Stanzaic form

thumb|right|250px|Haiku by Matsuo Bashō reading "Quietly, quietly, / yellow mountain roses fall – / sound of the rapids" is a type of short form poetry that originated in Japan. Traditional Japanese haiku consist of three phrases composed of 17 morae (called on in Japanese) in a 5, 7, 5 pattern; that include a kireji, or "cutting word"; and a kigo, or seasonal reference. However, haiku by classical Japanese poets, such as Matsuo Bashō, also deviate from the 17-on pattern and sometimes do not contain a kireji. Similar poems that do not adhere to these rules are generally classified as senryū.

A sonnet is a fixed poetic form with a structure traditionally consisting of fourteen lines adhering to a set rhyming scheme. The term derives from the Italian word sonetto (, from the Latin word sonus, ). Originating in 13th-century Sicily, the sonnet was in time taken up in many European-language areas, mainly to express romantic love at first, although eventually any subject was considered acceptable. Many formal variations were also introduced, including abandonment of the quatorzain limit – and even of rhyme altogether in modern times.

A rhyme is a repetition of similar sounds (usually the same phonemes) in the final stressed syllables and any following syllables of two or more words. Most often, this kind of rhyming (perfect rhyming) is consciously used for a musical or aesthetic effect in the final position of lines within poems or songs. More broadly, a rhyme may also variously refer to other types of similar sounds near the ends of two or more words. Furthermore, the word rhyme has come to be sometimes used as a shorthand term for any brief poem, such as a nursery rhyme or Balliol rhyme.

single metrical line in a poetic composition

form of poetry

thumb|Calligraphic rendition of a ''ruba'i'' attributed to Omar Khayyam from Bodleian MS. Ouseley 140 (one of the sources of FitzGerald's [[Rubaiyat of Omar Khayyam).]]

In poetry, a stanza (; from Italian stanza, ; ) is a group of lines within a poem, usually set off from others by a blank line or indentation. Stanzas can have regular rhyme and metrical schemes, but they are not required to have either. There are many different forms of stanzas. Some stanzaic forms are simple, such as four-line quatrains. Other forms are more complex, such as the Spenserian stanza. Fixed verse poems, such as sestinas, can be defined by the number and form of their stanzas.

type of poetry in classical Japanese literature

A quatrain is a type of stanza, or a complete poem, consisting of four lines.

rhyming stanza form consisting of eight iambic lines

Renga (, linked poem) is a genre of Japanese collaborative poetry in which alternating stanzas, or ku (句), of 5-7-5 and 7-7 morae (sound units or syllables per line) are linked in succession by multiple poets. Known as tsukuba no michi ( The Way of Tsukuba) after the famous Tsukuba Mountain in the Kantō region, the form of poetry is said to have originated in a two-verse poetry exchange by Yamato Takeru and later gave birth to the genres haikai () and haiku ().

poetry form

A sestina (, from sesto, sixth; Old Occitan: cledisat ; also known as sestine, sextine, sextain) is a fixed verse form consisting of six stanzas of six lines each, normally followed by a three-line envoi. The words that end each line of the first stanza are used as line endings in each of the following stanzas, rotated in a set pattern.

A tercet is composed of three lines of poetry, forming a stanza or a complete poem.

Chastushka (, chastushki) is a traditional musical genre of short Russian humorous folk song. Usually associated with high beat frequency, thus the name, coined from in the meaning of "quick". While the root of chastushki can be traced to ancient folklore of dance and wedding songs as well as performances of balagurs (Russian version of minstrels), the genre itself had crystallized fairly recently, in the last third of the 19th century, under the influence of social shifts caused by the abolition of serfdom and industrialization. Spread of the squeezebox in the mid-19th century and its use for

A triolet (, ) is almost always a stanza poem of eight lines, though stanzas with as few as seven lines and as many as nine or more have appeared in its history. Its rhyme scheme is \mathrm{ABaAabAB} (capital letters represent lines repeated verbatim) and often in 19th century English triolets all lines are in iambic tetrameter, though in traditional French triolets, from the 17th century on, the second, sixth and eighth lines tend to be iambic trimeters followed by one amphibrachic foot each. In French terminology, a line ending in an iambic foot was denoted as masculine, while a line ending

four-line stanza form

thumb|right|300px|alt=Rural landscape with grassy cliff top to the right, sea and shore in the background to the left. Shepherd in a blue smock stands on cliff top to the right, leaning on his staff, with a flock of sheep grazing around him.|A classic pastoral scene, depicting a shepherd with his livestock; a pastoral subject was the initial distinguishing feature of the villanelle. Painting by , 19th century. A villanelle, also known as villanesque, is a nineteen-line poetic form consisting of five tercets followed by a quatrain. There are two refrains and two repeating rhymes, with the first

rhyming stanza form; seven lines, usually in iambic pentameter, with rhyme scheme a-b-a-b-b-c-c

Four-line stanza form

Cinquain ( ) is a class of poetic forms that employ a 5-line pattern. Earlier used to describe any five-line form, it now refers to one of several forms that are defined by specific rules and guidelines.

verse form created by Edmund Spenser

Musaddas () is a genre of Urdu poetry in which each unit consists of 6 lines-sestain- (misra). Famous early writers employing this form are Mir Anis and Dabeer. Maulana Altaf Husain Hali and Waheed Akhtar are other well-known poets to find expression in this form of poetry. Particularly iconic is Hali's Madd-o-Jazr-e-Islam as an exemplary of this form.

three fourteenth- and fifteenth-centuries French poetic forms: the ballade, rondeau and virelai

pattern of rhymes at the end of each line of a poem or song

A décima is a ten-line stanza of poetry. The most popular form is called décima espinela after Vicente Espinel (1550–1624), a Spanish writer, poet, and musician from the Spanish Golden Age who used it extensively throughout his compositions.

forme fixe

musical form

Monorhyme is a passage, stanza, or entire poem in which all lines have the same end rhyme. The term "monorhyme" describes the use of one (mono) type of repetitious sound (rhyme). This is common in Arabic, Persian, Latin and Welsh work, such as The Book of One Thousand and One Nights, e.g., qasida and its derivative kafi.

thumb|An on a gravestone in Christ Church, Bala: Dear Price, pure in his diligent service Wide in his knowledge; A man acerbic, fearless and fluent, And thorough in doctrine. '''''' (; plural ) is a traditional Welsh short poem form. It uses quantitative metres, involving the counting of syllables, and rigid patterns of rhyme and half rhyme. Each line contains a repeating pattern of consonants and accent known as .

Envoi or envoy in poetry is used to describe:

subdivision of a poem

final, shorter stanza (or cobla) that appears in lyric poetry and serves a variety of purposes within several poetic forms

'''''' (, ) is a metre and a metrical unit, found in both Vedic and Classical Sanskrit poetry, but with significant differences.

A laisse is a type of stanza, of varying length, found in medieval French literature, specifically medieval French epic poetry (the chanson de geste), such as The Song of Roland. In early works, each laisse was made up of (mono) assonanced verses, although the appearance of (mono) rhymed laisses was increasingly common in later poems. Within a poem, the length of each separate laisse is variable (whereas the metric length of the verses is invariable, each verse having the same syllable length, typically decasyllables or, occasionally, alexandrines).

poetic verse form consisting of eight lines

, or , is a Japanese form of popular collaborative linked verse poetry. It is a development of the older Japanese poetic tradition of ushin renga, or orthodox collaborative linked verse. At renku gatherings participating poets take turns providing alternating verses of 17 and 14 morae. Initially haikai no renga distinguished itself through vulgarity and coarseness of wit, before growing into a legitimate artistic tradition, and eventually giving birth to the haiku form of Japanese poetry. The term renku gained currency after 1904, when Kyoshi Takahama started to use it.

Tanaga is a type of Philippine poetry, traditionally in the Tagalog language, consisting of four lines with seven syllables each. It can also have rhymes schemes like AABB and ABAB.

Poetic form

Chhand (, , ) is a quatrain used in the poetic traditions of North India and Pakistan.

six-line stanzaic form with rhyme scheme AAABAB, with tetrameter A lines and dimeter B lines