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In poetry, a stanza (/ ˈ s t æ n z ə /; from Italian stanza, Italian:; lit. ' room ') is a group of lines within a poem, usually set off from others by a blank line or indentation. [1] Stanzas can have regular rhyme and metrical schemes, but they are not required to have either. There are many different forms of stanzas.
[32] With these views in mind, the poem recalls Keats's earlier view of pleasure and an optimistic view of poetry found within his earlier poems, especially Sleep and Poetry, and rejects them. [33] This loss of pleasure and incorporation of death imagery lends the poem a dark air, which connects "Ode to a Nightingale" with Keats' other poems ...
Rhyme royal (or rime royal) is a rhyming stanza form that was introduced to English poetry by Geoffrey Chaucer. [1] The form enjoyed significant success in the fifteenth century and into the sixteenth century. It has had a more subdued but continuing influence on English verse in more recent centuries.
The favoured tail rhyme stanza forms, too, also shortened, with fewer examples of the twelve- and sixteen-line tail rhyme stanzas that had proved successful in Middle English. [16] From the sixteenth to the nineteenth century, the most popular tail rhyme stanza was AABCCB, with the main lines in tetrameter and the B-lines in either trimeter or ...
Envoi (or envoy): the brief stanza that ends French poetic forms such as the ballade or sestina. Ghazal; Octave: an 8-line stanza or poem. Ottava rima: an Italian stanza of eight 11-syllable lines, with a rhyme scheme of ABABABCC. Quatorzain; Quatrain: a 4-line poem or stanza; Quintain; Rhyme royal: a stanza of seven 10-syllable lines, with ...
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.
The sestina is composed of six stanzas of six lines (sixains), followed by a stanza of three lines (a tercet). [5] [31] There is no rhyme within the stanzas; [32] instead the sestina is structured through a recurrent pattern of the words that end each line, [5] a technique known as "lexical repetition". [33]
Williams referred to the prosody of triadic-line poetry as a "variable foot", a metrical device to resolve the conflict between form and freedom in verse. [4] Each of the three staggered lines of the stanza should be thought of as one foot, the whole stanza becoming a trimeter line. [5]