I wrote this poem in the form of a Deibide Baise Fri Toin. Two quatrains wherein the first line of each has 3 syllables and ends on a two-syllable word that rhymes with a 2-syllable end word in the second line. The second and third lines have seven syllables, but the third line ends with a monosyllabic word that rhymes with a monosyllabic word in the final single syllable line.
I wrote this poem in the form of a Spanish ovillejo which is comprised of three rhyming couplets wherein the first line of each couplet is octasyllabic, and the second has just 4 syllables. The poem ends in a redondilla—a quatrain that ends with the second line of each couplet.
I wrote this poem as a double ballad stanza: an octastich made of two quatrains in iambic meter (alternating trimeter and tetrameter).
This is written in the skeltonic poetic form. My first attempt at this style of poetry.
This poem is written in vers libre with septasyllabic lines in five quatrains separated by caesuras and a rhyme scheme of my own.
I wrote this poem in the form of an Irish cethramtu rannaigechta moire, which uses quatrains with three syllable lines wherein the second and last lines rhyme.
This poem is written in the form of a Welsh hir a thoddaid with 9 syllable lines save for the 5th which is 10. All end words rhyme except the 5th line which has a rhyming word towards its end that rhymes with a word towards the start of the last line.
I wrote this poem in the form called a cascade, wherein the lines from the first stanza are respectively repeated as the final lines of each subsequent quatrain. There is no rhyme scheme.
This poem is similar to a Haiku, but it’s in the form of a lune, with a 5/3/5 syllable structure. It’s sometimes called an American Haiku.
This poem is anagrammatic. Every word in the poem is made up solely from letters found in the title. There are two quintains, the first outward looking, the last inward.
I wrote this poem in a lengthened form of a French bref double, which usually only has 3 quatrains and a couplet. Here I’ve employed 4 quatrains and a couplet all with octosyllabic lines. It has an unusual rhyming scheme which I like.
I wrote this poem in the form of a Spanish shadorna which has a specific 6-line syllable structure of 3/5/3/3/7/5 per stanza.
This poem is written in the form of an Irish treochair of five tercets laden with alliteration.
This poem is written in a form called a monotetra, which consists of quatrains in tetrameter with mono-rhymed lines, the final line of each stanza repeats the same four syllables.
I wrote this in the form of a seguidilla gitana (Gypsy seguidilla)—a Spanish quintain form of poetry wherein all lines have 6 syllables except for the third line, and the second and last lines assonate. I doubt anyone reads my shit, but this poem is meant to be an allegory.
I wrote this in the form of a Burmese ya-du, which consist of 3 or fewer quintains. Here I’ve used two. Ya-du poems have four syllables in the first four lines and five, seven, nine, or eleven syllables in the fifth lines. I chose to use seven. The rhyme scheme is a bit complicated: The fourth syllable of the first line rhymes with the third of the second line and second of the third line. Also, the fourth syllable of the third line rhymes with the third of the fourth line and second of the fifth line. Finally, the fourth syllable of the fourth line rhymes with the final syllable of the final line in the respective quintains.
I wrote this as an interlocking Rubaiyat with four quatrains in tetrameter, rhyming all end words of the final quatrain.
