BY JAN HAAG

ART & POETRY - ACCUMULATIONS

POETRY + MUSIC + TEXTILE ART + TRAVEL + ESSAYS + FICTION

INTRODUCTION + HAAG'S BIO






The Desolation Poems

POETIC FORMS USED IN ENGLISH





INTRODUCTION AND INDEX




Poetic Forms Used In English is a project in which I intend to write at least one poem in every form used in English and, as it is working out, to delve from time to time into forms from other languages which may not, so far, have been used in English. No one can put a definite number on how many "English" forms there are. The variations, variants, versions, the whole, partial or re-arranged borrowings from other languages, and the possibilities within forms are too numerous to offer a stable count. About 400 -- perhaps. Began on July 18, 1997 (after two aborted earlier efforts) I have as of today, February 5, 1999, written a poem in each of 326 different forms. The project continues...

The theme is desolation. Not only desolation of landscape and spirit, but desolation of the mind, of psyche, creative energy. Many are positive poems, as I happen to love the desolate landscape of the desert. When I drive into the desert, see the desolation, the form and the bones of the landscape, I feel I can breathe again. I love wide open spaces, spaces where "nothing" grows. I love the sea. I love paved over and bricked in spaces too, if they are beautifully proportioned and monumentally conceived as is Red Square at the University of Washington and Red Square in Moscow. When I was in Russia, the beauty of Red Square was mitigated, for there were guards standing about making sure you walked within marked paths across the vast open space. They didn't want you wandering just any place in the nothingness. There is danger -- perhaps especially -- in emptiness.

There are questions, poems, desolations of the mind that I cannot seem to get beyond. Desolations in trying to solve problems, particularly the problem: to see things as others do. I see the ridiculous in the held opinions about many things on this wide green ball bouncing through the void and realize that almost all of what is called "human knowledge" consists in mere entertainment for the mind.

There are desolations of being alone, desolations of being with others. There is also the desolation of acquiring orphanhood at sixty-three; desolation as seen in a sea of sand; in a morning with nothing to do. The poems are being posted in the order in which they were written. They are, however, indexed alphabetically by form name. (Some of the poems, but by no means all of them, have individual names). Eventually I hope to cross-indexed all the poems by type, country of origin, etc.

For the most part, I choose the form of the day at random -- whatever happens to strike my fancy. An open-ended adventure -- as is life. I very much enjoy these wanderings on the "grid", and hope that you will too.

Jan Haag
February 26, 1999
University of Washington
Seattle, Washington





Copyright © 2000 Jan Haag
ALL RIGHTS RESERVED

Jan Haag may be reached via e-mail: jhaag@u.washington.edu






ALPHABETICAL INDEX BY FORM



THE DESOLATION POEMS


#253, Abecedarius

#i, Acrostic I, A CONSCIOUS ACCOUNTING

#1, Acrostic II

#122, Adonics

#121, Adonic, Sapphics

Ae Fresligne I

#128, Ae Fresligne II

#313, After Dharmakirti After Paz

#130, Alba

#i, Alcaics I, FUNDRAISING

#65, Alcaics II

#66, Alcaics III

#67, Alcaics II & III

#83, Alexandrine

#131, Alexandrine Couplet

#318, Allegory, KAT BLACK

#247, Allegory (in Usnik), THE CUTTING EDGE

#265, Alternating Sonnet

#149, Anacreontics

#289, Anagram

#127, Anglo-Saxon Prosody

#181, Antithetical Parallelism

#248, Antiphon

#212, Anustubh

#270, Aubade (Donne)

#v, Awdl Gywydd I, ADMONITION



#273, Balada

#vi, Ballad I

#135, Ballad II

#231, Ballad Stanza

#232, Ballade (with Envoy)

#vii, Ballade I, CENSER

#76, Ballade Supreme

#197, Barzelletta

#282. Beast Epic

#281, Bestiary

#133, Blank Verse

#327, Blessing, DEAR KATHERINE;

#18, Blues Sonnet

#108, Blues Stanza

#244, Bob And Wheel

#95, Haag's and Bogan's Stanzas

#44, Bref Double

#220, Brhati

#249, Bucolics

#328, Burlesque

#138, Byr A Throddaid



#284, Caccia

#290, Calligramme 1

#290, Calligramme 2

#255, Cancion II

#85, Cancione

#279, Canso

#280, Canticle

#275, Canzone (Auden)

#274, Canzone Petrachesca

#206, Capitolo

#136, Carol

#157, Carol Stanza

#198, Carol Texte

#145, Casbairdne

#293, Catalog Poem, ON THE BUS

#329, Catch

#268, Caudated Rinterzato

#142, Caudated Sonnet

#296, Cento, from Paul Valery

#264, Chained Sonnet

#294, Chanso

#297, Chanson de Geste, STUDYING SANSKRIT

#330, Chant

#331, Chante-Fable

#75, Chant Royal

#332, Chanty

#333, Charm

#6, Choka

#337, Choral Ode

#71, Choriambics

#16, Cinquain

#143, Classical Hexameter

#69, Clerihews

#182, Climactic Parallelism

#27, Clogyrnach

#64, Cobla

#5, Common Measure

#170, Common Octave

#252, Complaint (in Fourteeners

#126, Compound Acrostic

#304, Concrete Poem -- ideogrammic spatials, FALL

#334, Coronach, KOSOVO

#256, Cristabel Meter

#89, Crown of Sonnets

#137, Curtal Sonnet

#28, Cyhydedd Fer

#22, Cyhydedd Hir

#22, Cyhydedd Hir (Long line)

#26, Cyhydedd Naw Ban

#78, Cyrch A Chwta

#42, Cywydd Deuair Fyrion

#164, Cywydd Deuair Hirion

#77, Cywydd Llosgyrnog



#272, Dansa

#237, Deachnadh Mor

#79, Decastich

#80, Decima Italiana

#146, Deibhidhe

#87, Descort

#312, Dirge

#338, Dithyramb, THE ARTS

#243, Dizain

#124, Double Acrostic

#124, Double Acrostic

#233, Double Ballade

#319, Double Ballade Supreme

#4, Double Glose

#245, Double Refrain Ballade

#46, Droighneach

#301, Dyfalu



#110, Echo Verse

#335, Ecologue, for Julia Butterfly Hill

#92, Edda -- Fornyroislag, Old Meter, Old Story Meter

#93, Edda -- Ljooahattr, Song Measure

#93, Edda -- Malahattr, Speech Measure

#70, Elegiacs

#310, Elegy

#196, Enclosed Tercet/Triplet

#229, Enclosed Triplet

#163, English Madrigal

#23, English Ode

#13, English Sonnet

#111, English Sonnet II

#25, Englyn Cyrch

#178, Englyn Lleddfbroest

#41, Englyn Milwr

#177, Englyn Penfyr

#173, Englyn Proest Dalgron

#171, Englyn Proest Gadwynog

#172, Englyn Unodl Crwca

#175, Englyn Unodl Union

#152, Envelope Couplet

#32, Envelope Quintet

#262, Envelope Sonnet I

#263, Envelope Sonnet Ii

#336, Epic, MY NOVEL

#287, Epigram

#320, Epistle

#300, Epyllion

#81, Espinela

#316, Evensong



#92, Fornyroislag

#165, Fourteener



#211, Gayatri

#218, Gayatri II, ELLORA

#73, Genethliacum

#298, Georgics

#303, Geste

#188, Ghazal

#101, Glose

#167, Greek Pentameter

#162, Gwawdonyn Hir

#39, Gwawdodyns

#40, Gwawdodyns II

#162, Gwawdonyn Hir



#95, Haag's and Bogan's Stanzas

#x, Haiku I

#11, Haiku II

#118, Hendecasyllabics

#119, Hendecasyllabics II

#120, Hendecasyllabics III

#246, Hendecasyllabic Double Rispetto

#111, Heroic Couplet

#147, Heroic Couplet II

#179, Heroic Octave

#154, Heroic Rispetto

#183, Heroics

#183, A RETURN FROM HEROICS TO ITS NATURAL STATE

#129, Heroic SestetII

#168, Heroic Sestet II

#189, Heroic Sonnet

#143, Hexameter, Classical

#2, Hir A Thoddaid

#228, Hokku with Couplet

#184, Hudibrastics

#50, Huitain

#82, HuRoet

#17, Hymnal Octave

#123, Hymnal Stanza



#288, Iambic Tetrameter Quatrains (after Marlowe, Ralegh, Donne)

#311, Idyl

#254, Iroha Mojigusari

#159, Interlocking Rubaiyat

#102, Italian Madrigal

#72, Italian Octave

#114, Italian Sestet

#88, Italian Sonnet I

#286, Italian Sonnet II (with Sicilian Sestet)

#267, Ithyphallic



#214, Jagati, ORNAMENT AND CRIME

The Jaipur Sequence

#227, Jyotismati



#216, Kakubh

#7, Katauta

#9, Kyrielle



#24, Lai

#53, Lai Nouveau

#308, Lament

#241, Limerick

#54, Literary Epitaph

#94, Ljooahattr

#116, Long Hymnal Octave

#140, Long Hymnal Stanza

#109, Long Measure

#116, Long Octave



#242, Madsong

#93, Malahattr

#208, Mandakranta Meter

#185, Mondo

#205, Monody

#187, Mote



#199, Nashers

#323, Nursery Rhyme

#225, Nyankusarini



#259, Ode II(Shelly)

#261, Ode III(Keats)

#29, Octtava Rima

#68, Octameter Couplet

#84, Octave

#92, Old Meter

#92, Old Story Measure



#325, Paean

#285, Palinode

#8, Pantoum

#258, Pantun

#181, Parallelism, Antithetical

#182, Parallelism, Climatic

#166, Parallelism, Synonymous

#180, Parallelism, Synthetic, in Classical Pentameter

#322, Pastoral Elegy

#309, Pastorela

#222, Pathya

#266, Petrarchan Sonnet

#219, Pipilikamadhya

#52, Poulter's Measure

#202, Pregunta

#193, Primet Couplet

#221, Purastad Brhati

#217, Pura Usnik



#33, Quatrain

#125, Quatrain II

#317, Quatrain III, Irregular

#288, Quatrains, Iambic Tetrameter (after Marlowe, Ralegh, Donne)

A Quatrain Quartet (Marlowe, Ralegh, Donne, Haag)

#21, Qasida

#150, Qasida II

#192, Quintain

#30, Quintilla I

#31, Quintilla II

#34, Qunitilla iii



#234, Randaigecht Chetharchubaid Garit Recomarcach

#236, Rannaigheacht Bheag

#35, Rannaigheacht Ghairid

#235, Rannaigheacht Mhor

#10, Redondilla

#271, Reveille

#20, Rhupunt (Long line)

#20, Rhupunt

#174, Rhupunt II

#210, Rionnaird Tri-Nard

#59, Rimas Dissolutas

#51, Rime Couee

#62, Rime Royal

#61, Rispetto

#156, Ruspetto, Rispetto, Rispetto Rispetto -- (Sicilian, Italian; Sicilian, Heroic; Italian, Heroic quatrains)

#103, Rondeau

#55, Rondel

#45, Rondelet

#63, Rondine

#43, Ronsardian Ode

#86, Roundel

#86, Roundel (Sketch)

#148, Roundelay (Dryden's form)

#160, Rubai

#158, Rubaiyat

#159, Rubaiyat, Interlocking



#207, Sanskrit Didatic, RASA

#315, Sanskrit Didatic II, SANSKRIT

#300, Epyllion

#295, Sapphic Aeolic Pattern

#194, Sapphic Line

#121, Sapphics, Adonic

#224, Sato Brhati

#238, Seadna

#15, Sedoka

#239, Seadna Mor

#107, Senryu

#191, Septenary

#113, Septet

#257, Serranilla

#49, Sestina

#91, Sextilla

#96, Sextilla II

#97, Sextilla III

#276, Sha'ir or Sjair I

#277, Sha'ir or Sjair II

#278, Sha'ir or Sjair III

#260, Shakespearean Sonnet

#99, Short Couplet

#204, Short Couplet II

#117, Short Hymnal Octave

#139, Short Hymnal Stanza

#19, Short Measure

#74, Short Particular Measure

#151, Short Octave

#36, Sicilian Octave

#104, Sicilian Octave II

#141, Sicilian Quatrain

#155, Sicilian Quatrain II

#111, Sicilian Quatrains

#105, Sicilian Quintet

#90, Sicilian Septet

#viii, Sicilian Sestet I

#104, Sicilian Sestet II

#169, Sicilian Sestet III

#104, Sicilian Sonnet

#12, Sicilian Tercet/Triplet

#221, Sicilian Triplet

#305, Sirventes I

#306, Sirventes II, after Bertran de Born

#307, Sirventes III, after Bertran de Born

#223, Skandhodgrivi

#201, Skeltonics

#240, Sneadhbhairdne

#14, Somonka

#94, Song Measure

#326, Song, After Blake's Songs of Experience

#265, Sonnet, Alternating

#18, Sonnet, Blues

#142, Sonnet, Caudated

#268, Sonnet, Caudated Rinterzato

#264, Sonnet, Chained

#89, Sonnets, Crown of

#137, Sonnet, Curtal

#13, Sonnet, English

#111, Sonnet, English II

#262, Sonnet, Envelope I

#263, Sonnet, Envelope II

#189, Sonnet, Heroic

#88, Sonnet, Italian

#266, Sonnet, Petrarchan

#260, Sonnet, Shakespearean

#104, Sonnet, Sicilian

#269, Sonnet, 16 Line Variant (Meredith)

#112, Sonnet, Spenserian

#93, Speech Measure

#112, Spenserian Sonnet

#161, Spenserian Stanza

#58, Split Couplet

#58, Split Couplet, Alternate Version

#132, Standard Habbie

#153, Stave, Sestet Stanza

#60, Stave - Strict Version

#134, Strambotto

#166, Synonymous Parallelism

#180, Synthetic Parallelism in Classical Pentameter



#56, Tanka

#203, Tanka Couplet

#176, Tawddgyrch Cadwynog

#3, Telestich

#314, Tenson

#195, Tercet II

#100, Tersanelle

#106, Terza Rima

#ix, Terza Rima Sonnet I

#195, Thirteener + Three

#283. Tmesis

#37, Toddaid

#190, Triad

#195, Triad II

#xi, Triolet II

#xii, Triolet III

#xiii, Triolet IV

#38, Triolet V

#98, Triplet

#213, Tristubh, KHAJURAHO II

#47, Triversen

#251, Troilus Stanza

#200, Twime



#226, Uparistad Brhati

#247, Usnik, Allegory in, THE CUTTING EDGE

#215, Usnik, COMMENTARY



#209, Vakh

#250, Venus and Adonis Stanza

#144, Verelai

#291, Vers I

#291, Vers II

#186, Villancico

#48, Villanelle



#57, Waka

#302, Welsh Form

The Writing Systems Sequence







Forms


#i to ixv

#1 to 33

#34 to 66

#67 to 99

#100 to 133

#134 to 166

#167 to 199

#200 to 233

#234 to 266

#267 to 299

#300 to 333

#334 to --






Copyright © 2002 Jan Haag
ALL RIGHTS RESERVED

Jan Haag may be reached via e-mail: jhaag@janhaag.com or jhaag@u.washington.edu





BY JAN HAAG

ART & POETRY - ACCUMULATIONS

POETRY + MUSIC + ESSAYS + TRAVEL + FICTION + TEXTILE ART

INTRODUCTION + HAAG'S BIO



21st CENTURY ART, C.E. - B.C., A Context