2. Introduction There are two main forms of poetry, closed form and open form… Closed FormOpen Form -characterized by patterns (stanza length, verse, rhyme, meter, syllables) -the content fits into the form -haiku -sonnets -sestina -ballad -villanelle -”Follows RULES” -characterized by the lack of pattern -the content determines the form -punctuation, line breaks, white space is very important -free verse -concrete poems -shaped poems -”no RULES”

3. Rhyme Scheme regular pattern of rhyme, one that is consistent throughout the extent of the poem The following short poem illustrates the labeling of a rhyme scheme. There once was a big brown cat a That liked to eat a lot of mice. b He got all round and fat a Because they tasted so nice. b This rhyme scheme is abab

4. Stanzas  2 line stanzas: couplets  3 line stanzas (tercets)  triplets: aaa bbb ccc ddd  terza rima: aba bcb cdc ded  4 line stanzas: quatrains  5 line stanzas: quintets  6 line stanzas: sestets  7 line stanzas: septets  8 line stanzas: octaves A group of lines in poetry…looks like a paragraph

5. Couplets- 2 line stanzas The Red Wheelbarrow so much depends upon a red wheel barrow glazed with rain water beside the white chickens William Carlos Williams

6. Free Verse Follows no rules….writer just speaks Cavalry Crossing a Ford A line in long array where they wind betwixt green islands, They take a serpentine course, their arms flash in the sun -- hark to the musical clank Behold the silvery river, in it the splashing horses loitering stop to drink, Behold the brown-faced men, each group, each person a picture, the negligent rest on the saddles. Some emerge on the opposite bank, others are just entering the ford -- while, Scarlet and blue and snowy white, The guidon flags flutter gayly in the wind. Walt Whitman, 1865

7. Concrete Poems Words create picture, more a visual than a literary form, related to “Pop Art” I <ing.  Billy Eckles

8. Dusk Above the water hang the loud flies Here O so gray then What A pale signal will appear When Soon before its shadow fades Where Here in this pool of opened eye In us No Upon us As at the very edges of where we take shape in the dark air this object bares its image awakening ripples of recognition that will brush darkness up into light even after this bird this hour both drift by atop the perfect sad instant now already passing out of sight toward yet-untroubled reflection this image bears its object darkening into memorial shades Scattered bits of light No of water Or something across water Breaking up No Being regathered soon Yet by then a swan will have gone Yes out of mind into what vast pale hush of a place past sudden dark as if a swan sang Shaped Poems Create a picture or visual pattern Content is more important than shape Content follows general grammatical rules Shape complements content of poem Swan and Shadow John Hollander

9. Haiku  Japanese  Syllabic poetry: 17 syllables  1st line – 5 syllables  2nd line -- 7 syllables  3rd line -- 5 syllables  Seasonal reference Silent and still: then Even sinking into rocks, The cicada’s screech Basho All night this headland Lunges into the rumpling Capework of the wind Richard Wilbur

10. Gervaise There was a young belle of old Natchez Whose garments were always in patchez When comment arose On the state of her clothes She drawled, When Ah itchez, Ah scratchez! Ogden Nash There was a young woman named Plunnery Who rejoiced in the practice of gunnery Till one day unobservant She blew up a servant And was forced to retire to a nunnery. Edward Gorey Limerick  5 line nonsense poem  First line ends in proper name of place or person  Rhyme: aabba

11. Ballad  English  Narrative (tells a story)  4 line stanzas  Rhymes  abab or  abcb I'll tell a tale, a thrilling tale of love beyond compare I knew a lad not long ago more gorgeous than any I've seen. And in his eyes I found my self a'falling in love with the swain. Oh, the glorious fellow I met by the ocean with eyes of deep-sea green! He was a rugged sailor man with eyes of deep-sea green, And I a maid, a tavern maid! Whose living was serving beer. So with a kiss and with a wave, off on his boat he sailed And left me on the dock, the theif! Without my heart, oh dear! And with a heart that's lost at sea, I go on living still. I still am now still serving beer in that tavern by the sea. And though the pay check's still the same, the money won't go as far For now I feed not just myself, but my little one and me! So let that be a lesson, dear, and keep your heart safely hid. I gave mine to a sailing thief with gorgeous eyes of green. Save yours for a sweeter lad who makes the land his home. Ah me! If only I'd never met that sailor by the sea! -- Lonnie Adrift

12. Sonnet  Italian origin  Lyric (expresses personal and emotional feelings)  Does not rhyme  14 lines "London, 1802" Milton! thou shouldst be living at this hour: England hath need of thee: she is a fen Of stagnant waters: altar, sword, and pen, Fireside, the heroic wealth of hall and bower, Have forfeited their ancient English dower Of inward happiness. We are selfish men; Oh! raise us up, return to us again; And give us manners, virtue, freedom, power. Thy soul was like a Star, and dwelt apart; Thou hadst a voice whose sound was like the sea: Pure as the naked heavens, majestic, free, So didst thou travel on life's common way, In cheerful godliness; and yet thy heart The lowliest duties on herself did lay.

13. Villanelle  French origin  Stanzas and Rhyme  5 tercets: aba aba aba aba aba  1 quatrain: abaa  Line Repetition  1, 6, 12, 18  3, 9, 15, 19 “Do Not Go Gentle Into That Good Night” by Dylan Thomas 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 is 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 Their 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.

14. Here in this bleak city of Rochester, Where there are twenty-seven words for "snow," Not all of them polite, the wayward mind Basks in some Yucatan of its own making, Some coppery, sleek lagoon, or cinnamon island Alive with lemon tints and burnished natives, And O that we were there. But here the natives Of this grey, sunless city of Rochester Have sown whole mines of salt about their land (Bare ruined Carthage that it is) while snow Comes down as if The Flood were in the making. Yet on that ocean Marvell called the mind An ark sets forth which is itself the mind, Bound for some pungent green, some shore whose natives Blend coriander, cayenne, mint in making Roasts that would gladden the Earl of Rochester With sinfulness, and melt a polar snow. It might be well to remember that an island Sestina  French origin  Stanzas:  6 sestets  1 tercet  Repetition and linking: a/b/c/d/e/f f/a/e/b/d/c c/f/d/a/b/e e/c/b/f/a/d d/e/a/c/f/b b/d/f/e/c/a ba/dc/fe  Atmosphere ranges from cozy to claustrophobic From "Sestina d'Inverno" by Anthony Hecht