I really liked Bloomfield better; for one thing, his poem was written in the heroic decasyllabics
which I preferred to any other verse.
While the Brazilian poet alternates Sapphic and Heroic verses (with some anapestic--3,3,4--variations of the Heroic), the decasyllabic
rhythm is persistent and would perhaps become tedious if it were not for two of Anjos' characteristics: 1) enjambments and 2) scientific/biological vocabulary.
Fortunately, over a third of the 152 poems in I Am Flying into Myself are what Knott called quatorzains, taut fourteen-line poems that range from the one-word-per-line "Quickie" (which likens poetry to "sex / on / quicksand") to the only slightly less skinny "To Myself (which likens poetry to a magic carpet so long as you are "willing / to pull that rug out // from under / your own / feet, daily") to more conventional sonnets of strictly rhymed decasyllabic
With fourteen decasyllabic
lines and two prominent rhyme schemes, the Italian sonnet is one of the most contained poetic forms.
In the paradigmatic iambic pentameter or decasyllabic
line, the five even-numbered syllables in "strong" positions (syllables 2, 4, 6, 8, and 10) are stressed, while the five uneven-numbered syllables in "weak" positions are not.
Richard Proudfoot follows a single line of evidence, the polysyllabic words that appear at the end of decasyllabic
lines, and finds that the patterns of Double Falsehood fit the hypothesis of a Fletcher-Shakespeare adaptation better than the notion of a newly created play.
Sonnets, as multiple commentators aver, were to consist of fourteen decasyllabic
lines and no more; and fourteen-line poems made up entirely of couplets, such as those by Robert Herrick, were not sonnets at all.
In a category of its own, Jaap van Benthem's very brief discourse at the start of the chapter reflects tin Josquin's negative moods in the "sometimes haunting texts" of his seven five-voice "sublime short settings" of only live decasyllabic
lines, "Specimens of a unique musical perfection" conveying "sublimations of uncontrolled feelings of despair" (pp.
61) The poem's white crack through the black of printed words, falling at the caesura of a nearly (but not quite) regular decasyllabic
rhythm, thus translates the haptic dimension of the gaze: the viewer's temptation to move into the facade, and into the surface of the painting.
Although both translators make use of rhyming couplets of decasyllabic
lines, Wayne makes no use of enjambment, preferring every line to be end-stopped.
Oldisworth writes mostly decasyllabic
couplets; also octosyllabics and stanzas of several kinds.
Forest stylus * Decasyllabic
salvia * Frond and ode