The lullaby is the spell whereby the mother attempts to transform herself back from an ogre to a saint.
Hearing that the same men who brought us 'South Park' were mounting a musical to be called 'The Book of Mormon,' we were tempted to turn away, as from an inevitable massacre.
No poet is required to write in stanzas, or indeed in regular forms at all. Coleridge's 'Dejection: An Ode' has a rhyme scheme and sequence of long and short lines that goes without regular pattern, following the mood and whim of the poet. Such a form is known as an irregular ode.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.
There is no objection to the proposal: in order to learn to be a poet, I shall try to write a sonnet. But the thing you must try to write, when you do so, is a real sonnet, and not a practice sonnet.
The basic rhymes in English are masculine, which is to say that the last syllable of the line is stressed: 'lane' rhymes with 'pain,' but it also rhymes with 'urbane' since the last syllable of 'urbane' is stressed. 'Lane' does not rhyme with 'methane.'
In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.
At somewhere around 10 syllables, the English poetic line is at its most relaxed and manageable.
My feeling is that poetry will wither on the vine if you don't regularly come back to the simplest fundamentals of the poem: rhythm, rhyme, simple subjects - love, death, war.