Red is passion's very own colour,
Deep love also claims this shade,
Add white, gains it a pinkish tint,
With orange forms a sunset hue,
And anger is with darkness cast

Blue is cool yet depression's cast,
Yet lovely is the sky in azure colour,
From cerulean to teal it changes its hue,
Fickle turquoise contains many a shade,
And silver gives it an icy tint

Green is verdant with a dewy tint,
And in Spring, warmth it does cast,
Sparkling in light, Glossy in shade,
Life is rich and vibrant in this colour,
Though envy too appears in this hue.

Black is not exactly a single hue,
Though dark with a deep glossy tint,
Formed from the absence of colour,
Though enables starlight to be cast,
And from the heat does give shade.

White too is not a specific shade,
Appears in many a brilliant hue,
Shiny, dull, or albino cast,
With glassy or iridescent tint,
It is amalgam of all colour.

Many a colour, many a shade and many a tint,
Each a different hue does it cast.

A pentina for Day 27 (though written late). I have followed the rules but not sure of what the poem turned out to be.

The pentina is an accentual-syllabic poetic form, characterized by the use of five verses of five lines each, with a two-line envoi, for a total of 27 lines. It is similar to the French form, the sestina, which is characterized by six verses of six lines each, with a final 3-line envoi. Its creation in 1995 by American poet and songwriter Leigh Harrison was documented in an article, "The Joys of the Pentina" (Medicinal Purposes Literary Review, Vol. II, No. XII, published in 2005). The Pentina form is also described in Lewis Turco's "The Book of Forms / Odd and Invented Forms" which was published in 2011 in the U.S.

The pentina, like the sestina, does not utilize rhyme, but relies on the use of repeated end-words (properly called "teleutons"), picked up and re-used in each succeeding stanza, with variations in the order. The repeating pattern of the teleutons, as with those of the sestina, have no mathematical or numerical significance, but they have a spatial logic: bottom end-word, top end-word, one word up from bottom, one word up from top, middle end-word. The final two-line envoi uses the repeated end-words so that either two are in the first, and three in the third, or three in the first and two in the third, with the poet choosing the preferred style. The set pattern of the repeated teleutons works as follows:

The pentina is an accentual-syllabic form consisting of five stanzas of five lines each, with a two-line envoi, for a total of 27 lines. As with the sestina (from which it is derived), a set of end words is repeated in each stanza according to the following pattern:

ABCDE

EADBC

CEBAD

CDAEB

BCEDA

AB-CDE or ABC-DE (envoi with end words embedded)