The words to include (or their synonyms) in the poem are:
FLY | KEY | LINE | DRY | ROD
Dry winds blow desert sand,
ripple lines of parched land,
pluck chords with birch twig hand—dead leaves fly.
I wanted to try out the Florescence using the Secret Keeper’s five word prompt, but had to write three of them to fit in all the words:
CAPTIVE | CLUE | SIGN | ROAD | SHIFT
Saint Patrick’s Day is still in the back of my mind.
Beneath these changing skies
I see, where seagull cries,
Beloved in my eyes, windswept heath.
By ocean circled green,
This place has ever been,
A road home, distant seen—where gulls cry.
This mark will always stay,
Key to the heart’s dismay
Of those who sailed away, land we miss.
This is for the poetry people who humour me in my quest for the perfect tiny form of poetry. I discovered the Florette when I realised the thing I was calling a Florette was actually called an Essence. I also discovered that I liked the real Florette better than the Essence.
The Florette is too long to be a really short form as it needs at least two stanzas, but I like the extra long last line and the rhyming pattern. The Essence seems to be just a bit too short to cope with two rhymes, and for the internal rhyme to be random.
This form, that I am going to call a Florescence, is a compromise between the brevity of the Essence and the form of the Florette. As its name suggests it’s a poem on natural themes. It also panders to my obsession with the number three and multiples of three. It has two lines of six syllables and a third line of nine. The rhyme is at the end of the first two lines and on the sixth syllable of the third line. The last word rhymes with the first, like this.
Where the grass grows spring green
And kingcup gold is seen,
Beneath sky spring-swept clean—runs the hare.
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