2009 Survivor Poetry Challenge: The Rules

Lauren Hynde

Hitched
Joined
Apr 11, 2002
Posts
21,061
2009 Survivor Literotica Poetry Challenge

Objective
  • To write as many new and original poems in the proposed forms and making use of the proposed triggers as possible.

Eligibility
  • The challenge is open to all members of Literotica.com

Entering the Challenge
  • You may enter the challenge at any time before midnight, Eastern Time Zone (UTC-5:00), on October 31, 2009.
  • You may officially enter by pressing "Post Reply" in the Taking Names and Keeping Score thread and giving notice of your intention to participate. You may begin tracking your scores immediately after.

Winning the Challenge
  • The participant with the most points wins!
  • Winners will be announced shortly after 1/5/2010.

Prizes
  • There will be prizes, but with this being the debut year of the Survivor Poetry Challenge, it is still undetermined how many or what the prizes will be. You can at least expect Amazon.com gift certificates, I'm told, but think of this first edition of the challenge as one of those things where doing the best you can is its best reward.

Rules

Poems
  • There will be two lists of requirements in place for the challenge:
  • Participants are to write as many poems as possible, with each poem making use a different trigger on the List of Triggers.
  • For every two of those poems, at least one must also respond to the requirements of a different form on the List of Forms.
  • Until both lists are exhausted, no form or trigger can be used a second time.
  • If a participant exhausts both lists, that participant is allowed to keep writing, under the same rules as until then, but is no longer obliged to use any of the triggers on the List of Triggers. That participant, however, will still have to write one poem using a different form from the List of Forms for every two poems written.

  • All poems must be accepted and posted at Literotica.com.
  • Only poems with posting dates between 1/21/2009 and 1/1/2010 are eligible for Survivor.
  • Only poems that are still posted at Literotica.com on 1/4/2010 are eligible for Survivor. If a poem is removed from Literotica.com before then, it will not count for points.
  • Each poem most be original work from the participant for points to be awarded. Poems that had been previously published, at Literotica.com or elsewhere, are not eligible for points.

Immunities
  • Immunities can be used to fill a form/trigger combination without the need to write a poem that responds to that combination.
  • Immunities are awarded on a weekly basis.
  • There is no requirement to participate in Immunities. A participant may forego all Immunity activity.
  • Immunities are won based on the weekly Wednesday Lottery available here: http://lottery.merseyworld.com
  • Participants may select a single number between 1 and 49. The selected number must be posted by the participant prior to 7:30pm (GMT) on Wednesday for the number to the considered for that day's draw.
  • Immunities won must be claimed by 7:30pm (GMT) on the following Wednesday.
  • If you won an immunity, the first thing to do is to reply to the official Immunities thread, choosing the form and trigger you want to apply it to. This is the only way to validate the immunity.
  • Do not edit that post after 7:30pm GMT on Wednesday. If you do, your immunity will be invalidated. This post is the only way to positively verify the trigger/form you chose.
  • When you register an immunity in your scorecard, please list the date the immunity was won.

Scoring
  • Each participant will have his or her own scorecard in the scorecard thread, to keep track of scoring.
  • It's each participant's responsibility to accurate track his or her own poem scores, immunities, and bonus points.
  • Participants are encouraged to track their points regularly and maintain their scorecards updated at all times.
  • Participants have until midnight, Eastern Time Zone (UTC-5:00), on 1/4/2010 to make any changes to their scorecards.

Poems
  • Each valid poem is worth 1 point.

Immunities
  • Each valid immunity is worth 0 points.

Bonuses
  • Bonus round challenges will be issued in the Poetry Feedback & Discussion forum, featuring a unique form and/or trigger, on the following dates:
  • Participation on each of these bonus round challenges is worth 3 points.
  • Participation on all 12 bonus round challenges is worth 12 additional points.

Miscellany
  • Participants and winners retain copyright to all works submitted.
  • Any questions should be directed to me! You can contact me via Private Message at any time. You can also post your questions, suggestions or comments in the Discussion and Announcements thread.
  • 2009 Survivor Literotica Poetry Challenge is only sponsored by Literotica.com. Literotica.com claims on liability in the administration of the challenge.
 
Last edited:
List of Forms


  • Cinquain (Crapsey's)
    Short poetic form invented by Adelaide Crapsey. It consists, in the first line, of one iamb; in the second of two iambs; in the third, of three; in the fourth, of four; and in the fifth of one iamb again.

    Triad

    These be [1 iamb]
    Three sil|ent things: [2 iambs]
    The fal|ling snow | ... the hour [3 iambs]
    Before | the dawn | ... The mouth | of one [4 iambs]
    Just dead. [1 iamb]
    Often, the first or the last line consists of two strongly accented syllables instead of a iamb. Cinquains do not usually have obvious rhymes.

  • Clerihew
    Short humorous poem invented by Edmund Clerihew Bentley. It is biographical and usually whimsical, showing the subject from an unusual point of view, but it is hardy ever satirical, abusive, or obscene. It consists of four lines of irregular length (for comic effect) with a rhyme scheme of aabb. The first line consists solely (or almost solely) of a well-known person's name (the subject of the poem).

    Carl Gustav Jung [a]
    was very well hung, [a]
    a fact which annoyed
    Sigmund Freud.



    [*]Curtal Sonnet
    Eleven-line form invented by Gerald Manley Hopkins, which a rhyme scheme of abcabc dbcdc. The first ten lines are usually but not always written in iambic pentameter, with the eleventh line always being a spondee (two stressed syllables in a row, as in "Watch out!" or "Stop that!")

    Pied Beauty

    Glory be to God for dappled things— [a]
    ...For skies of couple-colour as a brinded cow;
    ......For rose-moles all in stipple upon trout that swim; [c]
    Fresh-firecoal chestnut-falls; finches’ wings; [a]
    ...Landscape plotted and pieced—fold, fallow, and plough;
    ......And áll trádes, their gear and tackle and trim. [c]

    All things counter, original, spare, strange; [d]
    ...Whatever is fickle, freckled (who knows how?)
    ......With swift, slow; sweet, sour; adazzle, dim; [c]
    He fathers-forth whose beauty is past change: [d]
    ...............Praise him. [c] [spondee]



    [*]Double Dactyl
    Usually humorous poem invented by Anthony Hecht and Paul Pascal, made up of two quatrains, rhyming on their last line. Each quatrain is composed of three lines of double dactyls (strong-weak-weak strong-weak-weak), with the last line being a single dactyl followed by a single stress (strong-weak-weak strong). The first line of the first quatrain is a repetitive nonsense, and the second line of that same quatrain is the subject of the poem, a proper noun. At least one line on the second quatrain must be made up entirely of a single double dactyl word, like "va-le-dic-tor-i-an".

    Small Problem

    Higgamus | Hoggamus [repetitive nonsense]
    "Anton Von | Leewenhoek [subject]
    Has a small | problem," con-
    Fided his wife. [a]

    "Microbi|ology [single word]
    Doesn't dis|turb me; his
    Microan|atomy's
    Blighting my life!" [a]


    [*]Ghazal
    6th century Persian poem usually expressing the pain of loss and separation and the beauty of love despite of that pain. It consists of five or more couplets, each line having the same meter. The second line of each couplet ends with the repetition of a refrain of one or a few words (known as radif), preceded by a rhyme (known as qaafiyaa). In the first couplet, which introduces the theme, both lines end in the rhyme and refrain. There can be no enjambment across the couplets; each couplet must be a complete unit in itself, and could even be understood to be a poem on its own.

    Where are you now? Who lies beneath your spell tonight?
    Whom else from rapture’s road will you expel tonight?

    Those “Fabrics of Cashmere--“ ”to make Me beautiful--“
    “Trinket”-- to gem– “Me to adorn– How– tell”-- tonight?

    I beg for haven: Prisons, let open your gates–
    A refugee from Belief seeks a cell tonight.

    God’s vintage loneliness has turned to vinegar–
    All the archangels– their wings frozen– fell tonight.

    Lord, cried out the idols, Don’t let us be broken
    Only we can convert the infidel tonight.

    ...

    And I, Shahid, only am escaped to tell thee–
    God sobs in my arms. Call me Ishmael tonight.​


    [*]Glosa
    Poetic composition very popular in romantic countries between the 14th and 17th centuries, it is comprised of two parts: an introductory short stanza authored by another poet (called the mote, or motto); and the glosa itself, a stanza or series of stanzas that expand on the theme presented by the mote. For Survivor purposes, let's establish that the mote must be a stanza with between 4 and 6 lines, previously written and published by the poet of your choice. The glosa itself must be comprised of between 4 and 6 stanzas (one stanza for each line of the mote), and each of these stanzas must adhere to the structure of the mote. The first line of the mote must be incorporated into the first stanza of the glosa, the second line of the mote must be incorporated into the second stanza of the glosa, and so on.
    mote:
    Ah, fill the cup: -- what boots it to repeat [a]
    How time is slipping underneath our feet:
    Unborn tomorrow, and dead yesterday, [c]
    Why fret about them if today be sweet! [d]
    ----------------Omar Khayyam, rubaï #39


    The tides of youth have washed off from the shore.
    Like butterflies we flare. Retreat more. More.
    Ah, fill the cup: -- what boots it to repeat [a]
    what’s out of reach, whatever its allure?

    The world stretches too far beyond our ken
    of wild roses, lavender till then--
    How time is slipping underneath our feet:
    beating sparrow winged questions: How? When?

    For like Narcissus, anyone can fall
    into the deeps of self in woe this small:
    Unborn tomorrow, and dead yesterday, [c]
    drowning in somewhere, lost in not at all.

    Seeing the face of love is knowing God
    Peonies and the tree line, paths we trod
    Why fret about them if today be sweet? [d]
    Kiss time in moments, disdain your façade.



    [*]Haiku, Senryu or Zappai
    Short Japanese poetic forms.

    When written in English, Haiku is characterized by: 1) the use of three (or fewer) lines of 17 (or fewer) syllables; 2) use of a season word; and 3) use of a cut (sometimes indicated by a punctuation mark), to contrast and compare, implicitly, two events, images, or situation. The typical length of English-language haiku is 10-14 syllables.
    An old pond
    A frog jumps in—
    the sound of water.
    -----------------Basho
    Senryu is similar to haiku in terms of structure, but tends to be about human foibles rather than about nature, and is often cynical or darkly humorous. Unlike haiku, senryu do not usually include a season word or a contrasting cut.
    The robber,
    when I catch,
    my own son.
    -------Senryu Karai
    Zappai too is similar to haiku and senryu in terms of structure, but tends to be more humorous and reflecting local, regional, or cultural nuances.
    Cook it in the can
    SPAM, block of cheese, brown sugar
    I can't get it out
    ---------------Phil and Amy Timberlake


    [*]Limerick
    Form of light verse popularized in English by Edward Lear, usually witty or humorous, sometimes obscene with humorous intent. It is comprised of 5 lines, with a rhyme pattern of aabba. The first, second, and fifth lines are longer, usually with 3 beats in 9 syllables. The third and fourth lines are shorter, usually with 2 beats in 6 syllables.
    There once was a man from Nantucket [a]
    Whose dick was so long he could suck it. [a]
    While wiping his chin,
    He said with a grin,
    "If my ear were a cunt, I could fuck it." [a]



    [*]Onegin Stanza
    Fixed verse form invented by Alexander Pushkin. It's written in iambic tetrameter (four iambs per line) and a rhyme scheme of aBaB ccDD eFFe GG, where uppercase letters represent masculine rhymes (a rhyme on a single stressed syllable at end of the line) and lowercase represent feminine rhymes (a rhyme on two or more syllables at the end of the line, ending on an unstressed syllable).
    I'm friendly, female, twenty-seven, [a]
    Well-rounded too, and somewhat square.
    I've not yet known romantic heaven, [a]
    But harbor hopes of getting there.
    I'm fit—at least, I'm not convulsive; [c]
    And fun, I hope, though not impulsive. [c]
    To match the handsomeness you flaunt [D]
    (I do not mean this as a taunt; [D]
    I find immodesty disarming), [e]
    I have heard several people say [F]
    I am good-looking, in my way. [F]
    So if you'd like to meet, Prince Charming, [e]
    That shows discernment. If you flout [G]
    My charms, you are a tasteless lout. [G]



    [*]Pantoum
    Malayan stanza form of interlocking poetry composed of quatrain stanzas, with 4 stanzas in length. The meter is usually iambic tetrameter or pentameter. The second and fourth lines of each stanza become the first and third lines of the following stanza. The second and fourth lines of the last stanza are the same as the third and first lines of the first stanza. A simple abab rhyme scheme is common, but optional.
    Teasing from afar, I seductively undress. [a1]
    Thin linen mist conceals my true desires, [b1]
    As jagged breathing cries for your caress, [a2]
    Wet pulsing figure, expert touch requires-- [b2]

    Thin linen mist conceals my true desires, [b1]
    Hands roam beneath a white unbuttoned shirt. [c1]
    Wet pulsing figure, expert touch requires. [b2]
    I play with myself, the embodiment of flirt-- [c2]

    Hands roam beneath a white unbuttoned shirt. [c1]
    Amid two heartbeats, a nipple comes to view. [d1]
    I play with myself, the embodiment of flirt, [c2]
    Tantalizingly slow, I strip naked for you-- [d2]

    Amid two heartbeats, a nipple comes to view [d1]
    As jagged breathing cries for your caress. [a2]
    Tantalizingly slow, I strip naked for you, [d2]
    Teasing from afar, I seductively undress--[a1]


    [*]Rondeau
    French poetry form with 15 lines written on two rhymes, with three stanzas--a quintet, a quatrain, and a sestet, in that order--rhyming aabba aabR aabbaR. Lines 9 and 15 are short, a 4-syllable refrain consisting of the first part of the first line. All other lines should be the same length, with 8 or 10 syllables.
    In Flanders fields the poppies grow [a]
    Between the crosses, row on row, [a]
    That mark our place, and in the sky,
    The larks, still bravely singing, fly,
    Scarce heard amid the guns below. [a]

    We are the dead; short days ago [a]
    We lived, felt dawn, saw sunset glow, [a]
    Loved and were loved, and now we lie
    In Flanders fields.

    Take up our quarrel with the foe! [a]
    To you from failing hands we throw [a]
    The torch; be yours to hold it high!
    If ye break faith with us who die
    We shall not sleep, though poppies grow [a]
    In Flanders fields.



    [*]Roundelay (Dryden's)
    Set poetry form invented by John Dryden that is 24 lines in length--four sestets--and turns on only two rhymes. Except for the first and second lines of stanza one, and the third and fourth lines of stanza four, all the rest of the lines in the poem are repeated elsewhere, in a particular order: abA1B1A2B2 A1B1A3B3A2B2 A3B3A4B4A2B2 A4B4abA2B2. The two middle lines of each stanza become the first two lines of the following stanza, and the last two lines of each stanza are always the same.
    Chloe found Amyntas lying, [a]
    ....All in tears upon the plain;
    Sighing to himself, and crying, [a1]
    ....Wretched I, to love in vain! [b1]
    Kiss me, dear, before my dying; [a2]
    ....Kiss me once, and ease my pain! [b2]

    Sighing to himself, and crying, [a1]
    ....Wretched I, to love in vain! [b1]
    Ever scorning and denying [a3]
    ....To reward your faithful swain: [b3]
    Kiss me, dear, before my dying; [a2]
    ....Kiss me once, and ease my pain: [b2]

    Ever scorning, and denying [a3]
    ....To reward your faithful swain: [b3]
    Chloe, laughing at his crying, [a4]
    ....Told him, that he loved in vain: [b4]
    Kiss me, dear, before my dying; [a2]
    ....Kiss me once, and ease my pain! [b2]

    Chloe, laughing at his crying, [a4]
    ....Told him, that he loved in vain: [b4]
    But repenting, and complying, [a]
    ....When he kiss'd, she kiss'd again:
    Kiss'd him up before his dying; [a2]
    ....Kiss'd him up, and eased his pain. [b2]



    [*]Sestina
    12th century form invented by Arnaut Daniel, consisting of six sestets followed by a tercet (called its envoy), for a total of 39 lines. The same set of six words ends the lines of each of the sestets, each time in a different order: abcdef faebdc cfdabe ecbfad deacfb bdfeca. The final tercet includes words b and e in the first line, d and c in the second line, f and a in the third line, although there is flexibility about this positioning. Sestinas are usually written in iambic pentameter or another 10-syllable meter.
    September rain falls on the house.
    In the failing light, the old grandmother
    sits in the kitchen with the child
    beside the Little Marvel Stove,
    reading the jokes from the almanac,
    laughing and talking to hide her tears.

    She thinks that her equinoctial tears
    and the rain that beats on the roof of the house
    were both foretold by the almanac,
    but only known to a grandmother.
    The iron kettle sings on the stove.
    She cuts some bread and says to the child,

    It's time for tea now; but the child
    is watching the teakettle's small hard tears
    dance like mad on the hot black stove,
    the way the rain must dance on the house.
    Tidying up, the old grandmother
    hangs up the clever almanac

    on its string. Birdlike, the almanac
    hovers half open above the child,
    hovers above the old grandmother
    and her teacup full of dark brown tears.
    She shivers and says she thinks the house
    feels chilly, and puts more wood in the stove.

    It was to be, says the Marvel Stove.
    I know what I know, says the almanac.
    With crayons the child draws a rigid house
    and a winding pathway. Then the child
    puts in a man with buttons like tears
    and shows it proudly to the grandmother.

    But secretly, while the grandmother
    busies herself about the stove,
    the little moons fall down like tears
    from between the pages of the almanac
    into the flower bed the child
    has carefully placed in the front of the house.

    Time to plant tears, says the almanac.
    The grandmother sings to the marvelous stove
    and the child draws another inscrutable house.​


    [*]Sonnet (English or Spenserian)
    Form of lyrical poetry, the sonnet consists of 14 lines, traditionally written in iambic pentameter. The English sonnet is structured as three quatrains and a couplet, following a scheme of abab cdcd efef gg. The third quatrain generally introduces an unexpected sharp thematic turn, called volta. The final couplet generally summarizes the theme of the poem or introduces a fresh new look at the theme.
    Let me not to the marriage of true minds [a]
    Admit impediments, love is not love
    Which alters when it alteration finds, [a]
    Or bends with the remover to remove.
    ---O no, it is an ever fixed mark [c]
    ---That looks on tempests and is never shaken; [d]
    ---It is the star to every wand'ring bark, [c]
    ---Whose worth's unknown although his height be taken. [d]
    Love's not time's fool, though rosy lips and cheeks [e]
    Within his bending sickle's compass come, [f]
    Love alters not with his brief hours and weeks, [e]
    But bears it out even to the edge of doom: [f]
    ---If this be error and upon me proved, [g]
    ---I never writ, nor no man ever loved. [g]

    The Spenserian sonnet is a variant that instead uses an interlocked rhyming scheme of abab bcbc cdcd ee. In this case, there is no requirement for a volta after the second quatrain, being instead the three quatrains treated as a unit followed by a couplet.
    Happy ye leaves! when those lily hands, [a]
    Which hold my life in their dead doing might,
    Shall handle you, and hold in love's soft bands, [a]
    Like captives trembling at the victor's sight.
    ---And happy lines on which, with starry light,
    ---Those lamping eyes will deign sometimes to look, [c]
    ---And read the sorrows of my dying sprite,
    ---Written with tears in heart's close bleeding book. [c]
    And happy rhymes! bathed in the sacred brook [c]
    Of Helicon, whence she derived is, [d]
    When ye behold that angel's blessed look, [c]
    My soul's long lacked food, my heaven's bliss. [d]
    ---Leaves, lines, and rhymes seek her to please alone, [e]
    ---Whom if ye please, I care for other none. [e]



    [*]Sonnet (Italian)
    Form of lyrical poetry, the sonnet consists of 14 lines, traditionally written in iambic pentameter. The Italian sonnet is structured as two quatrains and two tercets, following a rhyme scheme of abba abba cde cde, abba abba cdc cdc, or abba abba cde dcd. The two quatrains, typically, describe a problem, which is resolved in the two tercets. The 9th line creates a turn (volta) that signals the move from proposition to resolution. The final line of the final tercet is called golden key, closing and giving meaning to the entire poem.
    When I consider how my light is spent [a]
    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 [a]

    To serve therewith my Maker, and present [a]
    My true account, lest he returning chide;
    "Doth God exact day-labor, light denied?"
    I fondly ask; but Patience to prevent [a]

    That murmur, soon replies, "God doth not need [c]
    Either man's work or his own gifts; who best [d]
    Bear his mild yoke, they serve him best. His state [e]

    Is Kingly. Thousands at his bidding speed [c]
    And post o'er land and ocean without rest; [d]
    They also serve who only stand and wait." [e]



    [*]Tanka
    Short Japanese poetic form, it consists of 5 lines, usually with a mora pattern of 5-7-5 / 7-7. When written in English, this should translate into five lines, following a short-long-short-long-long pattern. Tanka uses formal and traditional language with no apparent rhyme, often containing a pivot linking the two ideas present in the poem. It tackles the theme in an emotional and subjective manner, but relating to the physical and objective, taking a human perspective, and often relating humanity to nature. It's imagistic and symbolic, often making use of metaphor and anthropomorphism, and tries to transmit aesthetic ideals and philosophical concepts such as mysteriousness and transience.
    Soon my life will close
    When I am beyond this world
    And have forgotten it,
    Let me remember only this:
    One final meeting with you.
    ---------------------Izumi Shikibu

    Even when the gods
    Held sway in ancient days,
    I have never heard
    That water gleamed with autumn red
    As it does in Tatta's stream.
    -----------------------Ariwara no Narihira


    [*]Tritina
    Poetry form similar to the sestina, but considerably simpler, as there are only three repeating words. It's a 10-line poem, consisting of three tercets and an ending line. The last words of each line in the first tercet are repeated as the last words of each line in the other tercets, in different orders: abc cab bca. All three words appear in the final line as well, in the original order. All lines should be of a common meter or length.
    First, grant me this conceit: that your body
    Lives as perfect metaphor, perfect blend
    Of draftsmanship, of brushwork, pigment, paint

    That even Botticelli couldn't paint
    In Birth of Venus. True female body,
    Idealized as Sex and Love in blend,

    Fused to archetype of form. To that blend
    Add charm, wit, cleverness—then try to paint.
    No art, no skill, captures such a body.

    That body blend with mine. Coat me like paint.​


    [*]Triolet
    Short French poem, with 8 lines in length, turning on only two rhymes and including two refrains: ABaAabAB. Every line has the same metrical length.
    Around the house the flakes fly faster,
    And all the berries now are gone
    From holly and cotoneaster [a]
    Around the house. The flakes fly! – faster
    Shutting indoors the crumb-outcaster [a]
    We used to see upon the lawn
    Around the house. The Flakes fly faster
    And all the berries now are gone!



    [*]Villanelle
    French poetic form of five triplet stanzas and a concluding quatrain, turning on only two rhymes. The first and third lines of triplet 1 are refrains, the first of which reappears as lines 6, 12, and 18; the second reappears as lines 9, 15, and 19: A1bA2 abA1 abA2 abA1 abA2 abA1A2. Every line has the same metrical length.
    Do not go gentle into that good night, [a]
    Old age should burn and rave at close of day;
    Rage, rage against the dying of the light. [a]

    Though wise men at their end know dark is right, [a]
    Because their words had forked no lightning they
    Do not go gentle into that good night. [a]

    Good men, the last wave by, crying how bright [a]
    Their frail deeds might have danced in a green bay,
    Rage, rage against the dying of the light. [a]

    Wild men who caught and sang the sun in flight, [a]
    And learned, too late, they grieved it on its way,
    Do not go gentle into that good night. [a]

    Grave men, near death, who see with blinding sight
    Blind eyes could blaze like meteors and be gay,
    Rage, rage against the 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.
    Do not go gentle into that good night. [a]
    Rage, rage against the dying of the light. [a]



    [*]Ballad (5 stanzas or more)
    Ballad measure is a four-line stanza form with an abcb rhyme scheme, used in longish poems that narrate a story, and consists of alternating tetrameter and trimeter lines: 4 beats on lines 1 and 3, and 3 beats on lines 2 and 4. They can be iambic, or they can be podic, with variable numbers of unaccented syllables.
    It is an ancient Mariner, [4 beats]
    And he stoppeth one of three. [3 beats]
    "By thy long beard and glittering eye, [4 beats]
    Now wherefore stopp'st thou me? [3 beats]

    The Bridegroom's doors are opened wide, [a]
    And I am next of kin;
    The guests are met, the feast is set: [c]
    May'st hear the merry din."

    He holds him with his skinny hand,
    "There was a ship," quoth he.
    "Hold off! unhand me, grey-beard loon!"
    Eftsoons his hand dropt he.

    ...



    [*]Blank Verse (20 lines or more)
    Any unrhymed accentual-syllabic verse. By far, the most common blank verse in English language is in iambic pentameter, but can be done in iambic tetrameter, trochaic dimeter, dactylic hexameter, spondaic septameter, etc. As long as you maintain consistency throughout the poem.
    But, soft! | what light | through yon|der win|dow breaks? [5 iambs]
    It is| the east, | and Ju|liet is | the sun. [5 iambs]
    Arise, | fair sun, | and kill | the en|vious moon, [5 iambs]
    Who is already sick and pale with grief,
    That thou, her maid, art far more fair than she.
    Be not her maid, since she is envious;
    Her vestal livery is but sick and green
    And none but fools do wear it; cast it off.
    It is my lady, O, it is my love!
    O, that she knew she were!​


    [*]Heroic Couplet (20 lines or more)
    A unit of verse consisting of two lines of iambic pentameter rhyming aa. There may be enjambment within each couplet, but there shouldn't be any in between different couplets.
    O could | I flow | like thee, | and make | thy stream
    My great | exam|ple, as | it is | my theme!
    Though deep, yet clear, though gentle, yet not dull, [a]
    Strong without rage, without o'erflowing full. [a]
    ...​


    [*]Ottava Rima (3 stanzas or more)
    Italian stanza form consisting of 8 lines written in iambic pentameter and a rhyme scheme of abababcc.
    I want | a he|ro: an | uncom|mon want, [a]
    When every year and month sends forth a new one,
    Till, after cloying the gazettes with cant, [a]
    The age discovers he is not the true one;
    Of such as these I should not care to vaunt, [a]
    I'll therefore take our ancient friend Don Juan—
    We all have seen him, in the pantomime, [c]
    Sent to the devil somewhat ere his time. [c]



    [*]Rubaiyat Quatrain (5 stanzas or more)
    Arabic form that consists of 4-line stanzas (rubai) rhyming aaba. The third line of each stanza becomes the main rhyme of the following stanza. The last stanza sometimes uses in its third line the main rhyme of the first stanza of the sequence. There should be no enjambment between stanzas.
    Whose woods these are I think I know, [a]
    His house is in the village though. [a]
    He will not see me stopping here,
    To watch his woods fill up with snow. [a]

    My little horse must think it queer,
    To stop without a farmhouse near,
    Between the woods and frozen lake, [c]
    The darkest evening of the year.

    He gives his harness bells a shake, [c]
    To ask if there is some mistake. [c]
    The only other sound's the sweep, [d]
    Of easy wind and downy flake. [c]

    ...



    [*]Terza Rima (4 stanzas or more + finale)
    Interlocked-rhyme stanza form invented by Dante. It's an accentual-syllabic (usually iambic pentameter) form consisting of any number of interlocked, enclosed triplet stanzas. The first and third lines of each triplet rhyme; the second line rhyme of each triplet becomes the rhyme for the following stanza: aba bcb cdc ded... The traditional ending (finale) of a terza rima poem consists of a couplet rhymed from the second line of the last triplet.
    O wild West Wind, thou breath of Autumn's being [a]
    Thou from whose unseen presence the leaves dead
    Are driven like ghosts from an enchanter fleeing, [a]

    Yellow, and black, and pale, and hectic red,
    Pestilence-stricken multitudes! O thou [c]
    Who chariotest to their dark wintry bed

    The wingèd seeds, where they lie cold and low, [c]
    Each like a corpse within its grave, until [d]
    Thine azure sister of the Spring shall blow [c]

    Her clarion o'er the dreaming earth, and fill [d]
    (Driving sweet buds like flocks to feed in air) [e]
    With living hues and odours plain and hill; [d]

    Wild Spirit, which art moving everywhere; [e]
    Destroyer and preserver; hear, O hear! [e]
 
Last edited:
List of Triggers


  1. Acrostic
    Write a poem whose initial letter of each line, when read down, form a word that constitutes the theme of the poem. The minimum length for this poem is 5 lines - forming, therefore, a 5-letter word.

  2. Acrostic (double, inverted)
    Write a poem whose initial letter of each line, when read down, form a word that constitutes the theme of the poem. At the same time, the last letter of each line, when read up, must form that same word again. The minimum length for this poem is 5 lines - forming, therefore, a 5-letter word.

  3. Audio
    Write a poem whose theme is sound. See Audio Story FAQ for information on submitting audio works to Literotica.com.

  4. Cento #1
    Write a poem, with a minimum length of 7 lines, made up of lines lifted from poems by other authors posted at Literotica.com.

  5. Cento #2
    Write a poem, with a minimum length of 7 lines, made up of lines lifted from famous speeches made by public figures.

  6. Dramatic Monologue
    Write a poem, with a minimum length of 21 lines, constituting a modern-day dramatic monologue in which you introduce yourself to your readers.

  7. Illustrated #1
    Write a poem that illustrates or is illustrated by a photo on NASA's Image of the Day Gallery. See Illustrated Story FAQ for information on submitting illustrated works to Literotica.com.

  8. Illustrated #2
    Write a poem that illustrates or is illustrated by an artwork of your own authorship. See Illustrated Story FAQ for information on submitting illustrated works to Literotica.com.

  9. Keyword #1
    Write a poem that includes one of the following words: neverending, highway, cocktail.

  10. Keyword #2
    Write a poem that includes one of the following words: cartilage, crocodile, reptilian

  11. Keyword #3
    Write a poem that includes one of the following words: disassociation, engulfment, suppression

  12. Keyword #4
    Write a poem that includes one of the following words: persimmon, scarecrow, skylark

  13. Keywords #1
    Write a poem that includes all of the following words: ghost, cigarette, photography

  14. Keywords #2
    Write a poem that includes all of the following words: clown, cynical, pillow

  15. Keywords #3
    Write a poem that includes all of the following words: fool, game, starlight

  16. Keywords #4
    Write a poem that includes all of the following words: knife, siren, speed

  17. Point-of-View #1
    Write a poem as if from the point of view of a Persian carpet.

  18. Point-of-View #2
    Write a poem as if from the point of view of the car of your choice.

  19. Point-of-View #3
    Write a poem as if from the point of view of a mosquito.

  20. Point-of-View #4
    Write a poem as if from the point of view of a piece of clothing.

  21. Point-of-View #5
    Write a poem as if from the point of view of an adult toy.

  22. Point-of-View #6
    Write a poem as if from the point of view of a red clay brick.

  23. Point-of-View #7
    Write a poem as if from the point of view of a speck of dust.

  24. Point-of-View #8
    Write a poem as if from the point of view of a nosy neighbour.

  25. Quotation #1
    Write a poem that includes the phrase "perfectly motionless, perfectly behaved".

  26. Quotation #2
    Write a poem that includes the phrase '"Sh! not so loud: he’ll hear you," Mary said.'

  27. Quotation #3
    Write a poem that includes the phrase "so was it when my life began".

  28. Quotation #4
    Write a poem that includes the phrase "in a kingdom by the sea".

  29. Quotation #5
    Write a poem that includes the phrase "lesbian counter-attacks".

  30. Quotation #6
    Write a poem that includes the phrase "the plot, the plot!".

  31. Quotation #7
    Write a poem that includes the phrase "there's flowers and corpses".

  32. Quotation #8
    Write a poem that includes the phrase "that's what jazz means to me".

  33. Theme #1
    Write a poem about a real-life crime story.

  34. Theme #2
    Write a poem about abnormal weather.

  35. Theme #3
    Write a poem about the old lady who feeds the pigeons on the town square.

  36. Theme #4
    Write a poem about what's behind a tin-foil covered window.

  37. Theme #5
    Write a poem about shopping for breakfast cereals.

  38. Theme #6
    Write a poem about ballroom dancing.

  39. Theme #7
    Write a poem about your secret pleasure.

  40. Theme #8
    Write a poem about an empty theatre.

  41. Theme #9
    Write a poem about your backyard.

  42. Theme #10
    Write a poem that reinvents a popular fairy tale.

  43. Title #1
    Write a poem with the title "The Night Wears a Sombrero".

  44. Title #2
    Write a poem with the title "Electro-Convulsive Therapy".

  45. Title #3
    Write a poem with the title "Zero-Gravity Tea Ceremony".

  46. Title #4
    Write a poem with the title "Baby Pictures of Famous Dictators".

  47. Title #5
    Write a poem with the title "Holy Trinity!"

  48. Title #6
    Write a poem with the title "DIY".

  49. Title #7
    Write a poem with the title "The Man Who Wasn't There".

  50. Title #8
    Write a poem with the title "The Black Russian".
 
Last edited:
Back
Top