octosyllable

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oc·to·syl·la·ble

 (ŏk′tə-sĭl′ə-bəl)
n.
1. also oc·to·syl·lab·ic (ŏk′tō-sĭ-lăb′ĭk)
a. A line of verse containing eight syllables.
b. A poem having eight syllables in each line.
2. A word of eight syllables.

oc′to·syl·lab′ic adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

octosyllable

(ˈɒktəˌsɪləbəl)
n
1. (Poetry) a line of verse composed of eight syllables
2. a word of eight syllables
octosyllabic adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

oc•to•syl•la•ble

(ˈɒk təˌsɪl ə bəl)

n.
a word or line of verse of eight syllables.
[1765–75]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.octosyllable - a verse line having eight syllables or a poem of octosyllabic lines
verse line, verse - a line of metrical text
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
Translations
osmerac

octosyllable

[ˈɒktəʊˈsɪləbl] Noctosílabo m
Collins Spanish Dictionary - Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005
References in periodicals archive ?
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:
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.
Paradoxically, this perception is momentarily reinforced by an entirely theatrical effect, noted in the minimal stage directions: "Le ciel souvre avec des flammes, et une voix sentend" (The sky opens with flames, and a voice is heard; 2.4.56)--a voice that speaks to the actor in octosyllables. Presumably, this is the same stage sky that Genest in his role as stage manager had indicated when he told the set designer to create a more natural lighting effect, and the voice could, as Genest remarks, be "faked" (feinte).
In comparison with even this last example, the ache in octosyllables discussed in scene 1 of Dorimond's La Comedie de la comedie, performed in December 1660 or January 1661, is what Chappuzeau would call a 'long discours', especially as none of the usual practical information is conveyed in its fourteen lines, devoted as they largely are to describing the play's plot and praising its language and rhyme.
"Hotel Asia Minor," written in octosyllables and composed of seven irregularly rhymed eight-line stanzas, begins light-heartedly with the Chaplinesque figure of the poet making do in a bathroom where nothing works as it should.
In the first part, devoted to the verse poems, Murat dissects Rimbaud's work and explains its myriad poetic manifestations (alexandrines, decasyllables, octosyllables, etc.).
"Sens/Inter/Dits" he heads one of his sections, and the adverb "melodieusement" is broken up to read "melo/dieu/se/ment." Lovichi and Apollinaire share a musical quality (the former calling one of his sections "Premier feu, petite suite en si mineur"), still anchored, for the most part, in traditional verse forms (octosyllables and alexandrines abound), though here frequently disguised, as in "Comme/au matin / s'eleve un lent vol de colombes." Lovichi himself cries out, albeit in parentheses, "(ah!
The isometrical poems, reflecting the classical tradition, are composed for the most part of alexandrines (almost 90% of the total lines found in isometrical contexts are alexandrines); decasyllables and octosyllables, the favored rococo line types, make up the remaining isometrical poems (Nell-Boelsche 303-04).
5+3 The destination, the fulfilment of this poem, is a couplet of octosyllables, whose rhythmic structures mirror and complement each other.
thus scanned by Doughtie, are described as "iambic octosyllables." Whatever this might mean, the accentuation (mine, as henceforward) of the parallel lines in the second stanza is
But the argument remains cogent.(15) The proposition that gl -- is eschewed is in line with the non-occurrence of wil --; and Itsumi might well have gone on to consider other octosyllables 'plus spondee': ch ia --, ia ch --, 2ch --, 2ia --.(16) In all of these, respectively associable with ch ia ba, ia ch ba, 2ch ba, and 2ia ba (3ia), even as gl -- and wil - - are associable with gl ba and wil ba, short penult.