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'Menin Gate' replays the indignation of Sassoon's earlier poetry, expressing outrage at in to commemorate the missing of the Ypres area (some 55, men They will have none of this narrative: 'Well might the Dead who struggled in the Discern the mad magnificence whose storm-light throws Wild shadows on.
Table of contents
Poetry is often separated into lines on a page, in a process known as lineation. These lines may be based on the number of metrical feet or may emphasize a rhyming pattern at the ends of lines. Lines may serve other functions, particularly where the poem is not written in a formal metrical pattern. Lines can separate, compare or contrast thoughts expressed in different units, or can highlight a change in tone. Lines of poems are often organized into stanzas , which are denominated by the number of lines included.
Thus a collection of two lines is a couplet or distich , three lines a triplet or tercet , four lines a quatrain , and so on. These lines may or may not relate to each other by rhyme or rhythm. For example, a couplet may be two lines with identical meters which rhyme or two lines held together by a common meter alone. Other poems may be organized into verse paragraphs , in which regular rhymes with established rhythms are not used, but the poetic tone is instead established by a collection of rhythms, alliterations, and rhymes established in paragraph form.
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In many forms of poetry, stanzas are interlocking, so that the rhyming scheme or other structural elements of one stanza determine those of succeeding stanzas. Examples of such interlocking stanzas include, for example, the ghazal and the villanelle , where a refrain or, in the case of the villanelle, refrains is established in the first stanza which then repeats in subsequent stanzas. Related to the use of interlocking stanzas is their use to separate thematic parts of a poem. For example, the strophe , antistrophe and epode of the ode form are often separated into one or more stanzas.
In some cases, particularly lengthier formal poetry such as some forms of epic poetry, stanzas themselves are constructed according to strict rules and then combined. In addition to two or three alliterations, the odd-numbered lines had partial rhyme of consonants with dissimilar vowels, not necessarily at the beginning of the word; the even lines contained internal rhyme in set syllables not necessarily at the end of the word.
Each half-line had exactly six syllables, and each line ended in a trochee. Even before the advent of printing, the visual appearance of poetry often added meaning or depth. Acrostic poems conveyed meanings in the initial letters of lines or in letters at other specific places in a poem. With the advent of printing , poets gained greater control over the mass-produced visual presentations of their work. Visual elements have become an important part of the poet's toolbox, and many poets have sought to use visual presentation for a wide range of purposes.
Some Modernist poets have made the placement of individual lines or groups of lines on the page an integral part of the poem's composition. At times, this complements the poem's rhythm through visual caesuras of various lengths, or creates juxtapositions so as to accentuate meaning, ambiguity or irony , or simply to create an aesthetically pleasing form. In its most extreme form, this can lead to concrete poetry or asemic writing. Poetic diction treats the manner in which language is used, and refers not only to the sound but also to the underlying meaning and its interaction with sound and form.
Poetic diction can include rhetorical devices such as simile and metaphor , as well as tones of voice, such as irony. Aristotle wrote in the Poetics that "the greatest thing by far is to be a master of metaphor. Allegorical stories are central to the poetic diction of many cultures, and were prominent in the West during classical times, the late Middle Ages and the Renaissance. Aesop's Fables , repeatedly rendered in both verse and prose since first being recorded about BCE, are perhaps the richest single source of allegorical poetry through the ages.
Rather than being fully allegorical, however, a poem may contain symbols or allusions that deepen the meaning or effect of its words without constructing a full allegory. Another element of poetic diction can be the use of vivid imagery for effect. The juxtaposition of unexpected or impossible images is, for example, a particularly strong element in surrealist poetry and haiku. Many poetic dictions use repetitive phrases for effect, either a short phrase such as Homer's "rosy-fingered dawn" or "the wine-dark sea" or a longer refrain. Such repetition can add a somber tone to a poem, or can be laced with irony as the context of the words changes.
Specific poetic forms have been developed by many cultures. In more developed, closed or "received" poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle. Additional forms of poetry may be found in the discussions of the poetry of particular cultures or periods and in the glossary.
Among the most common forms of poetry, popular from the Late Middle Ages on, is the sonnet, which by the 13th century had become standardized as fourteen lines following a set rhyme scheme and logical structure. By the 14th century and the Italian Renaissance , the form had further crystallized under the pen of Petrarch , whose sonnets were translated in the 16th century by Sir Thomas Wyatt , who is credited with introducing the sonnet form into English literature.
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By convention, sonnets in English typically use iambic pentameter , while in the Romance languages , the hendecasyllable and Alexandrine are the most widely used meters. Sonnets of all types often make use of a volta , or "turn," a point in the poem at which an idea is turned on its head, a question is answered or introduced , or the subject matter is further complicated.
This volta can often take the form of a "but" statement contradicting or complicating the content of the earlier lines. In the Petrarchan sonnet, the turn tends to fall around the division between the first two quatrains and the sestet, while English sonnets usually place it at or near the beginning of the closing couplet.
Sonnets are particularly associated with high poetic diction, vivid imagery, and romantic love, largely due to the influence of Petrarch as well as of early English practitioners such as Edmund Spenser who gave his name to the Spenserian sonnet , Michael Drayton , and Shakespeare, whose sonnets are among the most famous in English poetry, with twenty being included in the Oxford Book of English Verse. Further, postmodern authors such as Ted Berrigan and John Berryman have challenged the traditional definitions of the sonnet form, rendering entire sequences of "sonnets" that often lack rhyme, a clear logical progression, or even a consistent count of fourteen lines.
In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line quatrain, or jueju or else an eight-line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by an according number of characters according to the convention that one character equals one syllable , and are predominantly either five or seven characters long, with a caesura before the final three syllables.
The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device. Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese. The basic form of jintishi sushi has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion , and can have a wide range of subject, including history and politics.
The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains.
The remaining lines of the poem have an a-b alternating rhyme.
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Auden , [] and Elizabeth Bishop. A limerick is a poem that consists of five lines and is often humorous. Rhythm is very important in limericks for the first, second and fifth lines must have seven to ten syllables. However, the third and fourth lines only need five to seven. All of the lines must rhyme and have the same rhythm. Tanka is a form of unrhymed Japanese poetry , with five sections totalling 31 onji phonological units identical to morae , structured in a pattern.
Tanka were written as early as the Asuka period by such poets as Kakinomoto no Hitomaro fl. By the tenth century, tanka had become the dominant form of Japanese poetry, to the point where the originally general term waka "Japanese poetry" came to be used exclusively for tanka. Tanka are still widely written today. Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the hokku , or opening verse of a renku.
Traditionally, haiku contain a kireji , or cutting word, usually placed at the end of one of the poem's three sections, and a kigo , or season-word. An example of his writing: []. This was likely derived from when the Thai language had three tones as opposed to today's five, a split which occurred during the Ayutthaya Kingdom period , two of which corresponded directly to the aforementioned marks.
It is usually regarded as an advanced and sophisticated poetic form. The two differ in the number of syllables in the second wak of the final bat and inter-stanza rhyming rules. It has four bat per stanza si translates as four. The first wak of each bat has five syllables. The second wak has two or four syllables in the first and third bat , two syllables in the second, and four syllables in the fourth. Mai ek is required for seven syllables and Mai tho is required for four, as shown below.
Odes were first developed by poets writing in ancient Greek, such as Pindar , and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.
The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues.
Odes are often intended to be recited or sung by two choruses or individuals , with the first reciting the strophe, the second the antistrophe, and both together the epode. One non-Western form which resembles the ode is the qasida in Persian poetry. The ghazal also ghazel, gazel, gazal, or gozol is a form of poetry common in Arabic , Persian , Urdu and Bengali poetry. In classic form, the ghazal has from five to fifteen rhyming couplets that share a refrain at the end of the second line.
This refrain may be of one or several syllables and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity. As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu.
The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author. In addition to specific forms of poems, poetry is often thought of in terms of different genres and subgenres. A poetic genre is generally a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics.
Others view the study of genres as the study of how different works relate and refer to other works.
T. S. Eliot
Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry , but the term "narrative poetry" is often reserved for smaller works, generally with more appeal to human interest. Narrative poetry may be the oldest type of poetry. Many scholars of Homer have concluded that his Iliad and Odyssey were composed of compilations of shorter narrative poems that related individual episodes.