I did not make literature of the Greeks, but I got a whole tragedy out of the Romans; it was a rhymed tragedy, and in octosyllabic
verse, like the "Lady of the Lake.
Andrew Marvell, a very moderate Puritan, joined with Milton in his office of Latin Secretary under Cromwell, wrote much poetry of various sorts, some of it in the Elizabethan octosyllabic
46) The line, it should be noted, also provides an aural echo to Rossetti's four-stressed refrain--if "even" is read as "e'vn" so as to fit with the octosyllabic
metre of Swinburne's translation, both can be scanned xu ux ux ux.
10) If I quote Debussy's remarks here, it is in order to highlight one of the particular qualities of the Proses lyriques, because in this cycle Debussy deliberately chose to use free verses and thus to avoid any and all metric constraints, whether they he octosyllabic
lines, twelve-syllable Alexandrines, or uneven lines of the sort employed by Banville, Verlaine, and Baudelaire.
This probably reflects the fact that English poets did not seek to generate a distinctly iambic verse, the iamb developed seemingly by chance on the basis of French octosyllabic
Tejeda's poem, a narrative romance (ballad), consists of 1332 octosyllabic
verses in which the even-numbered verses rhyme with assonance (a-a).
A Small Ode on Mixed Flatting' is written in octosyllabic
couplets, a form Baxter had deployed to notable effect in his 1963 'Letter to Robert Burns'.
Most couplets are made up of octosyllabic
lines linked by a masculine rime, but interspersed among them are three couplets with feminine rimes, all made up of heptasyllabic lines.
The text, written in a northeastern French dialect and script, encourages a performative reception by providing the words spoken by the actors in 2,438 octosyllabic
lines rhyming as couplets.
Such hovering, seismic clauses will eventually reappear, slightly altered, in the grand design of Melville's 500-page, octosyllabic
, 18,000-line philosophical novel-in-verse, "a metrical affair, a pilgrimage or what not .
The lyrics are set to a traditional decima verse--the decima is a ten-line, octosyllabic
verse originated by the Spanish court poet Vicente Espinel in 1591 and prevalent throughout Latin America--and like other lyrics on the CD, bear allusions to the biblical, historical, and mythical Mary Magdalene.
Every poem in No Continuing City is rhymed, sometimes with an extraordinarily intricate patterning; the 'Letters' sequence of An Exploded View which paves the way for 'Wounds' is in octosyllabic
rhyming couplets, self-consciously aware of its own stylization.