Generally, sonnets are divided into different groups based on

the rhyme scheme they follow. The rhymes of a sonnet are arranged
according to a certain rhyme scheme. The rhyme scheme in English is
usually abab–cdcd–efef–gg, and in Italian abba–abba–cde–cde.
• Types of Sonnet
Sonnets can be categorized into six major types:
Italian Sonnet
Shakespearean Sonnet
Spenserian Sonnet
Miltonic Sonnet
Terza Rima Sonnet
Curtal Sonnet
Italian or Petrarchan Sonnet
 Italian or Petrarchan sonnet was introduced by 14th century Italian poet
Francesco Petrarch.
“Being one day at my window all alone,
So manie strange things happened me to see,
As much as it grieveth me to thinke thereon.
At my right hand a hynde appear’d to mee,
So faire as mote the greatest god delite;
Two eager dogs did her pursue in chace.
Of which the one was blacke, the other white:
With deadly force so in their cruell race
They pincht the haunches of that gentle beast,
That at the last, and in short time, I spide,
Under a rocke, where she alas, opprest,
Fell to the ground, and there untimely dide.
Cruell death vanquishing so noble beautie
 The rhyme scheme of a Petrarchan sonnet
features the first eight lines, called an octet,
which rhymes as abba–abba–cdc–dcd. The
remaining six lines are called a sestet, and might
have a range of rhyme schemes.
Shakespearean Sonnet
 A Shakespearean sonnet is generally written in iambic pentameter, in which there
are 10 syllables in each line. The rhythm of the lines must be as below:
“From fairest creatures we desire increase,
That thereby beauty’s rose might never die.
But as the riper should by time decease,
His tender heir might bear his memory:
But thou, contracted to thine own bright eyes,
Feed’st thy light’s flame with self-substantial fuel,
Making a famine where abundance lies,
Thyself thy foe, to thy sweet self too cruel.
Thou that art now the world’s fresh ornament
And only herald to the gaudy spring,
Within thine own bud buriest thy content
And, tender churl, mak’st waste in niggarding.
Pity the world, or else this glutton be,
To eat the world’s due, by the grave and thee…”
 The rhyme scheme of the Shakespearian
sonnet is abab–cdcd–efef–gg, which is difficult
to follow. Hence, only Shakespeare is known to
have done it.
Spenserian Sonnet
 Sir Edmund Spenser was the first poet who modified the Petrarch’s form, and
introduced a new rhyme scheme as follows:

“What guile is this, that those her golden tresses

She doth attire under a net of gold;
And with sly skill so cunningly them dresses,
That which is gold or hair, may scarce be told?
Is it that men’s frail eyes, which gaze too bold,
She may entangle in that golden snare;
And being caught may craftily enfold
Their weaker hearts, which are not yet well aware?
Take heed therefore, mine eyes, how ye do stare
Henceforth too rashly on that guileful net,
In which if ever ye entrapped are,
Out of her bands ye by no means shall get.
Folly it were for any being free,
To covet fetters, though they golden be.”
The rhyme scheme in this sonnet is
abab–bcbc–cdcd–ee, which is specific
to Spenser, and such types of sonnets
are called Spenserian sonnets.
HAIKU-
-A haiku is traditionally a Japanese poem consisting of three
short lines that do not rhyme. A haiku consists of three lines, with
the first and last lines having five "moras," and the middle line
having seven (referred to as the 5-7-5 strucutre). A mora is a sound
unit, much like a syllable, but is not identical to it. Since the moras
do not translate well into English, the haiku has been adapted to
where syllables are used as moras.
Here are three examples of haiku poems from Basho Matsuo (1644-1694), considered the greatest haiku poet:
An old silent pond...
A frog jumps into the pond,
splash! Silence again.

Autumn moonlight-
a worm digs silently
into the chestnut.

In the twilight rain

these brilliant-hued hibiscus -
A lovely sunset.

Here are three examples of haiku poems from Yosa Buson (1716-1784), a haiku master poet and painter:
 A summer river being crossed
how pleasing
with sandals in my hands!
 Light of the moon
Moves west, flowers' shadows
Creep eastward.
 In the moonlight,
The color and scent of the wisteria
Seems far away.
 The first noted Filipino poet to write haiku was Gonzalo K.
Flores, also known as Severino Gerundio, an avant-garde
poet during the Japanese period.
 Here are some of his haiku, along with translations,
published in Liwayway, June 5, 1943.
tutubi hila mo’y tabak…
ang bulaklak, nanginig!
sa paglapit mo.

anyaya ulilang damo

sa tahimik na ilog
halika, sinta.
TANAGA: A native form of poem which consist of seven syllables in every line and has four lines in every stanza

EXAMPLE:
Sa gubat na madawag
Tala’y mababanaag.
Iyon ang tanging hangad,
Buhay ma’y igagawad.
-Bannie Pearl Mas

Tumayo ka nang tuwid,

Ang kamay ay sa dibdib.
Awitin ating himig
Nang totoo sa tinig.

-Romualdo Verzosa Jr.

Noong malayo ako,
Nasa kabilang dako,
Itong puso’t isip ko,
Bayan, para lang sa ‘yo.
DIONA: A Native form of poem which consist of seven syllables in every line, and has
three lines in every stanza with only one rhyme scheme
Halimbawa:
-Raymond Pambit
 Aanhin ang yamang Saudi,
O yen ng Japayuki
Kung wala ka sa tabi
-Fernando Gonzales
 Kung ang aso hinahanap
Pag nagtampo’t naglayas
Ikaw pa kaya anak.
– Ferdinand Bajado
 Lolo, huwag malulungkot
Ngayong uugod-ugod
Ako po’y inyong tungkod
Free verse
is a literary device that can be defined as poetry that
is free from limitations of regular meteror rhythm, and
does not rhyme with fixed forms. Such poems are
without rhythm and rhyme schemes, do not follow
regular rhyme scheme rules, yet still provide artistic
expression. In this way, the poet can give his own
shape to a poem however he or she desires.
However, it still allows poets to use alliteration, rhyme,
cadences, and rhythms to get the effects that they
consider are suitable for the piece.
A Noiseless Patient Spider (By Walt Whitman)

I mark’d where on a little promontory it stood isolated,

Mark’d how to explore the vacant vast surrounding,
It launch’d forth filament, filament, filament, out of itself,
Ever unreeling them, ever tirelessly speeding them.
And you O my soul where you stand,
Surrounded, detached, in measureless oceans of space…
Till the bridge you will need be form’d, till the ductile anchor hold,
Till the gossamer thread you fling catch somewhere, O my soul.”
 Walt Whitman

He is known as the father of free verse English

poetry. In this poem, only a simple metaphor is
used to mesmerize readers without employing
regular rhyme scheme or rhythm. We can see
normal pauses in the poem unlike the typical
limitations of metrical feet.
Soonest Mended (By John Ashbury)
“Barely tolerated, living on the margin
In our technological society, we were always having to be rescued
On the brink of destruction, like heroines in Orlando Furioso
Before it was time to start all over again.
There would be thunder in the bushes, a rustling of coils…
The whole thing might not, in the end, be the only solution…
Came plowing down the course, just to make sure everything was
O.K. …
About how to receive this latest piece of information.”
This is one of the best examples of free verse
poetry. In this poem, there is no regular rhyme
scheme or rhythm. It is without poetic constraints,
but has a flow that gives it a natural touch.
SISTENA-
The sestina follows a strict pattern of the repetition of the initial six end-words of the first
stanza through the remaining five six-line stanzas, culminating in a three-line envoi. The
lines may be of any length, though in its initial incarnation, the sestina followed a
syllabic restriction. The form is as follows, where each numeral indicates the stanza
position and the letters represent end-words:
1. ABCDEF
2. FAEBDC
3. CFDABE
4. ECBFAD
5. DEACFB
6. BDFECA
7. (envoi) ECA or ACE
The envoi, sometimes known as the tornada, must also include the remaining three
end-words, BDF, in the course of the three lines so that all six recurring words appear in
the final three lines. In place of a rhyme scheme, the sestina relies on end-word
repetition to effect a sort of rhyme.
 Damn it all! all this our South stinks peace.
You whoreson dog, Papiols, come! Let’s to
music!
I have no life save when the swords clash.
But ah! when I see the standards gold, vair,
purple,
opposing
And the broad fields beneath them turn
crimson,
Then howl I my heart nigh mad with rejoicing.

II
In hot summer have I great rejoicing
When the tempests kill the earth’s foul peace,
And the lightnings from black heav’n flash
crimson,
And the fierce thunders roar me their music
And the winds shriek through the clouds
mad, opposing,
And through all the riven skies God’s swords
clash.
All loves and dreams and sounds and gleams of night

Made it all music that such minstrels may,

And all they had they gave it of delight;

But in the full face of the fire of day

What place shall be for any starry light,

What part of heaven in all the wide sun's way?

Yet the soul woke not, sleeping by the way,

Watched as a nursling of the large-eyed night,

And sought no strength nor knowledge of the day,

Nor closer touch conclusive of delight,

Nor mightier joy nor truer than dreamers may,

Nor more of song than they, nor more of light.

For who sleeps once and sees the secret light

Whereby sleep shows the soul a fairer way

Between the rise and rest of day and night,

Shall care no more to fare as all men may,

But be his place of pain or of delight,

There shall he dwell, beholding night as day.

Song, have thy day and take thy fill of light

Before the night be fallen across thy way;

Sing while he may, man hath no long delight.

Villanelle - is a French word, derived from the original
word in Italian, villanella. Villanella is believed derived
from the Latin villano (farmhand), which is in turn
derived from the Latin villa (farm).
History.
Historically, the Italian villanella was a rustic dance, or
the music for such a dance. Sometimes it was a
rustic Italian part song (round song) that was popular
in the sixteenth century.
Form.
In a traditional Villanelle:
• The lines are grouped into five tercets and a
concluding quatrain. Thus a Villanelle has 19
lines.
• Lines may be of any length.
• The Villanelle has two rhymes. The rhyme
scheme is aba, with the same end-rhyme for
every first and last line of each tercet and
the final two lines of the quatrain.
•Two of the lines are repeated:
1.The first line of the first stanza is repeated as the last line of
the second and the fourth stanzas, and as the second-to-last line in
the concluding quatrain.
2.The third line of the first stanza is repeated as the last line of
the third and the fifth stanzas, and as the last line in the concluding
quatrain.
•Thus the pattern of line-repetition is as follows:

A1 b A2 - Lines in first tercet.

a b A1 - Lines in second tercet.
a b A2 - Lines in third tercet.
a b A1 - Lines in fourth tercet.
a b A2 - Lines in fifth tercet
a b A1 A2 - Lines in final
quatrain.
The Home on the Hill

Edward Arlington Robinson (1869-

1935)They are all gone away,

The house is shut and still,

There is nothing more to sayThrough
broken walls and gray,

The wind blows bleak and shrill,

They are all gone awayNor is there one
today,

To speak them good or ill

There is nothing more to say
Why is it then we stray

Around the sunken sill?

They are all gone awayAnd our poor
fancy play

For them is wasted skill,

There is nothing more to sayThere is
ruin and decay

In the House on the Hill:

Heroic couplet- a couplet of rhyming iambic
pentameters often forming a distinct rhetorical as
well as metrical unit. The origin of the form in
English poetry is unknown, but Geoffrey
Chaucer in the 14th century was the first to make
extensive use of it. The heroic couplet became
the principal metre used in drama about the mid-
17th century, and the form was perfected by John
Dryden and Alexander Pope in the late 17th and
early 18th centuries.
The Rape of the Lock:
And now, unveil'd, the toilet stands display'd,
Each silver vase in mystic order laid.
First, rob'd in white, the nymph intent adores
With head uncover'd, the cosmetic pow'rs.
A heav'nly image in the glass appears,
To that she bends, to that her eyes she rears;
Th' inferior priestess, at her altar's side,
Trembling, begins the sacred rites of pride.
Unnumber'd treasures ope at once, and here
The various off'rings of the world appear;
From each she nicely culls with curious toil,
And decks the goddess with the glitt'ring spoil.
This casket India's glowing gems unlocks,
And all Arabia breathes from yonder box.
The tortoise here and elephant unite,
Transform'd to combs, the speckled and the white.
Here files of pins extend their shining rows,
Puffs, powders, patches, bibles, billet-doux.
Now awful beauty puts on all its arms;
The fair each moment rises in her charms,
Repairs her smiles, awakens ev'ry grace,
And calls forth all the wonders of her face;
Sees by degrees a purer blush arise,
And keener lightnings quicken in her eyes.
QUIZ IN CREATIVE WRITING
1. Noong malayo ako,
Nasa kabilang dako,
Itong puso’t isip ko,
Bayan, para lang sa ‘yo.
The given poem is an example of _______________________
a. dalit b. tanaga c. Diona
2. Ang pera niya’y tinipid,
Sa guro ay di sumipsip.
Markang mataas, nakamit:
Tagumpay nga ang kapalit.
The given poem is an example of _______________________
a. dalit b. tanaga c. Diona
3. The rhyme scheme of a Petrarchan sonnet features the first eight lines, called-
_______________

a. sestet b. couplet c. octet

4. Who introduced the Italian sonnet during 14th century?

a. Robert frost b. William Shakespeare c. Francesco Petrarch

5. It follows a strict pattern of the repetition of the initial six end-words of the first
stanza through the remaining five six-line stanzas, culminating in a three-line envoi
a. Villanele b. Sistena c. Sonnet

6. It is traditionally a Japanese poem consisting of three short lines that do not

rhyme

a. tanaga b. diona c. haiku

7. A native form of poem which consist of seven syllables in every line and has four lines
in every stanza

a. tanaga b. diona c. haiku

8. A Native form of poem which consist of seven syllables in every line, and has three
lines in every stanza
with only one rhyme scheme

a. dalit b. tanaga c. Diona

9. He is known as the father of free verse English poetry
a. Walt Whitman b. Walt whiteman C. Wallace Whitman

10. A couplet of rhyming iambic pentameters often forming a distinct rhetorical as well
as metrical unit
a. SISTENA b. Haiku c. heroic
True or false
11. Villanelle has lines that are grouped into five tercets and a concluding
quatrain
12. Free verse is a literary device that can be defined as poetry that is not
free from limitations of
regular meteror rhythm
13. A haiku is traditionally a Japanese poem consisting of three short lines
that rhymes
14. Generally, sonnets are divided into different groups based on
the rhyme scheme
they follow
15. The first noted Filipino poet to write haiku was Gonzalo K. Flores
16-18 - Filipino Haiku
19-25 - conventional forms of poetry