However, if, as I suspect, the driving force of the sonnet is to call attention to the poor and unseemly ultimate resting place of the painter, and the irony of these circumstances given his greatness, the tercet
also may be read on another level.
And yet, no doubt ironically, at the end of the tercet
Stevens slips in a figure, analogizing this anti-poetic antipodes, and compares the wintry sunset to "a sound one hears in sickness." How does one read this simile?
Plain enough in its language, tercet
, "The Difficult Word" may seem initially simple, but its cumulative impact resides in the orbital, rotating strategy of the ghazal, in which each tercet
displaces and sometimes contradicts the one before, at the same time extending the thematic substance of the poem.
The enjambement between the second quatrain and the first tercet
, occurring at the lines "Prechistaia i nash bozhestvennyi spasitel' / Ona s velichiem, on s razumom v ochakh," is unusual.
Even more bothersome is one word slipped into the tenth tercet
about this land:
The motif of "familiar gifts of Apollo" from the second quatrain continues in the first tercet
, in the "change of guard" image ("my Muse who's setting down/ Beneath your Orient," 11-12).
Threading the subtext of Hopkins's gallicisms/gallicismes, we follow from exultant discrepancy (octave) via frustrated calculation to revelatory disappointment (first tercet
); only to achieve reconciliation and continuity through symbiotic opposition, ending in an epiphany of abjection.
is composed in alternating syllabic lines of 4-10-4 or variations thereof, such as 4-8-4 and 9-6-9.
The first quatrain is enveloped in the 'nocturno silencio repousado', the second quatrain underlines the lack of voice and thus sound in the verse 'o nome amado em vao nomeia'; the second tercet
reiterates this silence in the phrase 'Ninguem lhe fala', and, finally, the sonnet ends with the lover's lament being wafted away on the breeze: 'leva-lhe o vento a voz, que ao vento deita'.
That is to say that within each quatrain of the octave, Sumarokov carefully parallels Fleming's rhyme scheme, and in each tercet
Sumarokov observes precisely Fleming's scheme.
It is this interdependence of good acts and grace that Hopkins' allegedly mystical declarations in the poem's final tercet
more regular as she finishes the poem with six couplets and a tercet
Ainsi, dans "Heures d'ete," sonnet liminaire du recueil, le poete compte sur "les parfums exasperes" des roses pour que son amour "se prolonge." Or ce parfum idyllique contient en lui les germes d'un mal evoque dans le bel oxymoron du dernier vers, que l'image du premier vers de ce dernier tercet
prefigure: "Le parc est sombre comme un gouffre ...
It is not, according to Du Bellay, his residence in the city of the Romans which has inspired him to compose in Latin, but strangely enough, the sadness occasioned by his "cruel destiny" and long "servitude." Although one might wonder how state of mind and subject matter could influence Du Bellay's choice of language in which to compose his verse, the relationship becomes clear in the first tercet
A poem entitled "dag van de doden" (day of the dead) was written for the commemoration on 4 May 1996 of those who died in World War II; it ends with the following tercet
: "the white silence grows constantly grayer / and whatever the words are attempting to express / the dead are dead, the page is black." The synesthetic combination of words and concepts in these lines is characteristic of Kouwenaar as well as of such contemporaries as Schierbeek, Lucebert, and Vinkenoog.