~ Introduction ~
Well, good morning, good afternoon or good evening there peeps, wherever you may be, and thank you in advance for dropping by this little corner of the world for a read of this Hub article.
Here, I've compiled a list of some known, and some not so widely known poetic forms and have left an original example under each description in order to illustrate the style, technique or form described.
It's not an exhaustive history, description or account as I understand the time constraints and commitments of some readers and do not want to bombard you with too much information, just the meat in the sandwich, so to speak, as you can quite easily glean further gems from other Hubs or various media sites such as wikipedia etc..., should you so desire.
I've discovered there are dozens of forms and writing styles out there to explore but hopefully, this article may whet your appetite if you should be curious to investigate further for your own enjoyment, pleasure, or academic pursuit.
I'm no teacher; just a working-class lad who has found that writing from the heart develops the best kind of poetry which can uplift, encourage, inspire and perhaps even address some important social issues which affect you and I.
Knock yourself out! ( not literally, of course :)
An acrostic, for the purpose of poetry, is a type whereby the first, last or other letters in a line spell out a particular word or phrase. The most common form of an acrostic poem is where the first letters of each line spell out the word or phrase.
A chōka—long poem—is a form of Japanese poetry consisting of a minimum of seven non-rhyming lines with specific syllable counts. The most basic chōka has three couplets with syllable counts of five and seven syllables, plus an additional line with a syllable count of seven.
The pattern for a seven line chōka is 5 - 7 - 5 - 7 - 5 - 7 - 7.
Knocks 'pon her weary old eyes;
Two gifts unwrapped, now
Feast aloft an azure vault
To beckon woman
T'ward pastures new beyond this
Private, bedroomed horizon.
A cinquain is a five-line non-rhyming poem with a set pattern of 22 syllables—2, 4, 6, 8, and 2 syllables per line.
Opens Good Book
To read words which read him;
Devours the Lord's Spirit manna
A reverse cinquain has a syllable pattern of 2, 8, 6, 4, and 2 syllables per line.
Fruitful bowl of a crested moon
Eaten by a placid,
A mirror cinquain has two stanzas, with the following syllable pattern:
2, 4, 6, 8, 2
2, 8, 6, 4, 2
Beggars, charged with
Words of great kings, destined
Ne'er to bow knee 'fore cast shadows
This morn' ;
Thy loins O sons of tomorrow
And prepare yourselves for
A butterfly cinquain has the pattern 2, 4, 6, 8, 2, 8, 6, 4, 2.
Additionally, I've also made the subject matter to be about a butterfly as well.
Across silk, canvassed wings,
Steer thro' an open, spring meadow
Eddies invisible thermals;
Sailing joy in flutter,
He alights on
A clerihew is a poetic form about a celebrity. The celebrity’s name is the title of this humorous type of poem, and the person is named in the first line. A clerihew has four lines, which are usually of an irregular length. Lines one and two rhyme, and lines three and four rhyme.
Wherever good folk May be turning iced Blue; when cool, wintry hearths drip December's chill dew,
With the bib of a horn on a sharp, frosty morn', coal man'll 'rrive there for you.
He'll brave blackened view of your granny's old flue, though he never quite seems in a rush;
For he may be a tiny old chimney sweep, but he has an enormous brush. :)
A diminished hexaverse is a six-line one-stanza non-rhyming poem. The first line has six syllables, the second line has five syllables, the third line has four, the fourth line has three, the fifth line has two syllables, and the sixth line has just one syllable.
Ye mimic sly vixen
To seek jaded crowds
Thenst drinketh their
Epic poems come in several different forms, depending upon the language in which they are written and the time period. The similarity, though, is that all epics are written in some poetic form, often including rhyming. Basically, the purpose of an epic poem is to show us the exploits of a particular hero or set of heroes and its narrative of many stanzas is closely related to oral storytelling.
~ England, My England ~
Thundering steeds of power and might,
Doth gallop toward the clamouring fight.
Snorting twin blasts of an icy-chilled breath;
Stark prelude this eve of impending black death.
Battle-hardened, seasoned, brave war-torn ranks,
Do eagerly close in upon enemy flanks.
Front-lines be'eth psyched, and have gone beserk;
Dispatching the foe is their foul, deadly work.
Shrill orders are barked, bloody-hell is unleashed,
Gorging swart carrion crows, with a grisly limb feast.
Halberds aloft, swinging chained, morning-stars,
Smite, they sink into flesh, crushing bones, leaving scars.
Clashing of steel dost resound through the air,
As they're plunging and gouging, with slashes that tear.
Scurrying rats, rush like oversized weevils, to
Sickeningly gnaw, through mediaeval upheavals.
Cavalry surge forth, charge like sil'er-mounted flies,
'Til the riders see whites of their enemies eyes.
Groomed manes flapping free in the blustery, cool wind;
Reflect, from the armour of the soldiers they've trimmed.
Gleamed visors now dulled; blood-spattered, and stained, from
Unfortunate men whom they've trampled, and maimed.
Axe cleaving metal; cold blades biting bone;
The heat of the battle; there's no going home.
Black-knight is unsaddled to thence fall to the ground,
As an iron-tipped arrow whistles mort's deadly sound.
Flailing in doom, to his knees must he kneel;
'Fore the edge of victorious, trusty old steel.
Finale of flight for defeated, and haggard;
King thrusts home daubed sword in his jewel-crusted scabbard.
Rent banners are seized, thenst his new ones are raised,
By triumphant Royal Sire, now winning his praise.
Celebrations roar, by the Knights of Round Table,
Waving flagstaffs 'pon high, bearing crown-mounted sable;
This day has been won, they hath taken a stand,
Now sweet justice can reign, o'er this beautiful land.
An epulaeryu is a 33-syllable seven-line poem describing or featuring a culinary treat about which the poet is fond. The name of this poetic form comes from the Latin word "epulae"—feast—and the Japanese word "ryu"—style.
There are seven syllables in the first line of an epulaeryu, five syllables in the second line, seven in the third, five in the fourth, five in the fifth, three in the sixth, and one in the seventh. The single word on the last line is followed by an exclamation point—!
Her spaghetti bolognese
On a pasta bed
Delights physical senses;
Hot Italian tongues
An etheree is a 10-line unrhymed poem. The first line has one syllable, the second line two... a syllable is added to each succeeding line, with the 10th line having 10 syllables.
Free for the
Fetters and chains
Which bind modern minds
Distorted beliefs deny
Jesus Christ is the visible
Manifestation of the Divine,
Seated at the right hand of His Father.
Etheree - Example Two
This is a style I created based upon the classic version of the etheree. However, in this style, I have added a second stanza to the first etheree, wherein each line contains a consecutive amount of syllables. So line 11 contains 11 syllables; line 12 contains 12 syllables etc., right up until line 20 which contains 20 syllables.
She reapest a harvest which is not yet ripe
So hands hold naught but chaff, for she tells the farmer,
In haughtiness, his business though unschooled in his ways.
Now season's silence will not consent to be her ally,
Mistaking stubborness for steadfastness; baubles for true wealth,
And hath welcomed impatience to govern her haven of life-beats.
Like fusewire, ready to ignite and blow her most treasured possession
This precious heart whose neglect is as a richochet from a borrowed gun
Chose wilful ignorance of depraved indifference to stand in judges dock,
Then sentenced to the rest of existence with the mother of its cursed inception.
Fibonacci poetry is based upon a mathematical sequence popularized by Leonardo Fibonacci, a 12th century mathematician. A Fibonacci sequence begins with 0 and 1. Each succeeding number is the sum of the previous two numbers.
The first 13 numbers in a Fibonacci sequence are 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, and 144. In a Fibonacci poem, the zero is dropped, and usually only the first six numbers following the 0 are used.
In a six-line Fibonacci poem, the first line has one syllable, the second line has one syllable, the third line has two, the fourth line has three, the fifth line has five, and the sixth line has eight.
My following example contains seven lines with 13 syllables in the seventh line.
The seven lines below follow this syllable pattern:
1 - 1 - 2 - 3 - 5 - 8 - 13
Saying, " Thou reside in darkness ";
Ye gash thee thenst declare, " Is't not I whom art sanguine? "
A haiga is a haiku combined with an image—in modern haiga, the image is frequently a photograph.
In English, the haiku is a non-rhyming three-line 17-syllable poem, traditionally about the seasons or nature. The first line has five syllables, the second line has seven syllables, and the third line has five syllables, although the syllable count is not essential to a proper haiku in the original Japanese style.
Hauntings from yonder's
Wink at lover's eyes.
Lyrical poetry is quite simply a type of emotional, songlike poetry which distinguishes itself from dramatic and narrative poetry. Its composition is scribed in metrical feet forming rhythmical lines which have a musical rhythm, whose words often explore strong emotions, such as romantic feelings. It is a very popular form of poetry.
Greek lurikos 'for the lyre', from verses sung to a lyre.
V1/ Diaphonous discs burn diurnal delight;
Cerulian eyes, dusked meridians of light.
Mooring my core, petalled moonflowers click,
Sweeping lashes bat kohl, with its every tick.
V2/ Calaverite soul, basks as genteel foal,
Speaking nought through the silence, shines sweet aureole.
Octillion words, locked acoustics in time,
Echo sounds of the bards, filled with laughter, and rhyme.
V3/ Never, no more, fire a jealousy dart,
Now my radiant love crowns your queenly heart.
Lazulite looks leaking luminous hues,
Luscious lips purse a pout, ‘neath your bright royal blues.
V4/ Stroking green sepals of calyx, she preens,
Blushing sensual colours, flush Calypsoes dreams;
Bodies are bound by celestial twine,
‘Midst penumbrous liasons, of joyous divine.
A musette is a nine-line 24-syllable rhyming poem. There are three stanzas with three lines. The first and third lines of each stanza are two syllables each. They only rhyme with each other.The second line of each stanza is four syllables. This line doesn't rhyme at all.
The rhyming pattern of a musette is as follows:
a - b - a ... c - d - c ... e - f - e
Amber from green,
Amber from red,
Prose poetry is poetry written in a prose style, laid out in paragraphs instead of a verse form yet still preserves poetic qualities. It includes poetic meter and focuses upon heightened imagery, emotional effects and the use of parataxis and may contain language play such as repetition.
Euphoria begs a home which resides behind thy lamps of Neptune, firmly embedded in a firmament of astral sparks; like asterisks upon the welkin ring, their jealousy beseeches thee with resounding benevelonce.
Those eyes; bridges of consequence which chance upon the spreading, cleft vale of thy mind, that parade tropical oceans beyond impassioned laguna.
Come hither and attend to thee; we should avaunt the avant-garde with prospects of happiness, and hire the morning star to begird unveiled moments of nature’s jamboree, swathed in rays of carmelia. Thou’ll commission dales of satin jade to endorse thy introspections, with verve and gaiety, so periwinkles and winsome lupins ‘neath a hazy, regal blue canopy of His craftsmanship, might unshackle the trammels and bilboes of your cloistered essence.
Let us jilt nocturnal fetters and saunter through the aisles of nature’s lea; yea, let us stroll to the timbre of heaven’s temperate orchestra, as He bares old enchantments to new earshot, which hearken to the rousing discourse of willow warblers, whilst we’re ambushed in fervent passion.
Accompany thee, mademoiselle, and remove your straw boater as we lay upon our Persian fleece, emblazoned with the iridescence of Heathcliff’s castle. Thy skin glows like Bahama sands of crushed almond, nutmeg and white pepper; your lustrous, chignon locks glisten, as the rising dawn. Thy salsa, ribboned bow, pulled gently, reveals a galactic aurora of consecrated tumble, billowing, as an equus flow in a mountain zephyr.Thy dual, amaranth lips of single malt taste sweeter than fine almagnac. The aperitif of thine affections magnetize thee with thy paired blushes of signal red, brimming full of oleo. Let us awaken our unknowns, my wife, to elicit the thrill of throbbing hearts, as thy body salutes your beauty amidst the fair witness of swaying bluebells in clover….
A rictameter is a nine-line single-stanza 50-syllable unrhyming poem. The first and last lines must use the same two-syllable word.
The syllable pattern is as follows:
2 - 4 - 6 - 8 - 10 - 8 - 6 - 4 - 2
A senryu is a non-rhyming three-line 17-syllable poem, very similar to a haiku. The difference between a haiku and a senryu is that a senryu is about human foibles or characteristics of life and a haiku is traditionally about the seasons or nature. The first line of a senryu has five syllables, the second line has seven syllables, and the third line has five syllables.
His spouse bears new fruit;
Mistress gains only pleasure,
A cloud without rain.
A solilloquy is a dramatic or literary form of discourse in which a character talks to himself / herself, or reveals his or her thoughts when alone or oblivious to the presence of other characters or hearers present. It is also used as a dramatic device by a playwright to disclose a character's inner thoughts.
Do you hear the silence? It is the sound of the universe in sorrowful abandon. Must the morn’ taunt these unearthly wounds? The sweetest trill from a warbling pipit pierces the sombre chill air, mocking a broken heart as she waspishly perches upon the churchyard wall where we secretly scribed our names in ardent fervour. An umbrous nova cast by our picnic Yew, now whips the autumn greys with taloned branches, clutching ripples with clawed twigs that seek to rip and tear the sky’s sober reflection in puddles of mud, with their seasoned nakedness.
Nightfall arrives after a hollow day, where one can hear the snuffling tones of tears which crash love to the floorboards; gravity’s planks soak the seeping of stories heard before. How far we have fallen! – was there ever a passion that has descended further than this? Surely no thing created, nor unseen has dared to touch absolute zero – the cold, that is now our mystery, is shunned by even the infernal; too much for any creature to bear.
The wood pigeon mimics a shying owl during the graveyard hours, gurgling chimes of their dissent. Come and see what your brand of amity has done to us! You raped our heart to give still-birth to deformity, whose horror haunts ghosts. Verily, Angels cover their glorious eyes with eternal wings – what have you done? You’ve hobbled thy pen, and taken hostage thy quill to make slave, sharp words, which indite thee.
Thou lived in thy strings as they vibrated with the beauteous tones of allegiance, syncopating for thee alone, now ta’en. Shall the wind consent to remember, as thy soulful oblations flew upon her wings to carry my song to you?
Will a moment of love outweigh a lifetime of heartache? Wishing wells regurgitate thy coins; cursed fortune-tellers refuse to speak of us. Could a photo ever lie? Was that not you and I, or a figment of the lensman’s happiness? The frame may rust, but trust will not, and love never lies. If only your smile had cracked thy shuttered glass iris, then no more would I have to feast upon this crumb of yesteryear’s celluloid apology for your beauty…..a perfection that needles thee when I saw stardust in your hair and children in thine eyes.
Can you hear that deathly hush? That is the sound of affection no longer begging to live with us. Do not cast blame onto fate or destiny, for thou’est tender mercies proved crueller than their sheathed unknowns.
Fair maiden; thou curtailed the dance and placed romance in trance – now must you be the chosen who pays the piper his fee, for it was his seemly tune which we danced to.
Did you declare the shimmering moon as an apparition? The blinking stars as a mass hallucination of mankind’s vision? Let it be known unto you that our bejewelled canopy was as real as you and I, and as the very breath which ambulates your very form. Has nature’s apprentice befuddled, then tricked lover’s in time, so she may have her way with flesh from our flesh? Did reason divorce thee, and escape your mind? In your malaise, did he smash his fetters, then like a lemming, dive into raptures of the deep, without so much as a ‘ by your leave ? ‘. Does thou betray thine own mortal coil to presently distance thyself from the company of beloved sisters and bretheren? Do you boast that you are as unchanging as the nine celestial planets upon their elliptical voyage?
Now must a heavy heart be duly exiled, nay banished, from your presence; though thy own heart longs for thee, shall our future, as Anthony and Cleopatra, sleep the sleep of the dead, poisoned by a selfish soul, to lie discarded amongst a Sahara of forgotten sands. Perfume, that carried your pulchtritude to me, must be recanted; memories shall be undone. When you think of thee, thou wilt be found sailing upon your tears, doomed to tack the tempest of thine rivers of grief.As I withdraw my love, the telamon obelisk of your world, will remove his strain, as the whole edifice comes down to crash about the unworthy, for you forsook your only true love.
" Sonetto " - Italian for " little song ".
A Sonnet is a poem of 14 lines, each one containing 10 syllables. An English sonnet, which is the most common comprises three quatrains followed by a rhyming couplet.
An Italian sonnet has eight lines called an octave consisting of two quatrains which normally open the poem as the question, which are then followed by six lines called a sestet that are the answer.
The structure of a sonnet is:ab ab, cdcd, efef, gg - English
abba abba cdecde - Italian.
As thine Immortal watches newborn day
Foreign hearts still seeketh a hiding place
Wilful man shalt follow his doleful way
Lost in riotous torts, beyond His grace.
So mote it be , verily none shall pass
Unharnessed furies of venemous zeal
Who bindeth four winds where daemon harass
Lowly ghouls long to flee with the souls they steal.
Thereth lurk in notes, wefted thoughts rough sewn;
Gods who be not gods burrow sacristy;
Erstwhile prophets worked fires they'd not known
Apollyon's gates built to destroy thee.
No more ye partaketh life's happy dance;
Ne'er more surfeth ripped tides of happenstance.
Spoken Word Poetry
Spoken word poetry is verse that is written with a view to being performed before an audience. It can be made up of free association, word play, rhymes and rich poetic phrases. It also has strong ties to storytelling, modern poetry, post-modern performance, hip-hop and monologue theatre, as well as folk, jazz and blues music.
~ Created, and narrated by R.Q. ~
♥ " Her beautiful eyes, unto him,
Like sweet, matched, priceless, marbled spheres,
That verily orbit emerald, celestial stars,
Nestled amidst sensual, chiffon purses of promise,
Which seize a man, and
Cleave unto his heart.
Their radiance issues forth, toward,
Bearing the delicate warmth
Of a gentle breeze,
Through a Summer meadow. " ♥
The tanka originated in ancient Japan. A haiku (5 - 7 - 5 syllables) was sent by messenger, and a two-line reply—7 syllables each line—was added for the return message.
A tanka can be written in either one or two stanzas.
The syllable format for one stanza is 5 - 7 - 5 - 7 - 7.
The syllable format for two stanzas is 5 - 7 - 5 ... 7 - 7
I thank the thanker
For haiku in my tanka,
Still heart's will hanker
For life's natural banker
To whom I send this danke.
- A Few Words .... -
Special thanks go to Daisy Mariposa who inspired me to compile this Hub and to scribe poetry examples for most of the forms relayed in her own Hub, in addition to a few other styles enclosed.
Check her out folks!
* Feel Free To Express Your Thoughts *
Thank you for flying by and taking time to read today!
Romeos Quill (author) from Lincolnshire, England on April 01, 2020:
Thanks for dropping in for a read Rdsparrowriter and that you enjoyed some of the different styles of the written word contained therein. Peace out and God bless you.
Rochelle Ann De Zoysa from Moratuwa, Sri Lanka on April 01, 2020:
Wow! Beautiful poetry :) Enjoyed :)
Romeos Quill (author) from Lincolnshire, England on May 19, 2015:
Well, certainly happy that you have found a piece which appeals to your strengths Akriti Mattu.
Congratulations on your majors in literature! I have no majors or minors - just a wing and a prayer.
Thank you for alighting to read a couple of the writes today;
Akriti Mattu from Shimla, India on May 19, 2015:
I really liked this post. I have a majors in literature and poetry is my love. Voted up
Ann Carr from SW England on May 01, 2015:
yes, I will give some of them a go.
Holiday going well, thanks. Not sure about the drink in a tall glass every hour; think I know the answer if I suggest it! Had lots of sun, back for the second part of hol and it's raining! Ah well....
Romeos Quill (author) from Lincolnshire, England on April 30, 2015:
Thank you Deergha for your wonderful remarks and in-depth observations.
I trust that you are well and it's always a pleasure having you over.
Have a lovely day today;
Romeos Quill (author) from Lincolnshire, England on April 30, 2015:
Thanks for the great comments; I prefer to write lyrical poetry/song lyrics as they seem to prove to be the most popular and its flow is the most natural form for the reader.
I just checked out your Hub that with the two sonnets. That first English one was a belter which you've aced at the first attempt - keep going!
Kind of reminded me of the famous lines of Hamlet-Act 3, Scene 1:-
To be, or not to be? That is the question—
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And, by opposing, end them? To die, to sleep—
No more—and by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to—’tis a consummation
Devoutly to be wished! To die, to sleep.
To sleep, perchance to dream—ay, there’s the rub,
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. There’s the respect
That makes calamity of so long life.
This one took a while to piece together, only inasmuch as the Hub tools were being awkward in their application which was time consuming; thanks for stopping over and you're welcome.
deergha from ...... a place beyond now and beyond here !!! on April 30, 2015:
Good Afternoon, R Q
I have really loved reading your very enriching hub here and its really enlightening for me. I love to express though poetic way but never was very keen to follow any forms. So i just write...whatever comes to my mind and I let it flow its own course. To be honest I never studied poetry and the pros and cons.
Your hub here is the first one about the forms and many other qualities about poetry which I went through so thoroughly as you can write in such engaging manner. Once I started reading it I just actually have not realized when it ended. And it really left me wanting for more, seriously.
You presented in very short and precise way above all the relevant points to make it easily understandable about 24 poetic forms with absolutely magnificent examples. The words really are too of high standard for a novice like me but that do not diminish the exclusive emotions to derive even for me. Your English and your expressions always tend to transfer me into a land ever flooded with a kind of luxurious aura of high caliber.
Among all....I liked the Acrostic, Cinquain, Reverse Cinquain, Haiga, Haiku, Prose Poetry, Soliloquy, Spoken Word Poetry forms of poetry here, I know the list is pretty long but never the less I liked them all because of your specific exemplary works . But to be honest these forms drew my attention for your extra ordinary creations which you have presented as examples to farther impose your descriptions.
"....Will a moment of love outweigh a lifetime of heartache? Wishing wells regurgitate thy coins; cursed fortune-tellers refuse to speak of us. Could a photo ever lie? Was that not you and I, or a figment of the lensman’s happiness? The frame may rust, but trust will not, and love never lies. If only your smile had cracked thy shuttered glass iris, then no more would I have to feast upon this crumb of yesteryear’s celluloid apology for your beauty…..a perfection that needles thee when I saw stardust in your hair and children in thine eyes...."
Really I admire your way of expressing emotions, RQ. Thank you for such detailed and elevating hub here. Much inspired and thanks for the knowledge you shared with us here, at least I never intended to gather.
Votes up and shared.
John Hansen from Gondwana Land on April 29, 2015:
Greetings R.Q. I thoroughly enjoyed this lesson in the various poetic forms. I have read at least one of Daisy's hubs regarding this, though a few of these forms are new to me. Your poetry is exquisite as always and provides wonderful examples of each form. I do enjoy epic and dramatic poetry probably the most, but thoroughly enjoyed my first and only attempt at writing sonnets as well. Acrostic too is fun. Thank you for all the time it must have taken to write and compile this.
Romeos Quill (author) from Lincolnshire, England on April 29, 2015:
It's good to have you fly by for a while whonunuwho and enjoy reading some of your own inspirations about the beauty of the created and the Creator on the Hub feed when they appear.
Thank you kindly and send warm regards to you and your nearest, this tail end of April.
Romeos Quill (author) from Lincolnshire, England on April 29, 2015:
It's a pleasure MsDora and many thanks for taking time to wade through such a long Hub article and for bookmarking as a reference.
My best to you and your mother today.
Romeos Quill (author) from Lincolnshire, England on April 29, 2015:
How's the holiday? I hope that someone is drizzling you in sun lotion and ferrying you a short drink in a tall glass every hour :)
It might be fun to try a few and most of them are not that difficult to create; I made about eighteen of them in one evening so it shouldn't be too much of a stretch.
Thank you, as always Ann for your encouraging contributions.
Romeos Quill (author) from Lincolnshire, England on April 29, 2015:
There are so many out there and the three Hubs written by Daisy Mariposa, which I saw by chance, challenged the reader to pen their own poetry, shaped by aforesaid styles, which inspired me to produce this article.
Many of the definitions of the various types were written by her and I just got to the hard work of actually scribing the verses to marry the explanations she had eloquently given and additionally, threw in there the rest of the forms laid out here.
I trust you and your family are well and thanks for stopping by to read .
whonunuwho from United States on April 29, 2015:
Excellent work my friend and very informative of writing styles. whonu
Dora Weithers from The Caribbean on April 29, 2015:
Romeos, I'm bookmarking this page for future reference. I hardly ever write poetry but I can compare the poems that other authors write. Thanks for doing the research and making such an interesting presentation.
Ann Carr from SW England on April 29, 2015:
What a great compilation of poetic forms; fascinating and instructive, R.Q.
Sometime I'll try a few of those that I haven't come across before.
Jamie Lee Hamann from Reno NV on April 29, 2015:
Awesome! With great home grown examples for each. Great reference to many styles I am unfamiliar with and would enjoy trying. Great job! Jamie