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In poetry, a hendecasyllable (as an adjective, hendecasyllabic) is a line of eleven syllables. The term may refer to several different poetic meters, the older of which are quantitative and used chiefly in classical ( Ancient Greek and Latin ) poetry, and the newer of which are syllabic or accentual-syllabic and used in medieval and modern poetry.
Stichic: a poem composed of lines of the same approximate meter and length, not broken into stanzas. Syllabic: a poem whose meter is determined by the total number of syllables per line, rather than the number of stresses. Tanka: a Japanese form of five lines with 5, 7, 5, 7, and 7 syllables—31 in all.
"O Fortuna" in the Carmina Burana manuscript (Bavarian State Library; the poem occupies the last six lines on the page, along with the overrun at bottom right. "O Fortuna" is a medieval Latin Goliardic poem which is part of the collection known as the Carmina Burana, written in the early 13th century.
The Crescendo (music venue) The Crescendos, an early rock and roll group; Crescendo, a 1990 album by the Brazilian brock band Ultraje a Rigor; Crescendo (awards), an annual music competition dedicated to Afrikaans music "Crescendo", a 1990 song by James from the album Gold Mother "Crescendo", a 2013 song by Little Boots
A quatrain is any four-line stanza or poem. There are 15 possible rhyme sequences for a four-line poem; common rhyme schemes for these include AAAA, AABB, ABAB, ABBA, and ABCB. [citation needed] "The Raven" stanza: ABCBBB, or AA,B,CC,CB,B,B when accounting for internal rhyme, as used by Edgar Allan Poe in his poem "The Raven" Rhyme royal: ABABBCC
The song does not rely on biblical quotations, but it does make use of biblical stories: It’s about David, who consorts with Bathsheba, and orchestrates her husband’s death so he can marry her.
The term poetics derives from the Ancient Greek ποιητικός poietikos "pertaining to poetry"; also "creative" and "productive". [6] It stems, not surprisingly, from the word for poetry, "poiesis" (ποίησις) meaning "the activity in which a person brings something into being that did not exist before."
In 1971, Les Crane used a spoken-word recording of the poem as the lead track of his album Desiderata. [20] His producers had assumed that the poem was too old to be copyrighted, but the publicity surrounding the record led to clarification of Ehrmann's authorship and the eventual payment of royalties.