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A sestain is a six-line poem or repetitive unit of a poem of this format , comparable to quatrain (Ruba'i in Persian and Arabic) which is a four-line poem or a unit of a poem. There are many types of sestain with different rhyme schemes, for example AABBCC, ABABCC, AABCCB or AAABAB. [1]
A sestet is six lines of poetry forming a stanza or complete poem. A sestet is also the name given to the second division of an Italian sonnet (as opposed to an English or Spenserian Sonnet), which must consist of an octave, of eight lines, succeeded by a sestet, of six lines.
An early version of the sestina in Middle English is the "Hymn to Venus" by Elizabeth Woodville (1437–1492); it is an "elaboration" on the form, found in one single manuscript. [11] It is a six-stanza poem that praises Venus, the goddess of love, [12] and consists of six seven-line stanzas in which the first line of each stanza is also its ...
The piece is mentioned in a Calvin and Hobbes comic strip, where Calvin is fascinated by the usage of cannons in the piece. [48] The climactic finale of the piece is one of the classical music selections in the score of the Beatles' film, Help! The riff of The Move's 1966 hit single "Night of Fear" was adapted from 1812 Overture. [49]
Indian Cavalry passing the Houses of Parliament, 22 June 1897 "Recessional" contains five stanzas of six lines each. As a recessional is a hymn or piece of music that is sung or played at the end of a religious service, in some respects the title dictates the form of the poem, which is that of a traditional English hymn.
While many symphonic poems may compare in size and scale to symphonic movements (or even reach the length of an entire symphony), they are unlike traditional classical symphonic movements, in that their music is intended to inspire listeners to imagine or consider scenes, images, specific ideas or moods, and not (necessarily) to focus on following traditional patterns of musical form such as ...
The poem was set to music as a duet for tenor and baritone by the Irish composer Michael William Balfe, and became a staple of Victorian and Edwardian drawing rooms. Longfellow's acquaintance Franz Liszt composed an adaptation as a prelude to his longer Longfellow adaptation of The Golden Legend .
Additionally, the piece is known as one of Debussy's most sophisticated experiments in tonal composition. [2] The text comes from Verlaine's Romances sans paroles, which was published in 1874. The poetry used for this particular piece was written in a, a, b, c, c, b form and describes the fatigue of love and longing throughout the text. [2]