Decuain

Decuain
A Decuain is a type of poem that consists of ten lines, typically following a specific meter or structure. It can vary in terms of rhyme scheme, but it often features a sense of thematic unity, typically addressing deep, reflective topics. The term “decuaine” itself comes from the Latin word decem, meaning ten, referring to the ten-line structure.

Who can Fathom?


All the wisdom of this worldly plane,
Who can fathom God’s wisdom, vast and grand?
Our knowledge is fleeting, transient; it will wane.
We fail to grasp a glimpse of eternity planned.
Revealed is His love through Jesus’ saving hand.
Yet presumption blinds us, flawing perspective’s line,
Yet fools claim to know what’s beyond the expand.
We trust in Him, for God is good, together we’re fine.
Our feeble minds in humble awe must strain,
In contemplation of God’s eternal reign.


“Who Can Fathom?” reflects on spirituality and divine wisdom, which suits the form. The poem does not strictly follow any meter associated with traditional decuains. Still, its exploration of complex themes, along with its brevity and structure of ten lines, makes it a good example of the type.
Meter:
The meter of a Decuain can vary, but it is often written in iambic (unstressed-stressed) or trochaic (stressed-unstressed) meter, though it may also feature other metrical patterns depending on the poet’s choice.
Rhyme Scheme:
A traditional Decuain often follows an AABBA AABBA rhyme scheme, where the first five lines have one rhyme scheme, and the last five lines form a second rhyme scheme, making it a type of couplet structure. However, variations exist, and poets may choose to use different rhymes or structures to suit their theme or style.

This structure allows for two distinct parts in the poem, often creating a balance between the first and second sections of the poem, with a thematic or emotional shift in the second part. The Decuain lends itself well to both lyrical and reflective poetry.

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About the Author: Sarah B. Royal

Sarah B. Royal’s writing defies convention. Her poetry and prose traverse the boundaries between structure and spontaneity, often weaving together philosophical inquiry, cultural reflection, and personal narrative. With a background in experimental literature, she is known for crafting works that challenge readers to engage intellectually and emotionally.

Her acclaimed palindrome performance play, 777 – A Story of Idol Worship and Murder, showcases her fascination with mirrored storytelling and thematic symmetry. In o x ∞ = ♥: The Poet and The Mathematician, Royal explores the intersection of poetic intuition and mathematical logic, revealing a unique voice that is both analytical and lyrical.

Royal’s collections—such as Lost in the Lost and Found, Haiku For You, Lantern and Tanka Too, and the WoPoLi Chapbook Series—highlight her commitment to neurodivergent expression and poetic experimentation. Whether through childhood verse or contemporary fusion poetry, her work invites readers into a world where language is both a tool and a playground.

Sarah B. Royal continues to expand the possibilities of poetic form, offering readers a deeply personal yet universally resonant experience. Her writing is a testament to the power of creative risk, intellectual depth, and emotional authenticity.

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