Elements of Poetry

POETRY ASSUMPTIONS
Readers of poetry often bring with them many related assumptions:
That a poem is to be read for its "message,"
That this message is "hidden" in the poem,
The message is to be found by treating the words as symbols which naturally do
not mean what they say but stand for something else,
You have to decipher every single word to appreciate and enjoy the poem.
There are no easy ways to dispel these biases. Poetry is difficult because very
often its language is indirect. But so is experience - those things we think, feel,
and do. The lazy reader wants to be told things and usually avoids poetry because
it demands commitment and energy. Moreover, much of what poetry has to offer
is not in the form of hidden meanings. Many poets like to "play" with the sound of
language or offer an emotional insight by describing what they see in highly
descriptive language. In fact, there can many different ways to enjoy poetry; this
reflects the many different styles and objectives of poets themselves. For an
overview of the many ways to read a poem, click here. Finally, if you are the type
to give up when something is unclear, just relax! Like we just said, there can be
many different approaches to examining poetry; often these approaches (like
looking for certain poetic devices or examining the meaning of a specific phrase)
do not require a complete and exhaustive analysis of a poem. So, enjoy what
you do understand!
 
FIRST APPROACHES
Read the poem (many students neglect this step). Identify the speaker and the
situation. Feel free to read it more than once! Read the sentences literally. Use
your prose reading skills to clarify what the poem is about.Read each line
separately, noting unusual words and associations. Look up words you are unsure
of and struggle with word associations that may not seem logical to you.Note any
changes in the form of the poem that might signal a shift in point of view. Study
the structure of the poem, including its rhyme and rhythm (if any). Re-read the
poem slowly, thinking about what message and emotion the poem communicates
to you.
STRUCTURE and POETRY

An important method of analyzing a poem is to look at the stanza structure or

style of a poem. Generally speaking, structure has to do with the overall
organization of lines and/or the conventional patterns of sound. Again, many
modern poems may not have any identifiable structure (i.e. they are free verse),
so don't panic if you can't find it!

STANZAS: Stanzas are a series of lines grouped together and separated by an

empty line from other stanzas. They are the equivalent of a paragraph in an essay.
One way to identify a stanza is to count the number of lines. Thus:
couplet (2 lines)
tercet (3 lines)
quatrain (4 lines)
cinquain (5 lines)
sestet (6 lines) (sometimes it's called a sexain)
septet (7 lines)
octave (8 lines) 

FORM: A poem may or may not have a specific number of lines, rhyme scheme
and/or metrical pattern, but it can still be labeled according to its form or style.
Here are the three most common types of poemsaccording to form:
1. Lyric Poetry: It is any poem with one speaker (not necessarily the poet) who
expresses strong thoughts and feelings. Most poems, especially modern ones, are
lyric poems. 

2. Narrative Poem: It is a poem that tells a story; its structure resembles the plot
line of a story [i.e. the introduction of conflict and characters, rising action, climax
and the denouement].

3. Descriptive Poem: It is a poem that describes the world that surrounds the

speaker. It uses elaborate imagery and adjectives. While emotional, it is more
"outward-focused" than lyric poetry, which is more personal and introspective. 
In a sense, almost all poems, whether they have consistent patterns of sound
and/or structure, or are free verse, are in one of the three categories above. Or,
of course, they may be a combination of 2 or 3 of the above styles! Here are some
more types of poems that are subtypes of the three styles above:
Ode: It is usually a lyric poem of moderate length, with a serious subject, an
elevated style, and an elaborate stanza pattern.
Elegy: It is a lyric poem that mourns the dead. [It's not to be confused with
a eulogy.]It has no set metric or stanzaic pattern, but it usually begins by
reminiscing about the dead person, then laments the reason for the death, and
then resolves the grief by concluding that death leads to immortality. It often uses
"apostrophe" (calling out to the dead person) as a literary technique. It can have a
fairly formal style, and sound similar to an ode.

Sonnet: It is a lyric poem consisting of 14 lines and, in the English version, is

usually written in iambic pentameter. There are two basic kinds of sonnets: the
Italian (or Petrarchan) sonnet and the Shakespearean (or Elizabethan/English)
sonnet. The Italian/Petrarchan sonnet is named after Petrarch, an Italian
Renaissance poet. The Petrarchan sonnet consists of an octave (eight lines) and a
sestet (six lines). The Shakespearean sonnet consists of three quatrains (four lines
each) and a concluding couplet (two lines). The Petrarchan sonnet tends to divide
the thought into two parts (argument and conclusion); the Shakespearean, into
four (the final couplet is the summary).

Ballad: It is a narrative poem that has a musical rhythm and can be sung. A ballad
is usually organized into quatrains or cinquains, has a simple rhythm structure,
and tells the tales of ordinary people.

Epic: It is a long narrative poem in elevated style recounting the deeds of a

legendary or historical hero.    
Qualities of an Epic Poem:
narrative poem of great scope; dealing with the founding of a nation or some
other heroic theme requires a dignified theme requires an organic unity requires
orderly progress of the action always has a heroic figure or figures involves
supernatural forces
written in deliberately ceremonial style
  
Other types of poems include:
Haiku: It has an unrhymed verse form having three lines (a tercet) and usually
5,7,5 syllables, respectively. It's usually considered a lyric poem.

Limerick: It has a very structured poem, usually humorous & composed of five
lines (a cinquain), in an aabba rhyming pattern; beat must be anapestic (weak,
weak, strong) with 3 feet in lines 1, 2, & 5 and 2 feet in lines 3 & 4. It's usually a
narrative poem based upon a short and often ribald anecdote.
 
For more about poetic forms, see the Open School Notes on Poetry Forms.

SOUND PATTERNS
Three other elements of poetry are rhyme scheme, meter (ie. regular rhythm)
and word sounds (like alliteration). These are sometimes collectively called sound
play because they take advantage of the performative, spoken nature of poetry.
 
RHYME
 
Rhyme is the repetition of similar sounds. In poetry, the most common kind of
rhyme is the end rhyme, which occurs at the end of two or more lines. It is usually
identified with lower case letters, and a new letter is used to identify each new
end sound. Take a look at the rhyme scheme for the following poem :
 
I saw a fairy in the wood,
He was dressed all in green.
He drew his sword while I just stood,
And realized I'd been  seen.
 
The rhyme scheme of the poem is abab.
.
Internal rhyme occurs in the middle of a line, as in these lines from Coleridge, "In
mist or cloud, on mast or shroud" or "Whiles all the night through fog-smoke
white" ("The Ancient Mariner"). Remember that most modern poems do not have
rhyme.

NOTE: Rhyme (above) and rhythm (below) are two totally different concepts! 

RHYTHM AND METER

 I recommend starting with this podcast on rhythm and meter.

Meter: the systematic regularity in rhythm; this systematic rhythm (or sound

pattern) is usually identified by examining the type of "foot" and the number of
feet.
1. Poetic Foot: The traditional line of metered poetry contains a number of
rhythmical units, which are called feet. The feet in a line are distinguished as a
recurring pattern of two or three syllables("apple" has 2 syllables, "banana" has 3
syllables, etc.). The pattern, or foot, is designated according to the number of
syllables contained, and the relationship in each foot between the strong and
weak syllables.Thus:

__ = a stressed (or strong, or LOUD) syllable

U = an unstressed (or weak, or quiet) syllable
 
In other words, any line of poetry with a systematic rhythm has a certain number
of feet, and each foot has two or three syllables with a constant beat pattern .
a.     Iamb (Iambic) - weak syllable followed by strong syllable. [Note that the
pattern is sometimes fairly hard to maintain, as in the third foot.]

b.     Trochee (Trochaic): strong syllable followed by a weak syllable.

c.     Anapest (Anapestic): two weak syllables followed by a strong syllable.

e.g.
In her room at the prow of the house
Where light breaks, and the windows are tossed... 

From "The Writer", by Richard Wilbur

 
d.     Dactyl (Dactylic): a strong syllable followed by two weak syllables.

DD

Here's another (silly) example of dactylic rhythm.

DDDA was an / archer, who / shot at a / frog
DDDB was a / butcher, and / had a great / dog
DDDC was a / captain, all / covered with / lace
DDDD was a / drunkard, and / had a red / face.
 
e.     Spondee (Spondaic): two strong syllables (not common as lines, but appears
as a foot). A spondee usually appears at the end of a line. 

2. The Number of Feet: The second part of meter is the number of feet contained
in a line.
Thus:
one foot=monometer
two feet=dimeter
three feet=trimeter
four feet=tetrameter
five feet=pentameter
six feet=hexameter (when hexameter is in iambic rhythm, it is called an
alexandrine)
Poems with an identifiable meter are therefore identified by the type of feet (e.g.
iambic) and the number of feet in a line (e.g. pentameter). The following line is
iambic pentameter because it (1) has five feet [pentameter], and (2) each foot has
two syllables with the stress on the second syllable [iambic].
That time | of year | thou mayst | in me | behold
Thus, you will hear meter identified as iambic pentameter, trochaic tetrameter,
and so on.
  

3. Irregularity: Many metered poems in English avoid perfectly regular rhythm

because it is monotonous. Irregularities in rhythm add interest and emphasis to
the lines. In this line:

 
The first foot substitutes a trochee for an iamb. Thus, the basic iambic
pentameter is varied with the opening trochee.

4. Blank Verse: Any poetry that does have a set metrical pattern (usually iambic

pentameter), butdoes not have rhyme, is blank verse. Shakespeare frequently
used unrhymed iambic pentameter in his plays; his works are an early example of
blank verse.

5. Free Verse: Most modern poetry no longer follows strict rules of

meter or rhyme, especially throughout an entire poem. Free verse, frankly, has no
rules about meter or rhyme whatsoever! [In other words, blank verse has rhythm,
but no rhyme, while free verse has neither rhythm norrhyme.] So, you may find it
difficult to find regular iambic pentameter in a modern poem, though you might
find it in particular lines. Modern poets do like to throw in the occasional line or
phrase of metered poetry, particularly if they’re trying to create a certain effect.
Free verse can also apply to a lack of a formal verse structure.
 
How do I know if a poem has meter? How do I determine the meter?
To maintain a consistent meter, a poet has to choose words that fit. For example,
if a poet wants to write iambic poetry, s/he has to choose words that have a
naturally iambic rhythm. Words like betray and persuade will work in an iambic
poem because they are naturally iambic. They sound silly any other way.
However, candle and muscle will work best in a trochaic poem, because their
natural emphasis is on the first syllable. (However, a poet can use trochaic words
if s/he places a one syllable word in front of them. This often leads to poetic feet
ending in the middle of words - after one syllable - rather than the end.) It's not
surprising that most modern poetry is not metered, because it is very restrictive
and demanding.
Determining meter is usually a process of elimination. Start reading everything
in iambic by emphasizing every second syllable. 80 to 90% of metered poetry is
iambic. If it sounds silly or strange, because many of the poem's words do not
sound natural, then try trochaic, anapestic or dactylic rhythms. If none of these
sounds natural, then you probably do not have metered poetry at all (ie. it's free
verse).
If there are some lines that sound metered, but some that don't, the poem has
an irregular rhythm.
For more help, try this review of metered poetry.

For more about verse, see the Open School Notes on Verse.

For more about poetic rhythm, meter and rhyme, see the Open School Notes on
rhythm, meter and rhyme.
 

WORD SOUNDS
 
Another type of sound play is the emphasis on individual sounds and words:
Alliteration: the repetition of initial sounds on the same line or stanza
- Big bad Bob bouncedbravely.
Assonance: the repetition of vowel sounds (anywhere in the middle or end of a
line or stanza) - Tilting at windmills
Consonance: the repetition of consonant sounds (anywhere in the middle or end
of a line or stanza) - And all the air a solemn stillness holds. (T. Gray)
Onomatopoeia: words that sound like that which they describe - Boom! Crash!
Pow! Quack! Moo!Caress...
Repetition: the repetition of entire lines or phrases to emphasize key thematic
ideas.
Parallel Stucture: a form of repetition where the order of verbs and nouns is
repeated; it may involve exact words, but it more importantly repeats sentence
structure - "I came, I saw, I conquered".

MEANING and POETRY

I said earlier that poetry is not always about hidden or indirect meanings
(sometimes called meaning play). Nevertheless, if often is a major part of poetry,
so here some of the important things to remember: 

CONCRETENESS and PARTICULARITY

In general, poetry deals with particular things in concrete language, since our
emotions most readily respond to these things. From the poem's particular
situation, the reader may then generalize; the generalities arise by implication
from the particular. In other words, a poem is most often concrete and particular;
the "message," if there is any, is general and abstract; it's implied by the images.
Images, in turn, suggest meanings beyond the mere identity of the specific object.
Poetry "plays" with meaning when it identifies resemblances or makes
comparisons between things; common examples of this "figurative" comparison
include:
ticking of clock = mortality
hardness of steel = determination 
white = peace or purity
Such terms as connotation, simile, metaphor, allegory, and symbol are aspects of
this comparison. Such expressions are generally called figurative or metaphorical
language.
 
DENOTATION AND CONNOTATION
Word meanings are not only restricted to dictionary meanings. The full meaning
of a word includes both the dictionary definition and the special meanings and
associations a word takes in a given phrase or expression. For example, a tiger is a
carnivorous animal of the cat family. This is the literal or denotative meaning. But
we have certain associations with the word: sinuous movement, jungle violence,
and aggression. These are the suggestive, figurative or connotative meanings.
 
 
FIGURATIVE/CONNOTATIVE DEVICES
Simile is the rhetorical term used to designate the most elementary form of
resemblances: most similes are introduced by "like" or "as." These comparisons
are usually between dissimilar situations or objects that have something in
common, such as "My love is like a red, red rose."
A metaphor leaves out "like" or "as" and implies a direct comparison between
objects or situations. "All flesh is grass." For more on metaphor, click here.
Synecdoche is a form of metaphor, which in mentioning an important (and
attached) part signifies the whole (e.g. "hands" for labour).
Metonymy is similar to synecdoche; it's a form of metaphor allowing an object
closely associated (butunattached) with a object or situation to stand for the thing
itself (e.g. the crown or throne for a king or the bench for the judicial system).
A symbol is like a simile or metaphor with the first term left out. "My love is like a
red, red rose" is a simile. If, through persistent identification of the rose with the
beloved woman, we may come to associate the rose with her and her particular
virtues. At this point, the rose would become a symbol.
Allegory can be defined as a one to one correspondence between a series of
abstract ideas and a series of images or pictures presented in the form of a story
or a narrative. For example, George Orwell's Animal Farm is an extended allegory
that represents the Russian Revolution through a fable of a farm and its rebellious
animals.
Personification occurs when you treat abstractions or inanimate objects as
human, that is, giving them human attributes, powers, or feelings (e.g., "nature
wept" or "the wind whispered many truths to me").
Irony takes many forms. Most basically, irony is a figure of speech in which actual
intent is expressed through words that carry the opposite meaning.
Paradox: usually a literal contradiction of terms or situations
Situational Irony: an unmailed letter
Dramatic Irony: audience has more information or greater perspective than the
characters
Verbal Irony: saying one thing but meaning another
Overstatement (hyperbole)
Understatement (meiosis)
Sarcasm
Irony may be a positive or negative force. It is most valuable as a mode of
perception that assists the poet to see around and behind opposed attitudes, and
to see the often conflicting interpretations that come from our examination of
life. 
For more on irony, read the FVDES Notes on Irony.
 
For more about words used for "sound play," see the Open School Notes on
Figurative Language.
 

POETRY AS A LANGUAGE OF INDIRECTION

Thus, if we recognize that much of the essential quality of our experience is more
complex than a simple denotative statement can describe, then we must
recognize the value of the poet's need to search for a language agile enough to
capture the complexity of that experience. Consider this four-line stanza:
O Western wind, when wilt thou blow
That the small rain down can rain?
Christ, that my love were in my arms,
And I in my bed again!
The center of the poem is the lover's desire to be reunited with his beloved (lines
3 and 4). But the full meaning of the poem depends on the first two lines also.
Obviously, the lover associates his grief with the wind and rain, but the poet
leaves to implication, to indirection, just how the lover's situation and the wind
and rain are related. We note that they are related in several ways: the need for
experiencing and manifesting love is an inherent need, like nature's need for rain;
in a word, love, like the wind and rain, is natural. Secondly, the lover is living in a
kind of drought or arid state that can only be slaked by the soothing presence of
the beloved. Thirdly, the rising of the wind and the coming of the rain can neither
be controlled nor foretold exactly, and human affairs, like the lover's
predicament, are subject to the same sort of chance.
Undoubtedly, too, there are associations with specific words, like "Western" or
"small rain" that the reader is only half aware of but which nonetheless
contribute to meaning. These associations or connotations afford a few
indirections that enrich the entire poem. For example, "small rain" at once
describes the kind of rain that the lover wants to fall and suggests the joy and
peace of lover's tears, and "small" alone might suggest the daintiness or
femininity of the beloved.
 

 
Poetry Forms - Definitions and Examples
Sonnet - a short rhyming poem with 14 lines. The original sonnet form was
invented in the 13/14th century by Dante and an Italian philosopher named
Francisco Petrarch. The form remained largely unknown until it was found
and developed by writers such as Shakespeare. Sonnets use iambic meter
in each line and use line-ending rhymes.
For more about Sonnets, read How To Write A Sonnet (here also on the FFP
Poetry Forums)
Limerick - a five-line witty poem with a distinctive rhythm. The first, second
and fifth lines, the longer lines, rhyme. The third and fourth shorter lines
rhyme. (A-A-B-B-A).
For more about Limericks, read How To Write A Limerick on the FFP Poetry
Forums
Haiku - This ancient form of poem writing is renowned for its small size as
well as the precise punctuation and syllables needed on its three lines. It is
of ancient Asian origin.
Haiku's are composed of 3 lines, each a phrase. The first line typically has
5 syllables, second line has 7 and the 3rd and last line repeats another 5.
In addition there is a seasonal reference included.
For more about Haiku's, read How To Write A Haiku
Narrative - A narrative poem tells the story of an event in the form of a
poem. There is a strong sense of narration, characters, and plot.
See Narrative Poem Examples
Epic - a lengthy narrative poem in grand language celebrating the
adventures and accomplishments of a legendary or conventional hero
Couplet - two lines of verse which rhyme and form a unit alone or as part of
a poem
Free Verse - A Free Verse Poem does not follow any rules. Their creation is
completely in the hands of the author. Rhyming, syllable count,
punctuation, number of lines, number of stanzas, and line formation can be
done however the author wants in order to convey the idea. There is no
right or wrong way to create a Free Verse poem. See Free Verse Poem
Examples
READ MORE ABOUT POETIC FORM

Source: http://www.familyfriendpoems.com/poems/other/

Poetic Forms - Types Of Poems

Poetry is a genre that has a lot of variation. Some poems are extremely structured,
following a certain rhyme scheme and syllable count, while others allow more
creative freedom.
PRINT
Poetic Forms
By Tynea Lewis More By Tynea Lewis
Published on March 2014
Poetry comes in a variety of forms. Some forms have more structure than others.
Some follow rules that have to do with rhyming, syllables, repetition, etc. Others
are an expression that are fully in the hands of the author. Explore these common
forms, and give them a try.
ABC Poem
Acrostic
Bio Poem
Cinquain
Concrete
Diamante
Emotion Poem
Free Verse
Haiku
Limerick
Narrative
Pantoum
Sonnet
Tanka
Villanelle
ABC Poem
In an ABC poem, each line of the poem begins with a letter in the alphabet,
starting with A and moving in order through Z. Examples of ABC poems:
A Friend
Chaotic Places
Alphabet of Love
ABC's of Him
A Beautiful Child
General Templates of ABC Poem (PDF): ABC Poem Template on 1 page ABC
Poem Template on 2 pages
Acrostic
This is a form of poetry where the first or last letters of each line create a name,
word, or phrase. You can find these words by looking vertically at the beginning or
end of the lines. Examples of Acrostic poems:
Gently Picked Flower
Rainbow
Bernetta V. Smith
My Sister Is Loving
The Golden Rule
A Cry For Help
Motivation
A Family
Bio Poem
A bio poem is used to reveal information to the reader about the poet. Line 1: First
name Line 2: Who is... (descriptive words that describe you) Line 3: Who is the
brother/sister or son/daughter of... Line 4: Who loves...(three ideas) Line 5: Who
feels...(three ideas) Line 6: Who needs...(three ideas) Line 7: Who gives...(three
ideas) Line 8: Who fears...(three ideas) Line 9: Who would like to see...(three
ideas) Line 10: Who shares...(three ideas) Line 11: Who is...(three ideas) Line 12:
Who is a resident of...(your town) Line 13: Last name Example of a Bio poem:
Tynea Who is creative, loyal, and quiet. Who is the sister of Travis. Who loves
writing, fall, and a good book. Who feels excitement, anticipation, and joy. Who
needs quiet, sleep, and love. Who fears crocodiles, losing loved ones, and knives.
Who would like to see miracles, more sunrises, and Ireland. Who shares laughs,
hugs, and advice. Who is a writer, mother, and friend. Who is a resident of
Pennsylvania. Lewis Bio Poem Template (PDF)
Cinquain
A cinquain is a 5 line poem that follows a specific format. There are various types
of cinquains. Some are created with a number of words or syllables in mind.
Another form is created using various parts of speech. Words: Line 1- 1 word Line
2- 2 words Line 3- 3 words Line 4- 4 words Line 5- 1 word Examples of
cinquains based on word count: Sun Poems Don't Have to Rhyme
Syllables: Line 1-2 syllables Line 2- 4 syllables Line 3- 6 syllables Line 4- 8
syllables Line 5- 2 syllables Examples of cinquains based on syllable count:
Morning by Tynea Lewis
Restless Waiting for light Darkness covers the earth Until sun crests over the hill
Morning Eucalyptus Tree House Parts of Speech: Line 1- noun Line 2- 2
adjectives Line 3- 3 -ing words Line 4- a phrase Line 5- another word for the noun
from line 1 Example of a cinquain based on parts of speech:
Car by Tynea Lewis
Car Fast, yellow Speeding, swerving, moving Carrying teenagers away
Transportation General Templates for Cinquains (PDF): Cinquain Template-
Word Count Cinquain Template-Syllable Count Cinquain Template-Parts of
Speech
Concrete
A concrete poem is written in a way that the words create the shape of the subject
of the poem. Examples of Concrete Poems:
A View Of A Cat
Sword
Girls Are Like Apple Trees
Diamante
A diamante poem is a 7 line poem that looks like a diamond. It does not have to
rhyme. It can be used to describe 1 topic or 2 opposite topics. Line 1: 1 word
(subject/noun) Line 2: 2 adjectives that describe line 1 Line 3: 3 -ing words that
relate to line 1 Line 4: 4 nouns (first 2 relate to line 1, last 2 relate to line 7--if
you're writing about opposite topics) Line 5: 3 -ing words that relate to line 7 Line
6: 2 adjectives that describe line 7 Line 7: 1 word (subject/noun) Examples of
Diamante Poems:
Loyalty Betrayal (Diamante)
A Diamante Poem: NOISE
General Templates for Diamante Poems Synonym Diamante (PDF) Antonym
Diamante-color coded (PDF)
Emotion Poem
An emotion poem is used to describe various emotions, good or bad, using
descriptive language. There are a couple different emotion poem formats to follow,
and you could always come up with your own. Line 1: State the emotion Line 2:
Describe the emotion as a color Line 3: It happens when... Line 4: It sounds like...
Line 5: And smells like... Line 6: Restate the emotion Example of an Emotion
poem:
Anger by Tynea Lewis
Anger Is the color of lava spilling from a volcano. It happens when a vase shatters
into slivers on the floor. It sounds like a car screeching to a halt And smells like
burning toast. Anger Line 1: State the emotion Line 2: It smells like... Line 3: It
tastes like... Line 4: It sounds like... Line 5: It feels like... Line 6: It looks like...
Line 7: (Emotion) is... Example of an emotion poem:
Love by Tynea Lewis
Love It smells like a deep red rose opening in the sun. It tastes like delectable
chocolate melting in your mouth. It sounds like the birds chirping on a clear spring
morning. It feels like a fire on a cold winter's night. It looks like an ocean scene
painted by God. Love is unpredictable and breathtaking. Try writing an emotion
poem yourself: Emotion Poem Template (PDF) Emotion Poem Template-5
senses (PDF)
Free Verse
Free verse poems do not follow any rules. Their creation is completely in the hands
of the author. Rhyming, syllable count, punctuation, number of lines, number of
stanzas, and line formation can be done however the author wants in order to
convey the idea. There is no right or wrong way to create these poems. Examples
of Free Verse Poems:
Dreaming On Paper
Hopeful Future
Swoosh, Boom, Crunch, Howl
The Pencil Case
The Dream
See Me
Without You
Dreaming of the Night
Haiku
This is a form of Japanese poetry that follows a specific syllable pattern. It's made
up of 3 lines, consisting of 17 syllables in total. Haikus are usually about a specific
part of nature. Line 1: 5 syllables Line 2: 7 syllables Line 3: 5 syllables Examples
of Haikus
Spring
October's Gold
Thanksgiving Haiku
First Blueberries of Summer
Buttercup Meadow
A Chandelier
Sakura Wa Kawaii Desuyo
Halloween
Try writing a haiku yourself: Haiku Template (PDF)
Limerick
A limerick is a short, humorous poem that follows a determined rhyme scheme of
AABBA. This five line poem also follows a syllable count. Line 1: 7-10 syllables
Line 2: 7-10 syllables Line 3: 5-7 syllables Line 4: 5-7 syllables Line 5: 7-10
syllables Examples of Limericks:
My Foolish Dog
The Elderly Toilet
Not Another Nantucket Limerick!
An Ice Cream Limerick
Guy Named Noah
The Man From Greece
Try writing a limerick yourself: Limerick Template (PDF)
Narrative
A narrative poem tells the story of an event in the form of a poem. Examples of
Narrative Poems:
I Still Love You, You're My Big Brother
Buccaneers
One Look
Haiku
This is a form of Japanese poetry that follows a specific syllable pattern. To create
this poem, follow these steps.
Write a quatrain (4 line stanza). Writing emotional lines usually works best.
Take lines 2 and 4 of the first stanza and make them lines 1 and 3 of the second
stanza.
Take lines 2 and 4 of the second stanza and make them lines 1 and 3 of the third
stanza.
Continue your poem using this pattern.
For your last stanza, go back to the first stanza of the poem. Make line 3 of the first
stanza line 2 of your last. Make line 1 of the first stanza line 4 in your last.
Example of pantoum: Her Smile Try writing a pantoum yourself: Pantoum
Template (PDF)
Sonnet
A sonnet is a 14 line poem with a specific rhyme scheme. Each type of sonnet
follows a different rhyming scheme. English (Shakespearean) Sonnet 14 line
poem 3 quatrains (4 line stanzas) followed by 1 couplet (2 line stanza) Rhyming
scheme of ABAB CDCD EFEF GG
All We Will Be By Tynea Lewis
He sits, paying no attention to me. I wonder what is going through his head. It
hurts knowing friends is all we will be. His unexpected glace turns my face red.
His mud brown eyes are so piercing and deep. Then a smile fills his flawless,
tanned face. If only into his heart I could creep. The slow motion moment makes
my heart race. Our time together is a dream come true But I fear he can see into my
heart. When I am with him, I don't feel so blue, But something new won't be able
to start. Since nothing will be, onward I must go. These feelings I have to hide and
not show. Example of English (Shakespearean) Sonnet: In The Shadow of Your
Warm Love A Geisha's Tale Italian (Petrarchan) Sonnet 14 line poem 1
octave (8 line stanza) followed by 1 sestet (6 line stanza) Rhyming scheme of
ABBAABBA CDCCDC (or CDECDE)
When I Consider How My Light Is Spent By John Milton
When I consider how my light is spent Ere half my days, in this dark world and
wide, And that one talent which is death to hide Lodged with me useless, though
my soul more bent To serve therewith my Maker, and present My true account, lest
he returning chide; "Doth God exact day-labor, light denied?" I fondly ask; but
Patience to prevent That murmur, soon replies, "God doth not need Either man's
work or his own gifts; who best Bear his mild yoke, they serve him best. His state
Is kingly. Thousands at his bidding speed And post o'er land and ocean without
rest: They also serve who only stand and wait." Spenserian Sonnet 14 line poem 3
quatrains followed by 1 couplet Rhyming scheme of ABAB BCBC CDCD EE
Edmund Spenser (c. 1552-1599)
What guile is this, that those her golden tresses She doth attire under a net of gold;
And with sly skill so cunningly them dresses, That which is gold or hair, may
scarce be told? Is it that men's frail eyes, which gaze too bold, She may entangle in
that golden snare; And being caught may craftily enfold Their weaker hearts,
which are not yet well aware? Take heed therefore, mine eyes, how ye do stare
Henceforth too rashly on that guileful net, In which if ever ye entrapped are, Out of
her bands ye by no means shall get. Folly it were for any being free, To covet
fetters, though they golden be. General Templates for Sonnets (PDF): English
(Shakespearian) Sonnet Italian (Petrarchan) Sonnet Spenserian Sonnet
Tanka
A tanka is another Japanese form of poetry that follows a syllable format. This
poem is composed of 5 lines. Lines 1 and 3 have 5 syllables. Lines 2, 4, and 5
contain 7 syllables each. Line 1- 5 syllables Line 2- 7 syllables Line 3- 5 syllables
Line 4- 7 syllables Line 5- 7 syllables Tanka examples:
Journey of a Dewdrop By Paul Holmes
One diamond dewdrop Sparkles in morning sunlight Then, slowly drips down A
dandelion's green stem Nourishing its thirsty roots. Autumn's Snowflakes Try
writing a tanka yourself: Tanka Template (PDF)
Villanelle
5 tercets (3 line stanzas) with ABA rhyme scheme Followed by 1 quatrain (4 line
stanza) with ABAA rhyme scheme The first and third lines of the tercet are
alternately repeated as the last lines of the remaining stanzas. Villanelle Examples:
The End By Tynea Lewis
No one told me about this pain. Everything hurts, even my pride. It's these
emotions I am forced to contain. Tears have fallen from my eyes like a steady rain.
Nothing can take back those nights I've cried. No one told me about this pain. My
feelings I cannot even explain. To you, my heart was open wide. Now it's these
emotions I have to contain. I'm at the point where I feel nothing but shame Because
I thought you were going to be my guide. If only I was warned about this pain.
With you is where I wanted to remain. Now I have to continue on with a long
stride, But these emotions I am forced to contain. Please tell me our relationship
was not in vain. I hope to not regret having tried. No one told me about this pain.
It's these emotions I am forced to contain. A Villanelle based on Matthew 25:40
Try writing a villanelle yourself:

Source: http://www.familyfriendpoems.com/poem/article-poetic-forms
This is my first limerick ever.

There once was a guy named Charlie

Who liked to eat lots of barley
He just shook his head
and said, "Well instead",
I'll just take off on my Harley.

How To Write A Haiku

By Hanna Nelimarkka More By Hanna Nelimarkka
Published on March 29, 2016

Haiku is probably the most well-known form of traditional Japanese poetry. Its
short structure and aphorism-like nature has inspired countless people to put their
pen on the paper – or their fingers on the keyboard. A well-written haiku is a great
example of the art of conveying much while saying very little. Therefore, writing
haiku is very good exercise to all aspiring poets; even those who rather stick to
their sonnets or free verse.
The three aspects of haiku
If your goal is to write a haiku that follows all the conventions of a traditional
haiku, then there are three things you need to consider:
The 5-7-5 form
The meeting of two different but related images or ideas
A seasonal reference
Let’s take a look at these aspects one at a time through some examples.
The modern haiku is all about the form
The most commonly known aspect of a haiku is its form: 17 syllables divided into
three lines of five, seven and then five syllables again. Especially modern haiku
usually disregard the other traditional elements of haiku poetry and only stick to
these basic rules. And that is perfectly ok! Sometimes less is more - especially
when it comes to restricting your creativity with too many rules. The funny side of
haiku One of the most viral contemporary haiku was written by Rolf Nelson, It has
since become so popular that it has even been printed on t-shirts. (5)  Haikus are
easy (7)  But sometimes they don’t make sense (5)  Refrigerator Nelson’s
humoristic approach to haiku is loved by many, and has inspired a lot of people to
try the haiku-game that has become popular on discussion boards. Playing is very
simple – whatever you post, stick to the syllable count! The game can be set up as
a conversation between the players, as a one long poem everyone collaborates on
or as a challenge where anyone can join in by creating a haiku from the theme
supplied by the previous player. It’s a lighthearted and fun way to get started with
haiku, and an exceptional cure for a writer’s block. The traditional haiku paints a
picture Although the haiku-form might be the most iconic thing about this poetry
style, a true Japanese haiku was originally as much about the content as it was
about the form.
The meeting of two images
What is considered the essence of a haiku is called kiru, which means 'cutting'.
This word is used to describe the way two different images meet in the poem. The
two colliding worlds are divided by a kireji, a 'cutting word' that serves as the
separation between the ideas. Paul Holmes’ beautiful "Haiku Year" poem
illustrates this perfectly – let’s take a look at one of its haiku stanzas. AUGUST (5) 
Ripe golden harvest (7)  Burning sun in azure skies (5)  Labours rewarded. In
Holmes' poem the word ‘skies’ acts as the cutting word by dividing the haiku into
two observations. First one describes the surroundings: golden harvest, burning sun
and azure skies. The second observation brings the poem more depth by creating
an image of something more emotional under that sky; a farmer finally being
rewarded for his hard labor throughout the year. While these two images are
different in nature, they are still strongly connected and inseparable part of the
picture this poem paints.
The seasonal touch
Holmes' poem also includes the third traditional aspect of haiku poetry: seasonal
reference. In Japanese, this is called kigo. The seasonal reference can be anything
that ties the poem to a certain time of the year: falling leaves, frosty windows,
flowers starting to bloom. This feature of haiku is why it is commonly believed
that they should be about nature; this is not strictly speaking true. A haiku can be
written about anything – even refrigerators – and still abide by all the traditional
rules. You just need to add a little ‘seasoning’. Finding the haiku in you  Start by
picking a season. Think about how the world around you changes during that time
of the year and what you like to do. For an example, does winter mean curling up
with a blanket and hot chocolate, or is it a time to hit the slopes? These
observations will become the core of your haiku and put you in a proper mindset
for writing one that is uniquely you. So give it a go and share your work with us –
we are looking forward to reading it!

Source: http://www.familyfriendpoems.com/poem/article-how-to-write-a-
haiku

Narrative Poems
By Tynea Lewis More By Tynea Lewis
Published on January 2014
A narrative poem tells the story of an event in the form of a poem.
It may or may not rhyme.
It could be short or long.
It has a beginning, middle, and end. There is a strong sense of narration, characters,
and plot.
Examples:
I Still Love You, You're My Big Brother by Jade
You were always a risk taker, Especially in the car, you liked to burn rubber, My
mates thought it was funny, it was cool, When you gave them a lift and played the
fool. Driving with no hands, hanging out the sun roof, Shutting you eyes and
generally being a goof Thinking you were some Evil Knieval. Did you know you'd
cause this upheaval? Go to Complete Poem
Narrative Poems Examples:
Buccaneers by Ted L. Glines
One Look by Ashley
The Wedding by John B. Langley
The Dance. by Jarrod Dillon
Hurricane Isabella by Amy Aird
The Home He Knew Best by Ken Budden

Source: http://www.familyfriendpoems.com/poem/article-narrative-poems
Free Verse Poems
By Tynea Lewis More By Tynea Lewis
Published on February 2014
Free verse poems do not follow any rules. Their creation is completely in the hands
of the author. Rhyming, syllable count, punctuation, number of lines, number of
stanzas, and line formation can be done however the author wants, in order to
convey the idea. There is no right or wrong way to create these poems. Examples:
Dreaming On Paper Hopeful Future Swoosh, Boom, Crunch, Howl My Wooded
World The Pencil Case The Dream See Me Dreaming of the Night Without You

Source: http://www.familyfriendpoems.com/poem/article-free-verse-poems

 
Functions of Poetry
Looked at as an empirical phenomenon rather than
 
an ideal concept, poetry reveals functions that are various and overlapping. We fondly
acknowledge the positivefunctions. Poetry can entertain or amuse, we say. It can offer an
unexpected insight or asharp observation. It can move. At moments of crisis or loss, or at
times of rejoicing, itcan offer consolation, comfort, or a decisive way of fixing the meaning and
importanceof the event. It can serve as a vehicle for meditation. With its power to stay in the
mind,it can provide mental coordinates
 
and emotional assurance over many years or decades.All these functions are sources of value
for individuals. But not all the functionsare positive, even in poems acknowledged to be
excellent. Consider the response of Czeslaw Milosz to “Aubade,” Philip Larkin’s
 
appalled contemplation of inevitable deathand one of the icons of twentieth-century English
poetry: “[T]he poem leaves me notonly dissatisfied but indignant,” Milosz wrote, “and I
wonder why myself.” SeamusHeaney cites this objection and expands:“Aubade” does not go
over to the side of the adversary. But its argument doesadd weight to the negative side of the
scale and tip the balance definitely infavour of chemical law and mortal decline . . . . For all its
heartbreaking truths andbeauties, “Aubade” reneges on what Yeats called the “spiritual
intellect’s greatwork.”So we must conclude that among poetry’s functions, at least in recent
times, is that of disturbing, provoking, and causing dissent. In a medium widely credited with
uniqueemotional power, it could hardly be otherwise.In addition to what we might call artistic
functions, there are also social ones.Because the poetry of a period has typical subjects and
favored styles, it can serve as amarker of the tastes of its era. Indeed, at any moment in
history, certain poems, and thecommunal response to them, can be taken as a social
definition of a sane and desirableattitude toward experience. If Whitman’s work evokes
widespread approval, then cultureand civilization are nudged in a certain direction. If it evokes
yawns, derision, or disdain,

history
For a more in-depth table of the history of poetry, see  List of years in poetry.

The Deluge tablet, carved in stone, of theGilgamesh epic in Akkadian, circa 2nd

millennium BC.
Poetry as an art form may predate literacy.[1] The earliest poetry is believed to
have been recited or sung, employed as a way of remembering oral
history, genealogy, and law. Poetry is often closely related to musical traditions,
and the earliest poetry exists in the form of hymns (such as the work
of Sumerian priestess Enheduanna). Many of the poems surviving from the
ancient world are recorded prayers, or stories about religious subject matter, but
they also include historical accounts, instructions for everyday activities, love
songs,[2] and fiction.
Many scholars, particularly those researching the Homeric tradition and the oral
epics of the Balkans, suggest that early writing shows clear traces of older oral
traditions, including the use of repeated phrases as building blocks in larger poetic
units. A rhythmic and repetitious form would make a long story easier to
remember and retell, before writing was available as an aide-memoire. Thus
many ancient works, from the Vedas (1700 - 1200 BC) to the Odyssey (800 - 675
BC), appear to have been composed in poetic form to aid memorization and oral
transmission, in prehistoric and ancient societies.[3] Poetry appears among the
earliest records of most literate cultures, with poetic fragments found on
early monoliths, runestones and stelae.
The oldest surviving speculative fiction poem is the Tale of the Shipwrecked Sailor,
[4]
 written in Hieratic and ascribed a date around 2500 B.C.E. Other sources ascribe
the earliest written poetry to the Epic of Gilgamesh written in cuneiform;
however, it is most likely that The Tale of the Shipwrecked
Sailor predates Gilgamesh by half a millennium. The oldest epic poetry besides
theEpic of Gilgamesh are the Greek epics Iliad and Odyssey and
the Indian Sanskrit epics Ramayana and Mahabharata. The longest epic poems
ever written were the Mahabharata and the Tibetan Epic of King Gesar.
Ancient thinkers sought to determine what makes poetry distinctive as a form and
what distinguishes good poetry from bad, resulting in the development of
"poetics", or the study of the aesthetics of poetry. Some ancient societies, such as
the Chinese through the Classic of History, one of the Five Classics, developed
canons of poetic works that had ritual as well as aesthetic importance. More
recently, thinkers struggled to find a definition that could encompass formal
differences as great as those between Chaucer's The Canterbury
Tales and Matsuo Bashō's Oku no Hosomichi, as well as differences in context that
span from the religious poetry of the Tanakh to love poetry to rap.[5]
Context can be critical to poetics and to the development of poetic genres and
forms. For example, poetry employed to record historical events in epics, such
as Gilgamesh or Ferdowsi's Shahnameh,[6] will necessarily be lengthy and
narrative, while poetry used for liturgical purposes
in hymns, psalms, suras andhadiths is likely to have an inspirational tone,
whereas elegies and tragedy are intended to invoke deep internal emotional
responses. Other contexts include music such as Gregorian chants, formal or
diplomatic speech,[7] political rhetoric and invective,[8] light-
hearted nursery and nonsense rhymes, threnodies to the deceased and even
medical texts.[9]
The Polish historian of aesthetics, Władysław Tatarkiewicz, in a paper on "The
Concept of Poetry," traces the evolution of what is two concepts of poetry.
Tatarkiewicz points out that the term is applied to two distinct things that, as the
poet Paul Valéry observes, "at a certain point find union. Poetry [...] is an art
based on language. But poetry also has a more general meaning [...] that is
difficult to define because it is less determinate: poetry expresses a certain state
of mind."
Trivia…
Who was the first poet?
The Akkadian/Sumerian poet Enheduanna (2285-2250 BCE) is the world's first
author known by name and was the daughter of Sargon of Akkad (Sargon the
Great). Whether Enheduanna was, in fact, a blood relative of Sargon's or the title
was figurative is not known.

These techniques are called poetic devices and may include rhyming, metaphors,

similes, etc. Unlike fiction, poetry or poetic language does not have to follow
grammatical rules, which allows readers to sort of unpack the poem and make
meaning.