"two, and five have three feet, that is to say three stressed syllables, while lines three and four have two stressed syllables. The number and placement of the unstressed syllables is rather flexible. There is at least one unstressed syllable between the stresses but there may be more – as long as there are not so many as to make it impossible to keep the equal spacing of the stresses. The origin of the name ""limerick"" for this type of poem is debated. The name is generally taken to be a reference to the City or County of Limerick in"
"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,"
"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"
"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"
"""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,"
"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"
"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"
"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"
"Maskit produced counter examples about his proof three times. The following unusual limerick was composed by John Milnor, shortly after learning of several graduate students' frustration at completing a project where the work of every Princeton mathematics faculty member was to be summarized in a limerick: This may be the only limerick where one word spans three lines. The phrase ""without any strain"" is not meant to indicate that Papa did not expend much energy in his efforts. Rather, it refers to Papa's ""tower construction"", which quite nicely circumvents much of the difficulty in the cut-and-paste efforts that preceded Papa's"
"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"
"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"
"conversation within a sequence of strips"", Johnson observed, ""the whole can be viewed like a short comic book."" Johnson wrote that early on he experimented with short poems ""when I wanted to do something a bit different or when I was stuck for a better idea."" In time it occurred to him that the limerick format was inherently comical and ""fit the four-panel format"" of the comic strip. Since the time of that realization, the limerick has been an occasionally recurring structure in the daily strip. Some of his recurring themes for jokes and storylines are touched on below: Many"
"three-line envoy (for a total of 75 lines), or twelve twelve-line stanzas, with a six-line envoy (for a total of 150 lines). Examples of either variation are rare; ""Ye Goatherd Gods"" by Philip Sidney is a notable example of the former variation, while ""The Complaint of Lisa"" by Algernon Charles Swinburne is a notable example of the latter variation. In the former variation, the original pattern of line-ending words, i.e. that of the first stanza, recurs in the seventh stanza, and thus the entire change of pattern occurs twice throughout. In the second variation, the pattern of line-ending words returns"
"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"
"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"
"of the limerick, as in ""There once was / a girl from / Nantucket."" It was also used by the Victorians for narrative poetry, e.g. Samuel Woodworth's ""The Old Oaken Bucket"" beginning ""How dear to / my heart are / the scenes of / my childhood."" W.H. Auden's ""Oh Where Are You Going"" is a more recent and slightly less metrically-regular example. The amphibrach is also often used in ballads and light verse, such as the hypermetrical lines of Sir John Betjeman's ""Meditation on the A30"". Amphibrachs are a staple meter of Russian poetry. A common variation in an amphibrachic"
"Oliver Goldsmith is written in iambic tetrameter; the masculine endings occur in ordinary octosyllabic lines, whereas the feminine endings occur with a ninth, extrametrical syllable: Particularly in unrhymed verse, there occur lines that end in two stressless syllables, yet have the syllable count of lines with uncontroversial masculine endings. Consider the following four lines from Shakespeare's ""A Midsummer Night's Dream"", written in iambic pentameter: The first of these, with ten syllables, has an uncontroversial masculine ending, the stressed syllable ""more"". The last line, with eleven syllables, has an uncontroversial feminine ending, the stressless syllable ""me"". The second and third lines"
"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"
"poetic line altogether. In every literature there is a metrical pattern that can be described as ""basic"" or even ""national"". The most famous and widely used line of verse in English prosody is the iambic pentameter, while one of the most common of traditional lines in surviving classical Latin and Greek prosody was the hexameter. In modern Greek poetry hexameter was replaced by line of fifteen syllables. In French poetry alexandrine is the most typical pattern. In Italian literature the hendecasyllable, which is a metre of eleven syllables, is the most common line. In Serbian ten syllable lines were used"
"verse, iambic trimeter is a line comprising three iambs. Less common iambic measures include iambic tetrameter (four iambs per line) and iambic heptameter, sometimes called the ""fourteener"" (seven iambs per line). Lord Byron's also ""She Walks in Beauty"" exemplifies iambic tetrameter; iambic heptameter is found in Australian poet A. B. ""Banjo"" Paterson's ""The Man from Ironbark"". Related to iambic heptameter is the more common ballad verse (also called common metre), in which a line of iambic tetrameter is succeeded by a line of iambic trimeter, usually in quatrain form. Samuel Taylor Coleridge's ""The Rime of the Ancient Mariner"" is a"
"four lines, the first one having ten syllables, then six, then the last two having seven syllables each. In the first line there must be a break after the seventh, eighth, or ninth syllable, and the rhyme with the second line comes at this break; but the tenth syllable of the first line must either rhyme or be in assonance with the middle of the second line. The last two lines must rhyme with the first rhyme in the first line, but the third or fourth line must rhyme on a weak syllable. Source: Davies, ""Haiku and Englyn"", ""Toronto Daily"
"classical French poetry. Each line must contain 12 syllables, and major accents are placed on the 6th and 12th syllables. The ""caesure"" (caesura, or pause) occurs after the 6th syllable, halfway through the line. It is frequently used as a strong syntactic break in the wording. Each half of the line (6 syllables) is referred to as a hemistich (""hémistiche)."" Enjambment is not used in the French ""alexandrin,"" but is sometimes employed in English translation of the verse. The name of the line originated from the ""Roman d'Alexandre"", written in 1170. Scholars estimate that at least twenty-six composers have created"
"Fourteener (poetry) In poetry, a fourteener is a line consisting of 14 syllables, which are usually made of seven iambic feet for which the style is also called iambic heptameter. It is most commonly found in English poetry produced in the 16th and 17th centuries. Fourteeners often appear as rhymed couplets, in which case they may be seen as ballad stanza or common metre hymn quatrains in two rather than four lines. The term may also be used as a synonym for quatorzain, a 14-line poem, such as a sonnet. Poulter's measure is a meter consisting of alternate Alexandrines combined"
"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"
"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"
"three other poetic forms: ballad metre, fourteeners, and common-metre double. Like the stanzas of the common metre, each stanza of ""ballad metre"" has four iambic lines. Ballad metre is ""less regular and more conversational"" than common metre. In each stanza, ballad form needs to rhyme only the second and fourth lines, in the form ""A-B-C-B"" (where ""A"" and ""C"" need not rhyme), while common metre typically rhymes also the first and third lines, in the pattern ""A-B-A-B"". Another closely related form is the ""fourteener"", consisting of iambic heptameter couplets: instead of alternating lines of iambic tetrameter and iambic trimeter, rhyming"
"in the first three quatrains—all of which end with the third rhyme, with five unrhymed lines. In Turco's given example the scheme looks like this: However, other variants are possible, such as: Both sources agree that there is no requirement of meter in a bref double, though all lines must be consistent in length. Bref double Bref double is a French poetic form consisting of 3 quatrains and a final couplet, making 14 lines. There is some debate about the rhyme scheme, though in all versions the scheme consists of three rhymes and 4-5 un-rhymed lines, providing the bref double's"
"the two halves of the line, broken here by the ||, each have two and a half feet. Two and a half plus two and a half equals five. The two half-lines are each called a hemiepes (half-epic), as they resemble half a line of epic dactylic hexameter. The pentameter is notable for its very structured quality: no substitutions are allowed except in the first two feet. Dactylic pentameter Dactylic pentameter is a form of meter in poetry. The dactyl, which is made of a stressed (or long) syllable followed by two unstressed (or short) syllables, is repeated five times"
"Triolet A triolet (, ) is almost always a stanza poem of eight lines, though stanzas with as few as seven lines and as many as nine or more have appeared in its history. Its rhyme scheme is ""ABaAabAB"" (capital letters represent lines repeated verbatim) and in 19th century English triolets often all lines are in iambic tetrameter, though in traditional French triolets from the 17th century on the second, sixth and eighth lines tend to be iambic trimeters followed by one amphibrachic foot each. In French terminology, a line ending in an iambic foot was denoted as masculine, while"
"most common lengths are the thirteen-syllable line (""trzynastozgłoskowiec"" or ""Polish alexandrine""), the eleven-syllable line (""jedenastozgłoskowiec"") and eight-syllable line (""ośmiozgłoskowiec""). The rules of Polish verse were established in the 16th century. Polish metrics were strongly influenced by Latin, Italian, and French poetry. To this day originally Italian forms (like ottava rima) are written in Poland in 11-syllable lines. Accentual verse was introduced into Polish literature at the end of 18th century but it never replaced traditional syllabic metres. Today 9-syllable lines are extremely popular. They are iambic or choriambic. Syllabic verse Syllabic verse is a poetic form having a fixed or"
"may have, but three is considered the accepted minimum. If the kyrielle is written in couplets, the rhyme scheme will be: a-A, a-A. There are a number of possible rhyme schemes for kyrielle constructed in quatrains, including a-a-b-B, c-c-b-B and a-b-a-B, c-b-c-B (uppercase letters signify the refrain). In the original French kyrielle, lines were generally octosyllabic. In English, the lines are generally iambic tetrameters. This kyrielle is by Thomas Campion. ""A Lenten Hymn "" Kyrielle The kyrielle is a poetic form that originated in troubadour poetry. The name kyrielle derives from the ""Kýrie"", which is part of many Christian liturgies."