"interpolations. The Eldar or Poetic Edda has been translated numerous times, the earliest printed edition being that by , though some short sections had been translated as early as the 1670s. Some early translators relied on a Latin translation of the Edda, including Cottle. Opinions differ on the best way to translated the text, on the use or rejection of archaic language, and the rendering of terms lacking a clear english analogue. However Cottle's 1797 translation is considered very inaccurate. A comparison of the second and third verses (lines 5-12) of the ""Voluspa"" is given below : Poetic Edda Poetic"
"used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an a-b alternating rhyme. The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas, W.H. Auden, and Elizabeth Bishop. A limerick is a poem that consists of five lines and is often humorous. Rhythm is very important in limericks for the first, second and fifth lines must have seven to ten syllables. However, the third and fourth lines only need five to seven."
"For the first three editions most are typeset as, respectively, two, five, and three lines. The cover of one edition bears an entire limerick typeset in two lines: In Lear's limericks, the first and last lines usually end with the same word rather than rhyming. For the most part they are truly nonsensical and devoid of any punch line or point. They are completely free of the bawdyness with which the verse form is now associated. A typical thematic element is the presence of a callous and critical ""they."" An example of a typical Lear limerick: Lear's self-description in verse,"
"supplied by editors. The poem consists of 73 stanzas, each with four lines of fifteen syllables, for a total of 292 lines. It is written in Lombardic metre, which was traditionally used in Italy for historical poems and dirges, and which comprises rhyming trochaic tetrameters. In the surviving copy the rhyming is imperfect and the metre frequently fails. The author or copyist used a symbol resembling a small closing parenthesis above a dot to indicate the tetrameters and the end of every line, and a period to indicate the end of a stanza. In modern editions these may be replaced"
"only two feet of three syllables. The defining ""foot"" of a limerick's meter is usually the anapaest, (""ta-ta-TUM""), but catalexis (missing a weak syllable at the beginning of a line) and extra-syllable rhyme (which adds an extra unstressed syllable) can make limericks appear amphibrachic (""ta-TUM-ta""). The first line traditionally introduces a person and a place, with the place appearing at the end of the first line and establishing the rhyme scheme for the second and fifth lines. In early limericks, the last line was often essentially a repeat of the first line, although this is no longer customary. Within the"
"quatrain presents a shorter unit of time, creating a sense of time accelerating toward an inevitable end, the death implied in the final couplet. At the ""high end"" of closed forms are the sestina and villanelle. At the ""low end"" are forms such as the limerick, which follows a metrical pattern of two lines of anapestic trimeter (three anapests per line), followed by two lines of anapestic dimeter (two anapests per line), followed by one line of anapestic trimeter. (The beginning of the metrical foot does not have to coincide with the beginning of the line.) Any poem following this"
"refused his illustration of the Boojum, preferring that the creature go without a depiction, and made him change his initial portrayal of the Broker, as it could be perceived as anti-semitic. When finally published, the poem comprised 141 stanzas of four lines each, with internal rhymes in the first and third lines of irregular stanzas appearing in the poem from the second fit onwards. In his poem, Lewis Carroll might have alluded to a limerick by Edward Lear. Instead of faces turning red or white, both authors let waistcoats display the bodily reactions of their owners to stress. To illustrate"
"across its two-halves – 4 lines in the first, 3 lines in the second. The line count for the three principal divisions of the structure therefore comes out as: Making a total of 2795 lines. Various literary scholars have noted the apparent symmetry in the architecture, citing it as evidence of an organising principle Henryson employed to ""lock"" the structure of the poem, aesthetically beautiful in its own right and holding important clues for interpreting his larger meaning or purpose. Others have preferred to defend individual readings of various fabillis viewed as self-sufficient entities which they argue question the coherence"
"repetition of ""s"" sounds in the third line: ""And the sheen of their spears was like stars on the sea"". Poems can have many forms. Some forms are strictly defined, with required line counts and rhyming patterns, such as the sonnet or limerick. Such poems exhibit closed form. Others (which exhibit open form) have less structure or, indeed, almost no apparent structure at all. This appearance, though, is deceptive: successful open form poems are informed throughout by organic structure which may resist formal description but is nonetheless a crucial element of the poem's effect on the reading mind. A poet"
"metrical pattern would generally be considered a limerick, however most also follow an AABBA rhyme scheme. Most limericks are humorous, and many are ribald, or outright obscene (possible rhymes that could follow an opening like ""There once was a man from Nantucket"" are left as an exercise for the reader). Nonetheless, the form is capable of sophisticated and playful expression: In contrast, a poet using free verse (sometimes called ""open form"") seeks to find fresh and uniquely appropriate forms for each poem, letting the structure grow out of the poem's subject matter or inspiration. A common perception is that open"
"his early version for the eight volume of his writings in 1789, making some minor changes in the final stanza. The work consists of 88 lines of free verse, divided into eleven stanzas of differing lengths. This was a common ode arrangement in the 18th century. It contains two key elements that were to become central to the discourse of the Romantics on winter travel – references to frosty, lifeless landscapes, and their intimate connection with the loneliness of the hero who had withdrawn into the wilderness in the face of some kind of crisis. The poem opens with a"
"""villains or victims"". The most prized limericks incorporate a kind of twist, which may be revealed in the final line or lie in the way the rhymes are often intentionally tortured, or both. Many limericks show some form of internal rhyme, alliteration or assonance, or some element of word play. Verses in limerick form are sometimes combined with a refrain to form a limerick song, a traditional humorous drinking song often with obscene verses. David Abercrombie, a phonetician, takes a different view of the limerick, and one which seems to accord better with the form. It is this: Lines one,"
"later extended up to 896. The entire poem consists of 1,393 lines in three books: 660 lines in the first book, 618 in the second, and 115 in the third. Throughout the poem Abbo employs a dactylic hexameter, though with the occasional fault. This metre helps to underpin the epic nature of the poem, a conscious aim of Abbo. The purpose of the work was both scholarly and hortative, warning future generations of the Viking menace. Its polemic literary style (sometimes called the ""hermeneutic style"") is typical of its period and place, though it is studded with ""obscure Grecisms."" It"
"a number of lyric metres, which were typically used for shorter poems than elegiacs or hexameter. In Aeolic verse, one important line was called the hendecasyllabic, a line of eleven syllables. This metre was used most often in the Sapphic stanza, named after the Greek poet Sappho, who wrote many of her poems in the form. A hendecasyllabic is a line with a never-varying structure: two trochees, followed by a dactyl, then two more trochees. In the Sapphic stanza, three hendecasyllabics are followed by an ""Adonic"" line, made up of a dactyl and a trochee. This is the form of"
"Limerick (song) The ""Limerick"" is a traditional humorous drinking song with many obscene verses. The tune usually used for sung limericks is traditionally ""Cielito Lindo,"" with the words arranged in the form of a limerick. The earliest printed date for limericks being sung is 1928 in the book ""A Collection of Sea Songs and Ditties from the Stores of Tom E. Jones"". Since many of the verses used for this song are bawdy the song tended to get issued in rare, underground mimeographed songbooks. Some of these are (in chronological order): There are several different choruses for this song. One"
"later work, ""More Nonsense, Pictures, Rhymes, Botany, etc"". (1872). Lear wrote 212 limericks, mostly considered nonsense literature. It was customary at the time for limericks to accompany an absurd illustration of the same subject, and for the final line of the limerick to be a variant of the first line ending in the same word, but with slight differences that create a nonsensical, circular effect. The humour is not in the ""punch line"" ending but rather in the tension between meaning and its lack. The following is an example of one of Edward Lear's limericks. Lear's limericks were often typeset"
"Spenserian stanza The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem ""The Faerie Queene"" (1590–96). Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'alexandrine' line in iambic hexameter. The rhyme scheme of these lines is ABABBCBCC. This example is the first stanza from Spenser's ""Faerie Queene"". The formatting, wherein all lines but the first and last are indented, is the same as in contemporary printed editions. <poem> Lo I the man, whose Muse whilome did maske, Fierce warres and faithfull loues shall moralize my song."
"villanelles, and they have often varied the form in innovative ways; in their anthology of villanelles (""Villanelles""), Annie Finch and Marie-Elizabeth Mali devote a section entitled ""Variations on the Villanelle"" to such innovations. The villanelle consists of five stanzas of three lines (tercets) followed by a single stanza of four lines (a quatrain) for a total of nineteen lines. It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line"
"to have the middle line provide a phrase or description to the first line and seventh line: Line 1: Beginning subject Line 2: Two describing words about line 1 Line 3: Three doing words about line 1 ending with ing Line 4: A short phrase about line 1, A short phrase about line 7 Line 5: Three doing words line 7 Line 6: Two describing words about line 7 Line 7: End subject Diamante poem A diamante poem, or diamond poem, is a style of poetry that is made up of seven lines. The text forms the shape of a"
"virgin mother born, / Our great redemption from above did bring; / For so the holy sages once did sing, / That he our deadly forfeit should release, / And with his Father work us a perpetual peace.""The hymnal stanzas are eight lines each, uniformly written in iambic meter. As in the introductory stanzas, the final two lines form a rhyming couplet, with a line in tetrameter followed by a line in hexameter, which closes out each stanza. The first six lines are made up of two tercets organized by the rhyme scheme AABCCB. The first two lines of each"
"Long metre Long Metre or Long Measure, abbreviated L.M. or LM, is a poetic metre consisting of four line stanzas, or quatrains, in iambic tetrameter with alternate rhyme pattern ""a-b-a-b"". The term is also used in the closely related area of hymn metres. When the poem is used as a sung hymn, the metre of the text is denoted by the syllable count of each line; for long metre, the count is denoted by 8.8.8.8, 88.88, or 88 88, depending on style. It is similar to common metre (for poems or melodies denoted as 8.6.8.6, 86.86, or 86 86) which"
"as such."" The poem consists of twenty-one stanzas made up of five lines each. The first four lines are metered in trochaic trimeter, the fifth in iambic hexameter, also called Alexandrine. The rhyme scheme of each stanza is ABABB. The poem begins with a description of the skylark high above in the sky. The bird is characterized as a “Spirit”. Its song is described as “unpremeditated art”. The skylark is able to sing while it ascends overhead. Its flight is compared to a “cloud of fire”. It soars across the descending sun like an “unbodied joy”. It flies in the"
"or 14 lines respectively. This form is usually defined as the ""rondel"" in modern literary compendia. Another version has the refrains shortened even further. Both restatements are reduced to just the first two or three words of the first line, which now stand as short, pithy, non-rhyming lines in the middle and at the end of the poem. These half-lines are called ""rentrement"". If derived from the erstwhile ""rondeau quatrain"", this results in a 12-line structure that is now called the ""rondeau prime"", with the rentrements in lines 7 and 12. If derived from the erstwhile 21-line ""rondeau cinquain"", the"
"text. The ode was the final poem of the fourth and final book, and it had its own title-page, suggesting that it was intended as the poem that would serve to represent the completion of his poetic abilities. The 1820 version also had some revisions, including the removal of lines 140 and 141. The poem uses an irregular form of the Pindaric ode in 11 stanzas. The lengths of the lines and of the stanzas vary throughout the text, and the poem begins with an iambic meter. The irregularities increase throughout the poem and Stanza IX lacks a regular form"
"Pentina The pentina is an accentual-syllabic poetic form, characterized by the use of five verses of five lines each, with a two-line envoi, for a total of 27 lines. It is similar to the French form, the sestina, which is characterized by six verses of six lines each, with a final 3-line envoi. Its creation in 1995 by American poet and songwriter Leigh Harrison was documented in an article, ""The Joys of the Pentina"" (Medicinal Purposes Literary Review, Vol. II, No. XII, published in 2005). The Pentina form is also described in Lewis Turco's ""The Book of Forms / Odd"
"can also draw information and motivation from it. The poem consists of 26 four-line stanzas; each stanza is made up of one short line, two longer lines, and another short line. Within each shorter line there are two strongly accented syllables or syllable groups. In terms of units, the longer lines are made up of 2 units and the shorter lines made of 1. Each long line contains 4 heavily accented syllables and breaks in half with a caesura, which is usually marked with a comma; each of the halves consists of two heavily accented syllables like each beginning and"
"of mastering the form, and allow the content of the poem a more unconscious and freer release"". In an introduction to his own take on the form, entitled ""Missing Dates"", William Empson suggests that while the villanelle is a ""very rigid form"", nonetheless W. H. Auden—in his long poem ""The Sea and the Mirror""—had ""made it sound absolutely natural like the innocent girl talking"". Villanelle A villanelle (also known as ""villanesque"") is a nineteen-line poetic form consisting of five tercets followed by a quatrain. There are two refrains and two repeating rhymes, with the first and third line of the"
"decades, consists of 179 lines. The longest among the eight decade poems comprises 236 lines. The shortest of the verses consists of five lines and the longest verse in the work comprises 57 lines. The last verse of the ninth ten is the longest of all the verses in this work. The patikams (the preface or introduction or prologue) vary in length from 10 to 21 lines. The ten verses in each of the eight tens now available have a common structure. Each verse has a title or caption. This title is a catchy phrase found in the text of"
"the Spenserian stanza, among others ""Stvoření světa"" (""The Creation of the World""): In the long poem ""The Forest Sanctuary"", Felicia Hemans employs a similar nine-line stanza, rhyming ABABCCBDD, with the first eight lines in iambic pentameter and the ninth an alexandrine. Spenserian stanza The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem ""The Faerie Queene"" (1590–96). Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'alexandrine' line in iambic hexameter. The rhyme scheme of these lines is ABABBCBCC. This example is the first stanza from Spenser's"
"that is cited as a prominent example of the elegy form and of narrative poetry. In its final form, published in 1881 and republished to the present, the poem is divided into sixteen sections referred to as cantos or strophes that range in length from 5 or 6 lines to as many as 53 lines. The poem does not possess a consistent metrical pattern, and the length of each line varies from seven syllables to as many as twenty syllables. Literary scholar Kathy Rugoff says that ""the poem... has a broad scope and incorporates a strongly characterized speaker, a complex"
"are arranged two in the 3rd group, two in the 4th, and two in the 5th. The last ten poems consist of a coda of 4 poems in elegiac couplets, 3 in hendecasyllables, 2 in scazons, and 1 poem in elegiac couplets. Kloss argues that if the poems were a miscellaneous anthology, they would presumably have contained poems in other metres too, such as the iambic (84 and 87), aeolic (85, 89) or hexameter (95) metres used in the ""extra"" poems in Smithers and Burton's edition. Further, in the second dedicatory poem, the poet announces that he has written (not"
"he tells us he saw him numerous times riding against the French. Guernes's work is the earliest-known life of Becket written in French, and the earliest known verse life of Becket. There are six manuscripts of the second draft, all of them are Anglo-Norman and none of them older than the 13th-century. In 1977, Ian Short examined a fragment of the first draft which was assumed lost and noted that the second draft was far less influenced by Grim. The poem is composed of 6,180 lines grouped in 5-line, mono-rhymed stanzas, and the form is of a ""dignified and serious"
"see Table 1) is that, with time, poets may gradually free themselves from the constraints of the form. The golden line may have been taught in the schools as a quick way to elegance, which poets would use with increasing moderation as their experience grew. Two poems that appear to be juvenalia point to this conclusion. The Hisperica Famina is a bizarre text which is apparently from seventh-century Ireland. It seems to be a collection of school compositions on set themes that have been run together. Of its 612 lines, 144—23.53 percent—have the golden line structure. Most of the lines"