This typically involved the solemn mixing of Arabic verses or hemistichs
(often Quranic quotations) in Persian poetry.
The Libro de Alexandre and other thirteenth-century verse narratives of the mester follow the strict cuaderna via syllable counts of alexandrine verses of heptasyllabic hemistichs
. The Libro de buen amor follows an accentual meter rather than one of the exact syllable counts boasted by the anonymous Alexandre poet.
Here, each line is divided into hemistichs
, and each couplet rhymes not once but twice: both at the end of the line and also internally, at the end of the first hemistich
The first hemistichs
refer to God's agency in Leonor's death, while the second ones note the speaker's lack of conformity with God's will.
Such symmetry is signaled by the division of each line into two hemistichs
through a caesura.
Unfortunately, the book includes only forty-five randomly selected ghazals, two qat'a (fragments, or short poems having no fewer than two lines and rhyming only in the last hemistichs
, as distinguished from the ghazals or qasidas, in which the hemistichs
of the first line rhyme as well), "The Song of the Saqi," "The Song of the Minstrel," and five random quatrains.
kosuth) paroxytone meter follows in two hemistichs
--verso a minore in eleven syllables-- its image transcribed into verse.
The highlight of bilingual wordplay is the mise-enabime effect when the poet's original includes alternating hemistichs
of English and Italian that are inversely rendered on the facing page.
(18) As in any Arthurian romance composed in octosyllabic rhymed couplets, the reader detects, while moving through the romance, some identical verses or hemistichs
. But when one then starts actively searching for them, one finds many of them, and indeed some very intriguing ones.
composed of hemistichs
which, it is quite evident, have forced themselves upon the author by the mere force of the catchwords on which they turn" (CH 112).
Narcissus's peculiar status of being at once lover and beloved, subject and object of desire, and the blurring of such distinctions are reinforced by a dazzling sequence of mirroring effects in the hemistichs
of these lines and by the way in which, as DuRocher has pointed out, 'All the verbs, active and passive, return to "ipse" (himself)' (pp.