The manhunt structure
The poem is made up of a series of couplets, mostly unrhymed. This created a sense of fragmentation, which matches the feelings of the soldier's wife as she seeks to understand the man her husband has become.
Hour follows the structure of a shakespearean sonnet: It has fourteen lines and a predicatable rhyme scheme (a-b-a-b-c-d-c-d-e-f-e-f-g-g). Sonnets often use a final rhyming couplet to offer a turn in the meaning; however, Duffy only offers a partial turn, which is confirmation of the idea that love will always triumph by finding unlikely sources of value.
In paris with you structure
The poem has four stanzas of five or six lines, with a longer stanza of nine lines in the centre, acting as a chorus in which the mood of the poem changes. The first half of the poem deals with the lead up to the current situation; The second half is concerned with enjoying the present. The repeated line "I'm in paris with you"- and variationg on it - can be described as a refrain (lines that are repeated in a song). The use of repetition reflects on the speaker's insistent concentration on the present. The poem has a regular rhyme scheme in the four stanzas, adding to the poems musical quality. The rhyme scheme in these four stanzas can be described as a-b-c-c-b (with the final b in the extra line of the last stanza). The stanza in the centre of the poem makes use of half rhyme.
Quickdraw has four stanzas of four lines each, two of which are joined by enjambment, where one line carries on into the next. There is no rhyme sceme or regular rhythm. The poem is largely written in free verse.
Like traditional ghazals, this poem is made up of a sequence of two-line stanzas (or 'couplets'). The two lines of the couplets do not rhyme but the end of each couplet does, partly through the repetition of the word "me".
The poem has four stanzas of varying lengths. The first stanza describes the harmonium as it stands, ready to be discarded. The next is a closer investigation of the instrument, with detailed descriptions of its parts. The third stanza considers the history of the instrument. The final stanza, which describes carrying the harmonium from the church, is concerned with the relationship between the speaker and his father.
The poem does not use rhyme or have a strict pattern to its rhythm. This is typical of modern poetry.
There are three stanzas; they recount three stages of the afternoon. The first stanza sets the scene, showing the relationship between the speaker and his brother as well as the speaker and his friend. The second stanza presents the disruption to plans for the afternoon (because the younger brother doesn't have his bus fare). The final stanza concludes the story, revealing the separation of the brothers.
Praise song for my mother structure
The poem is based around the first three stanzas of three lines each, which are very similar in format. The fourth stanza begins in the same way as the first three but is extended, bringing attention to the poem's final line about the daughter's expanding horizons and moving towards "wide futures", as if reflecting the way in which the mother's care for her has allowed her to grow and move on.
Sonnet 116 structure
The Shakespearean sonnet has 14 lines divided into three stanzas of four lines each and a final couplet. The rhyme scheme can be described as a-b-a-b, c-d-c-d, e-f-e-f, g-g. This predictability and use of a regular pattern is frequently found in older poetry as writers tended to stick to the restrictions of a set format. This poem follows the conventional structure and includes the usual 'turn' at the end - a pair of lines (or couplet) that either shifts the mood or meaning of the poem, or asserts some sort of revelation.
Sonnet 43 structure
Sonnet 43 is the length of a traditional sonnet (14 lines) but otherwise does not follow the rules. There is a fairly regular rhyme scheme, but this is flexible, and Browning often makes use of assonance (for example "Praise" and "Faith"), which is striking because the poem is about defining the perfect love, and yet the poem avoids perfection. Perhaps this is deliberate.
To his coy mistress structure
The poem has three sections. In the first stanza the ideal courtship is presented, with extravagant references to the care and devotion with which the speaker would "woo" his lover "had we but time". The second stanza makes it clear that they have not got time, and that death is not only inevitable but imminent. The final stanza proposes that they fight against the progression of time and seek pleasure while they are able.
The poem is written in rhyming couplets, a popular format in rhyming poetry.
The farmers bride structure
The Farmer's Bride opens with a reference to "Three Summers since" and towards the end "Christmas-time" is mentioned, so there is a sense of time passing with the tragic situation unchanged. There are six stanzas which vary in length but throughout there is a strong use of rhyme. The rhyme scheme of the first stanza, for example, is a-b-b-a-c-d-c-d-d.
Sister maude structure
Each stanza contains even lines that rhyme; this regular pattern helps to reinforce the traditional source for the poem because older poetry is often characterised by the use of strict structural devices like rhyme, rhythm and even line and stanza lengths.
Of the five stanzas in the poem, four have four lines. The fifth stanza offers an extra two lines in which there is a turn, after which the mood of the poem subtly alters.
The poem consists of a single stanza and has alternately rhyming lines. The poem is a narrative account, focused on the father's perspective of an accident involving his son.
Born Yesterday structure
Born Yesterday has two sections, a ten-line stanza and a 14-line stanza. The lines are short and direct. The first stanza concentrates on the presentation and eventual deflation of traditional wishes for a newborn child. The second stanza presents the speaker's unconventional hopes for the child. The greater length of the second stanza is an indication of the belief that this attitude is more worthwhile.