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Sonnet 71 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 first line exemplifies ...
Jean de La Ceppède was born circa 1550 in Marseille. [2] [3] His father was Jean-Baptiste de La Ceppède and his mother, Claude de Bompar.[3] [4] According to Keith Bosley, the de La Ceppède family was of Spanish heritage and may have been related to Saint Teresa of Avila, who was born a Cepeda.
The original French version of the book was designed by Robert Massin. Two full translations into English have been published, those by John Crombie and Stanley Chapman. [2] [better source needed] Beverley Charles Rowe's translation, one that uses the same rhyme sounds, has been published online.
A reading in French of Voyelles "Voyelles" or "Vowels" is a sonnet in alexandrines by Arthur Rimbaud, [1] written in 1871 but first published in 1883. Its theme is the different characters of the vowels, which it associates with those of colours. It has become one of the most studied poems in the French language, provoking very diverse ...
Bouts-Rimés (French, literally 'rhymed-ends') is the name given to a kind of poetic game defined by Addison in the Spectator as "lists of words that rhyme to one another, drawn up by another hand, and given to a poet, who was to make a poem to the rhymes in the same order that they were placed upon the list".
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He also wrote a celebrated sonnet in praise of the St. Bartholomew's Day Massacre. Baïf was the author of two comedies, L'Eunuque, 1565 (published 1573), a free translation of Terence's Eunuchus, and Le Brave (1567), an imitation of the Miles Gloriosus, in which the characters of Plautus are turned into Frenchmen, the action taking place at ...
The 60 poems there have the typical German sonnet form, but are written in the long-lined free rhythms developed by Ernst Stadler. [123] Patrick Bridgwater, writing in 1985, called the work "without question the best single collection produced by a German war poet in 1914–18," but adds that it "is to this day virtually unknown even in Germany."