The Limerick is customarily a 5-line comedic Light verse, where the second couplet (elaborating upon the first) is shorter than the rest and sets the stage for the punchline. Many Limericks show some form of internal rhyme, alliteration, assonance, or some element of wordplay (puns). It is popular amongst all age groups, but bearing in mind that young children don’t ‘get’ puns as they usually interpret things literally. A serious Limerick is a pointless thing, and it is up to you to gauge the level of tolerance of the content by your audience.
The only rule written in stone with respect to the Limerick is its rhyme scheme of AABBA.
The famous ‘Samson and the Lion’ statue was created by Cristoforo Stati, an Italian sculptor, between 1604 and 16072. This sculpture depicts the biblical hero Samson prying open the jaws of a lion, showcasing Stati's skill in capturing dynamic movement and muscular detail
The Rhythm of Limericks
Limericks have their own playful rhythm and structure, and perhaps strict metrical constraints might stifle that creativity. They thrive on a certain spontaneity and a dash of whimsy, making them unique in the world of poetry. The freedom of Limericks can sometimes challenge writers to think outside the box. If the rhythm flows and the punchline lands, then it’s a win!
The traditional Limerick structure is more about a specific pattern of rhyme and an overall rhythmic feel. As the Limerick has an oral tradition, it largely depends upon how it is delivered to the audience and which words/syllables are stressed by the speaker—this often doesn’t coincide with regular metre (stressed syllables) as we are accustomed to, with humorous results. It is HOW it s said, more than WHAT is being said – even if you know the line by heart: To be, or not to be …
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There are natural enjambments between the lines of each of the two couplets, with a slight anticipatory pause at the end of line four, before delivering the punchline. The two couplets set the stage for the punchline; the latter often commences with a conjunction, ending with a surprising twist.* It is not uncommon to tweak the rhythm of the second couplet to speed up the delivery thereof, as in my following example:
The feline is oft honoured in lands,
It struts like an Egyptian in sands.
The fastest in town,
It won't keep pills down,
As I take my life in my own hands.
© Suzette Richards, 24/2/2025
I have effectively sped up the rhythm in the five syllable lines of the second couplet by ending with naturally stressed syllable words, and by packing in more content words and a usually stressed function word (won’t) in order to heighten the anticipation of the punchline. The latter reverts to the rhythm set by the first couplet. By indenting the shorter lines – one of the traditional presentations of Limericks – it serves as a prompt to the reader that these lines are slightly different in tempo.
Rhythm and Rhyme Prioritised
The classic introduction of ‘There once was …’, or something similar, is no longer a requirement of contemporary Limericks. Here are some classic examples where the rhythm and rhyme are prioritised over strict metre and syllable counts:
Edward Lear’s Limericks: Edward Lear is one of the most famous Limerick writers. His Limericks often have a bouncy, sing-song quality without being bound by strict metre or syllable counts.
Example:
There was an Old Man with a beard,
Who said, 'It is just as I feared!—
Two Owls and a Hen,
Four Larks and a Wren,
Have all built their nests in my beard!'
Traditional Limericks: Traditional Limericks, often anonymous, also show flexibility in metre and syllable counts, focusing instead on their playful nature.
Example:
There once was a man from Nantucket,
Who kept all his cash in a bucket.
But his daughter, named Nan,
Ran away with a man
And as for the bucket, Nantucket.
Note: The humour and flow come from the content and rhyme, not strict syllable or metrical adherence.
Lewis Carroll’s Limericks: Lewis Carroll, known for his playful use of language, also wrote Limericks that prioritise rhythm and rhyme over strict metre.
Example:
There was a young lady of Welling,
Whose praise all the world was a-telling;
She played on a harp,
And caught several carp,
That accomplished young lady of Welling.
In these examples, you can see that the charm and effectiveness of the Limerick come from their rhythmic and rhyming patterns rather than any strict adherence to metre or syllable counts. Their playful and often nonsensical nature is what makes them so delightful!
The Punchline
A contemporary Limerick that comes to mind is by Wendy Cope. While her Limericks usually adhere to traditional metre and syllable counts, here’s a playful one that askew it a bit:
There was a young poet of Japan
Whose limericks never would scan.
When asked why this was,
He replied “It's because
I always try to fit as many syllables into the last line as ever I possibly can.”
Though the Limerick adheres to the general structure, it humorously exaggerates the syllable count in the last line, showcasing Cope's clever wit and playful nature.
In my following Limerick I kept to the rhythm throughout that was set by the first line, but the punchline has two extra syllables. Per regular scansion: all the syllables in the word ‘dyslexic’ are stressed, and the words ‘magic’ and ‘frolic’ are examples of syllabic rhyme; ‘lens’ and ‘hence’ (in that context) are perfect rhyme (stressed syllable words). I incorporated the pun on ‘Adam and Eve’, highlighting the condition of dyslexia. In the word ‘camEra’, I capitalised the syllable to be stressed, to draw attention as to how the word was first read by me.
I love being dyslexic
Where I can roam in magic.
A ‘camEra lens’
Thus pronouncing hence,
While Admin and Eve ever frolic.
© Suzette Richards, 21/2/2025
Conclusion
Normal metre (as we understand it) does not aid the poet in composing Limericks, neither does strict syllable counts! This is my understanding of Limericks and the hill I will die on. ~Su
You can run with an idea and have fun in the process. One should not take oneself too seriously when composing Limericks. It might raise a private chuckle, but like all good comedy, it is best shared with others, while keeping your fingers crossed that the audience ‘gets’ you, and there will be no corpsing by you on stage. Like all good comedy, it should be delivered with a straight face.
*Glossary of Some Common Poetic Devices | PoetrySoup.com