,8
- anapaestic monometer
ITALIAN
SONNETS (Petrachan)
Sonnets are lyrical descriptions.
The Italian sonnet has 2
stanzas, the first of 8 lines the second of 6 lines.
Iambic pentameter is the
most common metre used.
- Five metrical feet to the
line in this format:
weak strong,
weak
strong, weak strong, weak strong,
weak
strong)
Rhyming pattern abbaabba
cdecde OR abbaabba ccddee
SHAKESPEARIAN SONNETS
The same metre (iambic pentameter)
One stanza of 14 lines
Rhyming pattern: ababcdcdefefgg
SPENSERIAN SONNETS
As the Shakespearian sonnet
but with this rhyming pattern:
ababbcbccdcdee.
TRADITIONAL
BALLADS
Usually tell a story.
Iambic heptameter - 7 metrical
feet with this syllabic stress:
weak strong,
weak
strong, weak strong, weak strong, PAUSE
weak
strong,
weak strong, weak
strong
-Fouteen syllables to the
line with a pause after the eighth.
Rhyme pattern: aabbccdd
and so on. No defined length
AUSTRALIAN BUSH BALLADS
These are stories told with
an Australian background and dry wit to match
The rhyme and rhythm are
the same as in traditional ballads
or with shorter lines (Tetrameter
-eight syllables and trimeter -six syllables to the line)
PANTOUM
A poem in a
fixed form, consisting of a varying number of 4-line stanzas with
lines rhyming
alternately:
the second and fourth lines
of each stanza are repeated to form the first and third
lines of the succeeding stanza,
with the first and third lines
of the first stanza forming the second and fourth of the last
stanza, but in reverse order,
so that the opening and closing lines of the poem
are identical.
SESTINA
A fixed form consisting of
six 6-line (usually unrhymed) stanzas in which the end words of
the first stanza recur as end words of the following five stanzas in a
successively rotating order and as the middle and end words of each of
the lines of a concluding envoi in the form of a tercet. The usual ending
word order for a sestina is as follows:
First stanza, 1- 2 - 3 -
4 - 5 - 6
Second stanza, 6 - 1 - 5
- 2 - 4 - 3
Third stanza, 3 - 6 - 4 -
1 - 2 - 5
Fourth stanza, 5 - 3 - 2
- 6 - 1 - 4
Fifth stanza, 4 - 5 - 1 -
3 - 6 - 2
Sixth stanza, 2 - 4 - 6 -
5 - 3 - 1
Concluding tercet:
middle of first line - 2,
end of first line - 5
middle of second line - 4,
end of second line - 3
middle if third line - 6,
end of third line - 1
Below is an example ...my
one and only effort at this!
The Write to Work... a
sestina
The rain suggests a rest,
from 'work' abstain
And set the mind to indoor
'calm' pursuit
Exchange a shovel for
a pen in bliss
Release the words, all
scrambling wistfulness
Some music inspiration
then recruit
Until the verses form
their own refrain
record an aching need in
bold refrain
Uncover, let no secret
wish abstain
Raw courage let some summer
wine recruit
In this brave, self-examining
pursuit
Reveal desires, hopeful
wistfulness
For self expression is
a writer's bliss
Describe remembrance of
a heartfelt bliss
A moment memorised in
life's refrain
Return, relive the joy
in wistfulness
Let time and other barriers
abstain
From fading old elation's
hot pursuit
Revitalise, eloquence
recruit
diz
VILLANELLE
i DON'T HAVE THE INSTRUCTIONS
FOR A VILLANELLE AT THE MOMENT BUT HERE IS MY ONE ATTEMPT ...you should
be able to work out the rhyming pattern by studying it!
A Date with Time
- a villanelle
Come middle age! There's
no accepting fate
Let yesterdays be broken
links to pain
Let present moments never
be too late!
Pursue expression, find
a style innate
A yearning passion that
will never wane
Come middle age! There's
no acepting fate!
Rejoice in lovers' friendship,
celebrate
Release those still all
wrapped in loving chain
Let present moments never
be too late!
Be pensive, muse, demur
and meditate
Reflection in a sane and
sanguine vein
Come middle age! There's
no accepting fate!
With open arms we welcome
wisdom's state
Embrace an insight gradually
more plain
Let present moments never
be too late!
Believe in growth, this
will invigorate
And ward off ebbing energy's
grey reign
Come middle age! There's
no accepting fate!
Let present moments never
be too late!
diz
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