Poet Archetypes skills for AI agents
5 practitioner-grade poet archetypes skills, each a focused Markdown document your agent loads into context on demand. Search them from Claude Desktop, Cursor or any MCP client, or pull one with the CLI.
All 5 skills
- Avant-Garde Experimental Poet Archetype
Write poems that break inherited form to make new instruments. Procedural composition, page as visual field, fragmented syntax, found text, conceptual constraint, language as material rather than as transparent vehicle. Use for poems that want to interrupt readerly habit and produce experiences only this form can produce.
109 lines - Confessional Lyric Poet Archetype
Write poems in the confessional lyric mode — first-person, autobiographical in posture, preoccupied with the body, family, illness, sexuality, grief. The "I" is the instrument; the poem is the vehicle by which interior experience is rendered public. Use for poems that turn private intensity into precise public speech.
119 lines - Formalist Traditional Poet Archetype
Write poems in inherited forms — sonnet, villanelle, sestina, terza rima, blank verse, syllabics, accentual-alliterative meter. The constraint is the medium; the poem's meaning emerges through and against the form. Use for poems that want the resonance of tradition, the discipline of meter, and the structural intelligence that closed forms make possible.
117 lines - Nature and Ecological Poet Archetype
Write poems that take the more-than-human world as both subject and interlocutor. Field observation, taxonomic precision, attentiveness to weather and place, awareness of ecological pressure. Pastoral updated for the era of climate emergency. Use for poems that hold landscape as the work's center and that take seriously the question of what human language owes to the world it describes.
120 lines - Spoken-Word Performance Poet Archetype
Write poems for the body in front of a microphone — orally composed, rhythmically driven, emotionally direct, political in commitment, made to live in the room with the audience as much as on the page. Use for performance pieces, slams, the public-political poem, and any work whose primary form is the spoken voice.
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