A found poem made from logical words turns an instruction vocabulary into expressive material. Line breaks can make a condition wait for its consequence, repeat an alternative, or refuse to supply an answer. Because the words have been selected from a declared source, the poet must distinguish strict extraction from a freer poem inspired by that source.

The next poem includes both possibilities: a small set of logical operators is declared, but some later examples also introduce ordinary nouns. That can be an intentional expansion. This form does not simultaneously count as strict use of only the declared six words. Added vocabulary is explicitly the choice of the writer.

The poetic form delays its outcome through repeated conditional openings. The isolated NOT interrupts the movement before the last alternative appears. Its material is limited; its pacing comes from the author but should mimic code indentations. These short common operator words cannot provide the same evidence of originality as a long unusual phrase, so the relevant creative choices are arrangement, timing and the disclosed source rule. The short IF sequence that follows removes named conditions and consequences, leaving the architecture of branching on the page.

Source = {IF, THEN, ELSE, AND, OR, NOT}

IF

IF AND IF
THEN
NOT
ELSE OR ELSE

IF, AND, THEN, NOT, ELSE, and OR remain as a small score of relations without stated subjects. The repetition can be read aloud as insistence or encountered visually as a structure awaiting material. Unlike the preceding crossing, it offers no explicit scene that settles which route to take.

Enter the exact permitted vocabulary and attribution, then compose with it. Poetic choices include case-insensitively; punctuation remains unrestricted. If additional words are wanted, expand the declaration.

This example uses only six permitted words. A vocabulary match does not intend a valid computer program. Formula poems do not need to execute as it exists as code poetry or formula poetry. Any ability to function in both roles are the discretion of the poet not a requirement of the form.