verse line

Also found in: Thesaurus.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.verse line - a line of metrical textverse line - a line of metrical text    
poem, verse form - a composition written in metrical feet forming rhythmical lines
iambic - a verse line consisting of iambs
Adonic, Adonic line - a verse line with a dactyl followed by a spondee or trochee; supposedly used in laments by Adonis
line - text consisting of a row of words written across a page or computer screen; "the letter consisted of three short lines"; "there are six lines in every stanza"
tetrameter - a verse line having four metrical feet
pentameter - a verse line having five metrical feet
hexameter - a verse line having six metrical feet
octameter - a verse line having eight metrical feet
octosyllable - a verse line having eight syllables or a poem of octosyllabic lines
decasyllable - a verse line having ten syllables
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
The result infused his poetry with music that combined the power of blank verse with the flexibility of a conversational free verse line:
In Homer's poetry, one verse line is often connected to the next, but generally loosely linked, in the famous adding or strung style always associated with him.
(31) Each illustrates what an English verse line of six metrical feet can do when it obeys a metrical law that is properly "natural" and "poetic" in Swinburne's terms.
Steele, as Wilson acutely realizes, "overcomes modernist dualisms most cogently at the level of the verse line" in large part because in his verse, Steele "has demonstrated that the discipline of meter serves as a sure foundation for an Aristotelian response to the 'dark miles' of modernist thought that have rendered art and life prey to a range of modernist dualistic misconceptions."
These metaphors convey both the connection and the distinction between the two terms: whereas the metrical pattern is a deep-structure defining feature of the verse line, rhythm is what is fleshed out in the phenomenology of the specific line.
In particular, this new edition includes new material on Gloucester's first soliloquy in King Richard III, argues that stress maxima in weak positions do not necessarily render a verse line unacceptable, and uses recent software developments to manipulate recordings of poems and bring out subtle differences between minimal pairs of solutions.
I annotate each last word in a verse line, starting with 'a' and marking any rhymes at the end of other lines with 'a'.
The final verse line reads "That she's not the only pebble on the beach".
This isn't to say that free verse poetry lacks rhythmic integrity and/or music, that its relation to the line is random or convenient; for tired arguments on the essential slackness of a free verse line, one should consult The New Criterion.
"Any open-minded reader," writes Vickers, "who takes stock of the large number of instances where John Davies of Hereford uses an identical commonplace phrase to that used by the author of A Lover's Complaint, with the same wording, often in the same grammatical-syntactical construction or position within the verse line, will conclude that the similarities are too great, and too frequent, to be a coincidence" (231).
The best way to characterize my impression of Gielgud 1 (see CD #00) was, perhaps, by punning on the English idioms "flat-out" and "flat out." The former is usually used as an intensive, that is, a modifier that has little meaning except to intensify the meaning it modifies; the latter suggests "in a blunt and direct manner." Later, when I analytically compared the two readings' handling of the complexities of the verse line, this intuitive contrast was am ply ac counted for.
In these we can see Bishop imagining a metaphorical resemblance between the dynamics of water and those of the verse line. These excerpts reveal that Bishop associates verse with water, especially with water's fluctuation between two and three dimensions, so that verse becomes felt as a deep surface, and she imagines the mind and nature as having depths created by crossing into one another's "intricacy of density" (Papers box 75, folder 2; hereafter 75.2).