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Introduction   |   What Is Poetry?   |   Poetry Quotes   |   Traditional Poetry Forms   |   Invented Poetry Forms

Invented Poetry Forms:

  bullet   The 7/5 Trochee
  bullet   A L'Arora
  bullet   Alliterisen
  bullet   The Alouette
  bullet   The Blitz Poem
  bullet   The Brevette
  bullet   Cascade
  bullet   Christ-in-a-Rhyme
  bullet   CinqTroisDecaLa
  bullet   Clarity Pyramid
  bullet   Constanza
  bullet   Con-Verse
  bullet   The Compound Word Verse
  bullet   Decuain
  bullet   Diatelle
  bullet   Duo-rhyme
  bullet   Epulaeryu
  bullet   Essence
  bullet   The Florette
  bullet   The Florette #2
  bullet   Grá Reformata
  bullet   Jeffreys Sonnet
  bullet   Joseph's Star
  bullet   Harrisham Rhyme
  bullet   HexSonnetta
  bullet   Inverted Refrain
  bullet   LaCharta
  bullet   LaJemme
  bullet   La'libertas
  bullet   Lannet
  bullet   La'ritmo
  bullet   La’Tuin
  bullet   Lauranelle
  bullet   Lento
  bullet   Licentia Rhyme Form
  bullet   Line Messaging
  bullet   Loop Poetry
  bullet   Mini-monoverse
  bullet   Memento
  bullet   The Mirror Sestet
  bullet   Mirrored Refrain
  bullet   Monchielle
  bullet   Monotetra
  bullet   Musette
  bullet   Nove Otto
  bullet   Octameter
  bullet   Octain Refrain
  bullet   Octelle
  bullet   Oddquain
  bullet   Paradelle
  bullet   Parallelogram de Crystalline
  bullet   The Pictorial
  bullet   Pleiades
  bullet   Puente
  bullet   Quadrilew
  bullet   RemyLa Rhyme Form
  bullet   Rictameter
  bullet   Shadow Sonnet
  bullet   Spirit’s Vessel
  bullet   Staccato
  bullet   Swap Quatrain
  bullet   Synchronicity
  bullet   The Tableau
  bullet   Tri-fall
  bullet   Trijan Refrain
  bullet   Trilonnet
  bullet   Trinet
  bullet   Triquain
  bullet   Triquatrain
  bullet   Triquint
  bullet   Trois-par-Huit
  bullet   Trolaan
  bullet   Vers Beaucoup
  bullet   Villonnet
  bullet   Wrapped Refrain
  bullet   Wrapped Refrain #2
  bullet   ZaniLa Rhyme
 

Grá Reformata

The Grá Reformata, created by Michael King, is based upon the Villanelle form.

Following the basic setting of the Villanelle, the a Grá Reformata has an extra couplet between each tercet. This couplet can be either rhymed within the structure of the rest of the poem, or in free verse, but always in iambic pentameter.

Format:

a-b-a
x-x
a-b-a
x-x
a-b-a
x-x
a-b-a
x-x
a-b-a
a-b-a-a

The x consists of the rhymed, or unrhymed iambic couplet.


Example #1:
Untitled

Indecent these proposals where we lie;
although the structures random beauty falls,
these tear drops ‘pon a river start to cry.

My soulless promenade is hanging high,
my mem’ry stationed true, set to destroy.

Mountaineering pressures hold my eye;
Supported by the Devils weighty calls,
indecent these proposals where we lie.

I stand alone, my pen, my page, not falls,
the splendour in this place, I now deploy.

Now grateful do I sound a burgeoned dye;
Not sinning, I have soldered iron balls,
these tear drops ‘pon a river start to cry.

Now more for me to do, and no more try.
My feelings once again in my employ.

Where once I tainted this, the very sky;
I bounce upon my spirits man-made walls,
indecent these proposals where we lie.

This hopeless beauty to me always calls,
I play upon my heart, a diamond toy.

Though yesteryear I struggled not to pry;
I wandered like a ghost amidst these stalls,
these tear drops ‘pon a river start to cry.

Await the day my tear ducts will be dry, 
and there uphill my Lady to recall.
Indecent these proposals where we lie,
these tear drops ‘pon a river start to cry.

Copyright © 2013 Michael King

Example #2:
Untitled

I met this fool, just standing in the street,
with buttons lined upon his shirt and back;
with pointed toes resembling his poor feet.
 
He beat a box, in tune to the sun’s shine,
just bopped along, a fortune in his mouth.
 
He dared to tell me his life was complete,
but I misheard; my ears could feel the slack.
I met this fool just standing in the street.
 
With rings throughout his face, he was a mess,
unholy living structure in plain sight.
 
His shirt was red, his lapels were replete
with his two hands which he placed back to back;
with pointed toes resembling his poor feet.
 
He called his name, a reference to St. George,
a college boy, a symbol of release.
 
I faltered, clear gold shining from his teeth,
and asked him where I could go for some crack;
I met this fool just standing on the street.
 
He stopped, just stared as though I had no eyes.
His eyes grew wide, and backed into his head.
 
He hit the wall, and then he hit the street,
he ran with all his might, never looked back;
with pointed toes resembling his poor feet.
 
I walked along, somehow remained discreet,
though everywhere I turned, these dogs were black.
I met this fool just standing on the street,
with pointed toes, resembling his poor feet.


Copyright © 2013 Michael King



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