Correspondingly, the lines oscillate between the pair and the impair, the well-formed (5//5 decasyllable [first and fourth lines], 3>5 octosyllable
[fifth line]) and the indeterminate.
The varying stanzaic patterns, which reflect the push-and-pull movement of the sea (increasing from the octosyllable
to the alexandrine, then decreasing back to the octosyllable
), reflect this hesitation formally; if the epic poem and the ghosts of Roman poets are evoked, they ultimately disappear ("plus de trace" 82).
It seems unlikely that Borges presented "Los compadritos muertos" to Piazzolla since it features hendecasyllable verses, not the characteristic octosyllable
versification of these tangos and milongas.
(10.) According to my work on rococo meter, the alexandrine, decasyllable and octosyllable
combination is a favorite in rococo heterometrical poetry (Nell-Boelsche 243).
In addition to the decimas, Rivera de Alvarez (1983) describes other types of oral expressions used in Puerto Rico, such as the romances and romancillos (short narratives or lyrical poems in octosyllable
meters), coplas (ballads), cantos (songs), rimas infantiles (nursery rhymes), refranes (proverbs), adivinanzas (riddles), and cuentos (folktales) (pp.
In Orchard's opinion, Aldhelm and his contemporary AEthilwald pioneered this type of verse, and Orchard thinks that alliteration in Old English poetry influenced the octosyllable
, especially in AEthilwald's verses, e.g.
It seems that the author of Floriant has perfectly memorized the 30,000 verses of Claris, as if he had at his disposal this prolific stock on which he was able to draw immediately in order to pick whatever met his own needs, definitely without having to go through a manuscript to find the octosyllable
that might suit him in a specific context.
53), and on the basis of other witnesses can be amended to the perfect octosyllable
'non contrastes a las gentes' or 'e non contrastes las gentes'.
Turner's primary theme is luck, but in offering a more structured sense of how things work he remembers Hamlet, beautifully adapting Shakespeare's famous pentameters into the lively octosyllables
of a pub recital:
(19.) This heterometric mix of octosyllables
and quadrisyllables not only adheres to a general logic of what Murat identifies as the "litterarisation de la metrique du chant" but also anticipates a distribution of meters characteristic of the "grands poemes satiriques et politiques de 1871," from "Chant de guerre parisien" to the texts of the Album zutique (81-82).
Although the feminine rimes in this extract sometimes alternate with masculine rimes in the way one would expect of later French verse, the effect is ephemeral; there is in fact no discernable pattern to the alternation of masculine and feminine rimes, octosyllables
and heptasyllables, in the larger text.