In A.S.J. Tessimond's poem, "Black Monday Lovesong," I believe that the author intentionally structures the poem, through phrasing and line/stanza construction, to mimic a dance. In fact, the poem is a metaphor that compares a dance to love.

The poem's first line indicates that "love's dances" are a central theme to the poem, in that the author repeats these lines—essentially telling us that this idea is very important.

The rest of the first stanza (eleven lines remaining—longer than a poem's traditional four-line stanzas) lists opposites, that mimic not only movement, but a foward-and-back motion such as dancers follow. Reading the poem aloud, we can imagine the one dancer pushing or pulling the other dancer, as they essentially move in together—one forward, the other back…like people in a relationship trying to find the right moves, tempo, etc.:

One retreats and one advances.

One grows warmer and one colder,

One more hesitant, one bolder.

These "motions" start with physical movement, but then change to emotional "states of mind:"

One is smiling and concealing [physical actions]

While the other's asking, kneeling. [an emotional state]

The second line may seem like a physical movement, but in that this is a metaphorical dance, the second person is struggling to keep in step in the "dance of love," (trying not to lose the other's love), while the other is "keeping secrets" or hiding his/her true thoughts "concealing," thereby making the dance more difficult to "follow."

The next "stanza" of six lines is written in such a way that the momentum of the poem increases; the repeated use of "And" gives the listener the sense of not only hurried "motion," but also of frantic, twirling chaos. The dancers are in serious trouble as they spin around, almost out of control—simply by using "And" repeatedly, and the author gives us negative images in the short phrases; the brevity of the phrases adds to the sense of speed:

And the tune misleads the dancer

And the lost look finds no other

And the lost hand finds no brother

The last actual four-line stanza is structured in such a way that the relationship between the lovers, both their loss of physically smooth movements and proximity, and their emotional connection, is broken. Perhaps we can imagine the two coming apart on the dance floor, no longer in step with each other. This is obvious with the author's use of the word "falter," which could indicate tripping, a terrible mistake on the dance floor.

The ellipses (dots) between the choppy phrases in the last two lines give the listener the sense that the two dancers (lovers) separate, stumbling in opposite directions, each looking for their "perfect dance partner"  somewhere else:

Next time…one day…one day…next time!

Discuss the form of the poem "Black Monday--Lovesong" by ASJ Tessimond.    

When we talk about poetic form, this generally refers to the different sets of poetic "rules" a poem follows.  In order to discuss poetic form, you must look at things like rhythm or meter, repetition/rhyme, and alliteration.  Some poems follow no distinct form and are considered "free verse."  Some poems, like sonnets, are carefully patterned to follow a planned rhyme scheme, a certain number of syllables per line, and a specific meter.  Other poems may employ some but not all of the devises listed previously.

"Black Monday--Lovesong" is not free verse.  First, it is written in rhyming couplets, meaning the end of every two lines rhymes.  Each line attempts to maintain exactly 8 syllables.  In this way, the subject of the poem ("love's dances") is personified in the rhythm of the lines.  It is as if two partners are dancing in each line.  The repetition of the first word "one" and later "and" keeps the poem flowing, almost mechanically, much like the steps of a dance.  Ironically, it also heightens a tone of monotony, which clearly the poem is suggesting that love is monotonous.

Can you help with the form of the poem "Black Monday Lovesong" by A.S.J. Tessimond?

There are numerous forms available to the poet, and many versions of these forms. Form may refer to the poem's rhyme, meter, or the actual structure that the poet uses to construct his or her poem.

In A.S.J. Terrimond's poem, "Black Monday Lovesong," for instance, the author uses stanzas, but not the traditional four-line stanza. The first stanza consists of twenty-two lines and the second stanza is made up of six lines. We don't see a four-line stanza until the poem's final four lines. My impression of the author's purpose, as he describes the dance of love—literally and figuratively—is to mimic the physical movements a dancer follows, as well as the emotional ups and downs that lovers experience as they try to follow each other throughout the "fancy footwork" involved in a relationship.

The first line uses repetition to convey the sense that the poem's major theme concentrates on "love's dance."

The rest of this poem concentrates on creating a to-and-fro movement such as dancers follow, one leading the other, much the way the emotional aspect of a relationship moves back and forth.

The second stanza lists images all preceded with the word "And," which make the lines appear to pass quickly, as if the dancers are spinning madly out of control in their dance, and we can infer also, in their relationship.

The final stanza makes use of a deadly word on the dance floor: "falter." The dancers have stumbled, the swaying motion and swift movement has ended, and both dancers seem to trip along in separate directions, hoping to find their perfect "dance partner" somewhere else.

In terms of the poem's form, it is important to note the rhyme. Throughout the entire poem—except for the last two lines—the poem is made up of rhyming couplets, which are lines that are paired together with the same rhyming sound…found with the last word of each line. For example, the first two lines rhyme—having the same sound found in the last word of each line:

In love's dances, in love's dances

One retreats and one advances.

"Dances" and "advances" rhyme. As mentioned, this pattern continues until the last two lines of the poem that provide repetition, rather than rhyme, by using the same word at the end of two successive lines: "time."

However, it is the meter (rhythmic structure) in the poem that is essential in creating that two-and-fro motion in the poem—but where we often find ten syllables per line, this is not the case with this poem: there are eight. Where a line might consist of ten syllables (as with Shakespearean sonnets)—with an emphasis on the second syllable…emphasizing five stressed syllables in each line—this poet does not use such a form. Here the stress starts on the first syllable, stressing every other syllable.

In the following line, the syllable or word that is bolded is stressed:

In love's dan-ces, in love's dan-ces...

The hyphen in "dances" shows that the word has two syllables. This pattern of stressed and unstressed syllables gives the poem a sense of swaying, as in a dance.

The meter of the poem is trochaic:

A metrical unit composed of stressed and unstressed syllables…]

Because the poem has four stressed and four unstressed syllables ("feet"), it is written in trochaic tetrameter.

Additional sources:

http://server.riverdale.k12.or.us/~bblack/meter.html

http://academic.brooklyn.cuny.edu/english/melani/lit_term.html