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Forms of Conventional Poetry

This document summarizes several forms of conventional poetry including haiku, sonnets, limericks, and villanelles. It provides the key characteristics and structures of each form: haiku have 3 lines of 5, 7, and 5 syllables; sonnets can be Petrarchan with an octave and sestet structure or Shakespearean with 3 quatrains and a couplet; limericks have a rhyme scheme in the first, second and last lines; and villanelles have repeating refrains and a strict rhyme scheme. Examples of each form are also included to illustrate their features.

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191 views9 pages

Forms of Conventional Poetry

This document summarizes several forms of conventional poetry including haiku, sonnets, limericks, and villanelles. It provides the key characteristics and structures of each form: haiku have 3 lines of 5, 7, and 5 syllables; sonnets can be Petrarchan with an octave and sestet structure or Shakespearean with 3 quatrains and a couplet; limericks have a rhyme scheme in the first, second and last lines; and villanelles have repeating refrains and a strict rhyme scheme. Examples of each form are also included to illustrate their features.

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Forms of Conventional

Poetry

Conventional poetry refers to poetry that


adheres to traditional forms, such as
sonnets, haikus, and rhymed verse.
A. Haiku
The haiku is a Japanese poetic form that
consists of three lines, with five syllables in
the first line, seven in the second, and five
in the third.

Example:

An old silent pond… 5 syllables


A frog jumps into water. 7 syllables
Splash Silence again, 5 syllables
B. Sonnet
The sonnet is a fixed verse containing 14 lines in iambic
pentameter. A sonnet has two variations: Shakespearean or
Petrarchan, which differ notably in terms of form and subject.

1. Petrarchan Sonnet
Its 14 lines of iambic pentameter is divided into two: the first eight lines, or
"octave," and the final six lines, or "sestet." The octave involves only two
rhymes scheme of ABBA ABBA. The sestet's rhyme schemes varies, but it
involves either two or three rhyme patterns of CDECDE and CDCCDC.
Petrarchan sonnets are traditionally written from the point of view of a man
longing for a woman to return his love. The sonnet sets up a problem or
describes an incident in its octave, then resolves it or reflects on it in the
sestet. The shift in tone between the octave and sestet is called the "turn" or
"volta
Example:

The Long Love That in my Thought Doth Harbour


by Sir Thomas wyatt

The long love that in my thought doth harbour And in mine hert doth
keep his residence, Into my face presseth with bold pretence And
octave
therein campeth, spreading his banner. She that me learneth to love and
suffer And will that my trust and lustës negligence Be rayned by reason,
shame, and reverence, With his hardiness taketh displeasure.
Wherewithall unto the hert's forest he fleeth, Leaving his enterprise
with pain and cry, And there him hideth and not appeareth. What may I sestet
do when my master feareth But in the field with him to live and die? For
good is the life ending faithfully.
B. Sonnet
The sonnet is a fixed verse containing 14 lines in iambic
pentameter. A sonnet has two variations: Shakespearean or
Petrarchan, which differ notably in terms of form and subject.

1. Petrarchan Sonnet
Its 14 lines of iambic pentameter is divided into two: the first eight lines, or
"octave," and the final six lines, or "sestet." The octave involves only two
rhymes scheme of ABBA ABBA. The sestet's rhyme schemes varies, but it
involves either two or three rhyme patterns of CDECDE and CDCCDC.
Petrarchan sonnets are traditionally written from the point of view of a man
longing for a woman to return his love. The sonnet sets up a problem or
describes an incident in its octave, then resolves it or reflects on it in the
sestet. The shift in tone between the octave and sestet is called the "turn" or
"volta
2. Shakespearean Sonnet

Also known as the English sonnet, the Shakespearean sonnet has 14 lines are divided into three 4 lines, or
"quatrains," and the final two lines, or "couplet". The quatrains have a rhyme scheme of ABAB CDCD EFEF, with
the final couplet rhyming GG.

Shakespearean sonnets commonly use the three quatrains to reflect on a given situation in slightly different
ways, although they do sometimes follow the Petrarchan octave- sestet division of material instead. The final
couplet often exhibits a turn or volta containing a shift in perspective, or makes a witty comment about the
foregoing material.

Example:

Shall I compare thee to a summer's day? Thou art more lovely and more temperate. Rough
winds do shake the darling buds of May, And summer's lease hath all too short a date. quatrain
Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And
quatrain
every fair from fair sometime declines, By chance, or nature's changing course, untrimmed;
But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall quatrain
death brag thou wand'rest in his shade, When in eternal lines to Time thou grow'st.
So long as men can breathe, or eyes can see,
couplet
So long lives this, and this gives life to thee.
C. Limerick
The limerick is a humorous poem consisting of five lines where the
first, second, and fifth lines must have seven to ten syllables that
rhyme and have the same rhythm. The third and fourth lines must have
five to seven syllables that should also rhyme with each other and have
the same rhythm.

Example:

There was an Old Man with a beard first line, 8 syllables


Who said, “it is just as I feared! Second line, 8 syllables
Two Owls and a Hen, third line, 5 syllables
Four Larks and a Wren, fourth line, 5 syllables
Have all built their nests in my beard! Fifth line, 8 syllables
D. Villanele
This type of poetry is comprised of a fixed verse of 19 lines which consists of 5 tercets
(first 15 lines), and a quatrain (last 4 lines), where the last two lines of which are
considered as a couplet in itself. There are no fixed numbers of syllables, nor a well-
organized meter, but it follows a set of rhyme scheme of the refrains.
Do Not Go Gentle Into That Good Night
Dylan Thomas
Refrain 1 Do not go gentle into that good night, (a)
Old age should burn and rave at close of day;
(b) Rage, rage against the dying of the light.
Refrain 2
(A) Though wise men at
their end know dark is right, (a)
Because their words had forked no lightning they (b)
Do not go gentle into that good night, (a)
Refrain 1
Good men, the last wave by, crying how bright
(a) Their frail deeds
might have danced in a green bay, (b)
Refrain 2 Rage, rage against the dying of the light. (a)
Wild men who caught and sang the sun in flight, (a)
And learn, too late, they grieved it
on its way, (b) Do
Refrain 1 not go gentle into that good night, (a)
Grave men, near death, who see with blinding sight (a)
Blind eyes could blaze like meteors and be gay,
Rage, (b) rage against the
Refrain 2 dying of the light. (A)
And you, my father, there on the sad height, (a)
Curse, bless me now with your fierce tears, I pray.
(b)
Refrain 1 Do not go gentle into that good night, (a)
Refrain 2 Rage, rage against the dying of the light.
(A)

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