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Containing 11 syllables.
A verse of 11 syllables, especially one that follows one of various classically established metrical patterns.

[From Latin hendecasyllabus, a line of eleven syllables, from Greek hendekasullabos : hendeka, eleven (hen, neuter of heis, one; see sem- in Indo-European roots + deka, ten; see decade) + sullabē, syllable; see syllable.]

hen·dec′a·syl′la·ble (-sĭl′ə-bəl) n.


(Poetry) prosody a verse line of 11 syllables
[C18: via Latin from Greek hendekasullabos]
hendecasyllabic adj


(hɛnˈdɛk əˌsɪl ə bəl, ˌhɛn dɛk əˈsɪl-)

a word or line of verse of 11 syllables.
[1740–50; < Latin hendecasyllabus < Greek hendekasýllabos]
hen•dec`a•syl•lab′ic (-sɪˈlæb ɪk) adj., n.


[ˈhendekəˌsɪləbl] Nendecasílabo m
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References in periodicals archive ?
Given that a regular sonnet in Italian is composed of fourteen hendecasyllables, this determines both the time allotted for the dialogue and the room available for the characters in its world.
But except when it was in a play deliberately modeled on a Greek tragedy-Atlanta in Calydon, of course-where he seems to have thought that the intolerable hendecasyllables of the dialogue and narrative made his typical anapests in the choruses into classical meters, he did not deliberately mix his meters.
But in Tennyson's hendecasyllables, as in the Latin meter, the choriambic position conspicuously and eccentrically spans the second and third "feet.
The evidence seems considerable: decasyllables and hendecasyllables are customary, but the iambic pentameter paradigm can be misleading, even meaningless, when approaching such verse as, "Let me not to the marriage of true minds / Admit impediments" (116.
The natural flow of Catullan hendecasyllables depends on a metre that seems ideally suited to the cadence of the Latin language.
5) The Alexandrians, love elegy and Catullus' hendecasyllables contain examples that come to mind.
At the same time, Pontano's hendecasyllables have virtually none of the satirical obscenity found in Catullus.
With its thirteen stanzas, the poem organizes 126 lines, for the most part hendecasyllables.
In these two hendecasyllables, Casoni has synthesized the whole parable of the Word's experience.
The verse length varies from lines of two syllables to hendecasyllables and free verse.
This tripartite structure is completed in hendecasyllables at the end of the following piece, Definizioni di una rivista (Definitions of a magazine), leaving behind the theme of the Trinity.
He informs the reader that both plays were written in unrhymed hendecasyllables and, in that regard, he also points out that Manzoni made a liberal use of antilabe, namely "the practice of apportioning the syllables of a complete line to two or more speakers" (32) --a practice he has used in his translation, but not consistently.