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Blank Verse
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unrhymed iambic pentameter
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Closest verse form to natural spoken English. Introduced in mid-16th century.
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Examples:
Milton, Paradise Lost; Wordsworth, The Prelude; Tennyson, "Ulysses"
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couplet
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two lines of verse, usually coupled by a rhyme
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Principle unit of English poetry since rhyme started being used. |
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heroic couplet
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self-contained units often used in epics and plays
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Ex: Pope, The Rape of the Lock |
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tercet
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stanza of three lines traditionally linked with a single rhyme (though not always). Or three-line section of a larger poetic structure (sestet of sonnet)
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Ex: Hardy's "The Convergence of the Twain" |
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terza rima
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second line of each stanza rhymes with the first and third of the next.
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Ex: Shelley's "Ode to the West Wind" |
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quatrain
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stanza of four lines, rhymed or unrhymed
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Most common English stanza
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ballad stanza
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iambic tetrameter alternate with iambic trimeter, rhyming abcb, or abab
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Ex: "The Rime of the Ancient Mariner" |
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heroic quatrains
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iambic pentameter rhyming abab
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Ex: Gray's "Elegy Written in a Country Churchyard" |
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rhyme royal
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7 line iambic-pentameter stanza rhyming ababbcc
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Ex: Chaucer's Troilus and Criseide |
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Ottava Rima
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8 line stanza, rhyming abababcc
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opens with a quatrain and closes with a couplet
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Ex: Byron, Don Juan, Yeats, "Sailing to Byzantium," "Among School Children"
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| Spenserian Stanza |
9 lines, first 8 iambic pentamter and the last iambic hexameter (alexandrine), rhyming ababbcbcc |
opens with a quatrain and closes with a couplet |
Ex: Spenser, The Faerie Queene; Keats, "The Eve of St. Agnes"; Shelley, "Adonais", Tennyson, "The Lotos-Eaters" |
| Sonnet |
14 lines of iambic pentameter, intricate rhyme scheme |
Best example of how rhyme and meter can provide be an occasion for the imagination to thrive; use contrained form to expand thought |
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Italian or Petrachan Sonnet |
octave abbaabba (8) and sestet cdecde (6)
- statement then counterstatement
- observation and then conclusion
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Ex: Shelley, "Ozymandias"; Keats, "On First Looking at Chapmans' Homer" |
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English or Shakespearan Sonnet |
three quatrains ababcdcdefef and couplet gg |
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Spenserian Sonnet |
three quatrians ababbcbccdcd and couplet ee (linking couplets between quatrains) |
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| Villanelle |
five tercets rhyming aba followed by a quatrain rhyming abaa
2 refrains: first line of the initial tercet is repeated as the last line of the second and fourth tercet; third line of the initial tercet is repated as the last line of the third and five tercet - each is then repeated as the last line of the poem
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Follows the circular pattern of a dance
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Ex: Roethke, "The Waking"; Bishop, "One Art"; Thomas, "Do Not Go Gentle into That Good Night" |
| sestina |
six stanzas of six lines each, followed by concluding stanza that includes lines or words previously used |
most complicated verse form. ininitated by 12th c. troubadours. Brought back into fashion by Swinburne and Pound |
Ex: Bishop, "Sestina"; Ashbery, "The Painter" |
| irregular form |
uses rhyme and meter but don't follow a fixed pattern |
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elegy |
formal lament for the dead |
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ode
- long lyric poems of elevated style and elaborate structure
- written to celebrate someone or something
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Pindaric Ode |
usually irregular (in section length, line length, and rhyme scheme) |
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| Horatian Ode |
repeated stanza form; meditative and restrained |
| open form or free verse |
poetry making little to no use of traditional rhyme and meter |
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| other forms |
prose poetry |
may look like prose, but intended to retain musical cadences similar to that found in free verse |
typically French |
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found poetry |
converts passage(s) of someone else's prose into a poem |
20th c. response to prose poetry |
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shaped poetry |
brings eye and ear together |
metaphysical poets and 20th-21st c. poets |
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concrete poetry |
loose category of exploration by avant-garde artists globally. typographic structures that cannot be spoken |
Brazilian (50s) |
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sound poetry |
extends concrete poetry into a kind of music (sounds like nonsense) |
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