"Many of my songs just come together in quatrains because that's how a hymn goes," she said.
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I am willing to die over this being one of the best quatrains in the history of poetry.
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He intoned his songs with serene gravity, revealing once again how carefully chiseled every one of his quatrains is.
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Most of the poems here are printed in quatrains, with rhyme that can cross stanzas: All the quatrains in a poem begin with the same phrase (which is also the title) and seem to have no topic in common (most poems that don't use this structure use a similar one, in tercets).
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This example stitches poem (identified by the frame of quatrains) to prose (identified by the four lines inhabited by Absence).
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Some of these poems are in rhymed quatrains, and almost all are snapshot-size, taking up no more than a page.
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In 1555, Michel de Nostredame, or Nostradamus, published "Les Prophéties," a collection of nearly 1,000 prophetic and poetic quatrains (four-line rhyming verses).
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Blank verse and other prosodic techniques construct a sestina, a handful of sonnets, nonce words, and lyrics or lines organized in quatrains, some using internal and end rhymes.
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In their case, it is actually an appropriation of an appropriation: ''War Primer 2'' is based on Bertolt Brecht's ''Kriegsfibel'' (''War Primer,'' 1955), a book of press photographs, largely culled from newspapers and magazines from the previous decades, that Brecht captioned with bitter, poetic quatrains.
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An inescapable presence in our Ohio home, Rumi was the annoying elder who forever tested the limits of my Persian hospitality, challenging my limited Farsi with his antiquated medieval verse and dismissing my American hunger for brevity with his seemingly endless collections of rhyming couplets and quatrains.
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Already in 1914 — while Ezra Pound was preoccupied with translating Latin epigrams, Chinese quatrains, and trying to control his aesthetics; long before T. S. Eliot's transcription of Indian scriptures and formation of structural complexity — Cendrars had completed five of his poetic masterpieces: The Legend Of Novgorode, Easter in New York, The Prose Of The Transsiberian, Sequences and Panama.
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It is made up of two parts: seven quatrains followed by six quatrains in alexandrines. Its crossed rhyme scheme alternates male and female endings.
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Mohammad b. Esfandiar Abhari on July 31, 1331. A significant importance of Nozhat al-Majales is that it contains quatrains from poet whose collected works are no longer extant. For example, it contains thirty-three quatrains by Omar Khayyam and sixty quatrains by Mahsati.
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The ballad has an AABB rhyme scheme, with thirty quatrains composing the ballad.
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He wrote five quatrains about her entitled On the Countess of B—— cutting paper.
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Among the scroll patterns are calligraphic representations of the quatrains of the poet Hafiz.
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Enclosed rhyme (or enclosing rhyme) is the rhyme scheme ABBA (that is, where the first and fourth lines, and the second and third lines rhyme). Enclosed- rhyme quatrains are used in introverted quatrains, as in the first two stanzas of Petrarchan sonnets.
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The rhythmic romp of the waltz can be felt in the poet's iambic trimetrical quatrains.
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At Berkeley, he taught subjects ranging from Persian Literature to medieval Islamic mysticism. Professor Farhâdi has written a number of historical texts, including The Quatrains of Rumi, where he translated over 1600 of the quatrains attributed to Rumi, and Abdullah Ansari of Herat (Khajeh Abdollah Ansari), a Sufi master.
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Nostradamus Centuries 1568 Les Prophéties (The Prophecies) is a collection of prophecies by French physician Nostradamus, the first edition of which appeared in 1555 by the publishing house Macé Bonhomme. His most famous work is a collection of poems, quatrains, united in ten sets of verses ("Centuries") of 100 quatrains each. The first edition included three whole Centuries and 53 quatrains. The book begins with a preface, in the form of a message to his son César, followed by the Centuries themselves.
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The text of Tristan is 19,548 lines long, and is written, like all courtly romances, in rhyming couplets. The first section (ll. 1-44) of the prologue is written in quatrains and is referred to as the "strophic prologue", while pairs of quatrains, of sententious content, mark the main divisions of the story. The initial letters of the quatrains, indicated by large initials in some manuscripts, form an acrostic with the names Gotefrid- Tristan-Isolde, which runs throughout the poem.
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These are among the oldest and most reliable collections of their works. Nozhat al-Majales also contains quatrains from such scholars and mystics as Avicenna, Attar of Nishapur, Sanai, Afdal al-Din Kashani, Ahmad Ghazali (the mystic brother of al-Ghazali), Majd al-din Baghdadi (a major figure of traditional Sufism born in Baghdadak in Great Khorasan) and Ahmad Jam, who had never been recognized as major poets. It also contains quatrains from writers and poets who are not known for their quatrains such as Asadi Tusi, Nizami Ganjavi, Fakhruddin As'ad Gurgani and Qabus. Some quatrains are even narrated from statements and rulers such as Fariboz III Shirvanshah, the Seljuq Sultan Tugrul and Shams ad-Din Juvayni.
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In 1963 Jaheen wrote his quatrains or rubaiyat in which he expressed his beliefs, emotions and views of life, existence, good and evil. Each verse ended with one ironic expression "Agabi" or "how strange !". Quatrains are sometimes argued as the greatest popular poetic achievement in Egypt in the last 50 years.
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Many of Nostradamus' quatrains are open-ended and have been postdicted over the centuries to fit various contemporary events. ;Recycled: The prediction is reused again and again in order to match the most recent event. Nostradamus' quatrains have been recycled numerous times. ;Catch-all: The prediction covers more than one possible outcome.
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Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. This marks the beginning of an English contribution to sonnet structure of three quatrains and a closing couplet.The Norton Anthology of English Literature: Sixteenth/Early Seventeenth Century, Volume B, 2012, pg. 647 Wyatt experimented in stanza forms including the rondeau, epigrams, terza rima, ottava rima songs, and satires, as well as with monorime, triplets with refrains, quatrains with different length of line and rhyme schemes, quatrains with codas, and the French forms of douzaine and treizaine.
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Most of the quatrains deal with disasters, and Nostradamus gained notoriety for the belief in his ability to predict the future.
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The poem contains 16 lines of text arranged in iambic tetrameter. The rhyme scheme is arranged in four quatrains of ABAB.
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According to a Jain tradition, 2 of the quatrains were composed by the teacher and counselor of Thiruthakkadevar, while the rest were anonymously added. The larger Tamil tradition believes that 445 quatrains were composed by Kantiyar, a poetess and inserted into the original. The entire epic is sometimes credited to just Thiruthakkadevar by casual writers.Arathoon 2008, p.
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The stotra is in the Asthi Chanda. It has 16 syllables per line of the quatrain, with laghu (short syllable) and guru (long syllable) characters alternating; the poetic meter is iambic octameter by definition. There are 16 quatrains in total. Both the ninth and tenth quatrains of this hymn conclude with lists of Shiva's epithets as destroyer, even the destroyer of death itself.
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Bowl of Reflections, early 13th century. Brooklyn Museum Around 500 quatrains are ascribed to him. Some of the themes include warnings about the futility of involvement with the things of the corporeal world, the correspondence between microcosm and macrocosm, and self-knowledge as the goal of human existence. Some of his quatrains are also recorded in the book Nozhat al-Majales.
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The pantoum is a poetic form derived from the pantun, a Malay verse form: specifically from the pantun berkait, a series of interwoven quatrains.
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During World War II, leaflets with false Nostradamus quatrains predicting the defeat of France were launched by German planes over European skies. It seems that this operation was mastered by Nazi political secretary Rudolf Hess, and that even Adolf Hitler believed in Nostradamus' quatrains. Certainly his propaganda Minister Joseph Goebbels did, under the influence of his wife Magda.See Wilson, I., Nostradamus: The Evidence (Orion, 2002) p.274.
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This poem is written entirely in quatrains and each of the two stanzas is divided into four verses. The poet's choice of the ABBA rhyme scheme (or enclosed rhyme scheme) emphasizes the simplicity of the poem. The pararhyme of 'Theirs', ‘gears’, ‘tears’ and ‘repairs’ combines the two quatrains together and puts 'Theirs' (take note of the capital letter) at the heart of the poem.
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During the Six Dynasties era, a form of yuefu using regular five-character quatrains (or paired couplets) similar to the jueju appears in the Midnight Songs poetry.
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A cross-rhymed octosyllabic quatrain is supported by three 4-syllabled quatrains which have as base another octosyllabic quatrain.Rickey, pp.13-14 Herbert’s is quantitively different, however.
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Sonnet 54 by William Shakespeare is divided into three quatrains and one heroic couplet. The first two quatrains work together, illustrating both the scentless canker bloom Shakespeare's Sonnets, edited by Stephen Booth (Google Books) and the scented rose. In the first two lines of the first quatrain he says that beauty seems more beauteous as a result of truth. In the next two he gives the example of a rose.
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Hristofor Zhefarovich's Stemmatographia of 1741 is thought of as the earliest example of modern Bulgarian secular poetry for its quatrains, although it was essentially a collection of engravings.
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A feature of the more recent collections is the lack of linguistic homogeneity and continuity of ideas. Sadegh Hedayat commented that "if a man had lived for a hundred years and had changed his religion, philosophy, and beliefs twice a day, he could scarcely have given expression to such a range of ideas". Hedayat's final verdict was that 14 quatrains could be attributed to Khayyam with certainty. Various tests have been employed to reduce the quatrains attributable to Omar to about 100. Arthur Christensen states that "of more than 1,200 ruba'is known to be ascribed to Omar, only 121 could be regarded as reasonably authentic". Foroughi accepts 178 quatrains as authentic, while Ali Dashti accepts 36 of them.
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While the quatrains lead up to a climax in quatrain 3, the couplet suggests a point, a succinct conclusion.Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets.
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Other verse forms may also use chain rhyme. For instance, quatrains can be written to the following pattern: a-a-b-a, b-b-c-b, c-c-d-c. There are a few well-known examples of chain rhyme in world literature. In the Persian language, chain rhyme is almost exclusively devoted to the poetic form of the Rubaiyat: a poem that makes use of quatrains with the rhyme scheme AABA.
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Baba Tahir's poems are recited to the present day all over Iran accompanied by the setar, the three stringed viol or lute. This style of poetry is known as Pahlaviat and it is very ancient. The quatrains of Baba Tahir have a more amorous and mystical connotation rather than philosophical. Many of Baba Tahir's poems are of the do-baytī style, a form of Persian quatrains, which some scholars regard as having affinities with Middle Persian verses.
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This has been widely quoted and reprinted in virtually every book about Jowett and about Balliol ever since. This and 18 others are attributed to Henry Charles Beeching. The other quatrains are much less well known. William Tuckwell included 18 of these quatrains in his Reminiscences in 1900, but they all came out only in 1939, thanks to Walter George Hiscock, an Oxford librarian, who issued them personally then and in a second edition in 1955.
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The poem contains 1531 stanzas of twelve lines usually rhyming ABABABABCDCD, for a total of 18,372 verses. The stanzas consist of three quatrains, the first two in tetrameter, the last in trimeter.
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Sonnet 21 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, nominally rhyming abab cdcd efef gg — though this poem has six rhymes instead of seven because of the common sound used in rhymes c and f in the second and third quatrains: "compare", "rare", "fair", and "air". The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / With sun and moon, with earth and sea's rich gems, (21.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Garencières' 1672 English translation of the Prophecies, located in The P.I. Nixon Medical History Library of The University of Texas Health Science Center at San Antonio. In The Prophecies Nostradamus compiled his collection of major, long-term predictions. The first installment was published in 1555 and contained 353 quatrains. The third edition, with three hundred new quatrains, was reportedly printed in 1558, but now survives as only part of the omnibus edition that was published after his death in 1568.
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1226–1283), and Jajarmi (1340).Edward Denison Ross, "Omar Khayyam", Bulletin of the School Of Oriental Studies, London Institution (1927) Also, five quatrains assigned to Khayyam in somewhat later sources appear in Zahiri Samarqandi's Sindbad-Nameh (before 1160) without attribution.Ali Dashti (translated by L. P. Elwell-Sutton), In Search of Omar Khayyam, Routledge Library Editions: Iran (2012) The number of quatrains attributed to him in more recent collections varies from about 1,200 (according to Saeed Nafisi) to more than 2,000.
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Kunstsammlungen - Museum für Völkerkunde: I.Ethnologische Abteilung. 18.1896ff. #[Review] G. U. Pope: Munivar arulicceyda Näladiyar; the Näladiyar or four hundred quatrains in Tamil. Oxford: Clarendon Press 1893. 440 S. 8° Deutsche Literaturzeitung. 17.1896,1028-1029 Berlin.
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Medieval Persian literature also attests to numerous qit‘as (quatrains) posing varied, often occasional, tests of wit.A. A. Seyed-Gohrab, Courtly Riddles: Enigmatic Embellishments in Early Persian Poetry (Leiden: Leiden University Press, 2010), p. 29.
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The sonnet is made up of two quatrains and two tercets of hendecasyllables. The rhyme scheme is ABAB, ABAB, CDE, CED. In the poem we can find enjambments, alliterations, apostrophes, synecdoches, anastrophes and a litotes.
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410 As well as poetry in the dán díreach form, he wrote quatrains and an epithalamium to Edward Bunting's air "Kathleen Nowlan". His writings use , "agreeableness" as a term of art for well-written poetry.
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Gilla Cóemáin mac Gilla Samthainde, Irish poet, fl. 1072. Author of Annálad anall uile, a poem of fifty-eight quatrains, and a number of other works. Some of his works were incorporated into Lebor Gabála Érenn.
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It consists of 14 lines of which 12 belong to three quatrains and the last two belong to the couplet, with rhyme scheme ABAB CDCD EFEF GG. Reflecting this structure, the first three quatrains develop an argument of despair, and the couplet suggests a (somewhat) hopeful resolution. However, the argument of the poem may also be seen as reflecting the older structure of the Petrarchan sonnet: lines one through eight are the octaveSaccio, Peter (1998). "Shakespeare: The Word and the Action Part I." The Teaching Company. Chantilly, VA. Print.
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Two years later he won a British Council fellowship to study English language and literature at Oxford University. He abandoned his use of blank verse and free verse in favor of the sonnet, both the Italian form used in Portuguese poetry (two quatrains, two tercets) and the English form (three quatrains and a couplet). He was considered one of the most prominent of the "Generation of '45", a group of Brazilian writers in the 1930s and 1940s who rejected early modernism in favor of traditional forms and vocabulary.
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In dastans, ashiqs narrates heroic deeds, love stories or important historical events. Stylistic and syllabic relationships are in many ways reminiscent of the goshma genre, but differ from the last number of quatrains, subject, meaning and theme music.
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The rhyme is arranged in quatrains, with an A-B-C-B rhyme scheme. The rhyme is organized by its meter, a sprung rhythm in trimeter.Henninger, Jessie. "Miss Susie Had a Steamboat: I. Structure" at The Raveled Sleeve.
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Dīvān-e Kabīr ("the great divan") contains poems in several different styles of Eastern-Islamic poetry (e.g. odes, eulogies, quatrains, etc.). It contains 44,282 lines (according to Foruzanfar's edition,Furuzanfar, Badi-uz-zaman. Kulliyat-e Shams, 8 vols.
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Technically, the verse novel is written in loosely heroic single-rhymed quatrains—i.e. the metre consistently approximates iambic pentameter, and the four-line stanzas rhyme abcb. It is structured in a prologue and 12 chapters, and has 1,048 lines.
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The work contains 15 ghazals addressed to God and 61 ghazals and 22 quatrains dealing the ego, faith, love, knowledge, the intellect and freedom. The poet recalls the past glory of Muslims as he deals with contemporary political problems.
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"At a Calvary near the Ancre" is a poem by Wilfred Owen. The title references the Ancre, a tributary of the Somme. It was the scene of two notable battles in 1916. The poem is composed of three quatrains rhyming abab.
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In addition, the initial letters of the quatrains in the prologue give the name Dieterich, which is assumed to have been the name of Gottfried's patron. If Gottfried had completed Tristan it would probably have been around 24,000 lines long.
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These two quatrains, being one sentence, are best analyzed together. In the 8 lines of quatrains 1 and 2, the patterned adjectives "help construct not an elaborate but an elegant metaphor of the sun as a noble countenance, normally given to blessing by his blaze and kiss but often obscured by base elements". In the first quatrain, the narrator is comparing the young man of his interest with the beauty of nature, specifically the sun and meadows. The sun makes the mountains look beautiful, and the meadows and streams are glittering in a way that only heavenly magic can do.
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The fourteener is a metrical line of 14 syllables (usually seven iambic feet). Fourteeners typically occur in couplets. Fourteener couplets broken into quatrains (four-line stanzas) are equivalent to quatrains in common metre or ballad metre: instead of alternating lines of tetrameter and trimeter, a fourteener joins the tetrameter and trimeter lines to give seven feet per line. The fourteener gives the poet greater flexibility than common metre, in that its long lines invite the use of variably placed caesuras and spondees to achieve metrical variety, in place of a fixed pattern of iambs and line breaks.
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Most of the quatrains deal with disasters, such as plagues, earthquakes, wars, floods, invasions, murders, droughts, and battles—all undated and based on foreshadowings by the Mirabilis Liber. Some quatrains cover these disasters in overall terms; others concern a single person or small group of people. Some cover a single town, others several towns in several countries. A major, underlying theme is an impending invasion of Europe by Muslim forces from farther east and south headed by the expected Antichrist, directly reflecting the then-current Ottoman invasions and the earlier Saracen equivalents, as well as the prior expectations of the Mirabilis Liber.
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Beschi composed the epic keeping Joseph (Valan) as the hero and Mary as the heroine and wove into it several characters and episodes appropriate to the unravelling on the story of Joseph, Mary and their God-son. The epic consists of 3,615 rhymed quatrains in Tamil with 90 variations, and it has been translated by M. Dominic Raj into English in unrhymed quatrains of free verse following the ‘Sprung Rhythm’ style of Hopkins. It consists of 3 Parts with 12 sections in each. There are 356 episodes that relate to births, deaths, journeys, wars, celebrations, happenings in the Netherworld, Hell, Heaven, etc.
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The poem is arranged in four stanzas that lack symmetry and vary in size and structure. The first stanza contains three quatrains with a rhyme scheme of abba which contain no breaks between the lines. The second stanza contains 18 lines of text with six long-lined tercets using a rhyme scheme of aaa, which causes it to appear very different on the page from the stanzas that precede and follow it. The third stanza is a douzain, a square block of twelve lines of verse composed of pentameter quatrains with a rhyme scheme of abba.
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Amrohvi was born on 12 September 1914 in Amroha, India. He migrated to Pakistan on 19 October 1947 and settled in Karachi. He was known for his style of Qatanigari (quatrain writing). For several decades he published quatrains for Pakistan's daily newspaper, Jang.
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46, no. 1; Two Quatrains of Al-Ghazali (Dva Al-Gazalijeva katrena), op. 46, no. 2; Two blue legends of Jovan Dučić (Dve Dučićeve Plave legende), op. 34 (“A Little princess” (“Mala princeza”) and “Love” (“Ljubav”)); “A Very hot day,” op. 67, no.
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"A Death- Bed" consists of 10 ABAB quatrains, with four stresses per line. It interweaves three voices: # In quotation marks: an absolute monarch, suffering from throat cancer. # In italics: a group of doctors attending the dying ruler. # In plain text: a commentator.
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Chap 15. According to Gerrold Hammond, the single sentence octave, the first two quatrains, presents the reader with the strong poetic nature by using adjective plus noun structures on every line. The order and abundance makes the reader aware of the rhetoric.Hammond, Gerrold.
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Bournonville was in Amiens before 1619: he was appointed maître de chapelle (symphoniarca) of the Amiens Cathedral with respect to his 1619 Missae tredecim.He bears the same title in his Cinquante Quatrains of 1622. In his article in Biographie universelle des musiciens (vol. II (pp.
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Dāya's choice of illustrative verses- both those of his own composition and those of his predecessors -is judicious, and makes of his work an incidental anthology of Sufi poetry, particularly quatrains."The Path of God's Bondsmen: From Origin to Return." Quoted from page 19.
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Faqi published several collections of poetry short stories. Moreover, he published several books on various topics including literature, religion, and legal issues. His best poetry was published in Rubaiyyat (QUARTETS), a collection 474 quatrains.^ Mansour al-Hazimi; Izzat Khattab; Salma K. Jayyusi (27 July 2006).
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Official website of Sanskrit College, Principals of Sanskrit College In this year he discovered a manuscript of Omar Khayyám's quatrains in the Asiatic Society's library and sent a copy to London for his friend and student, Edward Fitzgerald, who then produced the famous English translations (the Rubaiyat of Omar Khayyam, 1859). He also published, unsigned, an introduction to Khayyám with translations of thirty quatrains in the Calcutta Review (1858). Having studied Hindustani, Bengali, and Sanskrit with Indian scholars, he returned to England to take up an appointment as the first professor of Sanskrit at Cambridge. He was professor from 1867 until his death in 1903.
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Reality is potentially perfect. All it requires is the active participation of an onlooker to raise it to its full potencyHavard p 39 as explained by Ortega in the Meditaciones. There is stylistic development as well in that some of the new poems are lengthy; "Salvación de la primavera" amounts to 55 quatrains (220 lines) and "Más allá", which eventually became the very first book in the collection, consists of 50 quatrains. There are also more medium-length poems of around 40-50 lines, such as "Viento saltado" and "El desterrado", most of which were written or started during Guillén's period of residence at Oxford.
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While this establishes that these specific verses were in circulation in Omar's time or shortly later, it doesn't imply that the verses must be his. De Blois concludes that at the least the process of attributing poetry to Omar Khayyam appears to have begun already in the 13th century.Francois De Blois , Persian Literature – A Bio-Bibliographical Survey: Poetry of the Pre-Mongol Period (2004), p. 305. Edward Granville Browne (1906) notes the difficulty of disentangling authentic from spurious quatrains: "while it is certain that Khayyam wrote many quatrains, it is hardly possible, save in a few exceptional cases, to assert positively that he wrote any of those ascribed to him".
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In addition to the Persian quatrains, there are twenty-five Arabic poems attributed to Khayyam which are attested by historians such as al-Isfahani, Shahrazuri (, ca. 1201–1211), Qifti (, 1255), and Hamdallah Mustawfi (, 1339). Boyle and Frye (1975) emphasize that there are a number of other Persian scholars who occasionally wrote quatrains, including Avicenna, Ghazzali, and Tusi. He concludes that it is also possible that poetry with Khayyam was the amusement of his leisure hours: "these brief poems seem often to have been the work of scholars and scientists who composed them, perhaps, in moments of relaxation to edify or amuse the inner circle of their disciples".
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The book is arranged by subject in 17 chapters divided into 96 different sections. The anthology also includes 179 quatrains and an ode (qasida) of 50 distiches written by Jamal Khalil Shirvani himself. The book is preserved in a unique manuscript copied by Esmail b. Esfandiyar b.
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This genre influenced the works of another famous composer from the same region, Qazim Ademi. In 1845 he wrote an octosyllabic poem in nineteen quatrains condemning a massacre in Vlorë region committed by Ottoman Turkish forces that year and the negative effects of the Tanzimat on Albania.
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"When I Have Fears" is an Elizabethan sonnet by the English Romantic poet John Keats. The 14-line poem is written in iambic pentameter and consists of three quatrains and a couplet. Keats wrote the poem between 22 and 31 January 1818 Keats, John. The Complete Poems.
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In the early 18th century Bernard de la Monnoye collected over 50 of these humorous "La Palice" quatrains, and published them as a burlesque Song of La Palice. From that song came the French term lapalissade meaning an utterly obvious truth--i.e. a truism or tautology.
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The Libro de Apolonio (Book of Apollonius) is an anonymous work of medieval Spanish literature written in Alexandrine quatrains around the middle of the thirteenth century in the learned genre of the Mester de clerecía. It is based on the medieval Latin Historia Apolonii Regis Tyrii.
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1160), he quotes one of his poems (corresponding to quatrain LXII of FitzGerald's first edition). Daya in his writings (, ca. 1230) quotes two quatrains, one of which is the same as the one already reported by Razi. An additional quatrain is quoted by the historian Juvayni (, ca. 1226–1283).
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Sonnet 14 is an English or Shakespearean sonnet, which consists of three quatrains followed by a couplet. It follows the traditional rhyme scheme of the form: ABAB CDCD EFEF GG. Like many of the others in the sequence, it is written in a type of metre called iambic pentameter, which is based on five pairs of metrically weak/strong syllabic positions per line. Typically English sonnets present a problem or argument in the quatrains, and a resolution in the final couplet. This sonnet suggests this pattern, but its rhetorical structure is more closely modeled upon the older Petrarchan sonnet which arranges the octave (the first eight lines) in contrast to the sestet (the final six lines).
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Shakespeare's sonnets conform to the English or Shakespearean sonnet form. The form consists of fourteen lines structured as three quatrains and a couplet, rhyming abab cdcd efef gg and written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. While Shakespeare's versification maintains the English sonnet form, Shakespeare often rhetorically alludes to the form of Petrarchan sonnets with an octave (two quatrains) followed by a sestet (six lines), between which a "turn" or volta occurs, which signals a change in the tone, mood, or stance of the poem. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Those pretty wrongs that liberty commits, (41.1) :/ = ictus, a metrically strong syllabic position.
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Similar poems written by Shawqi were subsequently composed by Sonbati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she surprised royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists". At the peak of her career, in 1950, Umm Kulthum sang Sonbati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation from Persian into classical Arabic of Omar Khayyám's quatrains (Rubayyiat el Khayyam). The song included quatrains that deal with both epicurianism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song.
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University of Chicago Press, 1989, p. 40. The poem itself has a five-part structure. The first part has a regular structure of 12 stanzas each containing 13 lines. In the following four parts the stanzas vary in length from couplets to quatrains to stanzas of more than 20 lines.
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His poems were becoming increasingly popular. He relied on folkloric elements and popular, traditional song-like verses. Among his longer works is the epic "János Vitéz" (John the Valiant; 1845). The poem is a fairy-tale notable for its length, 370 quatrains divided into 27 chapters, and for its clever wordplay.
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Demain dès l'aube (English: Tomorrow at dawn) is one of French writer Victor Hugo's most famous poems. It was published in his 1856 collection Les Contemplations. It consists of three quatrains of rhyming alexandrines. The poem describes a visit to his daughter Léopoldine Hugo's grave four years after her death.
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They also point out that English translations of his quatrains are almost always of extremely poor quality, based on later manuscripts, produced by authors with little knowledge of sixteenth-century French, and often deliberately mistranslated to make the prophecies fit whatever events the translator believed they were supposed to have predicted.
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The story is in William Painter's Palace of Pleasure, tale 39, and originally the play was in decasyllabic rhyming quatrains. Wilmot in 1591 made it into blank verse. It has dumb shows to begin and choruses to terminate the acts. The 1591 edition was reprinted in James Dodsley's Collection, vol. ii.
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Due to her intellect, Aghabeyim agha was liked by shah, and he appointed her as harem's head wife and granted her gorgeous dress with pearls. Aghabeyim agha was homesick and expressed her anguish in her poems-bayati (quatrains): Aghabeyim agha died in 1832, in Tehran and was buried in Qom.
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The magazine hosted the work of Ioachim Botez, Ioan Dragomirescu-Dragion, Leon Wechsler- Vero, and Victor Eftimiu,Straje, pp. 89, 233, 248–249, 420, 773 who was also a pseudonymous co-editor. Eftimiu and Lăzăreanu's work for it included rhyming quatrains that parodied or mocked the more serious literary reviews.Eftimiu, pp.
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Quarter Life Poetry is a project written and created by Samantha Jayne. It began in January 2015 as an Instagram account. where Samantha would write quatrains and draw doodles about her quarter life crisis. Grand Central published her humor book titled Quarter Life Poetry: Poems For The Young, Broke & Hangry in April 2016.
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Thus, in the first two quatrains the music sets forth the tonic key and moves to the dominant (exposition); the exploration of a variety of keys in the first tercet forms a development; and the reassertion of the tonic in the second tercet forms a recapitulation. Branscombe calls the latter a "vestigial recapitulation", since only some of the material of the exposition (in particular, not the opening) is repeated there.Branscombe (1991:114–115), Kalkavage (2005:46–58) The orchestra for the most part plays a discreet accompaniment to the soloist. There is a solo for the clarinets between the first and second quatrains, and the first violins play a thirty- second note motif, evoking Tamino's surging emotions, in the third section.
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The Zafarnama, or letter of victory, was written in Persian to Aurangzeb in 1705 by Guru Gobind Singh after the battle of Chamkaur. In the Zafarnama, Guru Gobind Singh chastises the Mughal Emperor Aurangzeb for promising safe passage to his family but then reneging on that promise. The 95th couplet, in Persian, referring to his battles with the Mughal-allied hill rajas of the Sivalik Hills, states: The Dasam Granth where the Zafarnama is found, is a complex text; considered as the second scripture by some Sikhs, while others dispute its authority and the authorship of certain parts. It also includes the 33 Savaiye, or "33 quatrains," of which quatrains 19 through 21 specifically address the futility of idol worship.
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The content of Salim's poems mainly consists of love, philosophy, mysticism and history. Most of his poems are in the form of Ghazal, but he has some quatrains (Ruba'is) and Qasidas. His poems are in Kurdish, Persian and Arabic. He was influenced by the Persian poets Hafez and Kalim Hamedani and the Kurdish poet Nali.
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The Versus is written in asclepiadic strophes, quatrains, monorhymed but with lines of varying length. The music for the play survives (the whole thing was sung) in Aquitainian neumes and its melodic structure mirrors its poetic. The play is preserved along with the Verses pascales in codex 105 of the Episcopal Museum of Vic.
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Abol tabol (; ; literally "The Weird and the Absurd") is a collection of Bengali children's poems and rhymes composed by Sukumar Ray, first published on 19 September 1923 by U. Ray and Sons publishers. It consists of 46 titled and seven untitled short rhymes (quatrains), all considered to be in the genre of literary nonsense.
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The Hindu epics and the post- Vedic classical Sanskrit poetry is typically structured as quatrains of four pādas (lines), with the metrical structure of each pāda completely specified. In some cases, pairs of pādas may be scanned together as the hemistichs of a couplet.Hopkins, p.194. This is typical for the shloka used in epic.
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Tahuri publishers. Although there are no confirmed records, the language called in Iranian linguistics as Azari can be the antecedent of both Talyshi and Tati. Miller’s (1953) hypothesis that the Âzari of Ardabil, as appears in the quatrains of Shaikh Safi, was a form of Talyshi was confirmed by Henning (1954).Henning, W. B. 1954.
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Emerson, ca. 1857 "Boston Hymn" consists of 22 rhyming quatrains. The edition printed in The Atlantic omits a quatrain Emerson accidentally left out of the manuscript he sent to the printer. The poem recalls the conception of Boston as a "city upon a hill" that originated with Massachusetts Colony's Puritan founders, also called Pilgrims.
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After his release he was summoned to the Reich Propaganda ministry, run by Dr Joseph Goebbels. Goebbels had recently taken to poring over Nostradamus, trying to squeeze propaganda from the prophecies. Krafft, he felt, should work on deciphering the cryptic quatrains. In January 1940, Krafft began work on a pro-German evaluation of Nostradamus.
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The awit (Tagalog for "song") is a type of Filipino poem, consisting of 12-syllable quatrains. It follows the pattern of rhyming stanzas established in the Philippine epic Pasyon. It is similar in form to the corrido. One influential work in the awit form is Florante at Laura, an 1838 narrative poem by Francisco Balagtas.
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Rais Amrohvi (), whose real name was Syed Muhammad Mehdi (1914-1988) was a Pakistani scholar, Urdu poet and psychoanalyst and elder brother of Jaun Elia. He was known for his style of qatanigari (quatrain writing). He wrote quatrains for Pakistani newspaper Jang for several decade. He promoted the Urdu language and supported the Urdu-speaking people of Pakistan.
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Some epigrams are preserved thanks to A. Yeremyan, who rewrote and published in Vienna the epigraphs of Khojivank of 19th century end - 20th century start, and some single examples are preserved in the Historical-Ethnographic museum in Tbilisi. Yeremyan wrote, "there were thousands of granite, marble sculptures and stelea, thousands of short and exciting notes, sad poems and quatrains".
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It is speculated that Shunxian was around the same age as Wang. It was here in the harem that she began writing her renown poetry. The Ten-Thousand Quatrains of the Tang collected by Hongmai (洪邁) contains three poems by Shunxian. In medieval China, she is the only non-Chinese woman who composed literature in Chinese.
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Michelangelo dedicated approximately 30 of his total 300 poems to Cavalieri, which made them the artist's largest sequence of poems. Most were sonnets, although there were also madrigals and quatrains. The central theme of all of them was the artist's love for the young nobleman.Chris Ryan, The Poetry of Michelangelo: An Introduction, Continuum International Publishing Group Ltd.
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The Reader and Shakespeare's Young Man Sonnets. Totowa, N.J. Barnes & Noble. 1981. p. 42–43. This requires the reader to allow the speaker some leeway toward the metaphor, not to search to deeply into the "nature of the region cloud or its masking". The third quatrain restates the first two quatrains in the same metaphoric terms.
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Ulaid during the 10th–11th century and its three main sub-kingdoms, along with some of its neighbouring kingdoms. Sén dollotar Ulaid ... is an Irish poem of uncertain date, possibly early 10th-century. It consists of nine quatrains, and lacks context. It appears to concern a raid by the men of Ulaid (Ulster) to Viking Scotland.
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Sonnet 89 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. However, in Q1609, quatrain two and quatrain three constitute a complete sentence running from line 5 through to line 12. Vendler suggests a 4-8-2 structure. Kerrigan and Burrow punctuate with a full stop at the end of line 7.
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Hovhannes Tumanyan (, classical spelling: Յովհաննէս Թումանեան, – March 23, 1923) was an Armenian poet, writer, translator, and literary and public activist. He is the national poet of Armenia. Tumanyan wrote poems, quatrains, ballads, novels, fables, and critical and journalistic articles. His work was mostly written in realistic form, that frequently revolves around everyday life of his time.
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Ahmed Ramy () (August 9, 1892 - June 5, 1981) (also transliterated Ahmad Ramy) was an Egyptian poet, songwriter and translator. He is best known for writing lyrics for the Egyptian singers Umm Kalthoum and Mohammed Abdel Wahab. Rami was also a translator. His works include translations of several of Shakespeare's plays and the quatrains of the Persian poet Omar Khayyám.
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Sonnet 73, one of the most famous of William Shakespeare's 154 sonnets, focuses on the theme of old age. The sonnet addresses the Fair Youth. Each of the three quatrains contains a metaphor: Autumn, the passing of a day, and the dying out of a fire. Each metaphor proposes a way the young man may see the poet.
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Du Mu was skilled in shi, fu and ancient Chinese prose. He is best known as the writer of sensual, lyrical quatrains featuring historical sites or romantic situations, and often on themes of separation, decadence, or impermanence. His style blends classical imagery and diction with striking juxtapositions, colloquialisms, or other wordplay. He also wrote long narrative poems.
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He wrote more than 500 ghazals and numerous quatrains under the pen-name Asiri, and was also an outstanding philosopher who wrote an interpretation and a philosophical commentary on Shabistari's Gulshan-i Raz' .known as Mafatih ul Ejaz Fi Sharah Gulshan-e-Raaz. His most important works are:- 1\. Mafatih ul Ejaz Fi Sharah Gulshan-e-Raaz 2\.
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Kausar began his literary career from Kabeerwala, where he met with well-known and national poets and learnt and practiced Urdu poetry. He also attended poetry gatherings. After moving to Karachi, he joined Urdu newspapers and wrote Qat'aas (quatrains), a form of Urdu poetry on a daily basis. He has written five collections of Urdu poetry.
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The poem is written in four quatrains. The poem is sometimes formatted without stanza breaks or em-dashes, though it has both in Dickinson's original manuscript. The poem's metrical pattern resembles ballad meter, however, only the final stanza fully follows the meter of a trochaic ballad. The other stanzas are more irregular in observance of ballad meter.
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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 primary distinction from sonnets.Turco, Lewis. The Book of Forms, 3rd Edition.
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The first French translation, of 464 quatrains in prose, was made by J. B. Nicolas, chief interpreter at the French embassy in Persia in 1867. Prose stanza (equivalent of Fitzgerald's quatrain XI in his 1st edition, as above): > Au printemps j’aime à m’asseoir au bord d’une prairie, avec une idole > semblable à une houri et une cruche de vin, s’il y en a, et bien que tout > cela soit généralement blâmé, je veux être pire qu’un chien si jamais je > songe au paradis. The best-known version in French is the free verse edition by Franz Toussaint (1879–1955) published in 1924. This translation consisting of 170 quatrains was done from the original Persian text, while most of the other French translations were themselves translations of FitzGerald's work.
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A mutu is a type of improvised sung poetry found in Sardinia. These are traditionally sung mostly by women in response to the male. This type of improvisation called battorinasMensching, G. Einführing in die Sardische Sprache Romanisticher Verlag (1994) (in English: quatrains). Mutus consist of paired verses (in sardinian: duina), usually one slightly longer than the other (for example 3 + 4 lines).
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Muzaffar Warsi (23 December 1933 – 28 January 2011; ) was a Pakistani poet, essayist, lyricist, and a scholar of Urdu. He began writing more than five decades ago. He wrote a rich collection of na`ats, as well as several anthologies of ghazals and nazms, and his autobiography Gaye Dinon Ka Suraagh. He also wrote quatrains for Pakistan's daily newspaper Nawa-i-Waqt.
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Persian , , ). The vocalic system is typically eastern Persian, characterized by the loss of length distinction, the retention of mid vowels, and the rounding of and , alternating with its merger with , or (cf. Persian ). Stress is dynamic and similar to that in DariFarhadi, Le persan parlé en Afghanistan: Grammaire du kâboli accompagnée d’un recuil de quatrains populaires de région de Kâbol, Paris, 1955, pp.
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Sonnet 23 is considered an English or Shakespearean Sonnet. It contains 14 iambic pentameter lines. The rhyme scheme is ABAB CDCD EFEF GG. The form consists of three quatrains and a couplet. All of the lines, including the fifth line are examples of iambic pentameter: × / × / × / × / × / So I, for fear of trust, forget to say (23.5) :/ = ictus, a metrically strong syllabic position.
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For example, the quatrain for the letter "A" is: A is an Abolitionist— A man who wants to free The wretched slave—and give to all An equal liberty. The quatrains expose readers to abolitionist ideas and to problems with the treatment of slaves in the United States, such as the whipping of slaves and the separation of children from their mothers.
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In 2015, Welsh writer and poet RJ Arkhipov exhibited a poetry series written with his own blood as ink in protest of the MSM blood donor restrictions. His poem Inkwell discusses the shame and stigma surrounding "gay blood". An abecedarian poem, each line of Inkwell's five quatrains begins with letters from each of the blood groups, alternating between A, B, AB and O.
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The influence of Giovanni della Casa's sonnets is recognized as an influence on all of Milton's sonnets; critics discern della Casa's "deliberate [break] with the Petrarchan tradition of regularity and smoothness".Mazzaro 7. Sonnet XXIII combines two traditions, with its argument developing in the way of the English sonnet (in quatrains and a couplet) while its rhyme scheme follows the Italian form.Mazzaro 10.
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The rhyme scheme of the sonnet is abab cdcd efef gg, the typical rhyme scheme for an English or Shakespearean sonnet. There are three quatrains and a couplet which serves as an apt conclusion. The fourth line exemplifies a regular iambic pentameter line: × /× / × / × / × / And being frank, she lends to those are free (4.4) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Excerpt from the Martyrology of Oengus, presenting the entries for 1 and 2 January in the form of quatrains of four six-syllabic lines for each day. In this 16th-century copy (MS G10 at the National Library of Ireland) we find pairs of two six-syllabic lines combined into bold lines, amended by glosses and notes that were added by later authors.
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The Liber di Tre Scricciur (; "Book of the Three Scriptures") is an epic poem by Bonvesin da la Riva (1240-c.1313)Bonvesin Da La Riva, Italian poet, written in the Lombard language. The poem is an imaginative vision of the afterlife, heaven and hell, and the passion of Christ. It is composed of quatrains with only one rhyme Bonvesìn de la Riva.
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Select Poems: Being the Literature Prescribed for the Junior Matriculation and Junior Leaving Examinations, 1905. Copp, Clark Co. (1905) p.191 Shakespearean Sonnets, comprising 3 quatrains of iambic pentameter followed by a final couplet, as well as later poems in blank verse have displayed the various uses of the decasyllabic quatrain throughout the history of English Poetry.Gwynne Blakemore and Anthony Hect.
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The Knight in the Panther's Skin ( literally "one with a skin of a tiger") is a Georgian medieval epic poem, written in the 12th century by Georgia's national poet Shota Rustaveli.Baramidze & Gamezardashvili, p. 17 A definitive work of the Georgian Golden Age, the poem consists of over 1600 Rustavelian Quatrains and is considered to be a "masterpiece of the Georgian literature".Shengelia, p.
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Feeling vulnerable to opposition on religious grounds, however, he devised a method of obscuring his meaning by using "Virgilianised" syntax, word games and a mixture of other languages such as Greek, Italian, Latin, and Provençal. For technical reasons connected with their publication in three installments (the publisher of the third and last installment seems to have been unwilling to start it in the middle of a "Century," or book of 100 verses), the last fifty- eight quatrains of the seventh "Century" have not survived in any extant edition. Century I, Quatrain 1 in the 1555 Lyon Bonhomme edition The quatrains, published in a book titled Les Prophéties (The Prophecies), received a mixed reaction when they were published. Some people thought Nostradamus was a servant of evil, a fake, or insane, while many of the elite evidently thought otherwise.
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In 1340 Jajarmi includes thirteen quatrains of Khayyam in his work containing an anthology of the works of famous Persian poets (), two of which have hitherto been known from the older sources.Edward Denison Ross, Omar Khayyam, Bulletin of the School Of Oriental Studies London Institution (1927) A comparatively late manuscript is the Bodleian MS. Ouseley 140, written in Shiraz in 1460, which contains 158 quatrains on 47 folia. The manuscript belonged to William Ouseley (1767–1842) and was purchased by the Bodleian Library in 1844.Ottoman Era inscription of a poem written by Omar Khayyam at Morića Han in Sarajevo, Bosnia and Herzegovina There are occasional quotes of verses attributed to Omar in texts attributed to authors of the 13th and 14th centuries, but these are also of doubtful authenticity, so that skeptic scholars point out that the entire tradition may be pseudepigraphic.
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Jueju (), or Chinese quatrain, is a type of jintishi ("modern form poetry") that grew popular among Chinese poets in the Tang Dynasty (618–907), although traceable to earlier origins. Jueju poems are always quatrains; or, more specifically, a matched pair of couplets, with each line consisting of five or seven syllables. The five-syllable form is called wujue () and the seven- syllable form qijue ().
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Khosrow Parviz discovers Shirin bathing in a pool. Nezami's poems in a Persian miniature, created in ca. 1550 in Shiraz, Persia. Collection of Freer Gallery of Art The recent discovery and publication of the anthology titled Nozhat al-Majales contains Persian language quatrains from Nizami and 115 other poets from the northwestern Iran (Arrān, Šarvān, Azerbaijan; including 24 poets from Ganja alone) during the same era.
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The name kyrielle derives from the Kýrie, which is part of many Christian liturgies. A kyrielle is written in rhyming couplets or quatrains. It may use the phrase "Lord, have mercy", or a variant on it, as a refrain as the second line of the couplet or last line of the quatrain. In less strict usage, other phrases, and sometimes single words, are used as the refrain.
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Sonnet 17 is an English or Shakespearean sonnet, consisting of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: abab cdcd efef gg. Sonnet 17 is written in iambic pentameter, a form of meter based on five pairs of metrically weak/strong syllabic positions. The sonnet's fourth line exemplifies a regular iambic pentameter: × / × / × / × / × / Which hides your life, and shows not half your parts.
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The ballad is written in 48 quatrains of iambic pentameter, rather than the traditional ballad meter. The rhyme scheme is aabb. Most of the ballad is related from the first-person perspective of Alice Arden herself; this shifts significantly in the last six stanzas, which is told from the perspective of an anonymous narrator and relates the deaths of those accused of murdering Arden.
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Sekora became popular as an author of comic strips, published in Lidové noviny in the 1930s and at the beginning of the 1940s. He was inspired by cartoons of Walt Disney, Wilhelm Busch and Albert Dubout. His short stories were full of humor, with indications of situation comedy. The basis of his style was lively and dynamic drawing with clear contours, accompanied with quatrains.
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Professor Ghulam Nabi Firaq (15 July 1927 – 17 December 2016) was a Kashmiri poet, writer and an educationist. From the last fifty years he had been writing poetry and prose. In doing so he used, besides traditional ones, several poetic forms including blank verse, free verse, sonnets, quatrains, metric poems and lyrics. He also translated dozens of English poems of outstanding English poets into Kashmiri.
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Crawford is represented in some of the anthologies, and A. G. Stephens thought highly of his work. His work has a delicate charm and, though at times one fears it will not rise above merely pretty verse, in some of his quatrains and lyrics Crawford does succeed in writing poetry of importance. Perhaps, as Stephens once suggested, he may be better appreciated in the 21st century.
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With the return of democracy in Turkey, he went back to his country and worked as a dramaturge at the Istanbul Municipal Theatre. At the time of the 70’s, other collections of poems came out: "Neither Rain…Nor Poems" (1976), "During the Siege" (1978), "The Epic of Moustapha Suphi" (1979), "Quatrains" (1980). During a trip to Greece in 1977, he met Yiannis Ritsos.
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Salemann was a Baltic German, born in Revel (now Tallinn, Estonia). He studied at of Saint Petersburg Imperial University, Arabic- Persian-Turkish and the Sanskrit-Persian sections, in 1867–1871. He defended a thesis on the quatrains of Khaqani and obtained master's degree on Persion literature in 1875. In 1875, he became an assistant university librarian, and in 1879, he was promoted to full librarian.
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FitzGerald's source were transcripts sent to him in 1856–1857 by his friend and teacher Edward B. Cowell of two manuscripts, a Bodleian manuscript with 158 quatrains,MS. Ouseley 140, copied in 1460 in Shiraz, Persia, 47 folia. This is the oldest securely dated manuscript of Omar Khayyam's poetry. It belonged to William Ouseley (1767–1842) and was purchased by the Bodleian Library in 1844.
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There are 55 sonnets in the sequence, divided into two sections: the first of 26 and the second of 29. The sonnets follow certain trends, but they include many different forms. All of the sonnets are composed of two quatrains followed by two tercets. The sonnet tradition is not as pronounced in German literature as it is, for example, in English and Italian literature.
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Sonnet 52 is an English or Shakespearean sonnet. It contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of the English sonnet, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The twelfth line exemplifies a regular iambic pentameter: × / × / × / × / × / By new unfolding his imprison'd pride.
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In the body quatrains the poet establishes a theme and then may resolve it in the final lines, called the couplet, or may leave them unsolved. Sometime the end couplet may contain self-identification of the poet. The structure is also bound by rules of meter for enhanced suitability for recital and classical singing. However, there are several ashtakams that do not conform to the regular structure.
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He also wrote a book of epic poems, Takht-e Jamshid. He was interested in humanistic issues and in his poem "A letter to Einstein" he criticized the result of his scientific work that was abused as the nuclear weapon. Shahriar’s verse takes diverse forms, including lyrics, quatrains, couplets, odes, and elegies. One of his love poems, Hala Chera, was set to music by Rouhollah Khaleghi.
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Rondò texts usually employ an elevated rhetorical style and are almost always either laments of unhappy lovers or conventional calls to love. As a result, they are rather generalised and conventional in expression, detached and distant emotionally, so that they are easily transferable from one opera libretto to another, as happened with "Non tardar amato bene", rejected by Mozart for Le nozze di Figaro and recycled by his librettist, Lorenzo Da Ponte for another opera, Il demogorgone, ovvero il filosofo confuso, set by Vincenzo Righini . While there are examples of two-strophe rondòs through most of its period of popularity, the poetry far more often consists of three quatrains of ottonario, with the third quatrain usually shifting mood or dramatic focus in order to justify a new musical section. The slow part of the music sets the first two quatrains in an ABA pattern.
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The majority of poems contained in the Diwan are odes composed in the traditional Persian qasida (a structured form of poetry with an elaborate metre). The qasida consists of a single rhyme carried throughout the entirety of the poem. In terms of rhythm, each line (bayt) of the qasida consists of two equal parts. The Divan also contains quatrains and shorter poems (as qasidas can be relatively long).
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Sonnet 111 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / Than public means which public manners breeds.
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Sonnet 45 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The final line exemplifies a regular iambic pentameter: × / × / × / × / × / I send them back again, and straight grow sad.
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Sonnet 34 is an English or Shakespearean sonnet, composed of three quatrains and a final couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line 12 exemplifies a regular iambic pentameter: × / × / × / × / × / To him that bears the strong offence's loss. :/ = ictus, a metrically strong syllabic position.
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Sonnet 35 is an English or Shakespearean sonnet. The English sonnet has fourteen lines, divided into three quatrains and a final rhyming couplet. It follows the form's rhyme scheme: ABAB CDCD EFEF GG, and is written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. Line four exemplifies a regular iambic pentameter × / × / × / × / × / And loathsome canker lives in sweetest bud.
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The Spenserian sonnet is a sonnet form named for the poet Edmund Spenser. A Spenserian sonnet comprises three interlocked quatrains and a final couplet, with the rhyme scheme ABAB BCBC CDCD EE. Three prominent features of this sonnet type were known already: Italian and French sonnets used five rhymes; sonnets of Thomas Wyatt and the Earl of Surrey used final couplets; and the interleaved ABAB rhymes were in the English style.
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Sonnet 70 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fourth line exemplifies a regular iambic pentameter: × / × / × / × / × / A crow that flies in heaven's sweetest air.
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The song consists of several four-line verses (quatrains) and a repeated refrain. The words both of verses and of refrain often differ from one artist to another. A standard feature is that the refrain consists of four lines, the first three of which are identical. Common variants of those three lines include "Bye and bye we're (or, I'm) going to see the King" and "Holy, holy, holy is His name".
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By making the choice to not procreate, Shakespeare describes how the beloved is denying what the world deserves (his bloodline). Instead of ending the sonnet on a positive note or feeling while alternating between dark and bright tones, the tone of the couplet is negative since the sonnet is overshadowed by the themes of blame, self-interest, and famine in both quatrains two and three.Vendler, Helen. The Art of Shakespeare's Sonnets.
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It is written in Shakespearean form, comprising fourteen lines of iambic pentameter, divided into three quatrains and a couplet. Within the sonnet, the narrator spends time remembering and reflecting on sad memories of a dear friend. He grieves of his shortcomings and failures, while also remembering happier memories. The narrator uses legal metaphors throughout the sonnet to describe the sadness that he feels as he reflects on his life.
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Sonnet 125 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg, although (as discussed below) in this case the f rhymes repeat the sound of the a rhymes. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions.
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Sonnet 146 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 14th line exemplifies a regular iambic pentameter: × / × / × / × /× / And Death once dead, there's no more dying then.
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Sonnet 107 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 14th line exemplifies a regular iambic pentameter: × / × / × / × / × / When tyrants' crests and tombs of brass are spent.
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Sonnet 8 follows standard English or Shakespearean sonnet form, with 14 lines of iambic pentameter sectioned into three quatrains and a couplet, with the rhyme scheme ABAB CDCD EFEF GG. The iambic pentameter's metrical structure is based on five pairs of metrically weak/strong syllabic positions per line (as exemplified in the fourth line): × / × / × / × / × / Or else receiv'st with pleasure thine annoy? (8.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
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Sonnet 147 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / Desire is death, which physic did except.
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Sonnet 102 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / And stops her pipe in growth of riper days.
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Sonnet 98 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / That heavy Saturn laugh'd and leap'd with him.
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Adolf Friedrich von Schack (1815–1894) published a German translation in 1878. Quatrain 151 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above): > Gönnt mir, mit dem Liebchen im Gartenrund Zu weilen bei süßem Rebengetränke, > Und nennt mich schlimmer als einen Hund, Wenn ferner an's Paradies ich > denke! Friedrich Martinus von Bodenstedt (1819–1892) published a German translation in 1881. The translation eventually consisted of 395 quatrains.
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Sonnet 120 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / Unless my nerves were brass or hammer'd steel.
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There is a long poem attributed to him called Sấm Trạng Trình (讖狀程, The Prophecies of Trạng Trình).Nguyễn Bỉnh Khiêm, "Sấm Trạng Trình" (Trạng Trình is one of Khiêm's nicknames.) This is the Vietnamese equivalent of the Nostradamus quatrains. It is suggestive, believed to predict future events, and very mysterious. This poem includes the line, "Vietnam is being created" (), an early use of the word "Vietnam".
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In their examination of the songs of Anna Marly, the Académie de Lyon describe "La Complainte du partisan" as "" (English: "a heartbreaking vision of the commitment of the [Resistance]"), and evaluate its structure and the meaning of its words: the song's lyrics are structured as six quatrains; the first and second lines of each is formed with seven syllables, the third line with five syllables and the fourth with six. In his analysis for the University of Freiburg, Giacomo Bottà describes d'Astier's lyrics as "very straightforward. ... A partisan recalls, in the first person, episodes of his life ... Each verse narrates a different situation: life on the run, the loss of the family, that of comrades, the killing of an old man who hid partisans, up to the ending". The first five verses (quatrains) depict scenes of Nazi occupied France, the expectation of French people to accept the occupation of their country, and the extraordinary reaction of the Resistance.
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Dr. A. A. Sadeqi, "Ash'ar-e mahalli-e Jame' al-alHaann", Majalla-ye zaban-shenasi 9, 1371./1992, pp. 54-64/ or here : A sample of one of the four quatrains from Khwaja Muhammad Kojjani . Two qet'as (poems) quoted by Abd-al-Qader Maraghi in the dialect of Tabriz (died 838/1434-35; II, p. 142). A sample of one these poems A Ghazal and fourteen quatrains under the title of fahlaviyat by the poet Maghrebi Tabrizi (died 809/1406-7).M.-A. Adib Tusi "Fahlavyat-e Magrebi Tabrizi", NDA Tabriz 8, 1335/1956 or A text probably by Mama Esmat Tabrizi, a mystical woman-poet of Tabriz (died 15th century), which occurs in a manuscript, preserved in Turkey, concerning the shrines of saints in Tabriz.Adib Tusi, "Fahlawiyat-e- Mama Esmat wa Kashfi be-zaban Azari estelaah-e raayi yaa shahri", NDA, Tabriz 8/3, 1335/1957, pp 242-57. Also available at: or .
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Sonnet 100 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / Return, forgetful Muse, and straight redeem (100.5) :/ = ictus, a metrically strong syllabic position.
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Some lyric essays take poetic forms, such as Anne Carson's "The Glass Essay," which is lineated and organized in tercets and quatrains. According to Mary Heather Noble, the lyric essay is open to exploration and experimentation, and allows for the discovery of an authentic narrative voice. Giannina Braschi's lyric essay "Ground Zero" (2008), first published in Evergreen Review, recounted the collapse of the World Trade Center with a stylistic blend of journalist and fantastical lyricism.
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Parkinson states that the titles of a work, its opening statement, or key words found in the body of text should be used as indicators of its particular genre.. Only the genre of "narrative tales" employed prose, yet many of the works of that genre, as well as those of other genres, were written in verse.. Most ancient Egyptian verses were written in couplet form, but sometimes triplets and quatrains were used..
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Some of Wang Wei's most famous poetry was done as a series of quatrains written by him to which his friend Pei Di wrote replying double couplets. Together, these form a group titled the Wang River Collection. Note that "Wang" as in the river is a different character that the "Wang" of Wang Wei's name. Wang literally refers to the outside part of a wheel, chuan means "river" and ji means a collection.
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The poet lived his entire life near the Lake Van area until his death in 1592. Kuchak was buried in the cemetery of Kharakonis St. Theodoros Church and his grave became pilgrimage site. Kuchak wrote airens (հայրեն) Armenian writing style of songs consisting of quatrains in which each line has fifteen syllables and is divided by a caesura into seven and eight syllables. He brought this ancient form of Armenian verse to its pinnacle.
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Sonnet 36 is a typical English or Shakespearean sonnet, constructed from three quatrains and a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / Although our undivided loves are one: (36.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 32 is written in the English (Shakespearean) sonnet form. It consists of 14 lines: 3 quatrains followed by a couplet. The metrical line is iambic pentameter with the rhyme scheme ABAB CDCD EFEF GG. Literary critic George T. Wright observes how iambic pentameter, "however highly patterned its syntax, is by nature asymmetrical – like human speech". Thus, the organization of a sonnet exists so that meaning may be found in its variation.
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Sonnet 92 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ' and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / Then need I not to fear the worst of wrongs, (92.5) :/ = ictus, a metrically strong syllabic position.
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Traditionally, üligers are delivered orally in alliterative verses, often taking the form of couplets or quatrains. Like other epics in oral literature, individual üliger can vary greatly in length and content from one occasion to the next. One famous performer, the Inner Mongolian Muu-ōkin, "was said to be able to recite üliger that lasted for months." Like other epic poets, üliger performers accompanied themselves with an instrument, in this case a four-stringed fiddle.
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Sonnet 2 is an English or Shakespearean sonnet, which consists of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like all but one sonnet in the sequence, it is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions: × / × / × / × / × / How much more praise deserved thy beauty's use, (2.9) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 104 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / Since first I saw you fresh, which yet are green.
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Sonnet 5 is an English or Shakespearean sonnet. English sonnets consist of three quatrains followed by a couplet. This sonnet follows the form's typical rhyme scheme, ABAB CDCD EFEF GG. The first line is regular, but contains a syllabic expansion: "hours" is to be read as two syllables, a reading which is clearer in the Quarto's spelling, "howers". Lines eight, eleven, and fourteen contain initial reversals, a frequent variation in iambic pentameter.
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A rondel is a verse form originating in French lyrical poetry of the 14th century. It was later used in the verse of other languages as well, such as English and Romanian. It is a variation of the rondeau consisting of two quatrains followed by a quintet (13 lines total) or a sestet (14 lines total). It is not to be confused with the roundel, a similar verse form with repeating refrain.
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Though Vendler and Booth understand the legal imagery in a similar fashion, they differ in their understanding of the couplet. Vendler proposes that the couplet has a defective key word. Vendler identifies "gift" as the key word of the sonnet as "gift" and its variants "gives" and "gav'st" appear in all three quatrains in lines 3, 7, 9, 10, and 11. However, this key word is defective because it is absent in the couplet.
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Sonnet 55 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / When wasteful war shall statues overturn, (55.5) :/ = ictus, a metrically strong syllabic position.
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Sonnet 66 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The tenth line exemplifies a regular iambic pentameter: × / × / × / × / × / And folly doctor-like controlling skill, (66.10) :/ = ictus, a metrically strong syllabic position.
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The textual unit in a naamyam song is a quatrain in verse, with verse structure similar to classical poetry. Each line of the quatrain has the basic pattern of seven syllables, with a caesura occurring after the first four syllables. Often some "padding" syllables are freely added. In the quatrains, the final syllable of each line, in particular lines 2 and 4, exhibits rhyme, both within a quatrain and through a number of them.
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Joyce's poem is not written in free verse, but in rhyming quatrains. However, it strongly reflects Pound's interest in poems written to be sung to music, such as those by the troubadours and Guido Cavalcanti. The book met with little popular or critical success, at least partly because it had no introduction or commentary to explain what the poets were attempting to do, and a number of copies were returned to the publisher.
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The epic is organized into 13 cantos and contains 3,145 quatrains in viruttam poetic meter. It narrates a supernatural fantasy story of a prince who is the perfect master of all arts, perfect warrior and perfect lover with numerous wives. The epic begins with the story of a treacherous coup, where the king helps his pregnant queen escape in a peacock-shaped air machine but is himself killed. The queen gives birth to a boy.
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Sonnet 96 is an English or Shakespearean sonnet, which is composed of three quatrains, and a final rhyming couplet. The poem's lines follow the rhyme scheme ABAB CDCD EFEF GG, and are written in iambic pentameter: Five feet, each with two syllables accented weak/strong. The 3rd line is an example of a regular iambic pentameter: × / × / × / × / × / Both grace and faults are lov'd of more and less: (96.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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The repeated rhyme scheme within the octave strengthens the idea. The sestet, with either two or three different rhymes, uses its first tercet to reflect on the theme and the last to conclude. William Shakespeare utilized the sonnet in love poetry of his own, employing the sonnet structure conventionalized by English poets Wyatt and Surrey. This structure, known as the English or Shakespearean sonnet, consists of three quatrains and a concluding couplet.
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Chandi stands for the embodiment of ferocious "shakti" or the female form of cosmic energy. Bilas comes from vilaas which can also be described as chronicles/descriptive/heroics, Ukati means on, and Charitar means characteristics and function. So, Chandi Charitar Ukti Bilas means "Discussion on characteristics and functions of Chandi". Ukat(i) bilas is divided into eight cantos, comprises 233 couplets and quatrains, employing seven different metres, with Savaiyya and Dohara predominating.
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The poem was first published as part of an early collection in 1831 under the title "A Pæan". This early version was only 11 quatrains and the lines were spoken by a bereaved husband. The name "Lenore" was not included; it was not added until it was published as "Lenore" in February 1843 in The Pioneer, a periodical published by the poet and critic James Russell Lowell. Poe was paid $10 for this publication.
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The poems are arranged into four sections for the four seasons: spring, summer, winter, and autumn. Thematically, they thus represent four views of the seasons. According to one count, there are 117 of the poems in the traditional collection.Hinton, 73 They are all considered to be in the yuefu form; however, they are also all five-character per line quatrains, created from two couplets each, similar to the jueju form of later popularity.
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Krafft was convinced that the prophecies of Nostradamus boded well for the Third Reich. Tens of thousands of pamphlets based upon his interpretations of the quatrains were translated and circulated in six languages: French (translated by Krafft himself), Danish, Hungarian, Portuguese, Romanian and Spanish, Retrieved 2013-5-30. and he soon came to the attention of the Führer. In the spring of 1940 he gave a private horoscope reading for Hitler to an aide.
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It has 78 steps and a commemorative plaque in honour of Julius Euting, a famous orientalist and president-founder of the Club vosgien. The tower cost 4,000 German marks to construct. Julius Euting and the quatrains Beneath the entry portal, under the portrait of Euting, is posted a quatrain in German with a French translation. :Gennant bin ich der "Juliusturm", :Trotz biet'ich jedem Wettersturm; :Hochwacht halt ich im Wasgauland, :Mit ihm steh'ich in Gotteshand.
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Mirroring the actions in the first two quatrains of Sonnet 153, Sonnet 154 deals with an unnamed Cupid that Rowse defines as "The little god of love" who is vulnerable in sleep. The conflict arises as a group of "nymphs vowed to chastity" walk by the sleeping Cupid.[Rowse pg. 319] The second quatrain explains that "The fairest of them took in her hand the fire that had warmed legions of hearts".
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Aodh Buidhe is accorded the most attention, while his wife Máire Ní Mhórdha is the subject of three additional quatrains. Neither brother is referred to as Mac Domhnaill (i.e., the head of the clan), and Raghallaigh suggests it may have a bearing on a possible dispute between Aodh Buidhe and Alasdar for the chieftainship. While Aodh Buidhe is given laudatory praise, Alasdar is portrayed as a 'fearsome warrior' who is nevertheless subordinate to his brother.
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Twenty-four generations of the family are recounted in Leabhar Ua Maine (also called the Book of the O'Kellys), extending back to quasi-historical and mythological times. This work was compiled c. 1380, a massive, oversized vellum book written in Irish, for Muircertach ua Ceallaigh (O'Kelly), Bishop of Clonfert from 1378 to 1394. Also found in this work are quatrains paying tribute to the long reign and continuing prosperity of the Uí Dhiarmada (i.e.
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Instead he wrote his adventures in quatrains in ogham for the crowd gathered at the shore and departed, never to be heard of again. Another instance of writing on wood which might possibly refer to ogham is found in the story of the lovers Aillinn and Baile Mac Buain. The lovers come to a tragic end and are buried separately. An apple tree grows out of Aillin's grave and a yew tree out of Baile's.
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But when the linking verse is varied, the poem is called a tarkib-band (literally: Composite-Tie). He was also skilful in the composition of qasidas, elegies (sugnameh), rubaiyat (quatrains) and fragments (qita'at). But his reputation lay in his excellent poems of a mystical nature. Hatef has been considered as one of the great Iranian mystic poets who taught many peoples about the higher aspects of the human existence and the journey of the soul.
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Sonnet 112 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / Which vulgar scandal stamped upon my brow; (112.2) :/ = ictus, a metrically strong syllabic position.
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Sonnet 67 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The third line exemplifies a regular iambic pentameter: × / × / × / × / × / That sin by him advantage should achieve (67.3) :/ = ictus, a metrically strong syllabic position.
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Sonnet 123 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / To me are nothing novel, nothing strange; (123.3) :/ = ictus, a metrically strong syllabic position.
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Sonnet 62 is an English or Shakespearean sonnet, with three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in a type of poetic metre known as iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / No shape so true, no truth of such account, (62.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Anis and Dabir Academy, London organised an International Seminar on "Position of Anis and Dabir in Urdu literature" on the occasion of bicentennial birthday celebrations of Mir Anis and Mirza Dabeer. Litterateurs and intellectuals from India, Pakistan, Canada, America, Australia and Britain participated in the seminar. In the inaugural session, Dr. Syed Taqi Abidi of Canada presented a review of Dabeer's quatrains. Prof. Muhammad Zaman Azurda presented an article on Dabeer's prose-writing in the second session.
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Mohammadjaafar Khan Gerashi (), son of Haj Rustam Khan Gerashi (Sarhang) and grandson of Fathali Khan Gerashi, known as Moghtader ol-Mamalek () and better known as his pen-name Sheyda (), was a Persian Poet and Panegyrist. He was born in Gerash, Fars, Iran on 3 December 1879, and on 3 April 1920 in a local war in Sahray-ye Bagh, was killed. From him remains a Diwan contains the lyrics, quatrains, odes, dirges, etc., that published by Prof.
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The 1770 version of "Africa" was published without lyrics. Since it readily fits any iambic quatrain written in couplets of eight and six syllables (common meter), singers of this version would certainly have had no trouble finding lyrics to accompany it. Such quatrains are common in hymn lyrics. For the 1778 and 1779 versions, Billings chose lyrics: the first stanza of Hymn #39 of the first volume of hymns (1709) by the noted English hymnodist Isaac Watts.
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Sonnet 69 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / Thy outward thus with outward praise is crown'd; (69.5) :/ = ictus, a metrically strong syllabic position.
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Sonnet 44 is an English or Shakespearean sonnet, which contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / No matter then although my foot did stand (44.5) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 39 is an English or Shakespearean sonnet, composed of three quatrains and a final rhyming couplet for a total of fourteen lines. It follows the rhyme scheme ABAB CDCD EFEF GG. It is written in iambic pentameter, a metre based on five pairs of syllables accented weak/strong. The second line is one example of a line of regular iambic pentameter: × / × / × / × / × / O, how thy worth with manners may I sing :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 27 is an English or Shakespearean sonnet, which consists of three quatrains followed by a final couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is written in iambic pentameter, a metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter including line three: × / × / × / × / × / But then begins a journey in my head (27.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 22 is a typical English or Shakespeare sonnet. Shakespearean sonnets consists of three quatrains followed by a couplet, and follow the form's rhyme scheme: ABAB CDCD EFEF GG. They are written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / My glass shall not persuade me I am old, (22.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Circle Map has a duration of 26 minutes and is composed in six movements: #Morning Wind #Walls closing #Circles #Days are Sieves #Dialogue #Day and Night, Music The electronic element of the work features a recording of Arshia Cont reading the writings of the 13th-century poet and theologian Rumi. The six movements of the piece are thus titled after Rumi's poems, translated to English by John Moyne and Coleman Barks from the book Unseen Rain: Quatrains of Rumi.
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Sonnet 79 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 2nd line: × / × / × / × / × / My verse alone had all thy gentle grace; (79.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 80 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 10th line: × / × / × / × / × / Whilst he upon your soundless deep doth ride; (80.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Meanwhile, Montgomery continued to write poetry. He achieved some fame with The Wanderer of Switzerland (1806), a poem in six parts written in seven-syllable cross- rhymed quatrains. The poem addressed the French annexation of Switzerland and quickly went through two editions. When it was denounced the following year in the conservative Edinburgh Review as a poem that would be speedily forgotten, Lord Byron came to its defence in the satire English Bards and Scotch Reviewers.
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Sonnet 82 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 2nd line: × / × / × / × / × / And therefore mayst without attaint o'erlook (82.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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The poem takes the form of a Shakespearean sonnet: fourteen decasyllabic, iambic pentameter lines, that form three quatrains and a concluding rhyming couplet. It follows the form's rhyme scheme: ABAB CDCD EFEF GG. Each line of the first quatrain of Sonnet 3 exhibits a final extrametrical syllable or feminine ending. The first line additionally exhibits an initial reversal: / × × / × / × / × / (×) Look in thy glass and tell the face thou viewest (3.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 60 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme, abab cdcd efef gg and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The thirteenth line exemplifies a regular iambic pentameter: × / × / × / × / × / And yet to times in hope my verse shall stand, (60.13) :/ = ictus, a metrically strong syllabic position.
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Sonnet 18 is a typical English or Shakespearean sonnet, having 14 lines of iambic pentameter: three quatrains followed by a couplet. It also has the characteristic rhyme scheme: ABAB CDCD EFEF GG. The poem reflects the rhetorical tradition of an Italian or Petrarchan Sonnet. Petrarchan sonnets typically discussed the love and beauty of a beloved, often an unattainable love, but not always. It also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain.
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Sonnet 103 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / That over-goes my blunt invention quite, / × × / × /× / × / Dulling my lines, and doing me disgrace.
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Sonnet 74 is an English or Shakespearean sonnet, which contains three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a poetic metre in which each line has five feet, and each foot is a pair of weak/strong syllables. The tenth line exemplifies a regular iambic pentameter line: × / × / × / × / × / The prey of worms, my body being dead; (74.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 105 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Since all alike my songs and praises be (105.3) :/ = ictus, a metrically strong syllabic position.
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Sonnet 108 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 14th line exemplifies a regular iambic pentameter: × / × / × / × / × / Where time and outward form would show it dead. (108.14) The sonnet exhibits many metrical variations.
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Sonnet 109 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / To leave for nothing all thy sum of good; (109.12) :/ = ictus, a metrically strong syllabic position.
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Sonnet 110 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / These blenches gave my heart another youth, (110.7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 150 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / With others thou shouldst not abhor my state: (150.12) :/ = ictus, a metrically strong syllabic position.
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It is not known who the rival poet is. Nearly every well-known poet contemporary with Shakespeare has been suggested, including George Chapman, Christopher Marlowe, Samuel Daniel, Michael Drayton, Barnabe Barnes, Gervase Markham,Halliday, pp. 52, 127, 141-2, 303, 463. and Richard BarnfieldLeo Daugherty, William Shakespeare, Richard Barnfield, and the Sixth Earl of Derby, Cambria Press, 2010 The second and third quatrains have garnered attention as possibly containing clues to the identity of the rival poet.
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Sonnet 127 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / And beauty slander'd with a bastard shame: (127.4) :/ = ictus, a metrically strong syllabic position.
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Sonnet 124 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / It suffers not in smiling pomp, nor falls (124.6) Many metrical variants occur in this poem.
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Sonnet 129 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / On purpose laid to make the taker mad: (129.8) :/ = ictus, a metrically strong syllabic position.
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Sonnet 128 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / Upon that blessed wood whose motion sounds (128.2) :/ = ictus, a metrically strong syllabic position.
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Sonnet 143 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / To follow that which flies before her face, (143.7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 140 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Lest sorrow lend me words, and words express (140.3) :/ = ictus, a metrically strong syllabic position.
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Sonnet 139 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / Dear heart, forbear to glance thine eye aside: (139.6) :/ = ictus, a metrically strong syllabic position.
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Sonnet 137 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / If eyes, corrupt by over-partial looks, (137.5) :/ = ictus, a metrically strong syllabic position.
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Sonnet 136 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / In things of great receipt with ease we prove (136.7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 71 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / No longer mourn for me when I am dead (71.1) :/ = ictus, a metrically strong syllabic position.
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Madhushala () (The Tavern/The House of Wine) is a book of 135 "quatrains": verses of four lines (Ruba'i) by Hindi poet and writer Harivansh Rai Bachchan (1907–2003). The highly metaphorical work is still celebrated for its deeply Sufi incantations and philosophical undertonesMadhushala (The Tavern) www.cs.rice.edu. and is an important work in the Chhayavaad (Neo-romanticism) literary movement of early 20th century Hindi literature. All the rubaaiaa (the plural for rubaai) end in the word madhushala.
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Sonnet 91 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Of more delight than hawks and horses be; (91.11) :/ = ictus, a metrically strong syllabic position.
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Sonnet 153 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And thither hied, a sad distemper'd guest, (153.12) :/ = ictus, a metrically strong syllabic position.
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The poem is arranged in a series of 25 alexandrine quatrains with an a/b/a/b rhyme-scheme. It is woven around the delirious visions of the eponymous boat, swamped and lost at sea. It was considered revolutionary in its use of imagery and symbolism. One of the longest and perhaps best poems in Rimbaud's œuvre, it opens with the following quatrain: Rimbaud biographer Enid Starkie describes the poem as an anthology of memorable images and lines.
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Sonnet 117 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Forgot upon your dearest love to call, (117.3) :/ = ictus, a metrically strong syllabic position.
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Sonnet 122 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / Thy gift, thy tables, are within my brain (122.1) :/ = ictus, a metrically strong syllabic position.
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Sonnet 101 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / To make him much outlive a gilded tomb (101.11) :/ = ictus, a metrically strong syllabic position.
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Civaka Cintamani – as it has survived into the modern era – is an epic of 3,145 stanzas, each stanza of four highly lyrical lines. According to the final verses of the epic, it consists of 2,700 (86%) verses. According to the 14th-century Naccinarkkiniyar commentary, the 2,700 verses were composed by Thiruthakkadevar (Tiruttakkatevar) of the Chola race who in his youth became a Jain ascetic and moved to Madurai. The authorship of the remaining quatrains is unknown.
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Sonnet 134 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / So, now I have confess'd that he is thine (134.1) :/ = ictus, a metrically strong syllabic position.
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Sonnet 95 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Where beauty's veil doth cover every blot (95.11) :/ = ictus, a metrically strong syllabic position.
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Sonnet 138 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / Although she knows my days are past the best, (138.6) :/ = ictus, a metrically strong syllabic position.
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Each of the stanzas has a traditional rhyming scheme, using two quatrains of rhymed iambic pentameter with several spondaic substitutions. These make the poem's reading experience seem close to a casual talking speed and clarity. The poem is in two parts, each of 14 lines. The first part of the poem (the first 8 line and the second 6 line stanzas) is written in the present as the action happens and everyone is reacting to the events around them.
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Wyatt took subject matter from Petrarch's sonnets, but his rhyme schemes make a significant departure. Petrarch's sonnets consist of an "octave", rhyming abba abba, followed, after a turn (volta) in the sense, by a sestet with various rhyme schemes, however his poems never ended in a rhyming couplet. Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. This marks the beginnings of English sonnet with 3 quatrains and a closing couplet.
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Sonnet 154 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × /× / × / The little Love-god lying once asleep (154.1) :/ = ictus, a metrically strong syllabic position.
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Sonnet 57 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / Whilst I, my sovereign, watch the clock for you, (57.6) :/ = ictus, a metrically strong syllabic position.
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Sonnet 59 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / If there be nothing new, but that which is (59.1) :/ = ictus, a metrically strong syllabic position.
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Sonnet 53 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of this form, abab cdcd efef gg and is composed in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The seventh line exemplifies a regular iambic pentameter: × / × / × / × / × / On Helen's cheek all art of beauty set, (53.7) :/ = ictus, a metrically strong syllabic position.
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A Barcelona by Jacint A Barcelona is a poem by Jacint Verdaguer, published in 1883. It is a triumphant song of the transformation undergone by Barcelona since the mid-19th century. Consisting of 46 quatrains of Alexandrine verses, and a re-editing process started in 1874 and completed in 1875, it is the fruit of a labour started in 1883. The author then lengthened and amended it three times, the last two shortly before its publication.
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Sonnet 68 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / When beauty lived and died as flowers do now, (68.2) :/ = ictus, a metrically strong syllabic position.
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Two centuries later, in his "On First Looking into Chapman's Homer," John Keats expressed his appreciation for what he called the "loud and bold" quality of Chapman's translation, which he implicitly contrasted with the more prestigious but more tightly controlled heroic couplets of Alexander Pope's 18th-century translation, thereby using one type of fourteener (a sonnet) to comment on the other (iambic heptameter). Samuel Johnson in his Lives of The English Poets comments upon the importance of fourteeners to later English lyric forms saying "as these lines had their caesura always at the eighth syllable, it was thought in time commodious to divide them; and quatrains of lines alternately consisting of eight and six syllables make the most soft and pleasing of our lyric measures".Johnson, Samuel, Lives of the English Poets—Dryden, 1779 These quatrains of eight and six syllables (or more loosely, lines of 4, 3, 4, and 3 beats) are known as common meter. C. S. Lewis, in his English Literature in the Sixteenth Century, castigates the 'lumbering' poulter's measure (p. 109).
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But in his kingdom lived a Witch, Who wicked plans did hatch.” ... and so the mystery, and adventure, and danger, unfolds, ... Nothing in Toby Twirl's later adventures explains this earlier history - famed as a Witch killer, and “many things” – of a seemingly ordinary pig-headed young boy wearing overalls (initially blue, but soon to be a trade-mark red) who enjoys a holiday at the seaside. Importantly, many parallels with Tourtel's and Bestall's Rupert Bear are already clear. Other minor details include the use of running sub-headings that flag the next step in the story: “Toby Listens to the Bird’s Sad Story”. Obviously Tourtel's rhymed quatrains (or whoever devised the quatrains that accompanied Tourtel's comic strip panels and visual narrative) have been borrowed, including Tourtel's occasional archaisms, and convoluting of the order of words for the sake of the generally strict rhythm, and to manage end-rhymes, with strong pauses at the ends of lines – such as, “A Prince I used to be”, and, “Who wicked plans did hatch”.
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Noz'hat al-Majāles ( "Joy of the Gatherings/Assemblies") is an anthology which contains around 4,100 Persian quatrains by some 300 poets of the 5th to 7th centuries AH (11th to 13th centuries AD). The anthology was compiled around the middle of the 7th century AH (13th century) by the Persian poet Jamal al- Din Khalil Shirvani. Jamal al-Din Khalil Shirvani () compiled his anthology in the name of 'Ala al-Din Shirvanshah Fariborz III (r. 1225-51), son of Goshtasp.
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They frequently use colloquial expression in their poetry. They are referred to as water carriers (Saqqa'), Sparrow dealers, bodyguard (jandar), saddlers, blanket makers (Lehafi), etc. Some of these poets were also female such as Dokhatri-i Khatib Ganjeh, Dokhtar-i Salar, Dokhtar-i Sati, Mahsati Ganjavi, Dokhtar-i Hakim Kaw, Razziya Ganjai. This fact that many female poets and everyday people not connected to courts have composed quatrains illustrates the overall use of Persian in that region before its gradual linguistic Turkification.
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A miniature painting by Bihzad illustrating the funeral of the elderly Attar of Nishapur after he was held captive and killed by a Mongol invader. The Diwan of Attar () consists almost entirely of poems in the Ghazal ("lyric") form, as he collected his Ruba'i ("quatrains") in a separate work called the Mokhtar-nama. There are also some Qasida ("Odes"), but they amount to less than one-seventh of the Divan. His Qasidas expound upon mystical and ethical themes and moral precepts.
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Aquarium The Aquarium, a large round pool divided into 24 sections, is located at the end of the central avenue. The design consists of three concentric rings which are divided into 8 wedges, each being a home to a variety of acqautic flora. The "lagoon" is located a few metres further down from the Acquariam and is another ample water feature in which the plants are arranged informally. Other smaller ponds are located in the quatrains of the Linneian section.
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A mistress stood by the sea sighing long and anxiously. She was so deeply stirred By the setting sun My Fräulein!, be gay, This is an old play; ahead of you it sets And from behind it returns. The blue flower of Novalis, "symbol for the Romantic movement", also received withering treatment from Heine during this period, as illustrated by the following quatrains from Lyrisches IntermezzoPerry, Beate Julia, Schumann's Dichterliebe and Early Romantic Poetics: Fragmentation of Desire, Cambridge University Press; 2002, p.
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Sonnet 78 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter, a metre based on five feet in each line, and two syllables in each foot, accented weak/strong. Most of the lines are regular iambic pentameter, including the 5th line: × / × / × / × / × / Thine eyes, that taught the dumb on high to sing (78.5) :/ = ictus, a metrically strong syllabic position.
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The poem contains 1216 lines of verse, arranged in 304 quatrains. Each line consists of ten syllables, and each quatrain follows an ABAB rhyme scheme, a pattern referred to as a decasyllabic quatrain. Rather than write in the heroic couplets found in his earlier works, Dryden used the decasyllabic quatrain exemplified in Sir John Davies' poem Nosce Teipsum in 1599. The style was revived by William Davenant in his poem Gondibert, which was published in 1651 and influenced Dryden's composition of Annus Mirabilis.
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Each line within the poem consists of only eight syllables. There is no limit to the number of stanzas a Kyrielle 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).
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Sonnet 16 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet. It follows the English sonnet's typical rhyme scheme: ABAB CDCD EFEF GG. The sonnet is written in iambic pentameter, a type of metre in which each line is based on five pairs of metrically weak/strong syllabic positions. The fifth line exhibits a regular iambic pattern: × / × / × / × / × / Now stand you on the top of happy hours, (16.5) :/ = ictus, a metrically strong syllabic position.
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The poem was published posthumously in 1890 in Poems: Series 1, a collection of Dickinson's poems assembled and edited by her friends Mabel Loomis Todd and Thomas Wentworth Higginson. The poem was published under the title "The Chariot". It is composed in six quatrains with the meter alternating between iambic tetrameter and iambic trimeter. Stanzas 1, 2, 4, and 6 employ end rhyme in their second and fourth lines, but some of these are only close rhyme or eye rhyme.
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Sonnet 38 is an English or Shakespearean sonnet, composed of three quatrains and a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG. Like other Shakespearean sonnets the poem is composed in a type of poetic metre known as iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The final line exemplifies a regular iambic pentameter: × / × / × / × / × / The pain be mine, but thine shall be the praise. (38.14) :/ = ictus, a metrically strong syllabic position.
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Sonnet 33 is a typical English or Shakespearean sonnet, composed of three quatrains followed by a final couplet. Its rhyme scheme, ABAB CDCD EFEF GG, is typical for the form. Like other Shakespearean sonnets, it is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. A regular example is: × / × / × / × / × / Anon permit the basest clouds to ride (33.5) The lines of the couplet have a final extrametrical syllable or feminine ending.
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Sonnet 24 is an English or Shakespearean sonnet. English sonnets contain fourteen lines, including three quatrains and a final couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. Line ten exemplifies a regular iambic pentameter: × / × / × / × / × / Mine eyes have drawn thy shape, and thine for me (24.10) :/ = ictus, a metrically strong syllabic position.
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Sonnet 19 is a typical English or Shakespearean sonnet. The English sonnet consists of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like all but one of Shakespeare's sonnets, Sonnet 19 is written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The eighth line exemplifies a regular iambic pentameter: × / × / × / × / × / But I forbid thee one most heinous crime: (19.8) :/ = ictus, a metrically strong syllabic position.
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Some effects sequences were re-used from Japan Sinks and The Last War, such as nuclear attack and earthquake scenes. Others, such as depicting cedar-covered mountains turning brown from excessive UV radiation, were done by dispersing diluted sulfuric acid on part of the forest. A proposed sequel was to be called Prophecies of Nostradamus 2: Lord of Terror. The premise was for the audience of a Ben Goto lecture slipping through time to July 1999, witnessing the apocalyptic events of Nostradamus’ quatrains.
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Among the former authors of melhun, there is Abdelaziz al-Maghrawi and Abderrahman El Majdoub (died 1568) who was famous for his mystical quatrains. In 18th and 19th centuries, Morocco knew a great number of poets who, from Fez, Meknes or Marrakech spread popular poetry who adopted the melhun. Examples are Kaddour El Alamy and Thami Midaghri. In modern days, prominent figures include Haj Houcine Toulali,Saïd El Meftahi, Houssein Toulali, le chantre du Melhoun, ou une vie entière dédiée à l'Art, yabiladi.
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This phenomenon involved the realization of transience, decay, and death. Overall, the structure and use of metaphors are two connected entities toward the overall progression within the sonnet. Seen as a harsh critic on age, Shakespeare sets up the negative effects of aging in the three quatrains of this poem. These aspects not only take on a universal aspect from the symbols, but represent the inevitability of a gradual lapse in the element of time in general from their placement in the poem.
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Sonnet 106 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line famously exemplifies a regular iambic pentameter: × / × / × / × / × / Of hand, of foot, of lip, of eye, of brow, (106.4) :/ = ictus, a metrically strong syllabic position.
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Ousby is making a case for eliminating the informer as some third party, much like Greene. The difference is that Ousby uses the subtraction of this would-be character to shift the tone of the sonnet. She agrees that the first two quatrains concern how the "dwellers on form and favor are destroyed by that humiliating process" of giving unreciprocated affection. She sees the third quatrain as a plea to the Friend or as a directive to both of them.
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Sonnet 7 is a typical English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet, and follows the form's rhyme scheme: abab cdcd efef gg. The sonnet is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line, as exemplified in line five (where "heavenly" is contracted to two syllables): × / × / × / × / × / And having climbed the steep-up heavenly hill, (7.5) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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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.
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Benserade provided the words for the court ballets, and was, in 1674, admitted to the Academy, where he wielded considerable influence. In 1675 he provided the quatrains to accompany the thirty nine hydraulic sculpture groups depicting Aesop's fables in the labyrinth of Versailles. In 1676 the failure of his Métamorphoses d'Ovide in the form of rondeaux gave a blow to his reputation, but by no means destroyed his vogue with his contemporaries. Benserade may be best known for his sonnet on Job (1651).
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Subsequent quatrains - and indeed all naamyam songs - are sung to the same four lines of tune. Even though the "same" tune is theoretically repeated every four lines, in practice the tune may vary depending upon the linguistic tones of the text. The singer adjusts to various pitch levels and melodic contours of the tune in accordance with the corresponding linguistic features of the text. However, the tune retains certain distinctive melodic features that give naamyam its stamp of musical identity.
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169–172 His quatrains (jueju) describing natural scenes are world-famous examples of excellence, each couplet conventionally containing about two distinct images or thoughts per line.Cheng 1982, p. 37, and pp. 56–57 on the non-linear dynamic this creates Tang poetry's big star is Li Bai (701–762) also pronounced and written as Li Bo, who worked in all major styles, both the more free old style verse () as well as the tonally regulated new style verse (jintishi).Watson 1971, pp.
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It was composed during the Victorian Crisis of Faith, a period which played a major role in poems and literature during its time. The meter may have been derived from Thomas Moore's style based on Irish folk song. His poem "I saw from the beach" has four quatrains similar in structure to Lines Composed in a Wood on a Windy Day. "Lines Composed in a Wood on a Windy Day" was first published in Poems by Currer, Ellis, and Acton Bell, May 1846.
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Sonnet 90 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 10th line exemplifies a regular iambic pentameter: × / × / × / × / × / When other petty griefs have done their spite, (90.10) Lines 5 and 7 have a final extrametrical syllable or feminine ending.
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The sonnet is a type of poem finding its origins in Italy around 1235 AD. While the early sonneteers experimented with patterns, Francesco Petrarca (anglicised as Petrarch) was one of the first to significantly solidify sonnet structure. The Italian or Petrarchan sonnet consists of two parts; an octave and a sestet. The octave can be broken down into two quatrains; likewise, the sestet is made up of two tercets. The octave presents an idea to be contrasted by the ending sestet.
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His works amount to 24,000 lines, about 15,000 couplet in his version of the Shah-nama and 9,500 couplets in his Divan. His Divan which has recently been edited and published by the scholar Mohammad Qahraman contains 36 qaṣidas (odes), 2 tarkib-bands (stanzaic or strophic poem), 1 tarjiʿ-band (a poem with a refrain), 32 qeṭʿas (occasional poem), 33 tāriḵs (chronograms), 28 short maṯnawis (rhyming couplets), 590 Ghazals (lyrics), and 102 robāʿis (quatrains), making a total of 9,823 couplets.
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Since 1993, Farhâdi has served as Vice Chairman of the Committee on the Exercise of the Inalienable Rights of the Palestinian People at United Nations Headquarters in New York. Farhadi is known for his strong commitment to the Palestinian rightsAlgeria Led Security Council Resolution on Israel but has also acknowledged Israel's right to exist. After his period as diplomat, with American scholar Ibrahim Gamard, he translated into English all the quatrains of the Sufi Tajik poet Maulana Jalal ad-Din Rumi.
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His fame rests mainly upon a long poem, Carmen paschale, based on the four gospels. In style a bombastic imitator of Virgil, he shows, nevertheless, a certain freedom in the handling of the Biblical story, and the poem soon became a quarry for the minor poets. His description of the Four Evangelists in Carmen Paschale became well-known; the English translation below is from . His other writings include an Abecedarian hymn in honour of Christ, A solis ortus cardine, consisting of twenty-three quatrains of iambic dimeters.
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"Ready to suffer grief or pain" had a British author in the tradition of the Keswick Hymn-Book, but Tillman wrote the tune which is invariably and exclusively used in the United States. Tillman first published the British lyrics with his tune in Tillman's Revival No. 4 in Atlanta in 1903. The British lyrics are in five quatrains. Tillman moved the original first quatrain into the refrain of his version and altered the words to wed better to the repeated nature of a refrain.
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The television series Alias prominently features the character Milo Rambaldi, a fictional prophet who seems to be an amalgam of Nostradamus and the non-prophetic but visionary inventor, artist, and genius Leonardo da Vinci. In the science fiction series First Wave, the protagonists use a previously unknown book of quatrains of Nostradamus to fight back against an alien invasion. Nostradamus was also a regular character on This Morning With Richard Not Judy, played by Emma Kennedy. Nostradamus appeared semi-regularly on the Warner Bros.
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Sonnet 76 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of metre based on five feet in each line, and each foot composed of a pair of syllables accented weak/strong. The 7th line is an example of a regular iambic pentameter: × / × / × / × / × / That every word doth almost tell my name, (76.7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 77 is an English or Shakespearean sonnet. The English sonnet contains three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter lines, a type of poetic metre in which each line as five feet, each foot has two syllables, and each syllable is accented weak/strong. Most of the lines are regular iambic pentameter including the first: × / × / × / × / × / Thy glass will show thee how thy beauties wear :/ = ictus, a metrically strong syllabic position.
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Andrew "Andie" Rathbone (born 8 September 1969 in Chester) is an English drummer and former member of the rock band Mansun. Rathbone grew up in Blacon, Chester and played in various local bands including "The Wandering Quatrains" and "Jonti" and " The DNA Cowboys".Having studied at Tech Music School in Fulham, London, he attracted the interest of Mansun with his playing and flamboyant look. Rathbone initially turned the band down due to commitments with "The DNA Cowboys " and because he thought they played "Britpop shite".
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Sonnet 15 is typical of an English (or "Shakespearean") sonnet. Shakespeare's sonnets "almost always consist of fourteen rhyming iambic-pentameter lines",(Cohen 1745) arranged in three quatrains followed by a couplet, with the rhyme scheme abab cdcd efef gg.(Cohen 1746) Sonnet 15 also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain. The first line of the couplet exemplifies a regular iambic pentameter: × / × / × / × / × / And all in war with Time for love of you, (15.13) :/ = ictus, a metrically strong syllabic position.
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Despite such famous mentors as Bierce and Ina Coolbrith, and his long association with London, Sterling himself never became well known outside California. Sterling's poetry is both visionary and mystical, but he also wrote ribald quatrains that were often unprintable and left unpublished. His style reflects the Romantic charm of such poets as Shelley, Keats and Poe, and he provided guidance and encouragement to the similarly-inclined Clark Ashton Smith at the beginning of Smith's own career. Sterling carried a vial of cyanide for many years.
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The second edition was published in the same year and has minor differences from the first. The third edition was published in 1557, and included the full text of the previous edition, supplemented by three more Centuries. The fourth edition was published two years after the death of the author, in 1568. It is the first edition to include all ten Centuries, as well as a second preface, the Letter to King Henry II. However, quatrains 55-100 of the seventh Century were never completed.
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Sonnet 37 is an English or Shakespearean sonnet. The English sonnet is constructed with three quatrains and a final rhyming couplet. The poem follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and like other Shakespearean sonnets is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / To see his active child do deeds of youth, (37.2) :/ = ictus, a metrically strong syllabic position.
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Only two of Zhang Ruoxu's poems are extant, but one of them, "Spring River in the Flower Moon Night" (Chun Jiang Hua Yue Ye, 春江花月夜), has long been well known and considered an extraordinary work. The poem can be divided into nine quatrains and three sections. The first section describes the scenery of the moonlit Yangtze River in spring. The second and third lament the ephemerality of life, as well as the sorrow of travellers and the loved ones they leave behind.
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Gulab Khandelwal (21 February 1924 - 2 July 2017) was an Indian poet who wrote poetry in different forms such as Lyrics, Sonnets, Rubais (Quatrains), Dohas (Couplets), Odes, Elegies, Lyrical Ballads, Epics, Poetic Dramas, Ghazals, and Masnavi with equal felicity. He even introduced some of these forms into Hindi literature and, apart from Hindi, has also written poetry in Urdu and English. The span of his poetic language touches upon Sanskrit on one end and Urdu on the other. Gulab Khandelwal died in Ohio on 2 July 2017.
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1997 Azerbaijani stamp of the Persian poet Khaqani Khaqani's Divān contains qasidas (both panegyrics and non-panegyric odes), tarjiʿāt (strophic poems), ghazals (profane love poems), and rubaʿis (quatrains). His other famous work, Tohfat al-ʿErāqayn, originally titled Khatm al-gharāʾeb ("Curious Rarities"), is written in couplet form (mathnawi) and is over three thousand verses long. This book serves as an autobiography and also presents his impressions of the Middle East. Beelaert notes that, although the work is a mathnawi, it exhibits more affinities with his other qasidas.
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Sonnet 130 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / My mistress' eyes are nothing like the sun; / × × / × / × / × / Coral is far more red than her lips' red: (130.1-2) :/ = ictus, a metrically strong syllabic position.
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The couplet of the sonnet consists of lines 13 and 14, and they seem to be used to clinch the sonnet's ending. It offers the compensation as all woes vanish in recollection of the "dear friend." The narrator talks as if the joy of the dear friend wipes out all the pain of remembrance. David West suggests that the couplet takes away the point of the beginning three quatrains by stating that the mountain of failure could be easily removed by the thought of the beloved.
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Khalili was a prolific writer, producing over the course of his career an eclectic repertoire ranging from poetry to fiction to history to biography. He published 35 volumes of poetry, including his celebrated works "Aškhā wa Ḫūnhā" ("Tears And Blood"), composed during the Soviet occupation, and "Ayyār-e az Ḫorāsān" ("Hero of Khorasan"). With the exception of a selection of his quatrainsKhalīlī, Khalīl Allāh (1981). Quatrains of Khalilullah Khalili, Octagon Press Ltd, London, , and the recent An Assembly of Moths,Khalīlī, Khalīl Allāh (2004).
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In 1880, seven mischievous Balliol undergraduates published The Masque of B-ll--l, a broadsheet of forty quatrains making light of their superiors – the master and selected fellows, scholars, and commoners – and themselves. The outraged authorities immediately suppressed the collection, and only a few copies survived, three of which found their way into the college library over the years, and one into the Bodleian Library. Verses of this form are now known as Balliol rhymes. The best known of these rhymes is the one on Benjamin Jowett.
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Sonnet 144 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / The worser spirit a woman colour'd ill. × / × / × / × / × /(×) To win me soon to hell, my female evil (144.4-5) :/ = ictus, a metrically strong syllabic position.
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Contemporary and friend of poet and writer , with him he was part of the "Gruppo dei Romanisti" as well as other intellectuals and artists who, during the charming times of Caffé Greco, animated the cultural salons of Rome. He wrote many poetical compositions, revealing himself as particularly inclined into poems, verses and sonnets in Roman dialect. In 1929 he wrote "", a poem in blank verse and quatrains, all in Roman dialect, dealing with the birth of Rome and illustrated by the painter-ceramicist Romeo Berardi.
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Qian jia shi, Golden Treasury of Quatrains and Octaves, Liu Kezhuang (1187-1269) anthology of 200 Tang and Song poems. Xu Yuanchong was born in Nanchang, Jiangxi. His mother, who was well educated and good at painting, had great impact on Xu in his pursuit of beauty and literature. His uncle Xiong Shiyi was a translator, who translated the play Wang Baochuan and Xue Pinggui into English, which was a hit in the UK. Xiong's achievement gave Xu a strong interest in learning English.
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Sonnet 97 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / The teeming autumn, big with rich increase, / × × / × / × / × / Bearing the wanton burden of the prime, (97.6-7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 54 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. This poem follows the rhyme scheme of the English sonnet, abab cdcd efef gg and is composed in iambic pentameter, a type of metre in which each line has five feet, and each foot has two syllables that are accented weak/strong. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / The canker blooms have full as deep a dye :/ = ictus, a metrically strong syllabic position.
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The title Saltair na Rann ("Psalter of Quatrains") refers to a series of 150 early Middle Irish religious cantos, written in the tenth century -- for the most part apparently around 988.Gearóid S. Mac Eoin, 'The Date and Authorship of Saltair na Rann', Zeitschrift Für Celtische Philologie, 28 (1961), 51-67; . The number of the cantos imitates the number of psalms in the Bible.Brian Murdoch, 'An Early Irish Adam and Eve: Saltair na Rann and the Traditions of the Fall', Mediaeval Studies, 35 (1973), 146–177 (p.
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A lung infection interrupted his studies, and at the end of his first year, his father had to send him back to Lebanon to recover. Once back in his homeland, he began teaching English in a clerical school in return for being taught formal Classical Arabic. Rihani had first become familiar with Arab poets in 1897. Among these poets were Abul-Ala Al-Ma’arri, whom Ameen discovered to be the forerunner of Omar Khayyam. In 1899 he returned to New York, having decided to translate some of the quatrains of Al- Ma’arri into English.
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The rhyme is constructed of quatrains in trochaic tetrameter catalectic,A. L. Lazarus, A. MacLeish, and H. W. Smith, Modern English: a Glossary of Literature and Language (London: Grosset & Dunlap, 1971), , p. 194 (each line made up of four metrical feet of two syllables, with the stress falling on the first syllable in a pair; the last foot in the line missing the unstressed syllable), which is common in nursery rhymes.L. Turco, The Book of Forms: a Handbook of Poetics (Lebanon, NH: University Press of New England, 3rd edn.
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The Cubists were to do so in both the domain of form and dynamics, and the Orphists would do so with color too. The Symbolists had used the word orphique in relation to the Greek myth of Orpheus, who they perceived as the ideal artist. Apollinaire had written a collection of quatrains in 1907 entitled Bestiaire ou cortège d'Orphée (Paris, 1911), within which Orpheus was symbolized as a poet and artist. For both Apollinaire and the Symbolists who preceded him, Orpheus was associated with mysticism, something that would inspire artistic endeavors.
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"Reuben Bright" is a sonnet with decasyllabic lines of iambic pentameter. Its structure is that of the Petrarchan sonnet according to Stephen Regan; its rhyme scheme is abba abba cdcd ee. In other words, the octet has two quatrains of enclosed rhyme, and the sestet has a quatrain of alternating rhyme and a concluding couplet. The poem tells of a butcher, Reuben Bright, who might be supposed to be rough and unfeeling because of his profession, but when news is brought that his wife is to die, he cries like a baby.
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The September 11, 2001 attacks on New York City's World Trade Center led to immediate speculation as to whether Nostradamus had predicted the event. Almost as soon as the event had happened, the relevant Internet sites were deluged with inquiries. In response, Nostradamus enthusiasts started searching for a Nostradamus quatrain that could be said to have done so, coming up with interpretations of Quatrains I.87, VI.97 and X.72. However, the various ways in which the enthusiasts chose to interpret the text were not supported by experts on the subject.
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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.
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Common themes included oil shock, dollar devaluation, the stock-market collapse, the rise and fall of real- estate prices in Tokyo, a trade war with America, volcanic eruptions and the threat of catastrophic earthquakes. The work became a runaway bestseller and sparked a “Nostradamus boom” in Japanese publishing. On November 5, 1991, Goto published Predictions of Nostradamus: Middle-East Chapter, a description of how Nostradamus’ quatrains pointed to a war in the Middle East. This was his seventh book on the subject, and sold 400,000 copies in 6 months.
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The twelve-line poem is divided into three quatrains and is an example of Yeats's earlier lyric poems. The poem expresses the speaker's longing for the peace and tranquility of Innisfree while residing in an urban setting. He can escape the noise of the city and be lulled by the "lake water lapping with low sounds by the shore." On this small island, he can return to nature by growing beans and having bee hives, by enjoying the "purple glow" of heather at noon, the sounds of birds' wings, and, of course, the bees.
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Richardson, Robert D. Jr. Emerson: The Mind on Fire. Berkeley, California: University of California Press, 1995: 177. . A month earlier, he had visited Mount Auburn Cemetery in Cambridge, Massachusetts, and experienced a deeply spiritual communion with the natural setting there.Richardson, Robert D. Jr. Emerson: The Mind on Fire. Berkeley, California: University of California Press, 1995: 162. . Emerson's poem is 16 lines long, which he may have intended as a slightly longer version of a sonnet. "The Rhodora" uses a sophisticated form of purposeful symmetry combining octaves, quatrains, and heroic couplets.
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Published in 1935, Bal-e-Jibril (Wings of Gabriel) is considered by many critics as his finest Urdu poetry and was inspired by his visit to Spain, where he visited the monuments and legacy of the kingdom of the Moors. It consists of ghazals, poems, quatrains and epigrams and carries a strong sense of religious passion. Zarb-i-Kalim (or The Rod of Moses) is another philosophical poetry book of Allama Iqbal in Urdu, it was published in 1936, two years before his death. In which he described as his political manifesto.
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At the beginning of his career, Blatný mostly wrote using conventional rhyming and rhythmic forms such as alexandrine quatrains, most notably in the Brno Elegies (Czech, Melancholické procházky; Prague: Melantrich, 1941). The correct translation of the Czech title is 'Melancholic Walks', but Blatný's original title Brněnské elegie was forbidden by the war-time censor for its suggestion that the poet might have been regretful about the German invasion of Czechoslovakia. The poems themselves make no reference whatsoever to contemporary events, but concentrate on Brno and its hinterland, with a beautiful hypnotic lyricism.
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The Faerie Queene was written in Spenserian stanza, which Spenser created specifically for The Faerie Queene. Spenser varied existing epic stanza forms, the rhyme royal used by Chaucer, with the rhyme pattern ABABBCC, and the ottava rima, which originated in Italy, with the rhyme pattern ABABABCC. Spenser's stanza is the longest of the three, with nine iambic lines – the first eight of them five footed, that is, pentameters, and the ninth six footed, that is, a hexameter, or Alexandrine – which form "interlocking quatrains and a final couplet". The rhyme pattern is ABABBCBCC.
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Abol Tabol, meaning The Weird and the Absurd, was originally the name designating a section within Sandesh magazine, where many of these poems were first published. Thirty-nine poems and seven untitled quatrains can be traced back to having first appeared in Sandesh. Seven other poems making up the balance of the collection known as Abol Tabol were selected by Ray, from perhaps previously unpublished manuscripts, to form part of the final collection. Of these, Ray wrote the first and last poems, both originally titled Abol-Tabol, specifically for the collection, possibly in 1923.
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Sorrow is the worst thing in life ... is the first line, and name, of a poem written in Irish, as an elegy for Féilim Mac Maghnusa Méig Uidhir, who died in 1487. He was a brother of Cathal Óg Mac Maghnusa. The author of the poem is unknown. It is found on folio 15 verso of TCD 1282, which consists for the most part of the Annals of Ulster, compiled by Féilim's brother, Cathal Óg. It consists of thirty-two quatrains written in two columns in the strict form of rannaigheacht mhór.
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He published his treatise about Nostradamus' letters and works, La clef secrète de Nostradamus (The Secret Key of Nostradamus). In the book, Frontenac professed his belief in Nostradamus as a true prophet, who made correct foretellings, and that the centuries (in French Les Propheties) contained true predictions about future events until the year 3797. But, he contended that those predictions were hidden and mixed, and not made understandable before events occurred. His conclusions were based on a combination of several cryptographic methods, including a systematic alteration in the metrical order of quatrains' texts.
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Insha was a versatile poet, who composed in Urdu, Persian, Arabic, and occasionally Turkish and Punjabi. His chief works are in his diwan of Urdu and Persian ghazals, as well as a volume of poems in rekhti (imitating the colloquial speech of women). He wrote ghazals, rubaiyat (quatrains), qatat in many languages, several Urdu and Persian masnavis, odes, satires, and also tried his hand at unconventional forms such as the riddle and the magic spell. His themes too are unconventional - no other poet would choose to write an entire ghazal about a woman's undergarment.
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Sonnet 20 is a typical English or Shakespearean sonnet, containing three quatrains and a couplet for a total of fourteen lines. It follows the rhyme scheme of this type of sonnet, ABAB CDCD EFEF GG. It employs iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. "Only this sonnet about gender has feminine rhymes throughout." The first line exemplifies regular iambic pentameter with a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) A woman's face with nature's own hand painted, (20.1) :/ = ictus, a metrically strong syllabic position.
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Nalješković was the most prolific writer of epistles of the Croatian Renaissance. He wrote 37 epistles, which addressed friends and family (especially poets: Petar Hektorović, Nikola Dimitrović, Mavor Vetranović, Dinko Ranjina etc.) from Zadar to Dubrovnik. He also wrote to princes, as well as ecclesiastical and secular potentates. Besides exploring Croatian cultural history, Nalješković's epistles (written with doubly rhymed dodeca-syllables or in octo-syllable quatrains) were often tinged with a feeling of pain, thirst for peace and freedom, and Croatian national pride, all in a laudatory tone, with elements of humour and satire.
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Sonnet 73 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme of the English sonnet form, ABAB CDCD EFEF GG. It is composed in iambic pentameter, a poetic metre that has five feet per line, and each foot has two syllables accented weak then strong. Almost all of the lines follow this without variation, including the second line: × / × / × / × / × / When yellow leaves, or none, or few, do hang (73.2) :/ = ictus, a metrically strong syllabic position.
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The only preserved - though in a bit damaged state - Vidulić's poem in Croatian, Ako mi ne daš lik, composed in six dodecasyllabic quatrains, is the proof of the existence of troubadour- Petrarchan school of poetry in the middle of 15th century in Zadar, beside the city of Dubrovnik. The poem was found written on one official document and, of course, it is not certain whether Vidulić is the author or just a scribe. Vidulić is also an educated Humanist, has used Glagolitic script, and has in a certain way a predecessor of Petar Zoranić.
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With the length of 5,000 quatrains of Khlong poetry, Thao Cheuang is much longer than the contemporary French (Song of Roland) or English (Beowulf) epics. The story was originally told and passed on among the Khmu people who speak Austroasiatic languages. In fact, the hero of the epic Thao Cheuang, was a man of Austroasiatic origin, probably of a Khom race. The epic was discovered in the national library of Thailand, written in both Lao and Thai scripts, in 1943 by Mahasila Viravong, a Lao nationalist, who heralded it as a masterpiece of Lao literature.
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Like most other Shakespearean Sonnets, 109 consists of three quatrains and a couplet at the end. The volta can be found at the first line of the couplet. Although Sonnet 109 does not make any specific mention of gender, Paul Edmondson, in his book Shakespeare’s Sonnets, states that it may be safe to assume that Shakespeare is writing here to a young man. "The first 126 [sonnets] include none that are clearly addressed to, or concern, a woman, along with all the ones that are clearly addressed to, or primarily concern, a male".
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Sonnet 145 is — in most respects — a fairly typical English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme of the form ABAB CDCD EFEF GG. However this sonnet is unique in the collection because, instead of iambic pentameter, it is written in iambic tetrameter, a poetic metre based on four (rather than five) pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic tetrameter: × / × / × / × / Those lips that Love's own hand did make (145.1) :/ = ictus, a metrically strong syllabic position.
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The word sonnet ultimately derives from the Latin word for sound (sonus), and from the Old Occitan word for song (sonet). In 1573, George Gascoigne established an important definition of the English Sonnet: > I can best allowe to call those Sonnets which are of fourtene lynes, every > line conteyning tenne syllables. The first twelve do ryme in staves of foure > lines by crosse metre, and the last twoo ryming together do conclude the > whole. Sonnet 86 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet.
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Sonnet 83 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 7th line: × / × / × / × / × / How far a modern quill doth come too short, / × × / × / × / × / Speaking of worth, what worth in you doth grow. (83.7-8) :/ = ictus, a metrically strong syllabic position.
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Sonnet 131 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 10th line exemplifies a regular iambic pentameter: × / × / × / × / × / A thousand groans, but thinking on thy face, (131.10) Booth and Kerrigan agree that lines 2 and 4 should be construed as having a final extrametrical syllable or feminine ending.
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Sonnet 9 is an English or Shakespearean sonnet. Sonnets of this type comprise 14 lines, containing three quatrains and a final couplet, with the rhyme scheme ABAB CDCD EFEF GG. They are composed in iambic pentameter a metrical line based on five pairs of metrically weak/strong syllabic positions. Ambiguity can exist in the scansion of some lines. The weak words (lacking any tonic stress) beginning the poem allow the first line to be scanned as a regular pentameter: × / × / × / × / × / Is it for fear to wet a widow's eye (9.1) :/ = ictus, a metrically strong syllabic position.
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The last portrait was subsequently used in a commemorative postage stamp dedicated to the coronation. In addition, the Imperial March and the Imperial Waltz were written in France, as well as the coronation ode, which consisted of 20 quatrains. Many of the objects used in the coronation were made by French masters. As early as November 1976, the representative of the Central African Embassy in France confidentially informed the sculptor Olivier Brice that President Bokassa would like to involve him in the work on the decoration of the Cathédrale Notre-Dame in Bangui.
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The poetry attributed to Omar Khayyam has contributed greatly to his popular fame in the modern period as a direct result of the extreme popularity of the translation of such verses into English by Edward FitzGerald (1859). FitzGerald's Rubaiyat of Omar Khayyam contains loose translations of quatrains from the Bodleian manuscript. It enjoyed such success in the fin de siècle period that a bibliography compiled in 1929 listed more than 300 separate editions,Ambrose George Potter, A Bibliography of the Rubaiyat of Omar Khayyam (1929). and many more have been published since.
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There is a historical context to opposing organised religion and not having faith in Islam throughout the centuries in Iran. In the 10th century AD, the famous Persian scientist Rhazes famously opposed religion and the divine revelation of prophets in his treatises Fī al-Nubuwwāt (On Prophecies) and Fī Ḥiyal al- Mutanabbīn (On the Tricks of False Prophets). Further skepticism of the ideas of God could be seen in the quatrains of Khayyam where the compassion of God and the ideas of afterlife are continuously questioned. This work was also written in the 10th century.
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The particular quatrains and tercets are divided by change in rhyme. Petrarch typically used an ABBA ABBA pattern for the octave, followed by either CDE CDE or CDC DCD rhymes in the sestet. (The symmetries (ABBA vs. CDC) of these rhyme schemes have also been rendered in musical structure in the late 20th century composition Scrivo in Vento inspired by Petrarch's Sonnet 212, Beato in Sogno.) The rhyme scheme and structure of Petrarch's sonnets work together to emphasize the idea of the poem: the first quatrain presents the theme and the second expands on it.
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William Oldys contributed a life of Cotton to Hawkins's edition (1760) of the Compleat Angler. His Lyrical Poems were edited by J. R. Tutin in 1903, from an original edition of 1689. Cotton's translation of Montaigne was edited in 1892, and in a more elaborate form in 1902, by W. C. Hazlitt, who omitted or relegated to the notes the passages in which Cotton interpolates his own matter, and supplied Cotton's omissions. Benjamin Britten set Cotton's The Evening Quatrains to music in his Serenade for Tenor, Horn and Strings in 1943.
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A significant amount of Nanseolheon's writing was burned upon her death per her request, and the surviving poems are collected in Heo Kyeongnan's 1913 collection Nansŏrhŏn chip. The collection consists of 211 poems, in various Chinese styles. These include koshi (traditional verse), yulshi (metered verse), cheolgu (quatrains), and a single example of kobu (rhyming prose). The writing of the early Joseon period (in the form of the political Sajang school and the more academic Sallim school) was heavily influenced by the Confucian literary tradition, and literature was primarily devoted to the expression of Confucian teachings.
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Akshara Slokam (അക്ഷര ശ്ലോകം) is a traditional way of Sloka chanting, a poetic entertainment developed in the Malayalam (മലയാളം) language of Kerala, India. It is in a classical format with strict rules on the meter of quatrains called slokas or mukthaka. A number of scholars sit to recite either Sanskrit or Malayalm slokas ( with more than eight letters in a line ). Once the recitation is started the next one in the turn has to recite a sloka having the first letter of the third line of the previous sloka.
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There are 248 emblems, each accompanied by a woodcut with a motto and a poem in English. 202 of the illustrations were chosen from the stock held at the Plantin Press and are the work of Andrea Alciato, Claude Paradin, Johannes Sambucus, Hadrianus Junius, and the illustrator of Gabriele Faerno's Centum Fabulae. Twenty-three more are suggested by the work of others and a further 23 are original. The poems are for the most part in six-line stanzas; a few are in quatrains or are even two-line epigrams.
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Busby, Margaret, "Phillis Wheatley", in Daughters of Africa, 1992, p. 18. In 1778, the African-American poet Jupiter Hammon wrote an ode to Wheatley ("An Address to Miss Phillis Wheatley"). His master Lloyd had temporarily moved with his slaves to Hartford, Connecticut, during the Revolutionary War. Hammon thought that Wheatley had succumbed to what he believed were pagan influences in her writing, and so his "Address" consisted of 21 rhyming quatrains, each accompanied by a related Bible verse, that he thought would compel Wheatley to return to a Christian path in life.
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Of the works we do possess are: a short mevlud, a religious poem on the birth of the prophet Mohammed; about ten ilâhî; and over fifty secular poems. Kamberi’s secular verse covers a wide range of themes. In his octosyllabic Sefer-i hümâyûn (The Felicitous Campaign) in thirty-three quatrains, he describes his participation in the above-mentioned Battle of Smederevo and gives a realistic account of the suffering it caused. In Bahti im (My fortune) and Vasijetnameja (The testament), Kamberi casts an ironic and sometimes bitter glance at the vagaries of fate and in particular at the misfortunes of his own life.
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61 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Diversifying his contributions, he published in Opinia and Ordinea his introductions to the work of Oscar Wilde.Oscar Wilde: A Romanian Bibliography of Secondary Sources , at The Oscholars network; retrieved February 22, 2011 Obtaining Caragiale's blessing, he regularly put out quatrains with humorous commentary of political affairs.Blumenfeld-Scrutator, p.307, 309-310 Rodion also rallied with Viața Socială, a left-wing paper put out in Bucharest by the republican agitator N. D. Cocea.Angelo Mitchievici, Decadență și decadentism în contextul modernității românești și europene, Editura Curtea Veche, Bucharest, 2011, p.99.
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After her performing career ended in 1894, Lehmann concentrated on composing music for the rest of her life. She completed one of her best known works two years later, in 1896, the song cycle for four voices and piano titled In a Persian Garden, settings of selected quatrains from Edward FitzGerald's version of the Rubāiyāt of Omar Khayyām. She composed many more song cycles including The Daisy Chain and an In Memoriam based on Alfred Lord Tennyson's love poem. She also became known for her art songs, parlour songs and other works in the following years.
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Sonnet 113 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / The mountain or the sea, the day or night, (113.11) Indeed, all fourteen lines may be scanned regularly, excepting the final extrametrical syllables or feminine endings in lines 10 and 12: × / × / × / × / × / (×) The crow, or dove, it shapes them to your feature.
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Sonnet 114 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: ×/ × / × / × / × / Creating every bad a perfect best, (114.7) Lines 6, 8, 9, and 11 have a final extrametrical syllable or feminine ending: × / × / × × / / × / (×) Such cherubins as your sweet self resemble, (114.6) :/ = ictus, a metrically strong syllabic position.
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W.H.Matthews, Mazes & Labyrinths, London 1922, ch.14, figure 91 For this the king had been advised by the fabulist Charles Perrault, who records the fable in his work,Shanaweb but the statues were associated at Versaille with the quatrains composed for them by Isaac de Benserade, who refers to the villain of the piece as a porcupine: ::The snake, too polite, gave the porcupine ::Permission to enter, ::But when it repented, ::“Get out yourself,” the ingrate replied.Labyrinte de Versailles: Suivant la copie de Paris, 1734, Fable 38 p.76 In England the fable appeared in several influential collections of Aesop's fables.
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According to Muhammad Husain Azad in Aab-e-Hayat: Mirzā Sahib died on the 29th of Muharram, AH 1292 [1875–76], at the age of 72 years. In his lifetime he must have written at least three thousand elegies. Not counting his salāms and nauhas and quatrains. He wrote a dotless elegy (be-nuqta) of which the opening verse is: Hum tale-e-Huma murad hum rasa hua Meaning: My far-reaching imagination has the same fortune-star as the Huma In it, he used (the dotless) Utārid or Atarid (Mercury) instead of Dabeer for a pen-name.
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Syair (Jawi: شعير) is a form of traditional Malay poetry that is made up of four-line stanzas or quatrains. The syair can be a narrative poem, a didactic poem, a poem used to convey ideas on religion or philosophy, or even one to describe a historical event. In contrast to pantun form, the syair conveys a continuous idea from one stanza to the next, maintains a unity of ideas from the first line to the last line in each stanza, and each stanza is rhymed a-a- a-a-a. Syair is sung in set rhythms that differ from syair to syair.
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The manuscript is a massive, oversized vellum book written in Irish, its contents are described by one of the scribes as bolg an tsolathair (a mixed bag of contents). It includes a series of metrical dindsenchas, An Banshenchas, Cormac's Glossary, Lebor na Cert, portions of Lebor Gabála, poems, genealogies and pedigrees. The largest single section is devoted to the origins and genealogies of the Ó Ceallaigh dynasty of Uí Maine, its contents updated to the time of compilation. Works found in this work are quatrains paying tribute to the long reign and continuing prosperity of the Uí Dhiarmada (i.e.
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University of Washington An advertising card based on Kate Greenaway's 1881 illustration of the rhyme As the decades advanced there were changes in form as well as wording. An 1840s edition from Otley, titled The adventures of Jack & Jill and old Dame Jill, was written in longer and more circumstantial quatrains of between ten and twelve syllables, rhymed AABB.An example preserved in McGill Library Among other changes in the poem, Jack's injuries are treated, not with vinegar and brown paper, but "spread all over with sugar and rum". There were also radical changes in the telling of the story in America.
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Welles, though he agreed to host the film, was not a believer in the subject matter presented. Welles' main objection to the generally accepted translations of Nostradamus' quatrains (so called because Nostradamus organized all his works into a series of four lined prose, which were then collected into "centuries", or groups of 100 such works) relates in part to the translation efforts. While many skilled linguists have worked on the problem of translating the works of Nostradamus, all have struggled with the format the author used. Nostradamus lived and wrote during a period of political and religious censorship.
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He led this institute until 1996. He was co-editor of the journal Jahrbuch für Volksliedforschung from 1984 to 1998 and editor of the Studien zur Volksliedforschung (volumes 1 – 17, 1991–1996). Special topics of Holzapfel are the traditional German folk ballad and the tradition of the German folk song, European mythology and German-Danish genealogy. He has edited several volumes of the standard edition of the traditional German folk ballads Deutsche Volkslieder mit ihren Melodien: Balladen (10 volumes, 1935–1996), and he created a system for analyzing German quatrains (Schnaderhüpfel, four line lyric stanzas, Gstanzl).
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Sonnet 46 is an English or Shakespearean sonnet, composed of three quatrains followed by a final rhyming couplet, written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Mine eye and heart are at a mortal war, (46.1) :/ = ictus, a metrically strong syllabic position. × = nonictus. While this sonnet (like others) is based on an ABAB CDCD EFEF GG rhyme scheme, here rhymes f and g are identical—which, as critic Philip C. McGuire writes, is unusual in an English sonnet.
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Sonnet 43 is an English or Shakespeare sonnet. English sonnets contain three quatrains, followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The first line of the couplet exemplifies a regular iambic pentameter: × / × / × / × / × / All days are nights to see till I see thee, (43.13) The second and fourth lines have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) And darkly bright, are bright in dark directed.
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Sonnet 40 is an English or Shakespearean sonnet, composed of three quatrains followed by a final couplet. It follows the typical rhyme scheme of the English sonnet, ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line four exemplifies a regular iambic pentameter: × / × / × / × / × / All mine was thine, before thou hadst this more. (40.4) All four lines in the second quatrain have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But yet be blam'd, if thou thy self deceivest (40.7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 31 is a typical English or Shakespearean sonnet, with three quatrains followed by a final couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like other Shakespearean sonnets it is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line. Metrically the sonnet is fairly regular, but demands several syllabic contractions and expansions. The first two lines each contain one expansion (marked with è below): × / × / × / × × / / Thy bosom is endearèd with all hearts, × / × / × / × / × / Which I by lacking have supposèd dead; (31.1-2) :/ = ictus, a metrically strong syllabic position.
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This system of labelling makes it possible to refer to the different metres in a simpler way than the traditional system, where the metre of Omar Khayyam's quatrains is divided into 24 different patterns with labels such as hazaj-e musamman-e axrab-e maqbūz-e makfūf-e majbūb.Maling (1973), pp. 118-135. Elwell-Sutton also calculated the frequency of occurrence of the various metres. He found that although over 100 different metres exist, 99% of classical Persian poems use one of a group of about 30 common metres, of which some are more frequent than others.
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Sonnet 81 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 5th line: × / × / × / × / × / Your name from hence immortal life shall have, (81.5) The 2nd and 4th lines feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) Or you survive when I in earth am rotten; (81.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Bonvesin da la Riva is the most important Northern-Italian writer of the 13th century. Born in Milan between 1240 and 1250, he was a secular friar belonging to the 3rd order of Umiliati and is acknowledged as doctor in gramatica, a title that few people had. His most important work is the Book of the three texts (Libro delle tre scritture), an epic poem in quatrains in Old Insubric language, in which he describes the underworld realms. The book is divided into three parts, different for style and atmosphere, in which Hell, Christ's Passion and Paradise are represented.
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The qoshuk form consists of quatrains with lines consisting of eight or eleven syllables, and follows a rhyming scheme of ABCB for the first stanza and CCCB, DDDB, etc. for the following stanzas. The compatibility of Magtymguly's poems with traditional musical forms allowed them to be easily adopted by bakhshis, traditional singers.Azemoun, Youssef. “Pages From the Life of Makhtumkuli.” Journal of Makhtumkuli Studies 1(1997). Magtymguly's first poem, “By night when I was asleep... Revelation”, was composed following an incident when Magtymguly was a young boy. His parents were attending a wedding, but Magtymguly was sleeping, and they left him behind.
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Sonnet 1 has the traditional characteristics of a Shakespearean sonnet—three quatrains and a couplet written in iambic pentameter with an ABAB CDCD EFEF GG rhyme scheme. Many of Shakespeare's sonnets also reflect the two-part structure of the Italian Petrarchan Sonnet. In this type of sonnet (though not in Sonnet 1) "the first eight lines are logically or metaphorically set against the last six [and] an octave-generalization will be followed by a particular sestet- application, an octave question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".Vendler, Helen.
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Sonnet 152 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / Or made them swear against the thing they see; (152.12) The 2nd line has a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But thou art twice forsworn, to me love swearing; (152.2) :/ = ictus, a metrically strong syllabic position.
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The pantoum is derived from the pantun berkait, a series of interwoven quatrains. An English translation of such a pantun berkait appeared in William Marsden's A Dictionary and Grammar of the Malayan Language in 1812. Victor Hugo published an unrhymed French version by Ernest Fouinet of this poem in the notes to Les Orientales (1829) and subsequent French poets began to make their own attempts at composing original "pantoums". (links to a PDF file containing the original and various translations, and also to further information) Leconte de Lisle published five pantoums in his Poèmes tragiques (1884).
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The play is composed of dialogues between the characters and with the chorus. The dialogue includes a sustained stichomythia between Prometheus and Oceanus, it also includes a unique series of quatrains sung by the chorus. At the beginning, Kratos (Strength), Bia (violence), and the blacksmith god Hephaestus chain the Titan Prometheus to a mountain in the Caucasus, with Hephaestus expressing reluctance and pity, and then departing. According to the character Kratos (Strength), Prometheus is being punished because he stole fire and gave it to mortal men, and also so that he may appreciate the sovereignty of Zeus.
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Sonnet 84 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 11th line: × / × / × / × / × / And such a counterpart shall fame his wit Line 12 has a variation in the first foot – a reversal of the accent: / × × / × / × / × / Making his style admired every where. (84.11-12) :/ = ictus, a metrically strong syllabic position.
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It is an adapted form of the Shakespearean sonnet, retaining the three quatrains plus couplet structure but reducing the metre to iambic tetrameter and specifying a distinct rhyme scheme: the first quatrain is cross-rhymed (ABAB), the second couplet-rhymed (CCDD), and the third arch-rhymed (or chiasmic, EFFE), so that the whole is ABABCCDDEFFEGG.For detailed discussion of the Onegin stanza see the introduction in Eugene Onegin: A Novel in Verse by Aleksandr Pushkin. Translated from the Russian, with a Commentary by Vladimir Nabokov (rev. ed., in 4 vols, London: Routledge Kegan Paul, 1975), especially i.
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The literary effort most commonly attributed to Óengus is the Old Irish work known as Félire Óengusso ("Martyrology of Óengus"), which is the earliest metrical martyrology — a register of saints and their feast days – to have been written in the vernacular. The work survives in at least ten manuscripts, the earliest being Leabhar Breac of the early 15th century. The martyrology proper consists of 365 quatrains, one for each day of the year, and is framed between a lengthy prologue and epilogue. Later scribes added a prose preface, including material on Óengus, and accompanied the text with abundant glosses and scholia.
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"The Feeling of a Westerner" is a first-person monologue written in quatrains of one decasyllable followed by three Alexandrines, structured in enclosed rhyme. It is a long poem, 176 lines in length. The poem is divided into four sections, each with 11 verses; in the posthumously-published O Livro de Cesário Verde (1887), the sections are given titles that point to the passage of time as night sets in: "Vespers" (Avé-Marias), "After Dark" (Noite Fechada), "By Gaslight" (Ao Gás), and "The Dead Hours" (Horas Mortas). The 1887 edition also includes a dedication, to fellow poet Guerra Junqueiro.
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Michel de Nostredame (depending on the source, 14 or 21 December 1503 – 1 or 2 July 1566), usually Latinised as Nostradamus, was a French astrologer, physician and reputed seer, who is best known for his book Les Prophéties, a collection of 942 poetic quatrains allegedly predicting future events. The book was first published in 1555. Nostradamus's family was originally Jewish, but had converted to Catholic Christianity before he was born. He studied at the University of Avignon, but was forced to leave after just over a year when the university closed due to an outbreak of the plague.
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This version contains one unrhymed and 941 rhymed quatrains, grouped into nine sets of 100 and one of 42, called "Centuries". Given printing practices at the time (which included type-setting from dictation), no two editions turned out to be identical, and it is relatively rare to find even two copies that are exactly the same. Certainly there is no warrant for assuming—as would-be "code-breakers" are prone to do—that either the spellings or the punctuation of any edition are Nostradamus's originals. The Almanacs, by far the most popular of his works, were published annually from 1550 until his death.
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The prophecies retold and expanded by Nostradamus figured largely in popular culture in the 20th and 21st centuries. As well as being the subject of hundreds of books (both fiction and nonfiction), Nostradamus's life has been depicted in several films and videos, and his life and writings continue to be a subject of media interest. There have also been several well- known Internet hoaxes, where quatrains in the style of Nostradamus have been circulated by e-mail as the real thing. The best-known examples concern the collapse of the World Trade Center in the 11 September attacks.
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Du Mu (; 803–852) was a leading Chinese poet of the late Tang dynasty. His courtesy name was Muzhi (), and sobriquet Fanchuan (). Encyclopedia of China (Chinese Literature Edition) He is best known for his lyrical and romantic quatrains. Regarded as a major poet during a golden age of Chinese poetry, his name is often mentioned together with that of another renowned Late Tang poet, Li Shangyin, as the "Little Li-Du" (), in contrast to the "Great Li-Du": Li Bai and Du Fu. Among his influences were Du Fu, Li Bai, Han Yu and Liu Zongyuan.
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Sonnet 135 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. Nominally, it follows the rhyme scheme of the form ABAB CDCD EFEF GG, although (unusually) rhymes a, e, and g feature the same sound. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / And "Will" to boot, and "Will" in overplus; / × × / × / × / × / More than enough am I that vex thee still, (135.2-3) :/ = ictus, a metrically strong syllabic position.
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With an error of one day accumulating over 5,000 years, it was more precise than the Gregorian calendar of 1582, which has an error of one day in 3,330 years in the Gregorian calendar (Aminrazavi 2007:200).The Cambridge History of Iran, Volume 4. Cambridge University Press (1975): Richard Nelson Frye There is a tradition of attributing poetry to Omar Khayyam, written in the form of quatrains (rubāʿiyāt ). This poetry became widely known to the English-reading world in a translation by Edward FitzGerald (Rubaiyat of Omar Khayyam, 1859), which enjoyed great success in the Orientalism of the fin de siècle.
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Hans Heinrich Schaeder in 1934 commented that the name of Omar Khayyam "is to be struck out from the history of Persian literature" due to the lack of any material that could confidently be attributed to him. De Blois (2004) presents a bibliography of the manuscript tradition, concluding pessimistically that the situation has not changed significantly since Schaeder's time.Francois De Blois, Persian Literature – A Bio-Bibliographical Survey: Poetry of the Pre-Mongol Period (2004), p. 307. Five of the quatrains later attributed to Omar are found as early as 30 years after his death, quoted in Sindbad-Nameh.
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Works of the early era of Persian poetry are characterized by strong court patronage, an extravagance of panegyrics, and what is known as سبک فاخر "exalted in style". The tradition of royal patronage began perhaps under the Sassanid era and carried over through the Abbasid and Samanid courts into every major Iranian dynasty. The Qasida was perhaps the most famous form of panegyric used, though quatrains such as those in Omar Khayyam's Ruba'iyyat are also widely popular. Khorasani style, whose followers mostly were associated with Greater Khorasan, is characterized by its supercilious diction, dignified tone, and relatively literate language.
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His most universally recognized contribution to Iranian culture lies in the field of literature. In poetry he has been considered one of the two or three greatest masters of the robāʿī(quatrains), while in philosophical prose only Suhrawardi stands on the same level. Similar to Avicenna (in his work Daneshnameyeh 'Alai), Baba Afzal employs a great deal of Persian vocabulary where others would have used Arabic, but unlike Avicenna he chooses only attractive and mellifluous terms. His works from the viewpoint of literary tradition is a delight to read nor does he neglect to employ the corresponding Arabic terms where clarity demands them.
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The sculptors Jean-Baptiste Tuby, Etienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine hydraulic sculptures. Each fountain was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade. It was from these plaques, Louis XIV’s son learned to read. In his Fables d'Ésope en quatrains, dont il y en a une partie au labyrinthe de Versailles de Benserade claims that, as well being the one to choose the fables, it was the King himself who had wanted a quatrain to describe each of them.
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Iqbal's first book of poetry in Urdu, Bang-i-Dara (1924), was followed by Bal-i-Jibril in 1935 and Zarb-i-Kalim in 1936. Bal-i-Jibril is the peak of Iqbal's Urdu poetry. It consists of ghazals, poems, quatrains, epigrams and displays the vision and intellect necessary to foster sincerity and firm belief in the heart of the ummah and turn its members into true believers. Some of the verses had been written when Iqbal visited Britain, Italy, Egypt, Palestine, France, Spain and Afghanistan, including one of Iqbal's best known poems The Mosque of Cordoba.
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Sonnet 58 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter; the second adds a final extrametrical syllable or feminine ending: × / × / × / × / × / That God forbid, that made me first your slave, × / × / × / × / × / (×) I should in thought control your times of pleasure, (58.1-2) :/ = ictus, a metrically strong syllabic position.
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Sonnet 61 is an English or Shakespearean sonnet, containing three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The seventh line exemplifies a regular iambic pentameter: × / × / × / × / × / To find out shames and idle hours in me, (61.7) The first and third lines have a final extrameterical syllable or feminine ending: × / × / × / × / × /(×) Dost thou desire my slumbers should be broken, (61.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Surprised to find the natural setting unchanged and indifferent, he wished it could preserve some memory of their past happiness. The poet sighs at the memory of a star-lit night on the lake with his muse, and laments the onrush of time that relentlessly carries one away from such happy moments. Consisting of sixteen quatrains, it was met with great acclaim and propelled its author to the forefront of the list of famous romantic poets. The poem is often compared to the Tristesse d'Olympio of Victor Hugo and to the Souvenir of Alfred de Musset.
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Sonnet 118 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, with the characteristic rhyme scheme ABAB CDCD EFEF GG. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 13th line exemplifies a regular iambic pentameter: × / × / × / × / × / But thence I learn, and find the lesson true, (118.13) Lines 5, 6, 7, and 8 each have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) To bitter sauces did I frame my feeding; (118.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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With Trioculus imprisoned in carbonite, the Prophets meet in Kadann's Chamber of Dark Visions to hear his new prophecy on the leadership of the Empire. Kadann spoke in quatrains, prophesying that Trioculus would never again get the blessing to be leader, the new leader is on Duro and finally about the last days of the Rebel Alliance. As the Prophets concoct a plan to retrieve Trioculus' body and destroy it, Luke, Leia and Han fly to Dagobah. The rebels began to colonize Dagobah by building a school, which Ken is to attend, and a fortress that served as the Defense Research and Planetary Assistance Center, DRAPAC.
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Rani Laxmibai portrayed as sowar However, the Indian Rebellion of 1857 accordingly found Jhansi was ripe for rebellion. In June a few men of the 12th Bengal Native Infantry seized the fort containing the treasure and magazine, and massacred the European officers of the garrison along with their wives and children on 8 June 1857."The death of Captain Skene and his wife" (4 quatrains long) by C. G. Rossetti is reprinted in an appendix to Red Year, by Michael Edwardes, 1975, as part of an appendix "The Muse and the Mutiny" (pp. 174-183) Skene was the British political officer stationed at Jhansi.
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Sonnet 115 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / Those lines that I before have writ do lie, (115.1) This sonnet contains examples of all three metrical variations typically found in literary iambic pentameter of the period. Lines 2 and 4 feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) My most full flame should afterwards burn clearer.
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This is the oldest section of the gardens, laid out in a rectangular shape and divided into four quadrangles, the "quatrains" (or quartini). Each quatrain is further divided into flowerbeds, within which the plants were originally organised along the lines of the Linneian system of classification. The design of this section has gradually changed over time to display certain specimens at the expense of others that are now gone. At the centre of this section, is the particularly evocative “cross”, the small plaza that results from the intersection of the central axis (the Viale centrale) with the tree lined avenue of palms (the Viale delle palme).
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In 1950 he published a collection of 55 haïkaïses and tankas, In morte di un Samurai, in memory of the general Hideki Tojo, executed for hanging on 23 December 1948. Maurice Delage composed a work for baritone and chamber orchestra based on Pascal's In morte di un Samurai. To Pascal a French translation – a work of philological reconstruction – of the Quatrains by Omar Khayyam is owed. The edition is mainly based on a manuscript kept at the University of Cambridge library, along with the Chester Beatty of Dublin (the codex kahyyamien by Mohammad Ali Foroughi) and two manuscripts kept at the Bibliothèque Nationale in Paris.
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Sonnet 75 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / As 'twixt a miser and his wealth is found. (75.4) The 6th line exhibits two common variations: an initial reversal and a final extrametrical syllable or feminine ending: / × × / × / × / × / (×) Doubting the filching age will steal his treasure; (75.6) :/ = ictus, a metrically strong syllabic position.
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US President John F. Kennedy compared the omnipresent threat of nuclear annihilation to a sword of Damocles hanging over the people of the world. Soviet First Secretary Nikita Khrushchev wanted the Tsar Bomba to "hang like the sword of Damocles over the imperialists' heads". Woodcut images of the sword of Damocles as an emblem appear in 16th and 17th century European books of devices, with moralizing couplets or quatrains, with the import .Some examples: ; ; A small vignette shows Damocles under a canopy of state, at the festive table, with Dionysius seated nearby; the etching, with its clear political moral, was later used to illustrate the idea.
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He wrote poems under the pseudonym "Ernesto Albin" in the magazine Soela (1963-1964) and a number of plays, including the self-directed Vive la Vida (1957) and radio play Black and White. He published several collections of quatrains, which were later collected in Een uitroep zonder uitroepteken' ("an exclamation without exclamation mark") (1987) and various other collections. In his 1982 play De Tranen van Den Uyl (English: The Tears of Den Uyl), Pos writes about the December murders. Harold Riedewald, and Eddy Hoost were not just former students of Pos during the time he was teaching at the Law School in Suriname, but also personal friends.
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Sonnet 28 is an English or Shakespearean sonnet. It consists of 14 lines arranged by the rhyme scheme to form three quatrains (lines 1–12) and a couplet (lines 13–14). The rhyme scheme is ABAB CDCD EFEF GG. It is written in iambic pentameter, a metre based on five feet in each line, with each foot containing two syllables accented weak/strong: × / × / × / × / × / But day by night and night by day oppressed, (28.4) The two lines of the couplet, and perhaps lines ten and twelve, each has a final extra syllable or feminine ending: × / × / × / × / × / (×) But day doth daily draw my sorrows longer, (28.13) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Prophéties 10:72 is one of Nostradamus' most infamous quatrains: :L'an mil neuf cens nonante neuf sept mois, :Du ciel viendra vn grand Roy d'effrayeur: :Resusciter le grand Roy d'Angolmois, :Avant que Mars regner par bonheur. Cheetham interpreted Angolmois as a cryptic anagram for "Mongols", predicting the rise (circa mid-1999) of an Antichrist—ostensibly the third such figure (after Napoleon and Hitler)—a tyrant ("king of terror") of Genghis Khan's calibre. However, other scholars have argued that this is merely a variant spelling of Angoumois, a province of western France now known as Charente, and that d'effrayeur was actually supposed to be deffraieur, i.e. one given to appeasement.
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Sonnet 119 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × /× / × / × / × / Applying fears to hopes and hopes to fears, (119.3) An unusual number of lines (5, 6, 7, 8, 10, and 12) feature a final extrametrical syllable or feminine ending, as for example: / × × / / × × / × / (×) How have mine eyes out of their spheres been fitted, (119.7) :/ = ictus, a metrically strong syllabic position.
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Sonnet 88 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter lines, which is a poetic metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter, including the first line: × / × / × / × / × / When thou shalt be disposed to set me light, (88.1) Each line of the second quatrain ends with an extra syllable known as a feminine ending: × / × / × / × / × / × That thou in losing me shalt win much glory (88.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 94 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / And husband nature's riches from expense; (94.6) The 7th line exhibits two fairly common metrical variations: an initial reversal, and a final extrametrical syllable or feminine ending: / × × / × / × / × /(×) They are the lords and owners of their faces, (94.7) :/ = ictus, a metrically strong syllabic position.
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Other frequently recurring symbols are the flower and the bee, indicating a girl and her lover, the squirrel () implying a seducer, and the water hyacinth () meaning love that will not take root. The often makes use of proverbs as well as geographical and historical allusions, for example, the following poem by Munshi Abdullah: This alludes to the foundation of Singapore in 1819 by Sir Stamford Raffles. The last line means a girl who is protected by a powerful man, and Sim suggests this may refer to Raffles's wife Olivia. Sometimes a may consist of a series of interwoven quatrains, in which case it is known as a .
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Sonnet 151 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Then, gentle cheater, urge not my amiss, (151.3) The 8th line features two common metrical variations: an initial reversal and a final extrametrical syllable or feminine ending: /× × / × / × / × / (×) Triumph in love; flesh stays no farther reason, (151.8) :/ = ictus, a metrically strong syllabic position.
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Sonnet 85 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 1st line: × / × / × / × / × / My tongue-tied Muse in manners holds her still This is followed in line 2) by a reversal of the accents in the word "richly": × / × / × / / × × / While comments of your praise richly compiled (85.1-2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Sonnet 133 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / Beshrew that heart that makes my heart to groan (133.1) Line 5 exhibits two common metrical variations: an initial reversal, and a final extrametrical syllable or feminine ending: / × × / × /× / × /(×) Me from myself thy cruel eye hath taken, (133.5) :/ = ictus, a metrically strong syllabic position.
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Sonnet 142 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 14th line exemplifies a regular iambic pentameter: × / × / × / × / × / By self-example mayst thou be denied! (142.14) The 2nd line contains three common metrical variants: an initial reversal, a mid-line reversal, and a final extrametrical syllable or feminine ending: / × × / / × × / × /(×) Hate of my sin, grounded on sinful loving: (142.2) :/ = ictus, a metrically strong syllabic position.
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Some of these later versions (and some later poems) are fragmentary, but they have astonishing intensity. He seems sometimes also to have considered the fragments, even with unfinished lines and incomplete sentence-structure, to be poems in themselves. This obsessive revising and his stand-alone fragments were once considered evidence of his mental disorder, but they were to prove very influential on later poets such as Paul Celan. In his years of madness, Hölderlin would occasionally pencil ingenuous rhymed quatrains, sometimes of a childlike beauty, which he would sign with fantastic names (most often "Scardanelli") and give fictitious dates from previous or future centuries.
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The ballad uses the kinds of rhyme, rhythm and metre commonly found in English ballads of the 13th and 14th centuries. It has from six to ten syllables per line, and no strict metrical scheme, but the rhyme scheme is throughout of ABCB quatrains. It was first published in 1765 in Bishop Thomas Percy's three volume compilation of ballads entitled Reliques of Ancient English Poetry. Many English Romantic poets, for example William Wordsworth, Samuel Taylor Coleridge and John Keats, took a great interest in Old English poetry, often going back to old ballads and rewriting them, sometimes even composing their own: Percy's Reliques were hugely influential.
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The collection is grouped into 5 sections, frequently book-ended by these longer poems, so that it has a more formally pleasing shape. The versification is also more varied; there are many more romances (octosyllabic lines with assonance in the even-numbered lines); Guillén starts to write sonnets; he introduces longer lines and also the assonantal quatrains of the longer poems. The longer poems are inevitably less abstract and impersonal but they do not show any real break with his approach to poetry. In place of the concentrated focus on one object or small group of objects, the longer poems have scope for a more comprehensive assessment of exterior reality.
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Many popular authors have retold apocryphal legends about his life. In the years since the publication of his Les Prophéties, Nostradamus has attracted many supporters, who, along with much of the popular press, credit him with having accurately predicted many major world events. Most academic sources reject the notion that Nostradamus had any genuine supernatural prophetic abilities and maintain that the associations made between world events and Nostradamus's quatrains are the result of misinterpretations or mistranslations (sometimes deliberate). These academics argue that Nostradamus's predictions are characteristically vague, meaning they could be applied to virtually anything, and are useless for determining whether their author had any real prophetic powers.
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William Wordsworth, author of "She Dwelt among the Untrodden Ways" "She dwelt among the untrodden ways" consists of three quatrains, and describes Lucy who lives in solitude near the source of the River Dove.Wordsworth knew three rivers of that name; in Derbyshire, Yorkshire and Westmorland, but each could equally be the setting for the verse. In order to convey the dignity and unaffected flowerlike naturalness of his subject, Wordsworth uses simple language, mainly words of one syllable. In the opening quatrain, he describes the isolated and untouched area where Lucy lived, while her innocence is explored in the second, during which her beauty is compared to that of a hidden flower.
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His works include ghazals, qasidas, robais (quatrains), and other types. One ornamental ode imitates a famous rhetorical piece by Salman Savaj and was judged more successful than Salman's original; but Lotf Ali Beg commented that such rhetorical devices are not the stuff of which true poetry is made. Of Ahli's masnavis an allegory on love entitled (completed in 1489) is interesting for its treatment not only of the standard suffering of the lover (moth), but also of the affection that the beloved (candle) develops for the suffering lover, only for the two to be parted by "cruel fate" through the agency of the wind.
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Igor Mironovich Guberman (, born 7 July 1936, Kharkov) is a Russian writer and poet of Jewish ancestry; since 1988 lives in Israel. His poetry has received a great deal of acclaim primarily because of his signature aphoristic and satiric quatrains that he called "gariki" in Russian (singular: "garik," which is also the diminutive form of the author's first name, Igor). (Gariki). These short poems (originally Guberman called them "Jewish Dazibao") always feature an a-b-a-b rhyme scheme, employ various poetic meters, and cover a wide range of subjects including antisemitism, immigrant life, anti-religious sentiment, and the author's love-hate relationship with Russia.
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Sonnet 121 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / 'Tis better to be vile than vile esteem'd, (121.1) Four lines (2, 4, 9, and 11) have a final extrametrical syllable or feminine ending, as for example: / × × / × / × / × /(×) Not by our feeling, but by others' seeing: (121.4) :/ = ictus, a metrically strong syllabic position.
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John Bowles' guidebook This labyrinth was so popular, not only with the King and the young Dauphin, but with the nobility and gentry who were allowed to visit the garden, that a guidebook was published, Perrault's Labyrinte de Versailles, which contained the fables, a description of the fountains and the quatrains written by the poet Isaac Benserade for each fable. It was first published in 1675, then reprinted in 1677 with engravings by Sébastien Leclerc. A third version, in which the engravings by Leclerc were illuminated by Jacques Bailly was produced soon after. The small, pocket-sized books were richly bound in red Morocco leather with stamped gilt decoration.
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In his introductory essay to his second edition of the Quatrains of the Philosopher Omar Khayyam (1922), Hedayat states that "while Khayyam believes in the transmutation and transformation of the human body, he does not believe in a separate soul; if we are lucky, our bodily particles would be used in the making of a jug of wine".Katouzian, H. (1991). Sadeq Hedayat: The life and literature of an Iranian writer (p. 138). London: I.B. Tauris He concludes that "religion has proved incapable of surmounting his inherent fears; thus Khayyam finds himself alone and insecure in a universe about which his knowledge is nil".
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The boy finds out the full truth only as an adult, after a chance conversation with Mademoiselle's grown nephew, a United Nations interpreter, who tells him the story of the governess's true origins. The poem includes several other secondary narratives, including a section in which the puzzle itself is put together. Inspired by Omar Khayyám's Rubaiyat quatrains, Merrill describes an imaginary harem-like 19th century Orientalist painting, by an alleged follower of Jean- Léon Gérôme, that begins to appear as the puzzle pieces are put together. When the puzzle is nearly done, the piece that was missing the whole time is found under the table at the boy's feet.
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In her analysis of the poem, scholar Helen Vendler, states that the opening foot of the poem is "reversed," adding more color and emphasis on the word "Hope." Dickinson implements the use of iambic meter for the duration of the poem to replicate that continuation of "Hope's song through time." Most of Dickinson's poetry contains quatrains and runs in a hymnal meter, which maintains the rhythm of alternating between four beats and three beats during each stanza. "'Hope' is the thing with feathers" is broken into three stanzas, each set alternating containing alternating lines of iambic tetrameter and iambic trimeter, totaling in twelves lines altogether.
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46 (1962), pp. 190–191. "Le Roman de vrai amour" and "Le Pleur de sainte âme" (1958), edited by Bishop's student Arthur S. Bates, presents a pair of poems, known only from a manuscript Bishop discovered twenty years earlier in Cornell University library, of "late medieval devotional verse in monorimed alexandrine quatrains [that] possess the absurd but delicate charm of decadent piety". In one chapter, Bishop "undertakes the unlikely task of finding sources and analogues for the content of the poems in the literary and mystical currents of the Middle Ages".William Ryding, untitled review of "Le Roman de vrai amour" and "Le Pleur de sainte âme", Romanic Review, vol. 50 (1959), pp. 279–280.
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"Mother's Last Word to Her Son" is a gospel blues song written by Washington Phillips (18801954) and recorded by him (vocals and zither) in 1927. The song is in strophic form, and consists of five quatrains in rhyming couplets. The mother advises her son as he leaves home to always remember Jesus. The fourth verse contains the line, "And you have a burden, He'll make them light", alluding to Christ's words in the Gospel of Matthew at 11:30: The same Biblical verse is alluded to in Phillips' song "Take Your Burden to the Lord and Leave It There", recorded on the same day; that song is a Christian hymn written in 1916 by Charles Albert Tindley.
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Aattakatha is a literary genre in Malayalam language consisting of the libretto used for the Indian classical dance drama kathakali. The word aatta- katha literally means "story for dancing and acting" (atu "to dance" + kathā "story"). The narrative framework of aattakatha consists quatrains in Sanskrit metres where the diction also is heavily Sanskritised; the dialogue part, however, is made up of padas, which can be set to raga (tune) and tala (rhythm) and have to be rendered by means of gestures and body movements by the actors while being sung by musicians from behind. The origins of aattakatha literature dates back to the 12th century and it emerged as a literary genre in the 17th century.
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The received Wuzhen pian text contains a preface dated 1075 and a postface dated 1078, both under the name Zhang Boduan. The Daozang "Daoist Canon" includes several textual editions of varying lengths. The core of the Wuzhen pian comprises 81 poems: 16 heptasyllabic lüshi 律詩 "regulated poems", 64 heptasyllabic jueju 絕句 "stopped- short line" quatrains, and one pentasyllabic verse on the Taiyi 太一 "Great Unity". Both 16 (= 2 x 8) and 64 (= 8 x 8) have numerological significance, the former denotes two equal "8 ounce" measures of Yin and Yang (alchemical allusions for mercury and lead) totaling "16 ounces" (one jin 斤 "catty"), and the latter correlates with the 64 Yijing hexagrams.
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165 One of the channels through which the fable was taken to be Aesop's was its inclusion among the hydraulic statues in the labyrinth of Versailles in 1669. These were accompanied by quatrains by Isaac de Benserade, which subsequently appeared in Les fables d'Ésope, mises en françois, avec le sens moral en quatre vers, & des figures à chaque fable (Aesop's fables in French, with a verse commentary and illustrations, 1709). Here the initial quatrain refers to the version where force is used ('The monkey looks sprightly/ but the cat doesn't take lightly/ having its paw acquired/ to pull chestnuts from the fire') while the prose telling which follows is of La Fontaine's version.
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Sonnet 42 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. Line 10 exemplifies a regular iambic pentameter: × / × / × / × / × / And losing her, my friend hath found that loss; (42.10) The first three lines may be scanned: × / × / × × / / × / That thou hast her it is not all my grief, × / × / × / × / × / (×) And yet it may be said I loved her dearly; × / × / × / × / × / That she hath thee is of my wailing chief, (42.1-3) :/ = ictus, a metrically strong syllabic position.
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It is not clear when she died. The biographer Marco Boschini dedicated some quatrains to Francesco Mantovano and inserted a woodcut derived of one his paintings in an gallery of famous Venetian painters in his La carta del navegar pitoresco, which was published in 1660. In 1661 Caldei is cited as an expert and intermediary for the sale of statues owned by the nobleman Pietro Marcello to Charles II, Duke of Mantua and Montferrat. In 1663 the painter is included in the Fifth Catalogue of painters of name who currently live in Venice which Giustiniano Martinioni added to his Venetia città nobilissima et singolare descritta in XIII libri da M. Francesco Sansovino.
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In 1880, seven undergraduates of Balliol published 40 quatrains of doggerel lampooning various members of the college under the title The Masque of B–ll––l, now better known as The Balliol Masque, in a format that came to be called the "Balliol rhyme".The Balliol College Annual Record, 2002, p. 30. The college authorities suppressed the publication fiercely. The verses were inspired by the conventions of traditional mummers' plays (at their peak of popularity in the late 19th century), in which the dialogue took the form of simple verses, and in which characters introduced themselves on first entrance with some such formula as: "Here comes I a Turkish Knight / Come from the Turkish land to fight".
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Also here: A sentence in the dialect of Tabriz (the author calls Zaban-i-Tabriz (dialect/language of Tabriz) recorded and also translated by Ibn Bazzaz Ardabili in the Safvat al-Safa:Rezazadeh Malak, Rahim. "The Azari Dialect" (Guyesh-I Azari), Anjuman Farhang Iran Bastan publishers, 1352(1973). A sentence in the dialect of Tabriz by Pir Zehtab Tabrizi addressing the Qara-qoyunlu ruler Eskandar: The word Rood for son is still used in some Iranian dialects, especially the Larestani dialect and other dialects around Fars. Four quatrains titled fahlavvviyat from Khwaja Muhammad Kojjani (died 677/1278-79); born in Kojjan or Korjan, a village near Tabriz, recorded by Abd-al-Qader Maraghi.
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Barbara Estermann discusses William Shakespeare's Sonnet 73 in relation to the beginning of the Renaissance. She argues that the speaker of Sonnet 73 is comparing himself to the universe through his transition from "the physical act of aging to his final act of dying, and then to his death". Esterman clarifies that throughout the three quatrains of Shakespeare's Sonnet 73; the speaker "demonstrates man's relationship to the cosmos and the parallel properties which ultimately reveal his humanity and his link to the universe. Shakespeare thus compares the fading of his youth through the three elements of the universe: the fading of life, the fading of the light, and the dying of the fire".
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Shakespeare satirizes the hyperbole of the allusions used by conventional poets, which even by the Elizabethan era, had become cliché, predictable, and uninspiring. This sonnet compares the poet's mistress to a number of natural beauties; each time making a point of his mistress' obvious inadequacy in such comparisons; she cannot hope to stand up to the beauties of the natural world. The first two quatrains compare the speaker's mistress to aspects of nature, such as snow or coral; each comparison ending unflatteringly for the mistress. In the final couplet, the speaker proclaims his love for his mistress by declaring that he makes no false comparisons, the implication being that other poets do precisely that.
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The pantoum is a form of poetry similar to a villanelle in that there are repeating lines throughout the poem. It is composed of a series of quatrains; the second and fourth lines of each stanza are repeated as the first and third lines of the next stanza. The pattern continues for any number of stanzas, except for the final stanza, which differs in the repeating pattern. The first and third lines of the last stanza are the second and fourth of the penultimate; the first line of the poem is the last line of the final stanza, and the third line of the first stanza is the second of the final.
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Shakespeare’s sonnets are considered a continuation of the sonnet tradition that swept through the Renaissance from Petrarch in 14th- century Italy and was finally introduced in 16th-century England by Thomas Wyatt and was given its rhyming meter and division into quatrains by Henry Howard. With few exceptions, Shakespeare’s sonnets observe the stylistic form of the English sonnet—the rhyme scheme, the 14 lines, and the meter. But Shakespeare’s sonnets introduce such significant departures of content that they seem to be rebelling against well-worn 200-year-old traditions. Instead of expressing worshipful love for an almost goddess-like yet unobtainable female love-object, as Petrarch, Dante, and Philip Sidney had done, Shakespeare introduces a young man.
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By convention, sonnets in English typically use iambic pentameter, while in the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters. Sonnets of all types often make use of a volta, or "turn," a point in the poem at which an idea is turned on its head, a question is answered (or introduced), or the subject matter is further complicated. This volta can often take the form of a "but" statement contradicting or complicating the content of the earlier lines. In the Petrarchan sonnet, the turn tends to fall around the division between the first two quatrains and the sestet, while English sonnets usually place it at or near the beginning of the closing couplet.
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Often, quatrains by Persian poets, sometimes related to the destination of the piece (allusion to wine for a goblet, for example) occur in the scroll patterns. A completely different type of design, much more rare, carries iconography very specific to Islam (Islamic zodiac, bud scales, arabesques) and seems influenced by the Ottoman world, as is evidenced by feather-edged anthemions (honeysuckle ornaments) widely used in Turkey. New styles of figures appeared, influenced by the art of the book: young, elegant cupbearers, young women with curved silhouettes, or yet cypress trees entangling their branches, reminiscent of the paintings of Reza Abbasi. Numerous types of pieces were produced: goblets, plates, long-necked bottles, spittoons, etc.
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In the form of ababcdcdefefgg, the 10 syllables per 14 lines are organized into three quatrains and within this boundaries of this short piece, Shakespeare emphasizes his common theme of unrequited love for a seemingly unattainable mistress or the "Dark Lady".[Shaughnessy, Robert. A Routledge Guide to William Shakespeare: Shakespeare's Sonnets & A Lover's Complaint. p 217] The difference between Sonnet 154 and Sonnet 153, however, lies in the fact that Sonnet 154 strays away from the Greek six-line epigram in which it was originally derived from. It is thought that Sonnet 154 is merely an extension of the idea that tortured love cannot be extinguished by "water" but only a "mistress' eyes".[Vendler.
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While "sonnet" originally referred to any short lyric, the English (or Surreyan or Shakespearean) sonnet has a definite form. The English sonnet contains three quatrains followed by a rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fourth line exemplifies a regular iambic pentameter: × / × / × / × / × / To-morrow sharpened in his former might: (56.4) The meter demands a few variant pronunciations: Line six's "even" functions as one syllable, line eight's "spirit" as one and "perpetual" as three, line nine's "interim" as two, and line thirteen's "being" as one.
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Pelegrinović's literary work is not very well known. It is certain that in 1527 he composed a miscellany of carnival songs, Jeđupka, and in 1556 he wrote an epistle addressed to the Ragusan poet Sabo Bobaljević, written in octosyllabic quatrains with a comical theme on curing old-age (Od jazavac vitno rebro, / i od hrta lijeve desni, / od komarca hrbat desni, / i sve stuci u prah dobro). However, from the preserved writings of his contemporaries (Nikola Nalješković, Mavro Vetranović, Petar Hektorović etc.) we know that Pelegrinović had written much more literary material. In 1525, the historian Vinko Pribojević mentioned Pelegrinović in his speech on the origin of Croats, when speaking of famous poets.
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The priamel, a brief, sententious kind of poem, which was in favor in Germany from the 12th to the 16th centuries, belonged to the true gnomic class, and was cultivated with particular success by Hans Rosenblut, the lyrical goldsmith of Nuremberg, in the 15th century. Gnomic literature, including Maxims I and Maxims II, is a genre of Medieval Literature in England. The gnomic spirit has occasionally been displayed by poets of a homely philosophy, such as Francis Quarles (1592–1644) in England and Gui de Pibrac (1529–1584) in France. The once- celebrated Quatrains of the latter, published in 1574, enjoyed an immense success throughout Europe; they were composed in deliberate imitation of the Greek gnomic writers of the 6th century BCE.
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Early in his career, Gotō published works dealing with issues of the Second World War as well as several books supportive of Sōka Gakkai and its controversial leader, Daisaku Ikeda. In 1969, while working as a freelance writer for various women’s magazines, his interest in Nostradamus was piqued while watching the Apollo moon landing. He recalled having read about such an event in Nostradamus’ quatrains. In 1973, he published a book named "ノストラダムスの大予言" (Nostradamus no daiyogen; "The Prophecies of Nostradamus"), which introduced Nostradamus and his prophecies to a mainstream Japanese audience. A film version was released in 1974. The Prophecies of Nostradamus His writings were described as tapping into Japan’s deep insecurity and vulnerability about living in a troubled world.
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The verses are based on a series of twenty scenes, inspired by the sights available at Wang Wei's retirement estate: each one forms the topic for a pair of one five-character quatrains, one by each of the poetic pair, first Wang Wei, then Pei Di. Besides the long- term interest in these verses, in China, this anthology has created much interest around the world, including numerous translations, especially Wang's version of "Deer Park". Several complete translations of the whole work have been done, in English . A series of "Twenty Scenes" of Wangchuan were done as a painting series. The Wangchuan poems (and related artworks) form an important part of traditional Chinese Shan shui landscape painting and Shanshui poetry development.
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Stemmatographia also contains 56 coats of arms of South Slavic and other Balkan countries with descriptive quatrains under them, regarded as the first example of modern secular Bulgarian and Serbian poetry. Stemmatographia had a crucial influence on the Bulgarian National Revival and made a great impact on the entire Bulgarian heraldry of the 19th century, when it became most influential among all generations of Bulgarian enlighteners and revolutionaries during the period of national awakening of Bulgaria and shaped the idea for a modern Bulgarian national symbol. The pattern of Bulgarian coat of arms of Stemmatographia was used as the state symbol of the royal Bulgarian administration in 1878, but set in an ermine mantle and with a prince's crown above it.
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Sonnet 11 is composed in the traditional form of what has come to be called the "Shakespearean" sonnet, also known as a "Surreyan" or "English" sonnet. The form, having evolved from the "Petrarchan" sonnet (originated in the thirteenth or fourteenth century by Italian poet Francesco Petrarch), entered the style as Shakespeare would have known it within the works of sixteenth century English poets the Earl of Surrey and Sir Thomas Wyatt. However, as it came to be the most popular sonnet form with which Shakespeare wrote his poetry, it took on his name. An English sonnet is made up of fourteen lines grouped into three quatrains and an ending couplet, with the rhyme scheme ABAB CDCD EFEF GG. Sonnet 11 exhibits this structure.
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Sonnet 26 is a typical English or Shakespearean sonnet, formed of three quatrains and a couplet, having a rhyme scheme of ABAB CDCD EFEF GG. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The seventh line exemplifies a regular iambic pentameter line. The next contains a final extrametrical syllable or feminine ending, of which this sonnet has six; it also exhibits an ictus moved to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): But that I hope some good conceit of thine In thy soul's thought, all naked, will bestow it: (26.7-8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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Cheetham cited quatrains 1:60 and 8:1 of Nostradamus' Prophéties as a cryptic reference to Napoleon Bonaparte. : : : : : : : : Whilst the uppercase letters (preserved from Nostradamus' original) may suggest a deeper meaning, sceptics will note the mutual proximity of the Aquitainian villages Pau, Nay, and Oloron (in southwestern France), which form a small triangle not about.See also Google Maps Though more esoteric interpretations have pegged this region "more fire than blood" as a future nuclear waste site, Cheetham's observation was that the capitalised letters can be arranged to spell something like "NAYPAULORON", i.e. Napoleon. Singer- songwriter and hist-rock pioneer Al Stewart also favoured this interpretation in his 1974 song "Nostradamus", wherein he deliberately pronounces and spells Bonaparte's name in a similar idiosyncratic manner.
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Since Les Propheties was published, Nostradamus has attracted an esoteric following that, along with the popularistic press, credits him with foreseeing world events. His esoteric cryptic foreseeings have in some cases been assimilated to the results of applying the alleged Bible code, as well as to other purported pseudo-prophetic works. Most reliable academic sources maintain that the associations made between world events and Nostradamus's quatrains are largely the result of misinterpretations or mistranslations (sometimes deliberate) or else are so tenuous as to render them useless as evidence of any genuine predictive power. Moreover, none of the sources listed offers any evidence that anyone has ever interpreted any of Nostradamus's pseudo-prophetic works specifically enough to allow a clear identification of any event in advance.
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Born in Philadelphia in 1867 to Isaac D. Miller and Amelia Straub, Miller was the second of four brothers.Miller Parentage He was raised in Bellefonte, Pennsylvania, and moved to New York City in 1896 to further his career as a lyricist. Miller's songs were part of Tin Pan Alley, and were sold to various TPA entertainers (for example, vaudeville entertainer Tony Pastor popularized The Cat Came Back,The Fiddler's Companion: Harry S. Miller Dan W. Quinn recorded He's Got Feathers in his Hat for the North American Phonograph Company around 1895, and Edward M. Favor popularized I'll Not Go Out with Reilly Any MoreEdward M. Favor Sound Recordings). He specialized in quatrains and often wrote using a Georgian Black dialect, though Miller was white.
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The free commune, the place that had made Dante an eminent politician and scholar, was being dismantled: the signoria was taking its place. Humanism and its spirit of empirical inquiry, however, were making progress—but the papacy (especially after Avignon) and the empire (Henry VII, the last hope of the white Guelphs, died near Siena in 1313) had lost much of their original prestige. Petrarch polished and perfected the sonnet form inherited from Giacomo da Lentini and which Dante widely used in his Vita nuova to popularise the new courtly love of the Dolce Stil Novo. The tercet benefits from Dante's terza rima (compare the Divina Commedia), the quatrains prefer the ABBA–ABBA to the ABAB–ABAB scheme of the Sicilians.
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Sonnet 87 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / And like enough thou know'st thy estimate, (87.2) However, (along with Sonnet 20) Sonnet 87 is extraordinary in Shakespeare's insistent use of final extrametrical syllables or feminine endings, which occur in all but lines 2 and 4; for example, in the first line: × / × / × / × / × / (×) Farewell! thou art too dear for my possessing, (87.1) :/ = ictus, a metrically strong syllabic position.
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Although a written literary tradition exists, Gallo is more noted for extemporised story-telling and theatrical presentations. Given Brittany's rich musical heritage, contemporary performers produce a range of music sung in Gallo (see Music of Brittany). The roots of written Gallo literature are traced back to Le Livre des Manières written in 1178 by Etienne de Fougères, a poetical text of 336 quatrains and the earliest known Romance text from Brittany, and to Le Roman d'Aquin, an anonymous 12th century chanson de geste transcribed in the 15th century but which nevertheless retains features typical of the mediaeval Romance of Brittany. In the 19th century oral literature was collected by researchers and folklorists such as Paul Sébillot, Adolphe Orain, Amand Dagnet and Georges Dottin.
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Rubaiyat of Omar Khayyam by M. V. Dhurandhar Rubáiyát of Omar Khayyám is the title that Edward FitzGerald gave to his 1859 translation from Persian to English of a selection of quatrains (') attributed to Omar Khayyam (1048–1131), dubbed "the Astronomer-Poet of Persia". Although commercially unsuccessful at first, FitzGerald's work was popularised from 1861 onward by Whitley Stokes, and the work came to be greatly admired by the Pre-Raphaelites in England. FitzGerald had a third edition printed in 1872, which increased interest in the work in the United States. By the 1880s, the book was extremely popular throughout the English-speaking world, to the extent that numerous "Omar Khayyam clubs" were formed and there was a "fin de siècle cult of the Rubaiyat".
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The panels flanking the iwan contain Persian quatrains written by the calligraphist Muhammad Ali, who was a disciple of the Sufi saint Mian Mir. The panel on the right of the iwan reads: While the panel to the left of the iwan reads: Entry to through the small portal leads into a covered octagonal chamber which lies in the centre of the mosque's "Calligrapher's Bazaar." The octagonal chamber lies in the centre of what is the first example of the Central Asian charsu bazaar concept, or four-axis bazaar, to be introduced into South Asia. Two of the four axes are aligned as the Calligrapher's Bazaar, while the other two align in a straight line from the mosque's entry portal, to the centre of the main prayer hall.
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Among the Juvenile Songs rewritten and set to music by Fanny E. Lacy (Boston 1852) was a six-stanza version of Jack and Jill. Having related their climb and fall from the hill, the rest of the poem is devoted to a warning against social climbing: "By this we see that folks should be/ Contented with their station,/ And never try to look so high/ Above their situation."A copy at Johns Hopkins University There is a similar tendency to moral instruction in the three "chapters" of Jack and Jill, for old and young by Lawrence Augustus Gobright (1816-1879), published in Philadelphia in 1873. There the pair have grown up to be a devoted and industrious married couple; the fall is circumstantially explained and the cure afterwards drawn out over many, many quatrains.
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Some of the best-known and loved abecedarians have been written for children, such as Dr. Seuss's ABC or the roughly half-dozen alphabet books of Edward Gorey, the most notorious among them The Gashlycrumb Tinies. However, even the most experimental authors of the twentieth century have authored children's or quasi-children abecedarians. Written in an attempt to compose "a birthday book [she] would have liked as a child", To Do: A Book of Alphabets and Birthdays, Gertrude Stein's intended follow-up to her first children's book, The World Is Round, has been described as "a romp through the alphabet" and an "unusual alphabet book". Also, Djuna Barnes' last book, Creatures in an Alphabet is a collection of rhyming quatrains about different animals, ordered, albeit loosely, in an alphabet sequence.
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Handwritten draft of Donne's Sonnet XIV, "Batter my heart, three-person'd God", likely in the hand of Donne's friend, Rowland Woodward, from the Westmoreland manuscript (circa 1620) The Holy Sonnets—also known as the Divine Meditations or Divine Sonnets—are a series of nineteen poems by the English poet John Donne (1572–1631). The sonnets were first published in 1633—two years after Donne's death. They are written predominantly in the style and form prescribed by Renaissance Italian poet Petrarch (or Francesco Petrarca) (1304–1374) in which the sonnet consisted of two quatrains (four-line stanzas) and a sestet (a six-line stanza). However, several rhythmic and structural patterns as well as the inclusion of couplets are elements influenced by the sonnet form developed by English poet and playwright William Shakespeare (1564–1616).
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The third component of the text is the Pāṇṭikkōvai, a work containing a series of related akam poems about the seventh century Pandiyan king, Nedumaran. Nakkiranar's commentary uses a number of verses from this poem to illustrate points he makes concerning the poetics of Tamil akam poetry - of the 379 quotations in the commentary, all but 50 are from the Pāṇṭikkōvai. The Pāṇṭikkōvai is believed to have had 400 quatrains in its original form, 329 of which are preserved in Nakkiranar's commentary. The author of the Pāṇṭikkōvai is unknown; however, the poem is interesting in itself as one of the earliest literary works written in the form of a kōvai - a series of interlinked poems which became one of the mainstays of akam poetry in mediaeval Tamil literature.
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But God, how deadly dull to sample sickroom attendance night and day and never stir a foot away! And the sly baseness, fit to throttle, of entertaining the half-dead: one smoothes the pillows down in bed, and glumly serves the medicine bottle, and sighs, and asks oneself all through: "When will the devil come for you?" Like the Shakespearean sonnet, the Onegin stanza may be divided into three quatrains and a closing couplet, although there are normally no line 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 may introduce a strong thematic break after line 6, which is not feasible in Petrarchan or Shakespearian sonnets.
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The first of his works to attract wide attention was Rubáiyát (nine quatrains by Omar Khayyám in Edward FitzGerald's English translation, 1948; for chorus with soprano and tenor solos, 2 pianos and percussion), awarded the prestigious Music Prize of the City of Amsterdam in 1948. This unexpected success was soon to be confirmed by two First Prizes, awarded by the Northern California Harpists' Association, in 1953 for his Harp Concerto (1951/52), and in 1956 for Impromptu for harp solo (1955) . Van Delden was committed to the musical community, borne out by his readiness to hold several administrative posts, including the presidency of the Society of Dutch Composers (GeNeCo) and the chairmanship of the Dutch Performing Right Organisation (Buma/Stemra). He sat on the Board of the International Society for Contemporary Music (I.
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Sonnet 141 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Who leaves unsway'd the likeness of a man, (141.11) Line 5 (potentially) exhibits all three of iambic pentameter's most common metrical variants: an initial reversal, the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic), and a final extrametrical syllable or feminine ending: / × × / × × / / × / (×) Nor are mine ears with thy tongue's tune delighted; (141.5) :/ = ictus, a metrically strong syllabic position.
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In 1751, Thomas Gray published "Elegy Written in a Country Churchyard", composed in the heroic stanza. Written in iambic pentameter, the poem followed the same metrical and structural patterns seen in Annus Mirabilis, but the use of the poetic form in an elegy gave it the title of the "elegiac decasyllabic quatrain". Other writers of Gray's time also wrote heroic stanzas about topics similar to those in Elegy, such as Thomas Warton in Pleasures of Melancholy and William Collins in Ode to Evening. While the topic chosen for these quatrains appealed to the novel literary devices of Gray's period with emphasis on melancholy and by taking place in the evening, Gray's contemporaries did not believe that the heroic quatrain, which was commonly used in the era, was dramatically changed or altered in the poems.
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Inglis' parents were practicing Protestants, and they left their home in France during the Protestant persecutions, which makes it likely that Inglis was raised Protestant as well. Inglis and her husband were known to be supporters of the Protestant religion. Many of Inglis's books were even given as gifts to members of the Protestant community around Elizabeth I and James VI. Out of around sixty different manuscripts that have been identified as the work of Inglis, most are copies of Protestant religious texts. These manuscripts included psalms from the Geneva Bible, as well as other versions of the bible, verses from the Proverbs and Ecclesiastes, and the Quatrains of Guy Du Faur, Seigneur de Pibrac, and Octonairs of Antoine de la Roche Chandieu, two renowned French sixteenth-century religious writers.
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There is no scholarly consensus regarding the structure of Holy Sonnet XIV; different critics refer to particular parts of this poem either as an octave and a sestet (following the style of the Petrarchan sonnet, with a prominent example being Robert H. Ray's argumentRay 2014, pp. 46-8.), three quatrains and a couplet (the division established by the English sonnet, an example being an article by Purificación RibesRibes 1996, pp. 164-8 .), or decide to avoid definite pronouncements on this issue by referring to line numbers only (seen in James Winny’s A Preface to DonneWinny 2014). This supposed difficulty has been circumvented here, with critics dividing the poem as they see fit in their readings, although there are instances where the style of this poem is addressed directly (especially when it comes to the imagery of the poem).
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It was followed in 1947 by the second volume of 15 fables célèbres racontées en argot (famous fables in slang) by 'Marcus', in which Le Chêne et le Roseau was included. While this keeps fairly closely to La Fontaine's text, Pierre Perret's 1990 rap version is a looser adaptation of the fable into a series of quatrains with a refrain in between.Pierre Perret discography The mighty oak 'stacked like the Himalayas' talks down to the reed in its marsh where 'up there the winds whizz and down 'ere's rheumatiz' (En haut t'as le mistral en bas les rhumatismes) but his pity is rejected and the fate soon to overtake him foretold. Cartoons were eventually made of these versions and released on DVD under the title The Geometric Fables; "The oak and the reed" appeared in volume 3 of the series (Les Chiffres, 1991).
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Most of the poems are single couplets or quatrains, although some are longer. Some of the stories commonly associated with the Arabian Nights—particularly "Aladdin's Wonderful Lamp" and "Ali Baba and the Forty Thieves"—were not part of the collection in its original Arabic versions but were added to the collection by Antoine Galland after he heard them from the Maronite Christian storyteller Hanna Diab on Diab's visit to Paris.John Payne, Alaeddin and the Enchanted Lamp and Other Stories, (London 1901) gives details of Galland's encounter with 'Hanna' in 1709 and of the discovery in the Bibliothèque Nationale, Paris of two Arabic manuscripts containing Aladdin and two more of the added tales. Text of "Alaeddin and the enchanted lamp" Other stories, such as "The Seven Voyages of Sinbad the Sailor", had an independent existence before being added to the collection.
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Sonnet 25 is an English or Shakespearean sonnet, formed of three quatrains and a final couplet in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And all the rest forgot for which he toil'd: (25.12) :/ = ictus, a metrically strong syllabic position. × = nonictus. The 10th line begins with a common metrical variant, the initial reversal: / × × / × / × / × / After a thousand victories once foil'd, (25.10) The 6th line also has a potential initial reversal, as well as the rightward movement of the fourth ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × / × × / / But as the marigold at the sun's eye, (25.6) Potential initial reversals also occur in lines 1 and 11, with line 8 potentially exhibiting both an initial and midline reversal.
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Sonnet 30 follows (as do almost all of the 154 sonnets of Shakespeare's collection) the Shakespearean Sonnet form, based on the 'English' or 'Surreyan' sonnet. These sonnets are made up of fourteen lines in three quatrains and a couplet, with the rhyme scheme ABAB CDCD EFEF GG. While using the rhyming and metrical structure of the 'English' or 'Surreyan' sonnet, Shakespeare often also reflected the rhetorical form of the Italian form also known as the Petrarchan sonnet. It divides the sonnet into two parts: the octet (the first eight lines) usually states and develops the subject, while the sestet (the last six lines) winds up to a climax. Thus a change in emphasis, known as the volta, occurs between the end of the eighth and the beginning of the ninth lines — between the octet and sestet.
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Sufism developed in all Muslim lands, but its literary expression reached its zenith in the countries located within the sphere of Persian cultural influence. As a counterpoise to the rigidity of formal Islamic theology and law, mysticism sought to approach the divine through acts of devotion and love rather than through mere rituals and observance. Love of God being the focus of the Sufis' religious sentiments, it was only natural for them to express it in lyrical terms, and Persian mystics, often of exceptional sensibility and endowed with poetic verve, did not hesitate to do so. The famous 11th-century Sufi, Abu Sa'id of Mehna frequently used his own love quatrains (as well as others) to express his spiritual yearnings, and with mystic poets such as Attar and Iraqi, mysticism became a legitimate, even fashionable subject of lyric poems among the Persianate societies.
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The repeated mannerisms, lilting style and generally black humour of Housman's collection have made it an easy target for parody. The first to set the fashion was Housman himself in "Terence, this is stupid stuff" (LXII) with its humorously voiced criticism of the effect of his writing and the wry justification of his stance in the tale of Mithridates.Mihail Evans, "Housman's Spectral Shropshire", Victorian Literature and Culture 43, Cambridge University Press 2015, pp. 858–9 He was followed early in the new century by Ezra Pound, whose "Mr Housman's Message" appeared in his collection Canzoni (1911). A poem of three stanzas, it begins with a glum acknowledgement of mortality: In the same year Rupert Brooke sent a parody of twelve quatrains to The Westminster Gazette (13 May 1911), written on learning of Housman's appointment as Kennedy Professor of Latin at Cambridge University.
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Sonnet 99 is one of only three irregular sonnets in Shakespeare's sequence (the others being Sonnet 126 which structurally is not a sonnet at all but rather a poem of six pentameter couplets, and Sonnet 145 which has the typical rhyme scheme but is written in iambic tetrameter). Whereas a typical English or Shakespearean sonnet has three quatrains, followed by a final rhyming couplet, with the rhyme scheme ABAB CDCD EFEF GG, this sonnet begins with a quintain yielding the rhyme scheme ABABA CDCD EFEF GG. Like the other sonnets (except Sonnet 145) it is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / The roses fearfully on thorns did stand, (99.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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As argued by Finkenthal, this change was prompted by his separation from Valentina: "From now on, the poet finds himself locked in a world where things happen, things change, where there is no longer room for any refuge into love or wisdom." Michäel Finkenthal, "Sesto Pals în anul de grație 1958 (II)", in Apostrof, Nr. 12/2006 According to Voncu, there was another cultural layer: like Gellu Naum and other late arrivals on the avant-garde scene, Pals was moving away from the sheer negativity of Alge, and attempting to construct instead a post-philosophical surrealism. Cernat sees Pals' surrealism as having "a familiar face", with classical-format quatrains like those of Tristan Tzara, H. Bonciu, and Jacques Prévert. Some of Pals' poems, tentatively dated to 1958, seemingly allude to Valentina's arrest by the communists and the whole wave of political repression.
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The scenes below which the verses appear are also quite different from each other. Calvert’s view is across the river from the opposite bank of the Wye,National Library of Wales while the Rock print is close up to the ruins with the river in the background.Rare Old Prints, Publisher's Ref: 1105 South Window, a print by Frederick Calvert, 1815 Tintern is not specifically named in the verses mentioned above, although it is in two other sets and their poetic form overall is consistent: paired quatrains with pentameter lines rhymed alternately. One set begins "Yes, sacred Tintern, since thy earliest age," and King Henry is again represented as being foiled in his intention, but this time by no "earthly king". The Abbey’s roof is now "of Heaven’s all glorious blue" and its pillars "foliaged… in vivid hue".
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The most significant merit of Nozhat al-Majales, as regards to the history of Persian literature, is that it embraces the works of some 115 poets from the northwestern Iran and Eastern Transcaucasia (Arran, Sharvan, Azerbaijan; including 24 poets from Ganja alone), where, due to the change of language, the heritage of Persian literature in that region has almost entirely vanished. The fact that numerous quatrains of some poets from the region (e.g. Aziz Shirwani, Shams Sojasi, Amir Najib al-Din Omar of Ganjda, Kamal Maraghi, Borhan Ganjai, Eliyas Ganjai, Bakhtiar Shirwani) are mentioned in a series shows that the editor possessed their collected works. Unlike other parts of Persia, were the poets were attached to courts, or belonged to higher ranks of society such as scholars, bureaucrats, and secretaries, a good number of poets from the Eastern Transcaucasian regions rose among working-class people.
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Flesch, Companion to British Poetry, 19th Century, 98 and yet he generally shared Horace's penchant for quatrains, being readily adapted to his own elegiac and melancholy strain.S. Harrison, The nineteenth and twentieth centuries, 339 The most famous poem of Ernest Dowson took its title and its heroine's name from a line of Odes 4.1, Non sum qualis eram bonae sub regno Cynarae, as well as its motif of nostalgia for a former flame. Kipling wrote a famous parody of the Odes, satirising their stylistic idiosyncrasies and especially the extraordinary syntax, but he also used Horace's Roman patriotism as a focus for British imperialism, as in the story Regulus in the school collection Stalky & Co., which he based on Odes 3.5.S. Medcalfe, Kipling's Horace, 217–39 Wilfred Owen's famous poem, quoted above, incorporated Horatian text to question patriotism while ignoring the rules of Latin scansion.
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In 1667, around the same time his dramatic career began, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It was a modern epic in pentameter quatrains that established him as the preeminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and historiographer royal (1670). When the Great Plague of London closed the theatres in 1665, Dryden retreated to Wiltshire where he wrote Of Dramatick Poesie (1668), arguably the best of his unsystematic prefaces and essays. Dryden constantly defended his own literary practice, and Of Dramatick Poesie, the longest of his critical works, takes the form of a dialogue in which four characters—each based on a prominent contemporary, with Dryden himself as 'Neander'—debate the merits of classical, French and English drama.
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Occurring after much metrical tension throughout the quatrains, the couplet exhibits a quite regular iambic pentameter pattern: × / × / × / × / × / But if the while I think on thee, dear friend, × / × / × / × / × / All losses are restored and sorrows end. (30.13-14) :/ = ictus, a metrically strong syllabic position. × = nonictus. The first line is a frequent target for metrists, possibly because of the ease with which the initial triple rhythm can be carried right through the line, producing this unmetrical reading: / × × / × × / × × / When to the sessions of sweet silent thought (30.1) Differences in scansion, however, tend to be conditioned more by metrists' theoretical preconceptions than by differences in how they hear the line. Most interpretations start with the assumption that the syllables in the sequence "-ions of sweet si-" increase in stress or emphasis thus: 1 2 3 4 When to the sessions of sweet silent thought :1 = least stress or emphasis, and 4 = most.
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Sonnet 29 follows the same basic structure as Shakespeare's other sonnets, containing fourteen lines and written in iambic pentameter, and composed of three rhyming quatrains with a rhyming couplet at the end. It follows the traditional English rhyme scheme of abab cdcd efef gg — though in this sonnet the b and f rhymes happen to be identical. As noted by Bernhard Frank, Sonnet 29 includes two distinct sections with the Speaker explaining his current depressed state of mind in the first octave and then conjuring what appears to be a happier image in the last sestet.Bernhard Frank, "Shakespeare's 'SONNET 29'", The Explicator Volume 64 No. 3 (2006): p. 136-137. Murdo William McRae notes two characteristics of the internal structure of Sonnet 29 he believes distinguish it from any of Shakespeare's other sonnets.Murdo William McRae, "Shakespeare's Sonnet 29", The Explicator Volume 46 (1987): p.
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Illustration for the cover of Christina Rossetti's Goblin Market and Other Poems (1862), by her brother Dante Gabriel Rossetti Goblin Market and Other Poems is Christina Rossetti's first volume of poetry, published by Macmillan in 1862. It contains her famous poem "Goblin Market" and others such as "Up- hill", "The Convent Threshold", and "Maude Clare." It also includes the poem 'In the Round Tower at Jhansi, 8 June 1857', in which a British army officer takes his wife's life and his own so that they do not have to face a horrific and dishonourable death at the hands of the rebelling sepoys, commemorating the Jhokan Bagh massacre at Jhansi."The death of Captain Skene and his wife" (4 quatrains long) by C. G. Rossetti is reprinted in an appendix to Red Year, by Michael Edwardes, 1975, as part of an appendix "The Muse and the Mutiny" (pp.
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Several poetry collections by Udalrico Zambrana have been published, comprising mostly formal verse written in rhymed quatrains in a style reminiscent of sung folk music associated with eastern Bolivia, in particular the taquirari. A notable feature of Zambrana's writing is the incorporation of linguistic elements associated with the Spanish of lowland Bolivia, and more particularly with Spanish as traditionally spoken in Santa Cruz. His poems often make use of, for example, regionally restricted terms for natural features and distinctive elements of local culture; instances of eye dialect indicating that the speaker is to be read as pronouncing words in a manner characteristic of residents of Santa Cruz, such as replacement of standard Spanish ~~with word-finally; and words formed from application of distinctively eastern Bolivian suffixes such as diminutive -ingo/-inga. Representative poetry collections include El romancero, A mi Santa Cruz, En mi tranquera, and En Portachuelo.
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Murchadh, son of Diarmaid, son of Mael-na-mbo, lord of the foreigners and of Leinster, under his father, died at Ath-cliath, precisely on Sunday, the festival of Mary, in winter. It was in lamentation of him the poet composed these quatrains: :There is grief for a chief king at Ath Cliath, :Which will not be exceeded till the terrible Judgment Day; :Empty is the fortress without the descendant of Duach, :Quickly was the vigour of its heroes cut down. :Sorrowful every party in the fortress :For their chief, against whom no army prevailed; :Since the body of the king was hidden from all, :Every evil has showered ever constant. :For Murchadh, son of Diarmaid the impetuous, :Many a fervent prayer is offered; :In sorrow for the death of the chief is every host :That was wont to defeat in the battle, :Great the sorrow that he was not everlasting; :Pity that death hath attacked him.
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In August 1996 Andie Rathbone joined, a well known drummer in Chester who had been playing regularly with several bands including DNA Cowboys, The Wandering Quatrains and Jonti. Having auditioned several drummers without success, the band took a break at a local pub where "there was the best rock drummer we'd ever seen, playing with this really dodgy band", but the drummer, who was also working as an Audi car salesman at the time, initially rejected the bands pleas to join the band, as he thought the band played "Britpop shite". He changed his mind after King played him a demo of one of the band's latest songs, "Wide Open Space". Rathbone's first gig with the band was performing "Stripper Vicar" live on TFI Friday, having missed the previous nights gig in Brighton due to getting a train to Bristol Temple Meads by mistake and having to check the gig guide in the NME to find out where the gig was.
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It is said that Donne's sonnets were heavily influenced by his connections to the Jesuits through his uncle Jasper Heywood, and from the works of the founder of the Jesuit Order, Ignatius Loyola.Martz, Louis L. The Poetry of Meditation: A Study in English Religious Literature of the 17th Century (New Haven: Yale University Press, 1954), 107–112, 221–235; and "John Donne in Meditation: The Anniversaries," English Literary History 14(4) (December 1947), 248–62. Donne chose the sonnet because the form can be divided into three parts (two quatrains, one sestet) similar to the form of meditation or spiritual exercise described by Loyola in which (1) the penitent conjures up the scene of meditation before him (2) the penitent analyses, seeking to glean and then embrace whatever truths it may contain; and (3) after analysis, the penitent is ready to address God in a form of petition or resign himself to divine will that the meditation reveals.Capps, Donald.
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In some later Toby Twirl stories, Hodgetts uses prose for the narrative, but most of her Toby Twirl stories rely on quatrains. By 1946, Alfred Bestall had been creating fresh Rupert stories for ten years, to some extent continuing Tourtel's version of Rupert, but on advice from the Daily Express (Bott quotes Bestall recalling that Tourtel's husband, “H.B. Tourtel … had been a restraining factor over Mary’s tendency towards the horrific”, that is, “the brothers Grimm”: Bott p 72) Bestall deliberately moderated some of Tourtel's more gothic extremes. Bestall's Rupert stories contain, for example, no witches, and none of the ogres and wicked monsters that Tourtel often thrust at Rupert, as though a world of Grimms’ fairy tales loomed in the heart of the dark forest, or behind a high stone wall, or at the end of a long and lonely road. But here, with Hodgetts’ first story about Toby Twirl we return to Tourtel's medieval Grimms’-like milieu of dark magic.
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Taken together, they are known to have contained at least 6,338 prophecies, as well as at least eleven annual calendars, all of them starting on 1 January and not, as is sometimes supposed, in March. It was mainly in response to the almanacs that the nobility and other prominent persons from far away soon started asking for horoscopes and "psychic" advice from him, though he generally expected his clients to supply the birth charts on which these would be based, rather than calculating them himself as a professional astrologer would have done. When obliged to attempt this himself on the basis of the published tables of the day, he frequently made errors and failed to adjust the figures for his clients' place or time of birth. He then began his project of writing a book of one thousand mainly French quatrains, which constitute the largely undated prophecies for which he is most famous today.
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Skeptics such as James Randi suggest that his reputation as a prophet is largely manufactured by modern-day supporters who fit his words to events that have either already occurred or are so imminent as to be inevitable, a process sometimes known as "retroactive clairvoyance" (postdiction). No Nostradamus quatrain is known to have been interpreted as predicting a specific event before it occurred, other than in vague, general terms that could equally apply to any number of other events. This even applies to quatrains that contain specific dates, such as III.77, which predicts "in 1727, in October, the king of Persia [shall be] captured by those of Egypt"—a prophecy that has, as ever, been interpreted retrospectively in the light of later events, in this case as though it presaged the known peace treaty between the Ottoman Empire and Persia of that year;See, for example, Cheetham, Erika, The Final Prophecies of Nostradamus, Futura, 1990, pp.
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Classical Chinese poetic metric may be divided into fixed and variable length line types, although the actual scansion of the metre is complicated by various factors, including linguistic changes and variations encountered in dealing with a tradition extending over a geographically extensive regional area for a continuous time period of over some two-and-a-half millennia. Beginning with the earlier recorded forms: the Classic of Poetry tends toward couplets of four-character lines, grouped in rhymed quatrains; and, the Chuci follows this to some extent, but moves toward variations in line length. Han Dynasty poetry tended towards the variable line-length forms of the folk ballads and the Music Bureau yuefu. Jian'an poetry, Six Dynasties poetry, and Tang Dynasty poetry tend towards a poetic metre based on fixed-length lines of five, seven, (or, more rarely six) characters/verbal units tended to predominate, generally in couplet/quatrain- based forms, of various total verse lengths.
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Commonly known as the Lin Family Garden, The Lai Garden, along with the Wu Garden in Tainan, the Beiguo Garden in Hsinchu (新竹北郭園), and the Lin Family Mansion and Garden in Banqiao, are collectively known as The Four Great Gardens of Taiwan (台灣四大名園). In 1893, Lin Wenqin, having passed the County Examination, constructed Laiyuan on the foothills of Wufeng, and offered performances for the diversion of his mother, Madame Luo (羅太夫人). The name of the gardens derives from the story of the filial Old Master Lai (老萊子), who even after reaching 70 years of age, would still dress in gaudy clothing and entertain his elderly parents (彩衣娛親). Liang Qichao, during his 1911 stay in Taiwan, composed 20 poems extolling the scenery at Laiyuan, which would late become known as "Twenty Quatrains on Historic Laiyuan" (萊園名勝十二絕句).
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His agile imagination transformed that drab old country into beautiful landscapes." Aestheticism is addressed in the story "Queen of the Black Coast" when Conan expresses his personal philosophy of life: This echoes the Rubaiyat of Omar Khayyam, which was one of Howard's favourite works of poetry (describing it as one of the most powerful pieces of literature), and one of its most famous quatrains: Howard's unique addition to Khayyám's vision of paradise is "the mad exultation of battle", or violent action as an ideal equal to food, drink and romantic company (see Hate and violence). Scepticism regarding human rationality and achievement is clear in a letter Howard wrote to his friend Tevis Clyde Smith on August 28, 1925: "There is so much of the true and false in all things. Sometimes I believe that the whole is a monstrous joke and human accomplishment and human knowledge, gathered slowly and with incredible labor through the ages, are but shifting, drifting wraiths on the sands of Time, the sands that shall some day devour me.
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O'Curry, O'Longan, and O'Beirne catalogued a little more than half the manuscripts in the Academy, and the catalogue filled thirteen volumes containing 3448 pages; to these an alphabetic index of the pieces contained was made in three volumes, and an index of the principal names, in addition to some other material in thirteen volumes more. From an examination of these books one may roughly calculate that the pieces catalogued would number about eight or ten thousand, varying from long epic sagas to single quatrains or stanzas, and yet there remains a great deal more to be indexed, a work which after a delay of very many years is happily now at last in process of accomplishment. The Library of Trinity College, Dublin, also contains a great number of valuable manuscripts of all ages, many of them vellums, probably about 160. The British Museum, the Bodleian Library at Oxford University, the Advocates Library in Edinburgh, and the Bibliothèque Royale in Brussels are all repositories of a large number of valuable manuscripts.
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17th verse of A solis as charm against bleeding in prayerbook from Kingdom of Mercia, late 8C-early 9C, Royal MS 8 A XX, British Library A solis ortus cardine... is a Latin hymn, written in the first half of the fifth century by the early Christian poet Sedulius. The abecedarius recounts in 23 quatrains of iambic dimeter the nativity, miracles and passion of Christ. With the other Latin texts of Sedulius, it enjoyed wide circulation in the church and in schools from late antiquity and medieval times until the end of the seventeenth century. The opening words are cited by Bede in his De Arte Metrica and were used without reference by medieval poets; and the seventeenth verse Rivos cruoris torridi, describing Christ's miraculous healing of the bleeding woman, was even proffered as a medieval charm against bleeding. Early Tudor faburden of 2nd verse of A solis ortus cardine The first seven verses, with a doxology verse by a different writer, were used from the early Middle Ages onwards as a Christmas hymn.
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His angst is felt in the poem "Preveza" () which he wrote shortly before his suicide. The poem displays an insistent, lilting anaphora on the word Death, which stands at the beginning of several lines and sentences. It is shot through with a pungent awareness of the gallows, in the tiny mediocrity of life as Karyotakis felt it, mortality is measured against insignificant, black, pecking birds, or the town policeman checking a disputed weight, or identified with futile street names (boasting the date of battles), or the brass band on Sunday, a trifling sum of cash in a bank book, the flowers on a balcony, a teacher reading his newspaper, the prefect coming in by ferry: "If only," mutters the last of these six symmetrical quatrains, "one of those men would fall dead out of disgust".{{Citation needed} On 19 July 1928, Karyotakis went to Monolithi beach and kept trying to drown in the sea for ten hours, but failed in his attempt, because he was an avid swimmer as he himself wrote in his suicide note.
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Statue in memory of Pierre Goudouli in Toulouse His masterpiece is The Ramelet Moundi, which can be translated as The Toulouse Bouquet, but which is a title with multiple meanings: the Ramelet is also '"the branch, the twig", and "Moundi" is a play on words with Moundi = Raymond, the forename of the Counts of Toulouse, but also "the world", even "my God", and also "mon dire"="that which I say". The publication of this eclectic collection written in Occitan was from 1617 to 1648. It contains odes, stanzas (of which A l'hurouso memorio d'Henric le Gran, or To the happy memory of Henry the Great, written in honour of King Henry IV of France, sonnets, quatrains and others (carnivalesque prose, drinking songs, Christmas carols etc.) He also wrote carnivals. Emulating a school of local poetry close to the Baroque æsthetics of Théophile de Viau, of the writing of Mathurin Regnier and of the epicurean spirit of Michel de Montaigne, a well known poet of the 17th century, Godolin saw his works regularly published (20 editions in the 17th century.
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In his preface to the Prophecies, Nostradamus himself stated that his prophecies extend 'from now to the year 3797'—an extraordinary date which, given that the preface was written in 1555, may have more than a little to do with the fact that 2242 (3797–1555) had recently been proposed by his major astrological source Richard Roussat as a possible date for the end of the world.Roussat, R., Livre de l'etat et mutations des temps, Lyon, 1550, p. 95; Brinette, B, Richard Roussat: Livre de l'etat et mutations des temps, introduction et traductions, 1550 (undated dossier) Additionally, scholars have pointed out that almost all English translations of Nostradamus's quatrains are of extremely poor quality, seem to display little or no knowledge of 16th-century French, are tendentious, and are sometimes intentionally altered in order to make them fit whatever events the translator believed they were supposed to refer (or vice versa). None of them were based on the original editions: Roberts had based his writings on that of 1672, Cheetham and Hogue on the posthumous edition of 1568.
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English has (proportionally) far fewer rhyming words than Italian. Recognizing this, Shakespeare adapted the sonnet form to English by creating an alternate rhyme scheme: ABAB CDCD EFEF GG. The poet using this, the English sonnet or Shakespearean sonnet form, may use the fourteen lines as single unit of thought (as in "The Silken Tent" above), or treat the groups of four rhyming lines (the quatrains) as organizational units, as in Shakespeare's Sonnet 73: :That time of year thou mayst in me behold :When yellow leaves, or none, or few do hang :Upon those boughs which shake against the cold :Bare ruined choirs where late the sweet birds sang. :In me thou seest the twilight of such day :As after sunset fadeth in the west, :Which by and by black night doth steal away, :Death's second self, which seals up all in rest. :In me thou seest the glowing of such fire :That on the ashes of his youth doth lie, :As the deathbed whereon it must expire, :Consumed with that which it was nourished by.
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A bust based on the design by Edward Hodges Baily RA at the site of Bewick's workshop in St Nicholas churchyard Poetical tributes came to Bewick even during his lifetime. William Wordsworth began his anecdotal poem “The Two Thieves”, composed in 1798, with the line “O now that the genius of Bewick were mine”, in which case he would give up writing, he declared.Lyrical Ballads, Gutenberg In 1823, Bewick's friend the Reverend J. F. M. Dovaston dedicated a sonnet to him with the lines ::Xylographer I name thee, Bewick, taught By thy wood-Art, that from rock, flood, and tree Home to our hearths, all lively, light and free In suited scene each living thing has brought As life elastic, animate with thought.Poems, legendary, incidental and humorous (Shrewsbury 1825), Google Books Four years after his death, his sixteen-year-old admirer Charlotte Brontë wrote a poem of 20 quatrains titled “Lines on the celebrated Bewick” which describe the various scenes she comes across while leafing through the books illustrated by him.
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The poet's major stylistic change in his shift towards free verse roughly within a decade that included much of the 1960s, combined with the other changes in his life -- his move from England to America, from academic Cambridge to bohemian San Francisco, his becoming openly gay, his drug-taking, his writing about the "urban underbelly" -- caused many to conjecture how his lifestyle was affecting his work. "British reviewers who opposed Gunn's technical shifts blamed California, just as American critics would, later on, connect his adventurous lifestyle with his more 'relaxed' versification," according to Orr, who added that even as of 2009, critics were contrasting "Gunn's libido with his tight metrics -- as if no one had ever written quatrains about having sex before". In Gunn's next book, Jack Straw's Castle (1976), the dream modulates into nightmare, related partly to his actual anxiety-dreams about moving house, and partly to the changing American political climate. "But my life," he wrote, "insists on continuities -- between America and England, between free verse and metre, between vision and everyday consciousness." The Passages of Joy reaffirmed those continuities: it contains sequences about London in 1964–65 and about time spent in New York in 1970.
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The second is the story of another urban ruffian, and good friend of The Bloke, who enlists in the Australian Army, and dies in the early battles at Gallipoli in 1915. The American author, poet, dramatist, screenwriter and suffragist and feminist, Alice Duer Miller published her verse novel, Forsaking All Others (1935), about a tragic love affair, and had a surprising hit with her verse novel, The White Cliffs (1940: later dramatised and filmed, but retaining and expanding the poems as voice-over narration, as The White Cliffs of Dover (1944). This told the story of a young American woman who goes to England in mid-1914, for a fortnight, falls in love with an American aristocrat, and marries him: he is killed in the last days of the First World War in 1918, and when World War II breaks out in 1939, she must decide whether or not to let her son join the army to fight for England. The story helped sway American sentiment towards helping the British, and was a best-seller. Miller’s poem-chapters were mainly traditional couplets, quatrains, and sonnets.
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