Want to know if your poem is good, here is how I tell the difference between just feelings on paper and skill anyone agree?
LIMERICKS
The Elements Of Limericks
There are five lines.
Note: Lines 3 and 4 are often printed on the same physical line.
Rhyming scheme (a a b b a):
Lines 1, 2, and 5 rhyme
Lines 3 and 4 rhyme.
Number of syllables:
Some of the examples in textbooks vary, but the number of syllables usually follows this pattern:
Line 1- 8 syllables.
Line 2 - 8 syllables.
Line 3 - 5 syllables.
Line 4 - 5 syllables.
Line 5 - 8 syllables.
Rhythm:
Lines 1, 2, and 5 contain 3 accented syllables.
Lines 3 and 4 contain 2 accented syllables.
Meter:
There is no required metrical scheme, but each line usually has a masculine ending ù that is that each phrase is always stressed, or emphasized, on the last syllable.
Humor:
Limericks thrive on the lack of harmonious agreement between parts. They contain a broad humor that most people appreciate.
There was an old man from Peru
Who dreamt he was eating his shoe.
He awoke in the night
In a terrible fright,
And found it was perfectly true!
BLANK VERSE
Blank verse is an unrhymed poem written using a set metrical pattern.
Here's How:
1.The first thing to note is that rhyme is not used and this poem is built on constant rhythm.
2.Compose a ten syllable line in which the second, fourth, sixth, eighth and tenth syllables bear the accents or stresses.
3.Continue this pattern until the poem is done.
Tips:
1.Iambic pentameter has five beats to a line, which consists of ten syllables each, with every second syllable being stressed.
2.Shakespeare, Milton and Marlowe used blank verse extensively.
3.The term blank verse has been extended to include almost any metrical,
unrhymed poem.
FREE VERSE
Poetry that is based on the irregular rhythmic CADENCE or the recurrence, with variations, of phrases, images, and syntactical patterns rather than the conventional use of METER. RHYME may or may not be present in free verse, but when it is, it is
used with great freedom. In conventional VERSE the unit is the FOOT, or the line; in free verse the units are larger, sometimes being paragraphs or strophes. If the free verse unit is the line, as it is in Whitman, the line is determined by qualities of RHYTHM and thought rather than FEET or syllabic count.
Such use of CADENCE as a basis for POETRY is very old. The poetry of the Bible, particularly in the King James Version, which attempts to approximate the Hebrew CADENCES, rests on CADENCE and PARALLELISM. The Psalms and The
Song of Solomon are noted examples of free verse. Milton sometimes substituted rhythmically constructed VERSE paragraphs for metrically regular lines, notably in the CHORUSES of Samson Agonistes, as this example shows:
But patience is more oft the exercise
Of Saints, the trial of their fortitude,
Making them each his own Deliver,
And Victor over all
That tyranny or fortune can inflict.
Walt Whitman's Leaves of Grass was a major experiment in cadenced rather than metrical VERSIFICATION. The following
lines are typical:
All truths wait in all things
They neither hasten their own delivery nor resist it,
They do not need the obstetric forceps of the surgeon.
Matthew Arnold sometimes used free verse, notably in "Dover Beach." But it was the French poets of the late nineteenth century --Rimbaud, Laforgue, Viele-Griffln, and others--who, in their revolt against the tyranny of strict French VERSIFICATION, established the Vers libre movement, from which the name free verse comes.
In the twentieth century free verse has had widespread usage by most poets, of whom Rilke, St.-John p***e, T. S. Eliot, Ezra Pound, Carl Sandburg, and William Carlos Williams are representative. Such a list indicates the great variety of subject matter,
effect and TONE that is possible in free verse, and shows that it is much less a rebellion against traditional English METRICS than a modification and extension of the resources of our language.
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