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Invented Poetry Forms:

  bullet   The 7/5 Trochee
  bullet   A L'Arora
  bullet   Alliterisen
  bullet   The Alouette
  bullet   The Blitz Poem
  bullet   The Brevette
  bullet   Cascade
  bullet   Christ-in-a-Rhyme
  bullet   CinqTroisDecaLa
  bullet   Clarity Pyramid
  bullet   Constanza
  bullet   Con-Verse
  bullet   The Compound Word Verse
  bullet   Decuain
  bullet   Diatelle
  bullet   Duo-rhyme
  bullet   Epulaeryu
  bullet   Essence
  bullet   The Florette
  bullet   The Florette #2
  bullet   Grá Reformata
  bullet   Jeffreys Sonnet
  bullet   Joseph's Star
  bullet   Harrisham Rhyme
  bullet   HexSonnetta
  bullet   Inverted Refrain
  bullet   LaCharta
  bullet   LaJemme
  bullet   La'libertas
  bullet   Lannet
  bullet   La'ritmo
  bullet   La’Tuin
  bullet   Lauranelle
  bullet   Lento
  bullet   Licentia Rhyme Form
  bullet   Line Messaging
  bullet   Loop Poetry
  bullet   Mini-monoverse
  bullet   Memento
  bullet   The Mirror Sestet
  bullet   Mirrored Refrain
  bullet   Monchielle
  bullet   Monotetra
  bullet   Musette
  bullet   Nove Otto
  bullet   Octameter
  bullet   Octain Refrain
  bullet   Octelle
  bullet   Oddquain
  bullet   Paradelle
  bullet   Parallelogram de Crystalline
  bullet   The Pictorial
  bullet   Pleiades
  bullet   Puente
  bullet   Quadrilew
  bullet   RemyLa Rhyme Form
  bullet   Rictameter
  bullet   Shadow Sonnet
  bullet   Spirit’s Vessel
  bullet   Staccato
  bullet   Swap Quatrain
  bullet   Synchronicity
  bullet   The Tableau
  bullet   Tri-fall
  bullet   Trijan Refrain
  bullet   Trilonnet
  bullet   Trinet
  bullet   Triquain
  bullet   Triquatrain
  bullet   Triquint
  bullet   Trois-par-Huit
  bullet   Trolaan
  bullet   Vers Beaucoup
  bullet   Villonnet
  bullet   Wrapped Refrain
  bullet   Wrapped Refrain #2
  bullet   ZaniLa Rhyme

Octain Refrain

The Octain, full name Octain Refrain, is a form of poetry developed by English poet Luke Prater in December 2010.

It comprises eight lines as two tercets and a couplet, either as octosyllables (counting eight syllables per line), or as iambic tetrameter, whichever is preferable. Trochaic tetrameter also acceptable. The latter yields a more propulsive rhythm, as opposed to iambs, which lilt.

As the name suggests, the first line is a refrain, repeated as the last (some variation of refrain acceptable). Rhyme-scheme as follows -


A = refrain line. c/c refers to line five having midline (internal) rhyme (e.g. here/sneer), which is different to the a- and b-rhymes. The midline rhyme does not have to fall exactly in the middle of the line, in fact it can be more effective and subtle, depending on context, to have it fall earlier or later.

Alternative layout/stanza-structure:

Refrain lines out on their own, with the middle six as two tercets -


The High Octain is simply a double Octain, but as one poem - the refrains are the same, a- and b- rhymes are the same, but actual words are different, and the c/c line with the internal rhyme can optionally be rhymed in the second instance. There is no restriction on the level of repetition, but in most cases the stipulated refrain A is enough; this may even feel too repetitive and need varying. As a general guideline, changing up to four syllables of the eight still retains enough to feel like the refrain. The end word must remain the same.

The structure of the High Octain is one single after another with a break in between; alternatively, it can be written as two blocks of eight lines:

[or d/d instead of c/c]

It is also possible to write a piece consisting of a string of single Octains (the rhymes of which would not usually correspond).

Example #1:
Deference (single Octain)

True deference is how I view 
our meetings, cradled, innocent.
Our greetings peel, are quickly spent -

hours bulge, disfigure, warp, with you.
These keen eyes trace a joyful face
each time two friends embrace anew.

From other lifetimes roads are leant -
true deference, my point of view.

Copyright © 2011 Luke Prater

Example #2:
beware the child (single Octain, alternative format)

beware the child in each of us

no matter how we count the years
our toddler falls and wails with tears
attention gained with ill-timed fuss

with drama queens who stir up scenes
enough to make the saintly cuss
we thank the fates for patient peers

beware the child in each of us

Copyright © 2011 Beth Winter
Website - Eclisping Winter

Example #3:
Unhinge (High Octain)

O Kýrie, eléison.
Engorging, slick, devour her skin;
Man's avarice runs down his chin.

Atomic Power: blunt shotgun.
Her rising call, she'll take us all,
tectonic plates unhinge the sun

with no respite, no interim -
O Christe, O eléison.

O Kýrie, eléison.
False credit, carriage, blacksack bin,
can't hear the birds, can't hear them sing;

endangered species face the gun.
Her rising thrall will force the fall,
one grimreap day will see us done.

In gouging: sick, sick in her skin -
O Christe, O eléison.

Copyright © 2011 Luke Prater

Example #4:
andante (High Octain - alternative format)

adagio thoughts inhabit me
beside the mountains or the shore
i live for music, nothing more
alone and aimless, desult'ry
i play the blues, and drink my booze
then jazz it up to vivace
when morning comes, toss out the score
adagio thoughts return to me

adagio thoughts, defeating me
gravissimo my very core
depart my music at the door
though from myself, there's hope to flee
and finding muse in nature’s clues
a gift of music sets me free
once more, allow melodic roar
as dolce thoughts come back to me

andante -- moderate
adagio -- slow
vivace -- lively
gravissimo -- most grave
dolce -- sweet

Copyright © 2011 Victoria Ceretto-Slotto

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