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Rondel (or roundel): a poem of 11 to 14 lines consisting of 2 rhymes and the repetition of the first 2 lines in the middle of the poem and at its end. Sonnet: a poem of 14 lines using any of a number of formal rhyme schemes; in English, they typically have 10 syllables per line. Caudate sonnet; Crown of sonnets (aka sonnet redoublé) Curtal sonnet
In Japanese poetry, a tanka where the upper part is composed by one poet and the lower part by another. [56] techne telestich A poem or other form of writing in which the last letter, syllable or word of each line, paragraph or other recurring feature in the text spells out a word or a message. [57] tenor tercet terza rima tetrameter tetrastich ...
In Ancient Greek hexameter poetry and Latin literature, lines followed certain metrical patterns, such as based on arrangements of heavy and light syllables. A heavy syllable was referred to as a longum and a light as a brevis (and in the modern day, reflecting the ancient terms, a longum is often called a "long syllable" and a brevis a "short syllable", potentially creating confusion between ...
Coleridge often made changes to his poems and The Rime of the Ancient Mariner was no exception – he produced at least eighteen different versions over the years. [20] (pp 128–130) He regarded revision as an essential part of creating poetry. [20] (p 138) The first published version of the poem was in Lyrical Ballads in 1798.
Earth's Answer is a poem by William Blake within his larger collection called Songs of Innocence and of Experience (published 1794). [2] It is the response to the previous poem in The Songs of Experience-- Introduction (Blake, 1794). In the Introduction, the bard asks the Earth to wake up and claim ownership. In this poem, the feminine Earth ...
This is a list of English poems over 1000 lines. This list includes poems that are generally identified as part of the long poem genre, being considerable in length, and with that length enhancing the poems' meaning or thematic weight.
"The Hollow Men" (1925) is a poem by the modernist writer T. S. Eliot. Like much of his work, its themes are overlapping and fragmentary, concerned with post–World War I Europe under the Treaty of Versailles, hopelessness, religious conversion, redemption and, some critics argue, his failing marriage with Vivienne Haigh-Wood Eliot. [2]
As Sidney Lee notes, this poem, like most Renaissance sonnets on similar themes, derives ultimately from Petrarch's sonnet 42; he cites examples from Surrey and Sidney. Edward Dowden notes a resemblance to Spenser's Amoretti 64. G. Wilson Knight connects the rose and lily of this poem to what he sees as a pattern of flower symbolism in the cycle.