Some examples of random poetic forms (2/15/15) -- subject to change!

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• A solemn poetic form concerning alcoholic beverages, originating in The Lyric of Coal. The poem is divided into two distinct septets. Use of simile is characteristic of the form. Each line has five feet with a tone pattern of uneven-even.
  
  The first part is intended to make an assertion.
  
  The second part is intended to invert the previous assertion.
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• A solemn poetic form intended to express grief over mining, originating in The Splattered Confederations. The poem is a single octet. Use of internal rhyme, assonance and vivid imagery is characteristic of the form. Each line has six feet with an accent pattern of unstressed-unstressed-stressed (qualitative anapaestic hexameter). The ending of every line of the poem rhymes with every other. The fifth line of the octet contrasts the underlying meaning of the second line. The second line of the octet is required to maintain the phrasing of the first line. The eighth line of the octet uses the same placement of allusions as the first line.
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• A ribald poetic form intended to praise a lover, originating in The Laborious Sun. The poem is a single couplet. Use of assonance, consonance and vivid imagery is characteristic of the form. The second line of the couplet uses the same placement of allusions as the first line. The second line of the couplet presents a different view of the subject of the first line. The first line has six syllables. The second line has nine syllables.
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• A reflective poetic form intended to satirize a chosen subject, originating in The Muddy Monsters. The poem is thirty-six nine-line stanzas. A form of parallelism is common throughout the poem, in that certain lines often share an underlying meaning. Each line has five feet with a syllable weight pattern of long-short (quantitative trochaic pentameter). The eighth line of each stanza reverses the word order of the fourth line. The rhyme scheme of the poem is ABCD1A1CD, where numbers indicate a refrain.
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• A dramatic poetic form intended to make an apology, originating in The Muddy Monsters. The poem is divided into two distinct parts: a line and two septets. Use of consonance and synchysis is characteristic of the form. A form of parallelism is common throughout the poem, in that certain lines have similar grammatical structures. Each line has thirteen syllables.
• The first part concerns the past.
• The second part concerns the future. The ending of each line of this part rhymes with each other.
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• A light poetic form, originating in The Circular Cloisters. The poem is a single tercet. It is always written from the perspective of a traveller. A form of parallelism is common throughout the poem, in that certain lines often contrast underlying meaning. Each line has eight syllables. The ending of every line of the poem rhymes with every other. The first line concerns the past. The second line concerns current events. It must make use of assonance. The third line concerns the future. It must make use of assonance and ambiguity.
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• A reflective poetic form intended to satirize the hunt, originating in The Circular Cloisters. The poem is eleven quatrains. Use of simile is characteristic of the form. Forms of parallelism are common throughout the poem, in that certain lines have similar grammatical structures and they sometimes have reversed word orders. Each line has ten syllables. The ending of every line of the poem rhymes with every other. The second line of each quatrain presents a different view of the subject of the first line. The second line of each quatrain must expand the idea of the first line.
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• A poetic narrative concerning a specific wilderness region, originating in The Circular Cloisters. The poem is divided into three distinct parts: a brief verse paragraph, a quatrain and a line.
• The first part is intended to describe the subject of the poem. It has an initial caesura.
• The second part is intended to develop the previous idea. The fourth line of the quatrain must expand the idea of the first line. It has lines with seven syllables. The ending of each line of this part rhymes with each other.
• The third part is intended to teach a moral lesson. It has seven syllables. It has an initial caesura.
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• A poetic form intended to express grief over a chosen subject, originating in The Mists of Winding. The poem is a single couplet. It is always written from the perspective of a relative of the author. Use of metaphor is characteristic of the form. The second line of the couplet presents a different view of the subject of the first line. The first line concerns the past. It has five feet with a tone pattern of even-uneven-even. The second line concerns current events. It has four feet with a tone pattern of uneven-even-even.
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• A ribald poetic form intended to make an apology concerning nature, originating in The Icy Nightmares. The poem is a single verse paragraph. Use of epenthesis and symbolism is characteristic of the form.
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• A poetic riddle concerning the hunt, originating in The Icy Nightmares. The poem is divided into three distinct parts: a quintain, a tercet and a line. It is always written from the perspective of the author. Use of consonance and vivid imagery is characteristic of the form. Forms of parallelism are common throughout the poem, in that certain lines often contrast underlying meaning and they have similar grammatical structures.
• The first part is intended to make an assertion. Certain lines sometimes have reversed word orders. It has lines with four feet with an accent pattern of unstressed-stressed (qualitative iambic tetrameter). The ending of each line of this part rhymes with each other.
• The second part is intended to make a counter-assertion. Certain lines sometimes have reversed word orders. It has lines with four feet with an accent pattern of unstressed-stressed (qualitative iambic tetrameter). The ending of each line of this part rhymes with each other.
• The third part is intended to synthesize previous ideas. It has four feet with an accent pattern of stressed-unstressed (qualitative trochaic tetrameter).
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• A dramatic poetic form intended to make an apology concerning war, originating in The Tan Empire. The poem is a single line. Use of internal rhyme is characteristic of the form. The poem has five feet with a syllable weight pattern of long-long (quantitative spondaic pentameter). The poem has a terminal caesura.
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• A light poetic form intended to amuse the audience concerning someone recently retired, originating in The Helmed Nation. The poem is four to five quatrains. A form of parallelism is common throughout the poem, in that certain lines have similar grammatical structures. Each line has five feet with an accent pattern of unstressed-stressed (qualitative iambic pentameter). The ending of every line of the poem rhymes with every other. The fourth line of each quatrain uses the same placement of allusions as the first line. The fourth line of each quatrain presents a different view of the subject of the third line.
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• A light poetic form, originating in The Helmed Nation. The poem is divided into two distinct parts: a brief verse paragraph and seventeen tercets. Use of internal rhyme and ambiguity is characteristic of the form. A form of parallelism is common throughout the poem, in that certain lines sometimes have reversed word orders.
• The first part concerns the past.
• The second part concerns current events. Certain lines often contrast underlying meaning. It has lines with five feet with an accent pattern of stressed-unstressed (qualitative trochaic pentameter). The ending of each line of this part rhymes with each other.
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• A reflective poetic form concerning someone's character, originating in The Helmed Nation. The poem is divided into two distinct quatrains. Use of simile is characteristic of the form. Each line has thirteen syllables.
• The first part is intended to make an assertion. The ending of each line of this part rhymes with each other.
• The second part is intended to invert the previous assertion. The ending of each line of this part rhymes with each other.
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• A dramatic poetic form concerning death, originating in The Icy Nightmares. The poem is a single tercet. Use of allegory and metaphor is characteristic of the form. A form of parallelism is common throughout the poem, in that certain lines often share an underlying meaning. The ending of every line of the poem rhymes with every other. The third line of the tercet is required to maintain the phrasing of the second line. The first line is intended to complain about the subject of the poem. It has four feet with an accent pattern of stressed-unstressed-stressed (qualitative cretic tetrameter). The second line is intended to develop the previous idea. It has two feet with an accent pattern of stressed-unstressed-stressed (qualitative cretic dimeter). It has a medial caesura. The third line is intended to move away from previous ideas. It has four feet with an accent pattern of stressed-unstressed-stressed (qualitative cretic tetrameter).
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• A poetic riddle intended to complain about religion, originating in The Mists of Winding. The poem is a single tercet. A form of parallelism is common throughout the poem, in that certain lines sometimes have reversed word orders. Each line has eight feet with a tone pattern of uneven-uneven. The first line must make use of consonance.
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• A reflective poetic form, originating in The Ominous Scourge. The poem is two couplets. It is always written from the perspective of the author. A form of parallelism is common throughout the poem, in that certain lines are required to maintain phrasing. Each line has four feet with an accent pattern of unstressed-stressed-unstressed (qualitative amphibrachic tetrameter). The ending of every line of the poem rhymes with every other. The second line of each couplet must expand the idea of the first line. The first line is intended to describe the past. It has a medial caesura. The second line is intended to move away from previous ideas concerning the future. It has an initial caesura.
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• A poetic narrative concerning immortality, originating in The Infinite Union. The poem is divided into two distinct parts: a line and five tercets. Use of assonance and consonance is characteristic of the form.
• The first part is intended to express grief over the subject of the poem. It has five feet with an accent pattern of stressed-unstressed-unstressed (qualitative dactylic pentameter).
• The second part is intended to describe the subject of the poem. Certain lines present different views of the same subject. It has lines with five feet with an accent pattern of stressed-unstressed (qualitative trochaic pentameter). The ending of each line of this part rhymes with each other.
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• A ribald poetic form intended to amuse the audience concerning the hunt, originating in The Anguished Leaves. The poem is three couplets. Use of metaphor is characteristic of the form.
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• A poetic riddle intended to complain about someone recently deceased, originating in The Amber Relic. The poem is two to three couplets. Forms of parallelism are common throughout the poem, in that certain lines often share an underlying meaning and they sometimes have reversed word orders. The ending of every line of the poem rhymes with every other. The second line of each couplet presents a different view of the subject of the first line. The first line has six syllables. The second line has ten syllables.
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• A poetic riddle intended to satirize a chosen subject, originating in The Amber Relic. The poem is divided into three distinct parts: three tercets, two to four couplets and a line. A form of parallelism is common throughout the poem, in that certain lines use the same placement of allusions. Every line of the poem has a terminal caesura.
• The first part concerns the past. The second line of each tercet must expand the idea of the first line. It has lines with ten syllables. The rhyme scheme respecting the full poem is AAB.
• The second part concerns current events. The second line of each couplet must expand the idea of the first line. It has lines with five syllables. The rhyme scheme respecting the full poem is CC.
• The third part concerns the future. It has nine syllables.
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• A solemn poetic form concerning a specific place, originating in The Amber Relic. The poem is a single tercet. Use of simile is characteristic of the form. A form of parallelism is common throughout the poem, in that certain lines often contrast underlying meaning. The ending of every line of the poem rhymes with every other. The third line of the tercet shares the underlying meaning of the second line. The first line is intended to describe the subject of the poem. It has three syllables. The second line is intended to develop the previous idea. It has six syllables. The third line is intended to teach a moral lesson. It has eight syllables.
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• A dramatic poetic form, originating in The Dune of Feet. The poem is divided into two distinct parts: a quintain and two couplets. Use of elision is characteristic of the form. A form of parallelism is common throughout the poem, in that certain lines have similar grammatical structures. Each line has five feet with a tone pattern of even-uneven-even.
• The first part is intended to describe the past.
• The second part is intended to offer a different perspective concerning current events.
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• A poetic narrative intended to express pleasure with a chosen subject, originating in The Dune of Feet. The poem is divided into two distinct parts: a quatrain and three tercets. A form of parallelism is common throughout the poem, in that certain lines use the same placement of allusions. Each line has four feet with a tone pattern of even-even-uneven.
• The first part concerns the past.
• The second part concerns current events.
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• A poetic narrative concerning family, originating in The Dune of Feet. The poem is a single tercet. Use of simile is characteristic of the form. Each line has four feet with a tone pattern of even-even-uneven. Every line of the poem has an initial caesura. The first line is intended to praise the subject of the poem. The second line is intended to develop the previous idea. It must make use of metaphor. The third line is intended to move away from previous ideas.
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• A ribald poetic form intended to describe religion, originating in The Nations of Holding. The poem is six tercets. Use of alliteration is characteristic of the form. Each line has eight syllables. The ending of every line of the poem rhymes with every other. The third line of each tercet must expand the idea of the first line.
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• A poetic riddle intended to complain about a chosen subject, originating in The Seducer of Webs. The poem is divided into two distinct parts: five ten-line stanzas and seven to nine quatrains. Use of metaphor and vivid imagery is characteristic of the form.
• The first part concerns the past. The tenth line of each stanza uses the same placement of allusions as the first line. It has lines with three feet with an accent pattern of stressed-unstressed-stressed (qualitative cretic trimeter). The ending of each line of this part rhymes with each other.
• The second part concerns current events. Certain lines use the same placement of allusions. It has lines with three feet with an accent pattern of stressed-unstressed (qualitative trochaic trimeter). The ending of each line of this part rhymes with each other.
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• A solemn poetic form intended to make an apology, originating in The Shins of Intricacy. The poem is a single couplet. Each line has six syllables. Every line of the poem has a medial caesura. The first line concerns the past. The second line concerns the future.
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• A dramatic poetic form intended to amuse the audience, originating in The Shins of Intricacy. The poem is two quatrains. Use of symbolism and juxtaposition is characteristic of the form. Forms of parallelism are common throughout the poem, in that certain lines are required to maintain phrasing and they use the same placement of allusions. The fourth line of each quatrain presents a different view of the subject of the first line.
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• A poetic riddle intended to express pleasure with immortality, originating in The Shins of Intricacy. The poem is two to three couplets. Use of epenthesis is characteristic of the form. Forms of parallelism are common throughout the poem, in that certain lines use the same placement of allusions, they sometimes have reversed word orders and they reverse grammatical structures. The second line of each couplet must expand the idea of the first line. The first line has two feet with a tone pattern of even-uneven-even. The second line has two feet with a tone pattern of uneven-uneven.