Apply the assonance at first
to make the anthologies worst.
Note, if your balad has a a hole
then bridge it with a banderole.
A chant royal? Chanson itself?
Oh, no, a comic crushs the shelf.
In drama, heros get away
by daktylus in the couplet.
In elegy and in epistle,
enjambements let verses whistle.
The filling freedom in free verses
improves the fierceness of the nurses.
Gallant poetry – it is cruel – .
brings you grave saying after duel.
If hexameters badly act,
heroic couplets make you cracked.
A iambic verse sounds attractively
if you form it interactively.
Juxtaposed lines are like a jingle,
they are just acting like a single.
In knittelvers cadence prevails
kinetic poetry for sales.
In poetry the Limerick
extends the limits of critic.
The metrics gives the minstrelsy
the flippancy and fidgety.
If nature poetry is nice,
as nonsense verse it has its prize.
Onomatopoeia stand
in octets they are often canned.
For poetry out of the gutter
the parody is golden butter.
The quartet and the quintet cause
in quodlibets terrific jaws.
Use never (in rhetoric) rhyme
the rhythm causes overtime.
Don’t use a sestine as sonnet,
the verses will become too fat.
The beat seems in a triolet
much faster than in a tercet.
The poetry in underground
goes often unrhymed here around.
The villanelle needs reduction,
its vers is yet under construction.
The word play is in our world
the woolden ship, the sails are furled.
The xenolith is rather new,
Xanthippe found it in her shoe.
Yuefu is a good old song,
most yuppies understand it wrong.
The zen poetry burns my brain
in zeugma mode like acid rain.
to make the anthologies worst.
Note, if your balad has a a hole
then bridge it with a banderole.
A chant royal? Chanson itself?
Oh, no, a comic crushs the shelf.
In drama, heros get away
by daktylus in the couplet.
In elegy and in epistle,
enjambements let verses whistle.
The filling freedom in free verses
improves the fierceness of the nurses.
Gallant poetry – it is cruel – .
brings you grave saying after duel.
If hexameters badly act,
heroic couplets make you cracked.
A iambic verse sounds attractively
if you form it interactively.
Juxtaposed lines are like a jingle,
they are just acting like a single.
In knittelvers cadence prevails
kinetic poetry for sales.
In poetry the Limerick
extends the limits of critic.
The metrics gives the minstrelsy
the flippancy and fidgety.
If nature poetry is nice,
as nonsense verse it has its prize.
Onomatopoeia stand
in octets they are often canned.
For poetry out of the gutter
the parody is golden butter.
The quartet and the quintet cause
in quodlibets terrific jaws.
Use never (in rhetoric) rhyme
the rhythm causes overtime.
Don’t use a sestine as sonnet,
the verses will become too fat.
The beat seems in a triolet
much faster than in a tercet.
The poetry in underground
goes often unrhymed here around.
The villanelle needs reduction,
its vers is yet under construction.
The word play is in our world
the woolden ship, the sails are furled.
The xenolith is rather new,
Xanthippe found it in her shoe.
Yuefu is a good old song,
most yuppies understand it wrong.
The zen poetry burns my brain
in zeugma mode like acid rain.