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It is unlikely that Borges handed this text to Piazzolla to set as a milonga since it is not in octosyllable verse.
The isometrical poems, reflecting the classical tradition, are composed for the most part of alexandrines (almost 90% of the total lines found in isometrical contexts are alexandrines); decasyllables and octosyllables, the favored rococo line types, make up the remaining isometrical poems (Nell-Boelsche 303-04).
Birge Vitz's suggestion that Chretien de Troyes was perhaps not a clerc and thus neglected the equally important remarks on the link leading from the octosyllable to performance via orality.
In the Middle Ages, octosyllables were the standard form for didactic, narrative, and epistolary verse in Occitan, as in French.
Paradoxically, this perception is momentarily reinforced by an entirely theatrical effect, noted in the minimal stage directions: "Le ciel souvre avec des flammes, et une voix sentend" (The sky opens with flames, and a voice is heard; 2.4.56)--a voice that speaks to the actor in octosyllables. Presumably, this is the same stage sky that Genest in his role as stage manager had indicated when he told the set designer to create a more natural lighting effect, and the voice could, as Genest remarks, be "faked" (feinte).
In comparison with even this last example, the ache in octosyllables discussed in scene 1 of Dorimond's La Comedie de la comedie, performed in December 1660 or January 1661, is what Chappuzeau would call a 'long discours', especially as none of the usual practical information is conveyed in its fourteen lines, devoted as they largely are to describing the play's plot and praising its language and rhyme.
"Hotel Asia Minor," written in octosyllables and composed of seven irregularly rhymed eight-line stanzas, begins light-heartedly with the Chaplinesque figure of the poet making do in a bathroom where nothing works as it should.
In the first part, devoted to the verse poems, Murat dissects Rimbaud's work and explains its myriad poetic manifestations (alexandrines, decasyllables, octosyllables, etc.).
"Sens/Inter/Dits" he heads one of his sections, and the adverb "melodieusement" is broken up to read "melo/dieu/se/ment." Lovichi and Apollinaire share a musical quality (the former calling one of his sections "Premier feu, petite suite en si mineur"), still anchored, for the most part, in traditional verse forms (octosyllables and alexandrines abound), though here frequently disguised, as in "Comme/au matin / s'eleve un lent vol de colombes." Lovichi himself cries out, albeit in parentheses, "(ah!
5+3 The destination, the fulfilment of this poem, is a couplet of octosyllables, whose rhythmic structures mirror and complement each other.
thus scanned by Doughtie, are described as "iambic octosyllables." Whatever this might mean, the accentuation (mine, as henceforward) of the parallel lines in the second stanza is
But the argument remains cogent.(15) The proposition that gl -- is eschewed is in line with the non-occurrence of wil --; and Itsumi might well have gone on to consider other octosyllables 'plus spondee': ch ia --, ia ch --, 2ch --, 2ia --.(16) In all of these, respectively associable with ch ia ba, ia ch ba, 2ch ba, and 2ia ba (3ia), even as gl -- and wil - - are associable with gl ba and wil ba, short penult.
In Connecticut JOHN TRUMBULL , whose wit had been directed against collegiate follies in The Progress of Dulness (1772-73), pointed it now toward Tories and mob-directed rebels in the deft octosyllables of M'FINGAL (1772-82), which became, perhaps after the ubiquitous
The lyric sequences in Piramus et Tisbe, with their use of disyllables and monorhymed octosyllables, also generate a fascinating, although necessarily speculative, suggestion that this text may hint at the original form of that genre which repeatedly defies definition: the Breton lay.
In the first section we have two monarhyme quatrains of octosyllables (I assume the omission of a line at the beginning), followed in the second by a monorhyme quatrain of heptasyllables.
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