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Syllabic poetry can also take a stanzaic form, as in Marianne Moore's poem "No Swan So Fine", in which the corresponding lines of each stanza have the same number of syllables. This poem comprises 2 stanzas, each with lines of 7, 8, 6, 8, 8, 5, and 9 syllables respectively. The indented lines rhyme.
Popular poetry, including the bulk of Christian Latin poetry, continued to be written in accentual meters (sometimes incorporating rhyme, which was never systematically used in classical verse) just like modern European languages. This accentual Latin verse was called sequentia, especially when used for a Christian sacred subject.
Stichic: a poem composed of lines of the same approximate meter and length, not broken into stanzas. Syllabic: a poem whose meter is determined by the total number of syllables per line, rather than the number of stresses. Tanka: a Japanese form of five lines with 5, 7, 5, 7, and 7 syllables—31 in all.
A treatise on poetry by Diomedes Grammaticus is a good example, as this work categorizes dactylic hexameter verses in ways that were later interpreted under the golden line rubric. Independently, these two trends show the form becoming highly artificial—more like a puzzle to solve than a medium for personal poetic expression.
Portuguese poetry uses a syllabic metre in which the verse is classified according to the last stressed syllable. The Portuguese system is quite similar to those of Spanish and Italian, as they are closely related languages. The most commonly used verses are: Redondilha menor: composed of 5 syllables. Redondilha maior: composed of 7 syllables.
The result was essentially the normal iambic pentameter except for the avoidance of the "Italian" line. It was Philip Sidney, apparently influenced by Italian poetry, who used large numbers of "Italian" lines and thus is often considered to have reinvented iambic pentameter in its final form. He was also more adept than his predecessors in ...
Common metre or common measure [1] —abbreviated as C. M. or CM—is a poetic metre consisting of four lines that alternate between iambic tetrameter (four metrical feet per line) and iambic trimeter (three metrical feet per line), with each foot consisting of an unstressed syllable followed by a stressed syllable.
Greek poetry is based on syllable length, not on syllable stress, as in English.The two syllable lengths in Greek poetry are long and short.It is probable that in the natural spoken language there were also syllables of intermediate length, as in the first syllable of words such as τέκνα /tékna/ 'children', where a short vowel is followed by a plosive + liquid combination; but for poetic ...