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Terza rima (/ ˌ t ɛər t s ə ˈ r iː m ə /, also US: / ˌ t ɜːr-/, [1] [2] [3] Italian: [ˈtɛrtsa ˈriːma]; lit. ' third rhyme ') is a rhyming verse form, in which the poem, or each poem-section, consists of tercets (three-line stanzas) with an interlocking three-line rhyme scheme: The last word of the second line in one tercet provides the rhyme for the first and third lines in the ...
AB AB – Two two-line stanzas, with the first lines rhyming at the end and the second lines rhyming at the end. AB,AB – Single two-line stanza, with the two lines having both a single internal rhyme and a conventional rhyme at the end. aBaB – Two different possible meanings for a four-line stanza: First and third lines rhyme at the end ...
In poetry, internal rhyme, or middle rhyme, is rhyme that occurs within a single line of verse, or between internal phrases across multiple lines. [1] [2] By contrast, rhyme between line endings is known as end rhyme. Internal rhyme schemes can be denoted with spaces or commas between lines. For example, "ac,ac,ac" denotes a three-line poem ...
English-language haiku is an example of an unrhymed tercet poem. A poetic triplet is a tercet in which all three lines follow the same rhyme, AAA; triplets are rather rare; they are more customarily used sparingly in verse of heroic couplets or other couplet verse, to add extraordinary emphasis.
A rhyme is the repetition of syllables, typically found at the end of a verse line. Assonance (aka vowel rhyme): the repetition of vowel sounds without repeating consonants. [1] Broken rhyme: a type of enjambment producing a rhyme by dividing a word at the line break of a poem to make a rhyme with the end word of another line
Sonnet 132 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a ...
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Since the Middle Ages the terms "Sapphic stanzas" or frequently simply "Sapphics" have come to denote various stanzaic forms approaching more or less closely to Classical Sapphics, but often featuring accentual meter or rhyme (neither occurring in the original form), and with line structures mirroring the original with varying levels of fidelity.
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