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Showing posts with label rhyme optional. Show all posts
Showing posts with label rhyme optional. Show all posts

Thursday, April 3, 2014

Octain

  • The Octain is an invented verse form begins and ends the poem with the same word. It was created by Lillian Mathilda Svenson.

    The defining features of the Octain are:
    • an octastich, a poem in 8 lines.
    • syllabic, 2-4-6-8-8-6-4-3 syllables per line. Not a typo, the last line takes 3 syllables but the last word must be the same as the first.
    • rhymed or unrhymed. If it is rhymed the rhyme scheme is AbcdbcdA.




My Thanks to Judi Van Gorder for the wonderful resource at PMO

My Example
Octawhat?     (Octain)

Confused?
A multi-form
with rhyming or without,
was named "Octain", ain't that a bitch?
If naming your dog, Dog's the norm
then I won't kick about
an octastitch
though confused.

© Lawrencalot - April 3, 2014



Visual Template

Monday, December 9, 2013

Shadorma

I'm not willing to call this a Spanish form, even though it could be;  it was more likely invented by a disenchanted poet tired of all of the differing and conflicting versions of Haiku popping up.  In the next three lines I'll list everything we KNOW about the form, then some of the sources you might find interesting, including a real beautiful work by Amera.

It is stanzaic, consisting of one or more sestets
It is syllabic 3/5/3/3/7/5
Rhyme and meter are optional



The Shadorma is a Spanish poetic form made up of a stanza of six lines
(sestet)  with no set rhyme scheme.
 It is a syllabic poem with a meter of 3/5/3/3/7/5.
It can have many stanzas, as long as each follows the meter. 
Little is known about this poetic style's origins and history 
but it is used by many modern poets today. 
This variation of the haiku, which is evident by its syllable pattern, 
can be seen in use in many writing venues.

The Shadorma is a poetic form consisting of a six-line stanza (or sestet). The form is alleged to have originated in Spain. Each stanza has a syllable count of three syllables in the first line, five syllables in the second line, three syllables in the third and fourth lines, seven syllables in the fifth line, and five syllables in the sixth line (3/5/3/3/7/5) for a total of 26 syllables. A poem may consist of one stanza, or an unlimited number of stanzas (a series of shadormas).
It has been suggested[by whom?] that the shadorma is not a historical poetic form as it is alleged to be by those who have recently revived and popularized it. There is no evidence of extant early Spanish poetry using this form. Further, the word shadorma does not appear in Spanish-language dictionaries, and no examples of the early usage of the form appear in poetry textbooks or anthologies. Further, there is no literary criticism regarding its history in Spanish literature. Considering this, the alleged history of the shadorma may be modern hoax or the poetic equivalent of an urban legend. However, the shadorma has been used by many modern writers[citation needed] and is a popular writing exercise in creative writing programs and workshops.


The Shadorma Joke
November 2, 2012 by Sabio Lantz
The Shadorma Joke
Shadorma!
But who’da known it.
Started as
a small lie.
Now has widely multiplied.
Myth Poetica!
Background:  Posted for: Poets United, my “poem” above, is a “Shadorma”.   The “Shadorma” is purported to be a haiku-like Spanish poetic form with one or more stanza of six lines (sestet) with 3/5/3/3/7/5 syllable lines respectively and no set rhyme scheme.
But here is the point of my poem: I can’t find any evidence for the history of this “form”. Did someone make it up?  Is it just an internet-myth and not a historical fact?  Poetry sites that I have found, just echo each other saying “Little is known about this poetic style’s origins and history but it is used by many modern poets today.”


Make Me

Close the door
And turn off the light
Come adore
Mi amore
In fantasy and delight
Come my love, explore

For so long
I’ve waited for you
Come along
We belong
Entwined in a love for two
Come... and make me strong

Close the door
And lie here with me
Make me soar
Fill my core
Come take me to ecstasy
Make me want you more


Example Poem

He Did It!

Shadorma
is a recent work
invented
if you will
by a bored U.S. mail clerk
who held verse in scorn.

Haiku, hell!
They're Japan's, and short.
They can't rhyme-
that's a crime;
let this form be my retort.
This is English, sport.

Without rhyme
first, and then I tried
and here I'm
satisfied
with plain alternating rhyme.
I'll change every time.

Interlaced
when it's not end-placed
Like this you
Kiss the line
below- oft called internal,
but that's wrong you know.

Shadorma
sounded Spanish though
Korean
it is not.
I'm content to let it go
The form's pretty hot.

© Lawrencealot - December 9, 2013



Visual Template

Friday, December 6, 2013

Tableau

    • The Tableau is an invented stanzaic form that paints a single image in keeping with the name of the form, tableau meaning picture. Created byEmily Romano who suggests the word "tableau" be included in the title. The Tableau is:
      • stanzaic, written in any number of sixains.
      • isosyllabic, 5 syllable lines.
      • rhyme at the discretion of the poet.
      • written describing a single image.
      • written with a title that includes the word "tableau".

    With thanks to Judi Van Gorder for the wonderful PMO resource.
    I chande syllabic above to 
    • isosyllabic, 5 syllable lines indicating all lines are the same length.


    The Tableau, a poetry form created by Emily Romano in October of 2008, consists of one or more verses, each having six lines. Each line should have five beats (syllables). There is no set rhyme scheme, although rhyme may be present. The title should contain the word tableau.
    Write one stanza only.

    Since the dictionary states the word tableau means picture or representation, the poem should reflect this. A picture should come to mind as the poem is read.

    example:

    Graveside Tableau

    Sunlight cannot warm
    The corpse of the bairn
    Who drowned in the loch; 
    Stoic the father,
    Silent the mother,
    While a spinster weeps

    Copyright © 2008 Emily Romano


    My Example Poem

    The Sting Tableau

    Her felicity
    and non-verbal cues
    were evocative;
    when his cash came out
    then so did her badge.

    © Lawrencealot - August 21, 2013




Wednesday, December 4, 2013

Loop Poetry


Loop Poetry is a poetry form created by Hellon. There are no restrictions on the number of stanzas nor on the syllable count for each line. In each stanza, the last word of the first line becomes the first word of line two, last word of line 2 becomes the first word of line 3, last word of line 3 becomes the first word of line 4. This is followed for each stanza. The rhyme scheme is abcb.

Variations

1. Stanzas, writers choice on the number, no rhyming, the last word, first word scheme is maintained.  The rhyme scheme is abcb. (added by blogger)

2. One long stanza, no limit on number of lines, no rhyming scheme, the last word, first word scheme is maintained.

3. Couplets mixed with 4 line stanzas, the last word, first word scheme is maintained in the stanzas. It can also be used in the couplets.
Rhyme scheme is ab, cc, defg, hh, ii, jklm, nn, oo.

Example #1:
How I See You

Eyes that don't see
see the things that you do
do you wish me to describe
describe how I see you...

Skin so delicate
delicate as a rose
rose that will blossom
blossom as it grows.

Hair moving gently
gently you tease
tease...softly whispering
whispering summer breeze.

Voice so melodic
melodic singing birds
birds, such sweet tunes
tunes...enchant like your words.

Dress...rustling
rustling tress bare
bare as leaves fall
fall, the colour of your hair.

Your perfume..sweet fragrance
fragrance frangipani's bring
bring back many memories
memories of spring.

Yes...I am blind
blind, yet I see
see in my mind
mind you fill will glee.

Copyright © 2009 Hellon

Example #2:
Bloody eyes

Bloody eyes..watching..waiting
waiting in gloomy shadows
shadows of night
night so...still
still they watch, still they wait
wait for you
you..the next victim
victim of evil
evil that lurks
lurks in silence
silence then...screams
screams...then silence
silence of night
night of shadows
shadows of gloom..waiting
waiting...watching
watching..bloody eyes

Copyright © 2009 Hellon

Example #3:
Picture Frame

Looking out at the world from a picture frame
smile frozen in time.. skin of porcelain

Eyes of green meadows on a warm summer's day
auburn hair falling cascades to disarray...

disarray like her life
life changed this young girl
girl with a past
past life..secrets hidden

around the frame wallpaper is faded
just like her life, over...jaded

smile frozen in time behind emerald eyes
there in a past entwined with lies

Lies...there were many
many secrets..haunting
haunting her now
now re-living the nightmare

Fear of a night she would rather forget
so long ago still she lives with regret

picture frame now smashed, shattered glass on the floor
just like her life, dreams are no more.

Copyright © 2009 Hellon All Rights Reserved


Tuesday, December 3, 2013

Lilibonelle

BASIC FORM:   The Lilibonelle was created by Sol Magazine editor, Bonnie Williams.
It is:
Stanzaic: Consisting of at least 4 stanza
Syllabic:  Lines may be of unequal, unspecified length 
Refrain:  The nth line of the 1st stanza must be the first line of the nth stanza.

Meter is optional and encouraged.
Rhyme is optional and encouraged.

Theme:  One should use an introspective or reflective theme with this form, one that conveys a loving, wistful or poignant feeling,

Those are ALL of the Requirements, although I have found on at least two other sites statements indicated that a specific  (though differing) rhyme scheme is required.

I have posted Bonnie Williams on poem (which is rhymed, but not metered) and her explanation of the form  below. 
-- Larry Eberhart, penning on Allpoetry.com as Lawrencealot

________________________________________
The following by Bonnie Williams

LILIBONELLE
BASIC FORM:   The Lilibonelle was created by Sol Magazine editor, Bonnie Williams. 

The basic form is four stanzas of four lines each, in which each line of the first stanza is consecutively repeated as the first line of each of the other stanzas, and allows for a variation where an extra final line may be included.  
Use an introspective or reflective theme with this form, one that conveys a loving, wistful or poignant feeling.
Poets must use the basic form for poems entered into competition at Sol Magazine unless a notation to the contrary is made within the contest notes.

EXPANDED FORM:  As long as there are a minimum of four lines and four stanzas, and the lines of the first stanza are used as the opening lines of the successive stanzas, the poem may be considered a Lilibonelle. 

 Poets are encouraged to play with rhyme schemes, rhythm, repeated ending line, or other creative twists. 

 If there are five stanzas, use five lines per stanza.  If six stanzas, use six lines per stanza.  In any case, poets may always end the final stanza with an extra line.

Pattern:
Stanza 1 line 1 
Stanza 1 line 2 
Stanza 1 line 3 
Stanza 1 line 4
Stanza 2 line 1 repeats Stanza 1 line 2 
Stanza 2 line 2 
Stanza 2 line 3 
Stanza 2 line 4
Stanza 3 line 1 repeats Stanza 1 line 3 
Stanza 3 line 2 
Stanza 3 line 3 
Stanza 3 line 4
Stanza 4 line 1 repeats Stanza 1 line 4 
Stanza 4 line 2 
Stanza 4 line 3 
Stanza 4 line 4 


Example of the Basic Form:

Bells
that sweet ringing of early morn 
alights my eyes and thrills my soul 
a wealth of love enveloping me 
filling my heart making me whole

alights my eyes and thrills my soul 
a warmth encircling from heart to toes 
trembling hearing soft sweet songs 
the melodies of loving shows

a wealth of love enveloping me 
treasure beyond compare 
when holding warm and near like this 
much closer than the air

filling my heart and making me whole 
a passion so deep we have sworn 
our love will last eternally 
as sweet ringings open each morn…

Bonnie Williams, Deptford, NJ, USA


___________________________________________________
The following essay compare the Lilibonelle and the Retourne

"Lilibonelle vs. Retourne" 
an essay by Roy Schwartzman, Sol Magazine’s Forms Investigator
This is a discussion of two similar yet distinct forms, the Lilibonelle and the Retourne.  The two forms operate in the same manner, with lines of subsequent stanzas generated from lines of the first stanza.  Typically both forms begin with a Quatrain, with each line of the first Quatrain becoming the first line of a subsequent Quatrain.  Thus the Lilibonelle and the Retourne look alike at this point, as the Sol Magazine encyclopedia of poetry forms indicates:
Stanza 1 line 1 
Stanza 1 line 2 
Stanza 1 line 3 
Stanza 1 line 4
Stanza 2 line 1 repeats Stanza 1 line 2 
Stanza 2 line 2 
Stanza 2 line 3 
Stanza 2 line 4
Stanza 3 line 1 repeats Stanza 1 line 3 
Stanza 3 line 2 
Stanza 3 line 3 
Stanza 3 line 4
Stanza 4 line 1 repeats Stanza 1 line 4 
Stanza 4 line 2 
Stanza 4 line 3 
Stanza 4 line 4

The Retourne, as the name indicates, is a French form.  The Lilibonelle, however, allows many more variations than the Retourne.  A Lilibonelle has no metrical restriction, but each line of a Retourne is in tetrameter, eight syllables per line. 

Furthermore, a Lilibonelle may consist of stanzas that contain any number of lines as long all stanzas have the same number of lines and the lines of the first stanza are repeated according to the specified pattern. 
The stanzas of Retournes are Quatrains, so a Retourne will have sixteen lines.  The Retourne is a more restrictive form, both metrically and in length.  Neither form requires a specific rhyme scheme.

Why might a poet select either or both these forms?  The repetition of lines from the initial stanza allows a single theme to be developed throughout the poem.  Since the lines appear in different stanzas, the same idea can emerge in different senses as the poem develops.  These forms also hold the potential for the ideas in each line of the first stanza to be extended later, gradually adding depth and complexity to the poem’s theme. 
  


My example poem: which is attempted  in iambic tetrameter, with my own rhyme pattern.

Dazed and Comfortable     (Lilibonelle)

I had my life all figured out,
the girls were only games to play.
But something happened on the way,
and love changed things, there is no doubt.

The girls were only games to play
I thought before I met Marie,
each night another victory.
Whatever happened was OK.

But something happened on the way,
I'm caught, and don't want to be free.
That cannot be,  it's just not me!
My blacks and whites have turned to grey.

And love changed things, there is no doubt.
Marie's now what my life's about.
And planning now must play a role
for her happiness is my goal.

© Lawrencealot - December 3, 2013

A visual template used for the above poem.

NOTE: neither the meter, the line length, nor the rhyme pattern is required.


Wednesday, October 30, 2013

Rhopalic Verse

A poem wherein the nTH word of every line in each stanza has N-syllables.
word 1 = 1syllable
word 2 = 2 syllables
word 3 = 3 syllables
word 4 = 4 syllables
word 5 = 5 syllables,  etc

Example Poem

Expecting Her (Rhopalic Verse)

I’m thinking cautiously, realizing
that other’s promises evaporate
with nature's forcible intervention.
She’ll arrive, defeating complications.

(c) Lawrencealot - April 25, 2013


Visual Template


Reverse Word

This form was invented by  Walter E. Ferguson III.  aka, Thunder_Speech

The ONLY requirement of this form, is that you use reverse words where ever you might otherwise choose to use rhyme.  Instead of rhyming, the last words of the lines are spelled backwards (reversed) where rhymes would be.

Example Poem

Non-Olympic swimmer

I thought I'd swim a single loop
before I pulled the plug.
I jumped into our swimming pool
and promptly took a gulp.
I thought to myself "damn and rats"
and jumped out on my tarp.
I'll never be a swimming star,
while sitting on my prat.


© Lawrencealot - September 26, 2012

Visual Template of this poem


Retourne

Like so many other French forms, the Retourne 
is all about repetition. It contains four quatrains and each line has eight syllables. 

The trick is that the first stanza's second line must also be the second stanza's first line,
the first stanza's third line is the third stanza's first, 
and the first stanza's fourth line is the fourth stanza's first. 
Retournes do not have to rhyme.

Example Poem

Abandoned

I'd loved her only all my life.
She found another to her taste.
She left me-- I now have no wife.
New city, no friends; joys erased. 

She found another to her taste.
I begged, pleaded, asked her to stay 
"I miss you, come back! what a waste, 
keeping your lover is okay." 

She left me-- I now have no wife.
Anquish bestirred me. I tried drink. 
But quit to give my boys a life.
Work, feed the boys, cry, try to think.

New city, no friends; joys erased. 
It took a long while, 'ere I tried 
to date-- I was feeling disgraced
How could I ever lose my bride?

© Lawrencealot - April, 2012


Visual Template


Tuesday, October 29, 2013

Puente

"Puente" means bridge in Spanish. This form was invented by James Rasmusson.

Constructed in 3 stanzas, the 1st and 3rd are separate thoughts but share an equal number of lines and the center, bridge stanza. The middle stanza is one line and is enclosed in tildes (~) to distinguish itself as both the last line of the first stanza and the first line of the last stanza.

The meter and rhyming are at the poet's discretion, free verse being perfectly acceptable. The title is has no guidelines; it need not match the bridge stanza like the example below.

Example Poem

Opportunity Knocks

A new form came upon the scene
and sep'rate topics are required
with bridging line in between
as linked by poet, so inspired.

~ it's both a test and opportunity~

Another contest has appeared
it features something yet untried
but that is nothing to be feared;
try it you'll be satisfied.


© Lawrencealot - May 31, 2013

Wednesday, October 23, 2013

Cinquain

(Standard) Cinquain
The cinquain, also known as a quintain or quintet, is a poem or stanza composed of five lines. Examples of cinquains can be found in many European languages, and the origin of the form dates back to medieval French poetry.
The most common cinquains in English follow a rhyme scheme of ababb, abaab or abccb. Sixteenth and seventeenth-century poets such as Sir Philip Sidney, George HerbertEdmund Waller, and John Donne frequently employed the form, creating numerous variations.

Other examples of the form include "To Helen" by Edgar Allen Poe, which begins:
Helen, thy beauty is to me
     Like those Nicean barks of yore,
That gently, o'er a perfumed sea,
     The weary, way-worn wanderer bore
     To his own native shore.

A Visual Template:




Crapsey cinquain
American poet Adelaide Crapsey invented the modern form,[2] inspired by Japanese haiku and tanka.[3][4] In her 1915 collection titled Verse, published one year after her death, Crapsey included 28 cinquains.[5]
Crapsey's cinquains utilized an increasing syllable count in the first four lines, namely two in the first, four in the second, six in the third, and eight in the fourth, before returning to two syllables on the last line. In addition, though little emphasized by critics, each line in the majority of Crapsey cinquains has a fixed number of stressed syllables, as well, following the pattern one, two, three, four, one.[citation needed] The most common metrical foot in her twenty-eight published examples is the iamb, though this is not exclusive. Lines generally do not rhyme. In contrast to the Eastern forms upon which she based them, Crapsey always titled her cinquains, effectively utilizing the title as a sixth line.
The form is illustrated by Crapsey's "November Night":[6]
Text
Syllables
Stressed
Listen…
2
1
With faint dry sound,
4
2
Like steps of passing ghosts,
6
3
The leaves, frost-crisp'd, break from the trees
8
4
And fall.
2
1

Variations
The Crapsey cinquain has subsequently seen a number of variations by modern poets, including:
Variation
Description
Reverse cinquain
a form with one 5-line stanza in a syllabic pattern of two, eight, six, four, two.
Mirror cinquain
a form with two 5-line stanzas consisting of a cinquain followed by a reverse cinquain.
Butterfly cinquain
a nine-line syllabic form with the pattern two, four, six, eight, two, eight, six, four, two.
Crown cinquain
a sequence of five cinquain stanzas functioning to construct one larger poem.
Garland cinquain
a series of six cinquains in which the last is formed of lines from the preceding five, typically line one from stanza one, line two from stanza two, and so on.

Another form,  Called a Didactic cinquain, sometimes used by school teachers to teach grammar, is as follows:

Line 1: Noun
Line 2: Description of Noun
Line 3: Action
Line 4: Feeling or Effect
Line 5: Synonym of the initial noun 

Monday, October 21, 2013

Bibliographic Profile Acrostic


This a poetry form invented by AP's own Andre_ben-YEHU

It is named — BIBLIOBIOGRAPHIC PROFILE ACROSTIC. It may be rhymed or blank verse on any poetic frame and verse's length; and “Poetic License” is allowed in the meter. 

The composition in this form must paint a profile on the Tributee, and use title (s) of the tributee’s literary production within the stanzas or stanza.

The purpose of this form is to honor the Tributee-author, the poetic Art, and to promote the tributee’s works. 


Here is an example poem by Lawrencealot

Example Poem

Eusebius     ( BIBLIOBIOGRAPHIC PROFILE ACROSTIC)

MIRROR, MIRROR, a horror story moved me,  lacking gore.
Intrigued by Michael's mild approach I ventured to read more.
Clearly FLOWER FROM THE STARS comes ready to delight fans
Having thrived on fantasy taking place in many lands
And thrilling readers of his poems. There I've read him most.
Even active folks may miss him He'll not compete nor host.
Look for GUILE, CAMILLE, or POUT, different forms everyone.
**
Forms used by Swinburne left unnamed, reemergence he's begun.
AMERA IS penned by this swain is exemplar Trijan refrain.
Now, VOICE OF ANGELS, Swinburne's work and CAMILLE is again.
THE CHATEAU and THE CENTAURESS are sonnets with distinction.
If we can learn from these- quality won't face extinction.
Now that I've said my piece and presented this micro view.
Arise and go check Eusebius out- all six of you.

© July 22, 2013 - Lawrencealot

NOTE 1:
The Acrostic spells Michael Fantina

Note 2:
All of these works are posted on Allpoetry
Stories:

MIRROR, MIRROR
FLOWER FROM THE STARS

Poems:

GUILE
CAMILLE
POUT
AMERA IS
VOICE OF ANGELS
CAMILLE
THE CHATEAU

THE CENTAURESS

Acrostic

The following are "lifted" from the Allpoetry Acrostic Course, free to all.


It is known that people do not always realize how impressive you can make an acrostic. And sometimes they are not thought of as poetry, because they do not rhyme....
But, here is breaking news for you! Poetry does not have to rhyme. And the glorious thing about acrostics, is that they have a hidden message down the side as well!

 'Standard Acrostic'.

To start. There are two main stages...

First, remember your brainstorming?
Did you pick a word or sentence? Put it down the side.


R
E
M
I
S
S
I
O
N

Now that you have your word, or phrase, think of the things that would fit. What does this word make you feel? How could you describe it? Use the brainstorm you had in assignment one. Your finished product should look a little like this...

Really happy now!
Excited too...
My Mum
Is nearly better
So thank you for your prayers!
So thank you for being generous
I love you all for
Opening lots of happiness to my Mum
Now she's in remission.

Your next form has two names,
 Shadow or Mirror acrostic.
 I prefer shadow, so I'll probably use that, but it does get called both.

This acrostic is similar to the standard form, but a bit harder.
The idea here is that you have the same message at the left side of the poem and at the right side.

Start work with the same idea.
Choose your word or sentence, for example:

F F
E E
E E
T T

And fill the middle. This is to add an extra 'hidden message' in the poem, a clever twist that sometimes people miss. Therefore, these poems work better if they actually make sense.

Feel the love on the shelf,
Expel your anger into torture.
Expect to be fueled by coffee,
To be dancing on that caffeine shot!


Acrosteleostic
The third form...
     Acrosteleostic.

This does not appear to be official in any way (or at least I have found no outside information on it). It seems it was created by a genius here on AP. Nonetheless, it's an interesting form, and therefore worth teaching!

To start, you need a word. Then you need another with around the same number of letters for the other side.

Here, I shall write it, and see if you can view the message.
(A clue: I am not a 'normal' English woman. Why?)

Countless cups I drink with appreciatioN
Of liquid with it's caffienated echO,
Feeling loved by it's mental thoughT
Fell in love, the day it was boughT.
Everyday life spent with my friend coffeE...
Everyone knows I prefer it to teA!


Mesostich.
This is not quite as hard as the previous form. It requires a poem of almost any form, but the letters in the middle spell out the message.
For example, if every line had 13 letters, the 7th letter would form part of the message.
It would be wise to choose your message first, and then build your poem around it.

I have used the name TOYA.

Sitting here surrounded by dusT on all sides. I think all talking
is a must. I am alone in this old rOom. So, I can talk from birth to doom.
You may think I am crazy, but what Yelling will achieve? Everybody
knows you wear your heart on an Apron string. Tell me your belief?


Telestich.

Easier still. This form requires only the end letters to spell a message.
Again, it is wise to choose your word or sentence, and work around it.
If you get stuck, a tool I've learned to use is Google or a similar search engine. Type into the search bar "words ending with the letter '_'" and it will find pages for you. Same with the mesostich, type in the search bar "words with 't' as the third letter," or equivalent. No problems there...!

The hidden message here is mildly dire: read the last letter of every line to determine what the poem is about...

It is not to be confused (when you go out of your mind,
With being alive. People will care when you're
Breathing whispers of Omega,
And meeting Alpha...a melancholy must.
Just waiting for the day you again grace earth.



Cross Acrostic. (I believe they may have run out of names!)

This form is a little trickier, but easier to understand, I think. There was a very famous one written by Edgar Allen Poe. Now even though most of you may never have studied his works (I'll be honest and say that I have not...), his is a name that most of you should recognize as a famous poet. His poem was entitled 'A Valentine,' and was written to include the name of a sergeant. 

The idea behind this is that the message is hidden across the acrostic. The first line has the first letter, the second line with the second letter, and so on.

Feed me with love and energy,
Treat me with respect.
You can use me in so many ways...
But I ask only one thing.
Start your diet another day!

My word? Fruit.

Feed
tReat
yoU
but I
starT

Clever, huh? 


Triple Threat

You have learned several forms so far. You have practiced the art of hidden messages in several places within a poem: at the end, in the middle, spread out....

The first form here is called a Word Acrostic. Essentially, you must think of a sentence, small or long, and then make it into a poem. To further explain what I mean, I'll demonstrate. (Pay attention, you will be writing one!)

'I am teaching you' will be my sentence.

I
Am
Teaching
You

...will go down the side, like that. Then you will fill the rest out, and, hopefully, it will still make sense. These work better if you like to be clever, and make the message completely the opposite of the poem.

I only want to know what you have to show me.
Am I presuming too much?
Teaching me the basics of your chosen trade...
You tell me everything I need to know.

This is the word acrostic.

Now, we get clever.
This is where we amalgamate (mix) three different things together, and it is one of my favourite ways to write. I will be honest and say I've not seen anyone else write one...so I am sharing my knowledge with you...we can spread the word!

I have coined it as a Triple Threat.
(Note to everyone, if you have seen it elsewhere, let me know, and I'll happily share the credit!)

This little beauty mixes the wholeness of a poem, with two hidden messages.

To make this, you need to do an acrostic, then a word acrostic, then the rest of the poem.
Sound complicated? I'll show you how... Maybe you'll enjoy them as much as I?!
Here's one I wrote earlier.

Sentence- I will win yet...

I

W
I
L
L

W
I
N

Y
E
T

Now you have your basis, you need to work out a sentence that runs alongside it...

I

Wish
I
Lived
Lots,

When
I
Needed

You.
End
This!

  Remember
  Failure.

There is a sentence or two. Sometimes, if you can include the punctuation, it helps people see the hidden message; however, this is not always possible.
On top of this, if the poem feels 'unfinished' with the sentence as it is, you might need to add a couple lines. I have done this, and indented them so they are seen as part of the poem but not part of the standard acrostic. However, they make sense as part of the word acrostic.

And the poem in full...

know one thing only.

Wish myself to have been more.
I dream of better endings.
Lived for myself, for others-
Lots of love shared...

When I go,
I will regret one thing, I
Needed more. Just more

You. You were everything I had.
End draws near- I look back.
This Is It.

      Remember one thing...
      Failure is an option.

You may have noticed that the poem and the message are opposite? Again, a nice touch you might see often in acrostics.