The Ode Less Travelled: Unlocking The Poet Within

Exercises 1 & 2

II End-stopping, Enjambment and Caesura. Poetry Exercise 3. Weak Endings, Trochaic and Pyrhhic Substitutions. Substitutions. Poetry Exercise 4

III More Metres: Four Beats to the Line. Mixed Feet. Poetry Exercise 5

IV Ternary Feet: The Dactyl, The Molossus and Tribrach, The Amphibrach, The Amphimacer, Quaternary Feet. Poetry Exercise 6

V Anglo-Saxon Attitudes. Poetry Exercise 7. Sprung Rhythm.

VI Syllabic Verse. Poetry Exercises 8 & 9: Coleridge’s ‘Lesson for a Boy’.

TABLE OF METRIC FEET

2 Rhyme

I The Basic Categories of Rhyme. Partial Rhymes. Feminine and Triple Rhymes. Rich Rhyme.

II Rhyming Arrangements.

III Good and Bad Rhyme? A Thought Experiment. Rhyming Practice and Rhyming Dictionaries. Poetry Exercise 10

RHYME CATEGORIES

3 Form

I The Stanza. What is Form and Why Bother with It?

II Stanzaic Variations. Open Forms: Terza Rima, The Quatrain, The Rubai, Rhyme Royal, Ottava Rima, Spenserian Stanza. Adopting and Adapting. Poetry Exercise 11

III The Ballad. Poetry Exercise 12

IV Heroic Verse. Poetry Exercise 13

V The Ode: Sapphic, Pindaric, Horatian, The Lyric Ode, Anacreontics.

VI Closed Forms: The Villanelle. Poetry Exercise 14. The Sestina. Poetry Exercise 15. The Pantoum, The Ballade.

VII More Closed Forms: Rondeau, Rondeau Redouble, Rondel, Roundel, Rondelet, Roundelay, Triolet, Kyrielle. Poetry Exercise 16

VIII Comic Verse: Cento, The Clerihew. The Limerick. Reflections on Comic and Impolite Verse. Light Verse. Parody. Poetry Exercise 17

IX Exotic Forms: Haiku, Senryu, Tanka. Ghazal. Luc Bat. Tanaga. Poetry Exercise 18

X The Sonnet: Petrarchan and Shakespearean. Curtal and caudate sonnets. Sonnet Variations and Romantic Duels. Poetry Exercise 19

XI Shaped Verse. Pattern Poems. Silly, Silly Forms. Acrostics. Poetry Exercise 20

4 Diction and Poetics Today

I The Whale. The Cat and the Act. Madeline. Diction. Being Alert to Language.

II Poetic Vices. Ten Habits of Successful Poets that They Don’t Teach You at Harvard Poetry School, or Chicken Verse for the Soul Is from Mars but You Are What You Read in Just Seven Days or Your Money Back. Getting Noticed. Poetry Today. Goodbye.

INCOMPLETE GLOSSARY OF POETIC TERMS

APPENDIX–Arnaud’s Algorithm

ACKNOWLEDGEMENTS

FURTHER READING

Foreword

I HAVE A DARK AND DREADFUL SECRET. I write poetry. This is an embarrassing confession for an adult to make. In their idle hours Winston Churchill and Noel Coward painted. For fun and relaxation Albert Einstein played the violin. Hemingway hunted, Agatha Christie gardened, James Joyce sang arias and Nabokov chased butterflies. But poetry?

I have a friend who drums in the attic, another who has been building a boat for years. An actor I know is prouder of the reproduction eighteenth-century duelling pistols he makes in a small workshop than he is of his knighthood. Britain is a nation of hobbyists–eccentric amateurs, talented part-timers, Pooterish potterers and dedicated autodidacts in every field of human endeavour. But poetry?

An adolescent girl may write poetry, so long as it is securely locked up in her pink leatherette five-year diary. Suburban professionals are permitted to enter jolly pastiche competitions in the Spectator and New Statesman. At a pinch, a young man may be allowed to write a verse or two of dirty doggerel and leave it on a post-it note stuck to the fridge when he has forgotten to buy a Valentine card. But that’s it. Any more forays into the world of Poesy and you release the beast that lurks within every British breast–and the name of the beast is Embarrassment.