Note bene: The following document may strike you as a bit mysterious if you haven't read the reasoning behind it. Most importantly, I'm not necessarily advocating that all of the formal properties herein should be preserved, nor that Marot intended them all.

Also, the following document will be essentially entirely meaningless to you if you've not read Douglas Hofstadter's Le Ton beau de Marot.

Don't say I didn't warn you.

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     SEVERAL SPECIES OF SMALL FORMAL PROPERTIES OF MAROT'S
     "A UNE DAMOYSELLE MALADE" GATHERED INTO POETICAL FORM

                      The piece's a poem.
          It's got a title, "A Une Damoyselle Malade"
           and that title doesn't appear in the poem.
           In each line the final syllable's accented 
           and each line's got just three syllables.
          The starting line has got some alliteration 
       and the first and last lines are exactly the same.
      The poem's meter occurs naturally when read as prose
       and it's perfectly grammatical when read that way.
     The lines rhyme in the pattern AA, BB, CC, ..., MM, AA 
      and no rhyme's repeated save the first and the last.
      All those sounds that rhyme are spelled identically
    and the first line's acronym refers to the rhyme scheme.
    "A Une Damoyselle Malade" has as many lines as this poem
    and "A Une Damoyselle Malade" has one-quarter the words.
    Marot's poem is composed in French that's 500 years old 
  and its meaning is in couplets out of phase with the rhymes.
     All its odd numbered lines have punctuation at the end 
     but no even numbered lines save the last end with any.
     There's five trisyllabic words sitting alone on lines
       and almost no internal punctuation, nose and jazz.
         There're four couplets with bisyllabic rhymes 
         but there're twelve bisyllabic rhyming words.
         Four letters go unused (including 'w' and 'y')
       yet only pronouns and articles are ever repeated.
      The poet's own name appears midway through the poem
       where it changes from respectful to familiar, too.
                      It's light in tone.

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In every couplet, one of the two properties applies to "Several species" itself. Some of these require a little flexibility of thought, such as the lines that explicity name "A Une Damoyselle Malade", which already "apply" to SS without any remapping.

Properties that require extreme bending and other properties:

• Avoiding 'w' and 'y' would have been difficult due to the words "word" and "syllable". Hence, I gave up and used them. The two letters that nowhere appear in "Several Species" are the other two; and if not for the irrelevent use of the word "jazz", "Several Species" would in fact lack four letters.
• This poet names himself near the word "jazz" if you look close; near the midpoint, there's a Marot reference and two self-references to "Several Species".
• The avoidance of punctuation on even numbered lines is a joke; really each one should have a comma, so as to make the prose grammar valid. But I counted it both ways anyway!
• The word count matches whether you count contractions as one or two words, as long as you count both French and English the same.
• The four above bendings, along with the excessive use of contractions like "it's got", and the titular reference to a Pink Floyd song, make me feel "Several Species" is light in tone.
• The title itself has four times as many words as the other.
• The poem is grouped semantically in the same pattern as "A Une Damoyselle Malade", but the description of this property is phrased so as to not be self-referential.
• A few of the semantic couples don't make sense, but I was hamstrung in my choice of content, and had to bite the bullet. I made a few clever connections, such as the no-repeated vocabulary combined with the w/y-lessness.
• Similarly, I tried to keep related ideas near each other, but the punctuation triplet and the syllabic triplet had to cross each other to preserve the one-self-applicable-property-per-couplet. (All three of the punctuation triplet were self-applicable, and none of the three syllabic quantities were, hence they had to get split.)
• There's the hint of a rhyme between the first and last lines, and an obvious structural relationship, but I don't count them as being the same.
• At least one of the properties that holds for "Several Species" holds in only the most trivial way.

Notes on form:

• It took me about two hours to shape "Several Species", that is, to smooth out the right and left margins.
• The identical line length of the two lines of the title is not a coincidence.

For reference, here is one of the very first drafts.

PS: Let's see ya translate that.