Coming to this late, I must admit, but here are opinions on the uses of some common fixed forms:
The sonnet can work if the poet doesn't try to cram too much into it. If he/she has basically a two-part argument, yes! If more than that, i. e. a syllogism, forget it.
The villanelle can work if the subject (repetitive, obsessive) fits. And if the poet is obsessive/compulsive. Ditto the audience.
The triolet can work if the idea is very slight. Or very, very slight. Or even more slighter.
The limerick can work if the meter is rigid and the rhymes are dead-on and the subject is carried through and is not dirty. Or is very dirty.
The haiku can work if the poet has attention-deficit disorder. Ditto the tanka. Ditto the audience.
The cinquain can work if the poet has little or nothing to say but can say it memorably. If not, try the haiku or tanka.
The rondeau can work if one has an audience with attention-deficit disorder. The roundeau redouble can work if one has a patient audience with attention-deficit disorder.
The clerihew can work if the subject has a name that will rhyme with some other word. Names like "Johnson" and "Williams" present obvious difficulties.
The sestina will not work. Ever. At all.
I hope that these comments have been helpful.
|