Tanka, which means “short song,” has been an important literary form in Japanese culture for nearly a thousand years. The original Japanese form of tanka had only one line of poetry containing 31 speech sounds—what we would call syllables. However, most tanka poems that are written in English today are broken into five poetic lines with a certain number of syllables in each line.
The basic structure of a tanka poem is 5 – 7 – 5 – 7 – 7. In other words, there are 5 syllables in line 1, 7 syllables in line 2, 5 syllables in line 3, and 7 syllables in lines 4 and 5. If you have ever written a haiku, you will notice that tanka is kind of like a longer version of haiku that gives you a little more room to tell a story. Here is one example of a tanka poem:
Concrete poetry—sometimes also called ‘shape poetry’—is poetry whose visual appearance matches the topic of the poem. The words form shapes which illustrate the poem’s subject as a picture, as well as through their literal meaning.
This type of poetry has been used for thousands of years, since the ancient Greeks began to enhance the meanings of their poetry by arranging their characters in visually pleasing ways back in the 3rd and 2nd Centuries BC.
A famous example is “The Mouse’s Tale” from Lewis Carroll’s Alice’s Adventures in Wonderland. The shape of the poem is a pun on the word tale/tail, as the words follow a long wiggling line getting smaller and smaller and ending in a point.
The name “Concrete Poetry,” however, is from the 1950’s, when a group of Brazilian poets called the Noigandres held an international exhibition of their work, and then developed a “manifesto” to define the style.
The manifesto states that concrete poetry ‘communicates its own structure: structure = content’
Free verse is one of the simplest, and yet most difficult, type of poetry to write. While it doesn’t constrict the poet with rules about form, it requires him or her to work hard at creating a piece that is beautiful and meaningful without any specific guidelines about rhyme and meter. If you’d like to try your hand at free verse, there are a few tips (not rules) that will help as you develop your own style.
Choosing Words Carefully
Carefully chosen words can help you create a poem that sounds like the situation, emotion, or object you are trying to portray. For instance, short words with sharp consonants cause the reader to stop-and- go in a choppy cadence: Cut, bash, stop, kick, lick, bite, punch, jump, stick, kiss. They almost sound like what they mean. Use these types of short words when you want to show excitement, fear, anger, new love, or anything that might make your heart beat quickly. Longer words with soft sounds cause the reader to slow down. Use them when you want to show pause, tension, laziness, rest.
Poetry has a lot of terms with special meanings. This poetry dictionary for kids lists the most common poetic terms that kids might encounter, along with their definitions. If you need a more extensive poetry dictionary, I recommend the Poetry Foundation’s Glossary of Poetic Terms.
A
Accent
The emphasis placed on some syllables in words more than others. For example, the word “apple” has two syllables, and the accent is on the first syllable, so it is pronounced “AP-pull.” “Banana,” on the other hand, has three syllables, with the accent on the second syllable, so it is pronounced “buh-NA-nuh.”
Anagram
A word or phrase created by rearranging the letters of another word or phrase. For example, “notes” is an anagram of “stone.” See the poem Anna Graham for many more examples of anagrams.
Antonym
A word that has the opposite meaning of another word. For example, “dark” is an antonym of “light.” See also Synonym.
Assonance Repeating the vowel sounds in the stressed, or accented, syllables in nearby words. For example, in the phrase “flying kites” the repeated long “i” sounds are assonant. See Alliteration and Assonance Lesson Plan.
B
Ballad
A form of poetry, usually suitable for singing, that tells a story in stanzas of two or four lines, and often has a refrain.
Concrete Poem
A poem in which the meaning is conveyed by the placement and design of the words on the page instead of, or in addition to, the usual arrangement of words. Also sometimes called a “shape poem” or “visual poem.” See How to Write a Concrete or “Shape” Poem.
Consonance
The repetition of consonant sounds within nearby words, especially the consonant sounds at the ends of words, as in “a stroke of luck” or “a bite to eat.”
Couplet
Two lines of poetry, one after the other, that rhyme and are of the same length and rhythm. For example, “I do not like green eggs and ham. / I do not like them Sam I Am.”
D
Double Rhyme A rhyme where the stress is on the second-to-last syllable of the words, and the end sounds are the same, starting with the vowel of the stressed syllables. Some examples are batter / fatter, ocean / lotion, and camping / stamping. Double rhymes and triple rhymes are also called “feminine rhymes.” See How to Rhyme.
Epitaph
A short poem written about someone who has died, often inscribed on the headstone of their grave. Epitaphs usually praise the person, and are sometimes humorous. See How to Write a Funny Epitaph Poem.
Foot
In poetry, a group of two or more syllables, one of which is stressed. Metrical poems are often written in feet with the same number of syllables with the stress in the same place in each foot. For example, the line “My puppy punched me in the eye” is made up of four feet, each with the stress on the second syllable, as in “my PUP | py PUNCHED | me IN | the EYE.” The most common poetic feet are two or three syllables long. See Rhythm in Poetry – The Basics.
Forced Rhyme
Most commonly, an end rhyme where the lines are written in an unnatural manner in order to “force” the words to rhyme. A forced rhyme may also be a near rhyme, wrenched rhyme, or a line where irrelevant or unnecessary information is added to the poem for the sake of making lines rhyme. See Forced Rhymes and How to Avoid Them.
Form
A “type” of poem, written by following a set of rules such as the number of lines or syllables, the placement of rhymes, etc.. Common poetic forms include acrostic, cinquain, free verse, haiku, etc. See Poetry Lessons for Kids to learn how to write many different poetic forms.
Haiku
A short, unrhymed Japanese poetic form with three lines of five syllables, seven syllables, and five syllables. See How to Write a Haiku.
Homonym
A word that has the same spelling and sound as another word, but a different meaning. For example “fine” (an adjective meaning nice) and “fine” (a noun meaning money you have to pay as a punishment) are homonyms.
Homophone
A word that has the same sound as another word, but a different spelling and meaning. For example, “there,” “their,” and “they’re” are homphones.
Hyperbole
Pronounced “hi-PER-buh-lee.” A extreme and obvious exaggeration, not meant to be believed or taken literally. For example, “he has a million-dollar smile” or “this test is taking forever.” See How to Write an Exaggeration Poem.
I
Imagery Language and poetic techniques used to appeal to the reader’s senses (sight, sound, smell, etc.) to create mental pictures and cause emotions in the reader. See also Onomatopoeia.
Internal Rhyme Rhymes within a line of poetry. For example, the poem My Pet Germs contains an internal rhyme on the third line of each stanza.
L
Light Verse
Poetry that is intended to be humorous, amusing, or entertaining. While there is some light verse written in free verse, most light verse is written in rhyme and meter. There are also many light-verse poetic forms, such as limericks, clerihews, double-dactyls, etc.
Line
A single row of words in a poem. For example, a limerick has five lines, while a haiku has three lines. Lines are one of the main things that distinguish poetry from prose.
Metaphor
A figure of speech, where a thing is described as being something else in order to suggest a similarity between the two. For example, “The cat was a rag doll in my arms” or “Nature wore its winter robe.”
Nonsense Poem
A form of light verse, usually rhymed and metrical, often with strange characters, fantastic or impossible situations, and made-up words. Lewis Carroll’s Jabberwocky and Edward Lear’s The Owl and the Pussycat are famous examples of nonsense poetry.
Occasional Poem
A poem written to commemorate a specific occasion or event, such as a birthday, wedding, funeral, anniversary, graduation, military victory, etc.
Palindrome
A word or phrase that is spelled the same backward as it is forward, ignoring spaces, capitalization, and punctuation, such as “Bob,” “mom,” “radar,” “race car,” “madam, I’m Adam,” etc.
Parody
A poem written in the style of another poem, usually humorous. Parodies usually assume the reader is familiar with the original work. For example, the poem “Let Me Out of the Classroom” by Kenn Nesbitt is a parody of the song “Take Me Out to the Ball Game.”
Perfect Rhyme
Two words that have exactly the same vowel and consonant sounds at the ends, starting with the first vowel of the last stressedsyllable. For example, green/bean, dummy/tummy, and cavity/gravity are all perfect rhymes. Note that the first consonant sound of the last stressed syllable must be different. For example leaf/belief is not a perfect rhyme because the final stressed syllable of each word begins with the same consonant “l” sound. See also: Near Rhyme, Assonance, and Consonance.
Personification
Giving human characteristics to non-human things, such as animals, inanimate objects, or ideas. For example, “The sun smiled down on the beach” or, “The trees waved at the birds flying by.”
Poem
A written composition, often using rhythm, rhyme, metaphor, and other such artistic techniques to express an idea, feelings, or a story.
Prose
Ordinary writing or spoken language, usually written in sentences and paragraphs, as opposed to rhythmical lines.
Pun
A “play on words,” usually using homophones or homonyms, where a word or phrase has multiple meanings. For example, “Six was afraid of Seven because Seven ate Nine.” This is a pun because the word “ate” sounds like “eight.”
Rhyme Scheme
The pattern of end rhymes in a poem, written out as letters, such as AABB or ABAB. See Rhyme Schemes Lesson Plan to learn how to write the rhyme scheme of a poem.
Rhythm
The sound and feel created by the pattern of accented and unaccented syllables, usually repeated, in a poem. See also Meter.
S
Sight Rhyme
Words that end with the same letters, but not the same sound, such as rough / cough / plough or prove / love / grove.
Simile
A comparison between to unlike things, usually using “like,” “as,” or “than.” For example, “his imagination was like a bird in flight.”
Single Rhyme
A rhyme in which the stress is on the final syllable of the words, such as cat / hat, and play / away. Also called a “masculine rhyme.” See How to Rhyme.
Stanza
A group of lines in a poem, separated by space from other stanzas, much like a paragraph in prose.
Subject
The main idea of a poem, or what the poem is about. For example, Basketball Is Lots of Fun is a poem about basketball, so basketball is the subject.
Syllable
A part of a word, usually a vowel and it’s surrounding consonants, that makes a single sound when spoken. All words have at least one syllable. For example, cat, I, and would are all one syllable long because they are spoken with a single movement of the mouth. Cattle, eyeball, and wouldn’t are all two syllables because they require two separate sounds to be spoken.
Synonym
A word that has the same, or nearly the same, meaning as another word. See also Antonym.
T
Tanka
A 5-line, 31-syllable unrhymed traditional Japanese poetic form, with five syllables on the first and third lines, and seven syllables on the second, fourth, and fifth lines. See also How to Write a Tanka Poem.
Tercet
A group of three lines that rhyme with one another, or are connected to another tercet by their rhyme scheme.
Theme
The main idea or point of a poem. The theme is different than the subject or topic of the poem. The subject is what the poem is about, while the theme is what the poem means. For example, in the poem “We Ate all the Cheetos,” the subject of the poem is eating tasty foods, but the theme of the poem is that it can be hard to eat healthy foods.
Triple Rhyme
A rhyme in which the third-to-last syllable in the words final stressed syllable. For example, cavity / gravity, hammering / stammering, and nobility / agility are all triple rhymes. Double rhymes and triple rhymes are also called “feminine rhymes.” See How to Rhyme.
Wrenched Rhyme Rhyming the final syllables of two words, where one is stressed and the other is not. For example the words “sing” and “morning” are a wrenched rhyme because “sing” is stressed on the final (and only) syllable, but “morning” is stressed on the second-to-last syllable. Other examples include tin/imagine, frog/catalog, etc. See also Perfect Rhyme and Forced Rhymes and How to Avoid Them.
Kenn Nesbitt, former U.S. Children's Poet Laureate, is celebrated for blending humor and heart in his poetry for children. Known for books such as "My Cat Knows Karate" and "Revenge of the Lunch Ladies," he captivates young readers globally.
Visual artists sometimes talk about using “found objects” in their artwork. In other words, they collect interesting things during the course of a normal day (such as bus tickets, objects from nature, or a toy found on the street) and then find a way to incorporate those objects into their artwork.
Did you know that you can do the same thing with language? A “found poem” is created by collecting interesting text from the world around us and then using those words to make a poem. When you create poetry this way, you are acting like a documentary filmmaker—using scenes from real life to tell an interesting story.
Here are three simple and fun ways to create “found poetry” from the language that is all around you.
For many years, I’ve wanted to add some of my favorite classic children’s poems to Poetry4kids.com; the poems I read and had read to me as a child. I have always thought it would be a good idea to have an easy way for teachers, parents, and children to explore some of the most popular poems of the English language. Today, I finally accomplished that goal.
Poetry4kids.com now has a new Classics section where I have begun posting some of my favorite, and many of the most well-known poems written for children over the past few hundred years. For starters, these include such famous poems as Lewis Carroll’s “Jabberwocky,” Clement Moore’s “A Visit from St. Nicholas,” and Ernest Lawrence Thayer’s “Casey at the Bat.” I have posted 15 poems to start, and will continue posting more classic poems weekly, with the hope of eventually having hundreds of classic poems for you to enjoy.
Read and Rate Classic Poems
Even better, I have included the ability for readers to rate each poem (1-5 stars). The more highly-rated poems will appear at the top of the page, while the less popular poems will be farther down the page (or may get booted from the page altogether). This way you can easily see which poems are the most well-loved by readers, and even vote for your own favorites.
Suggest Your Favorite Classic Poems
Is there a classic children’s poem you would like to see added to the site? Send me an email and let me know, so I can be sure to post it.
Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light,–
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm.”
Then he said “Good-night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.
Meanwhile, his friend through alley and street
Wanders and watches, with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.
Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,–
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town
And the moonlight flowing over all.
Beneath, in the churchyard, lay the dead,
In their night encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,–
A line of black that bends and floats
On the rising tide like a bridge of boats.
Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now he gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns.
A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet;
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river fog,
That rises after the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, black and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.
You know the rest. In the books you have read
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.
The outlook wasn’t brilliant for the Mudville nine that day:
The score stood four to two, with but one inning more to play,
And then when Cooney died at first, and Barrows did the same,
A pall-like silence fell upon the patrons of the game.
A straggling few got up to go in deep despair. The rest
Clung to the hope which springs eternal in the human breast;
They thought, “If only Casey could but get a whack at that—
We’d put up even money now, with Casey at the bat.”
But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a hoodoo, while the latter was a cake;
So upon that stricken multitude grim melancholy sat,
For there seemed but little chance of Casey getting to the bat.
But Flynn let drive a single, to the wonderment of all,
And Blake, the much despisèd, tore the cover off the ball;
And when the dust had lifted, and men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.
Then from five thousand throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It pounded on the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.
There was ease in Casey’s manner as he stepped into his place;
There was pride in Casey’s bearing and a smile lit Casey’s face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt ’twas Casey at the bat.
Ten thousand eyes were on him as he rubbed his hands with dirt;
Five thousand tongues applauded when he wiped them on his shirt;
Then while the writhing pitcher ground the ball into his hip,
Defiance flashed in Casey’s eye, a sneer curled Casey’s lip.
And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped—
“That ain’t my style,” said Casey. “Strike one!” the umpire said.
From the benches, black with people, there went up a muffled roar,
Like the beating of the storm-waves on a stern and distant shore;
“Kill him! Kill the umpire!” shouted someone on the stand;
And it’s likely they’d have killed him had not Casey raised his hand.
With a smile of Christian charity great Casey’s visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the dun sphere flew;
But Casey still ignored it and the umpire said, “Strike two!”
“Fraud!” cried the maddened thousands, and echo answered “Fraud!”
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn’t let that ball go by again.
The sneer is gone from Casey’s lip, his teeth are clenched in hate,
He pounds with cruel violence his bat upon the plate;
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey’s blow.
Oh, somewhere in this favoured land the sun is shining bright,
The band is playing somewhere, and somewhere hearts are light;
And somewhere men are laughing, and somewhere children shout,
But there is no joy in Mudville—mighty Casey has struck out.
Hush Little Baby
Paul Revere’s Ride
The Tyger
Casey at the Bat