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The Hudibrastic relies upon feminine rhyme for its comedy, and limericks will often employ outlandish feminine rhymes for their humor. Irish satirist Jonathan Swift used many feminine rhymes in his poetry. Edgar Allan Poe's poem "The Raven" employs multiple feminine rhymes as internal rhymes throughout. An example is the following:
First and third lines rhyme at the end, second and fourth lines are repeated verbatim. First and third lines have a feminine rhyme and the second and fourth lines have a masculine rhyme. A 1 abA 2 A 1 abA 2 – Two stanzas, where the first lines of both stanzas are exactly the same, and the last lines of both stanzas are the same. The second ...
Masculine rhyme. 9 languages. ... Download QR code; Wikidata item; Print/export Download as PDF; Printable version; In other projects ...
Sonnet 20 is one of the best-known of 154 sonnets written by the English playwright and poet William Shakespeare.Part of the Fair Youth sequence (which comprises sonnets 1-126), the subject of the sonnet is widely interpreted as being male, thereby raising questions about the sexuality of its author.
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Like the Shakespearean sonnet, the Onegin stanza may be divided into three quatrains and a closing couplet (normally without stanza breaks or indentations), and it has a total of seven rhymes, rather than the four or five rhymes of the Petrarchan sonnet. Because the second quatrain (lines 5–8) consists of two independent couplets, the poet ...
double, also known as feminine: a rhyme in which the stress is on the penultimate (second from last) syllable of the words (picky, tricky) dactylic: a rhyme in which the stress is on the antepenultimate (third from last) syllable (amorous, glamorous) Feminine and dactylic rhymes may also be realized as compound (or mosaic) rhymes (poet, know it).
Feminine ending, in meter, a line of verse that ends with an unstressed syllable. See Masculine and feminine endings; Feminine ending or feminine cadence, a term in music theory for a phrase or movement that ends in an unstressed note or weak cadence; Feminine Endings, a 1991 feminist critique by musicologist Susan McClary