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A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song.It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other.
The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for each line. A poem having a regular rhythm (not all poems do) is said to follow a certain meter. In "The Destruction of Sennacherib," each line has the basic pattern of two unstressed syllables followed by a third stressed syllable, with this basic ...
Fixed verse poems, such as sestinas, can be defined by the number and form of their stanzas. The stanza has also been known by terms such as batch, fit, and stave. [2] The term stanza has a similar meaning to strophe, though strophe sometimes refers to an irregular set of lines, as opposed to regular, rhymed stanzas. [3]
Iambic pentameter (/ aɪ ˌ æ m b ɪ k p ɛ n ˈ t æ m ɪ t ər / eye-AM-bik pen-TAM-it-ər) is a type of metric line used in traditional English poetry and verse drama. The term describes the rhythm, or meter, established by the words in each line. Rhythm is measured in small groups of syllables called "feet".
Poetic rhythm is the flow of words within each meter and stanza to produce a rhythmic effect while emphasising specific parts of the poem. Repetition– Repetition often uses word associations to express ideas and emotions indirectly, emphasizing a point, confirming an idea, or describing a notion.
Other poems may be organized into verse paragraphs, in which regular rhymes with established rhythms are not used, but the poetic tone is instead established by a collection of rhythms, alliterations, and rhymes established in paragraph form. [92] Many medieval poems were written in verse paragraphs, even where regular rhymes and rhythms were used.
A papyrus manuscript preserving Sappho's "Fragment 5", a poem written in Sapphic stanzas. The Sapphic stanza, named after the Ancient Greek poet Sappho, is an Aeolic verse form of four lines.
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."