Here's a sample quatrain: I Like Meat Cold meat or hot meat,Sliced thick or thin.
|
|
Cohen favors an Audenesque quatrain with none of the puckish genius Auden used to refashion the form.
|
|
These include one commander-in-chief (it was the vodka, swear to God) and start with the five dispatched quatrain by quatrain in "Slap": a wife-beating cop, a foreclosure king, a Nazi fuck, a pedophile priest, and some lawyer or CEO or something whose smirk Bobby didn't like.
|
|
This is Whitman-level poetry, an earth-shattering quatrain that needs no rhyme scheme, requires no resemblance to standard songwriting.
|
|
A fixed form of nineteen lines: five tercets, a concluding quatrain, and a rhyme scheme tight enough to keep any feeling from spilling over the borders.
|
|
The musical thinks nothing of condensing chapters of exposition or philosophical debate into a single quatrain or unambiguous confrontation; encyclopedic digressions and whole episodes are thrown out.
|
|
Another quatrain reads:'The sloping park, great calamity,Through the Lands of the West and LombardyThe fire in the ship, plague and captivity;Mercury in Sagittarius, Saturn fading.
|
|
Originating from Malaysian oral tradition, the pantoum combines an ABAB rhyme scheme with a magician's shuffle; Lines 2 and 4 of each quatrain become Lines 1 and 3 in the next stanza.
|
|
Whatever it is, a quatrain is insufficient to contain it, and, as the dyer's hand in Shakespeare's Sonnet CXI is "subdued / To what it works in," Young's is submitted across the stanza break, coloring what comes next, in line 5: This fabric called HERE.
|
|
Desaparecidos: Payola (Epitaph) The catch in Conor Oberst's voice isn't much of a vehicle for punk outrage, but that's not why so many ignored his gift for the conscious quatrain when he released this just as Trump began making bigotry big again in June, 2015.
|
|
Look at this quatrain, one of the finest in Lil Wayne's career: How did this guy go from making a literal dumb joke about being good at sex into making a punchline about Hooked on Phonics to turning it into an actually beautiful sentiment?
|
|
But from the attention-getting opener—delivered with a modicum of emotion and forethought, "Sitting at the bar, I told you everything/You said, `Holy shit, you almost died'" should get any listener with a heart to the end of the quatrain—I found myself hooked on her first album since 2014, which fans agree is her best without coming together on why.
|
|
" And "100 Summers" builds to a quatrain that identifies and then contextualizes the enemy within: "Grew up 'round them monsters they'll shoot you in your face / Ain't used to showin' no love that's 'cause we grew up in that hate / Live by the sword die by the sword way / Tried to make it home they shot him in the hallway.
|
|
The first quatrain, whose lack of punctuation keeps the connections from line to line loose, seems at first to correspond to a syntactically self-contained phrase, but now reveals itself, as the second one begins, as the opening of a single unfolding thought — a proper sentence in fact (only missing the implicit comma at the end of line 3) — that through rhyme, typographical emphasis, and above all punctuation grabs your attention as the crux of the poem.
|
|
A famous quatrain is said to be his: This quatrain refers to his execution by Caliph's order.
|
|
The second quatrain continues this theme on mankind's pointless attempts. However, as the first quatrain started with broad and majestic endeavors, this quatrain begins to relate more to the common desires of mankind. In line 5, the quatrain starts by mentioning people's obsessions with their "form and favor", which should be understood as "outward appearance" and "the good will of superiors". Next, in line 6, the quatrain addresses how people give up simpler pleasures in order to spend all of their resources "and more" on their foolish obsessions.
|
|
She expands on this by arguing that the sonnet revolves around the keyword "live". In quatrain 1, the focus is the word "outlive". In quatrain 2 it's "living"; in quatrain 3 "oblivious", and the couplet focuses on the word "live" itself. However, this raises the question of whether the young man actually continues to live bodily or if only his memory remains.
|
|
The decasyllabic quatrain with an alternating rhyme scheme is often referred to as the "heroic quatrain", the "heroic stanza" or the "four-line stave". Arnold, Thomas. A Manual of English Literature, Historical and Critical. Ginn & Company (1891) p.
|
|
In Florence, 1560, an apocalyptic quatrain by Michel de Nostredame is coming true.
|
|
Chhand (, , ) is a quatrain used in the poetic traditions of North India and Pakistan.
|
|
Quatrain IX, 59 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above): > Im Frühling mag ich gern im Grüne weilen Und Einsamkeit mit einer Freundin > teilen Und einem Kruge Wein. Mag man mich schelten: Ich lasse keinen andern > Himmel gelten.
|
|
His widow placed a stone over his grave inscribed with a quatrain from "Tom Bowling".
|
|
The textual unit in a naamyam song is a quatrain in verse, with verse structure similar to classical poetry. Each line of the quatrain has the basic pattern of seven syllables, with a caesura occurring after the first four syllables. Often some "padding" syllables are freely added. In the quatrains, the final syllable of each line, in particular lines 2 and 4, exhibits rhyme, both within a quatrain and through a number of them.
|
|
Helen Vendler describes the stages of the sonnet in that it begins with a listing of the conflict in Quatrain One then proceeds in Quatrain Two to show the effects and complications. Specifically the problem of this sonnet is the torture the dark lady has caused the two men to suffer. The effects and complications of this situation are pronounced throughout Quatrain Two indicating that the speaker may recover but the young man is reduced to her slave under her influence. In Quatrain Three, Vendler says that the "intolerable complication of effect" forces a request for relief and intelligibility which end in a helpless giving up reflected in the couplet.
|
|
The fast music uses the final quatrain for its main theme, and repeats parts of the earlier text (most often from the second quatrain) for the contrasting material. In later examples, where the fast sections become longer and more complex, material from all three stanzas came to be used (; ).
|
|
1160), he quotes one of his poems (corresponding to quatrain LXII of FitzGerald's first edition). Daya in his writings (, ca. 1230) quotes two quatrains, one of which is the same as the one already reported by Razi. An additional quatrain is quoted by the historian Juvayni (, ca. 1226–1283).
|
|
The poem contains 1216 lines of verse, arranged in 304 quatrains. Each line consists of ten syllables, and each quatrain follows an ABAB rhyme scheme, a pattern referred to as a decasyllabic quatrain. Rather than write in the heroic couplets found in his earlier works, Dryden used the decasyllabic quatrain exemplified in Sir John Davies' poem Nosce Teipsum in 1599. The style was revived by William Davenant in his poem Gondibert, which was published in 1651 and influenced Dryden's composition of Annus Mirabilis.
|
|
Meisami (2010), p. 165. The Arabic quatrain is also in the hazaj metre. The Arabic version of this metre allows an occasional short syllable in the fourth position of the line, as in the second line above. There is an internal rhyme in the second line of the above quatrain ().
|
|
"Grândola, Vila Morena" is a Portuguese song by Zeca Afonso, that tells of the fraternity among the people of Grândola, a town in the Alentejo region of Portugal. The song's title may be translated, "Grândola, Swarthy Town". Each quatrain in the song is followed by a quatrain that repeats the same lines in reverse order.
|
|
If not through you Sarastro will turn pale! Hear, gods of revenge, hear the mother's oath! Metrically, the text consists of a quatrain in iambic pentameter (unusual for this opera which is mostly in iambic tetrameter), followed by a quatrain in iambic trimeter, then a final pentameter couplet. The rhyme scheme is [ABAB][CCCD][ED].
|
|
Reminiscent of the Petrarchan sonnet, there is a volta, or shift, in the poem's subject matter beginning with the third quatrain.
|
|
Sonnet 89 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. However, in Q1609, quatrain two and quatrain three constitute a complete sentence running from line 5 through to line 12. Vendler suggests a 4-8-2 structure. Kerrigan and Burrow punctuate with a full stop at the end of line 7.
|
|
Chaubola (Hindustani: चौबोला or چوبولا) is a quatrain meter in the poetry of North India and Pakistan, often employed in folk songs.
|
|
Shakespeare's third quatrain is interesting in that it changes "the words used to characterize the negative aspects of lust". Lust becomes "perceptibly weaker toward the end of the poem" than in the start. In the beginning of the sonnet, Shakespeare uses the words "Murd'rous", "bloody", "savage" and "cruel" and replaces them in this quatrain with "a very woe" and "a dream".
|
|
Sonnet 154 continues the main themes that were presented in Sonnet 153. In the first quatrain, the man wishes that his beauty be passed onto his heir. The second quatrain asks the question of how beauty can be maintained through time and poetry. Finally, the third ends with the woeful realization that the preservation of happiness is problematic in and of itself.
|
|
He focused particularly on a quatrain appearing to predict a catastrophe occurring in 1999. Books on prophecy sold well in Japan at that time.
|
|
In a Spenserian sonnet, the last line of every quatrain is linked with the first line of the next one, yielding the rhyme scheme .
|
|
The origins of the jueju style are uncertain. Fränkel states that it arose from the yuefu form in the fifth or sixth century. This pentasyllabic song form, dominant in the Six Dynasties period, may have carried over into shi composition and thus created a hybrid of the yuefu quatrain and shi quatrain. Indeed, many Tang dynasty wujue poems were inspired by these yuefu songs.
|
|
Decasyllabic quatrain is a poetic form in which each stanza consists of four lines of ten syllables each, usually with a rhyme scheme of AABB or ABAB. Examples of the decasyllabic quatrain in heroic couplets appear in some of the earliest texts in the English language, as Geoffrey Chaucer created the heroic couplet and used it in The Canterbury Tales. Hobsbaum, Philip. Metre, Rhythm and Verse Form.
|
|
Some forms of poetry carry a consistent and well-defined rhyming scheme, such as the chant royal or the rubaiyat, while other poetic forms have variable rhyme schemes. Most rhyme schemes are described using letters that correspond to sets of rhymes, so if the first, second and fourth lines of a quatrain rhyme with each other and the third line do not rhyme, the quatrain is said to have an "aa-ba" rhyme scheme. This rhyme scheme is the one used, for example, in the rubaiyat form. Similarly, an "a-bb-a" quatrain (what is known as "enclosed rhyme") is used in such forms as the Petrarchan sonnet.
|
|
A quatrain is a type of stanza, or a complete poem, consisting of four lines. Existing in a variety of forms, the quatrain appears in poems from the poetic traditions of various ancient civilizations including Ancient India, Ancient Greece, Ancient Rome, and China, and continues into the 21st century, where it is seen in works published in many languages. During Europe's Dark Ages, in the Middle East and especially Iran, polymath poets such as Omar Khayyam continued to popularize this form of poetry, also known as Ruba'i, well beyond their borders and time. Michel de Nostredame (Nostradamus) used the quatrain form to deliver his famous prophecies in the 16th century.
|
|
The book ends in a burst of flamboyant versification, with the full list of little cats arranged into a metrically perfect rhymed quatrain, reciting the alphabet.
|
|
A monument to his memory was erected on a hill near Teviothead, and in 1894 there was affixed to it a tablet inscribed with an appropriate quatrain.
|
|
A cross-rhymed octosyllabic quatrain is supported by three 4-syllabled quatrains which have as base another octosyllabic quatrain.Rickey, pp.13-14 Herbert’s is quantitively different, however.
|
|
Adolf Friedrich von Schack (1815–1894) published a German translation in 1878. Quatrain 151 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above): > Gönnt mir, mit dem Liebchen im Gartenrund Zu weilen bei süßem Rebengetränke, > Und nennt mich schlimmer als einen Hund, Wenn ferner an's Paradies ich > denke! Friedrich Martinus von Bodenstedt (1819–1892) published a German translation in 1881. The translation eventually consisted of 395 quatrains.
|
|
While the quatrains lead up to a climax in quatrain 3, the couplet suggests a point, a succinct conclusion.Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets.
|
|
As par the structure of this particular quatrain, it seems to tie the sonnet all together. As Ingram illustrates, "line 10 look[s] back to lines 1-4" and "line 11 and 12 to the gentler, un-self-regarding tone of lines 5-8." Additionally, these lines within quatrain three contrast because of line 10's "harsh alliterating c's and echoic 'compounded'" and line 12's "soft alliterating l's".Ingram, W. G. "The Shakespearean Quality".
|
|
Instead, what can be inferred is that the two characters in Sonnet 7 are intimate enough to be of the same social class and to make a "direct appeal" of one another.Freedman 2007, p 17. The linguistic strength of a direct appeal of the couplet opposes the image of frailty in the third quatrain. Giving the hope of an escape from decay, the couplet restores what seems to be lost in the third quatrain.
|
|
There are a few exceptions: Sonnets 99, 126, and 145. Number 99 has fifteen lines. Number 126 consists of six couplets, and two blank lines marked with italic brackets; 145 is in iambic tetrameters, not pentameters. In one other variation on the standard structure, found for example in sonnet 29, the rhyme scheme is changed by repeating the second (B) rhyme of quatrain one as the second (F) rhyme of quatrain three.
|
|
The first quatrain is described by Seymour-Smith: "a highly compressed metaphor in which Shakespeare visualizes the ruined arches of churches, the memory of singing voices still echoing in them, and compares this with the naked boughs of early winter with which he identifies himself". In the second quatrain, Shakespeare focuses on the "twilight of such day" as death approaches throughout the nighttime. Barbara Estermann states that, "he is concerned with the change of light, from twilight to sunset to black night, revealing the last hours of life". Of the third quatrain, Carl D. Atkins remarks, "As the fire goes out when the wood which has been feeding it is consumed, so is life extinguished when the strength of youth is past".
|
|
158) The non-linear pattern of the second quatrain also draws attention to the quatrain's "slowness and repeated breaks [which suggest] the labour of human life which Time hinders at every step".(qtd. in Atkins, p. 167) This contrasts greatly with the "smoothness of the first quatrain, describing the work of time, in which each line [after the initial trochee] runs to its end like the ripple to which it compares the succession of minutes".(qtd. in Atkins, p.
|
|
With the use of the word gored, Radley and Redding translated the phrase "gored mine own thoughts" to "wounded my best thoughts". The last line of this quatrain uses the word offences is used in the correct term as in offending the poet's lover by this new affairs he has encountered. By the end of this quatrain, the reading of the sonnet slowly becomes clear that this a confession of love versus Shakespeare's disdain with the theater.
|
|
A quatrain by Radvanas was published in a work by glorifying Krzysztof Mikołaj "Piorun" Radziwiłł. Three of his poems were included in Obrona postylle ewanielickiej (Defense of Evangelical Postil) by published in 1591.
|
|
She created the "quatern" form of poetry, a variation of the Kyrielle. This is a sixteen-line poem composed of four quatrain stanzas, where the first line of stanza 1 is repeated in each quatrain: the second line of stanza 2, the third line of stanza 3, and the fourth line of stanza 4. Laramore preferred contemporary poetry and disliked reading prose. She named Edna St. Vincent Millay, Sara Teasdale, Robert Frost, and Robinson Jeffers as poets she liked to read.
|
|
John Kerrigan notes the echo of the prologue to Romeo and Juliet in the astrological metaphor of the first quatrain; he notes that the image severs reward from justice, making fortune a mere caprice.
|
|
The organization of the poem serves many roles in the overall effectiveness of the poem. Yet, one of the major roles implied by this scheme revolves around ending each quatrain with a complete phrase. Given the rhyme scheme of every other line within the quatrain, as an audience we are to infer a statement is being made by the end of every four lines. Further, when shifted toward the next four lines, a shift in the overall thought process is being made by the author.
|
|
This sonnet follows the ABBA, ABBA, CDCDCD rhyme scheme. In the third quatrain this changes and the poem reveals who is behind the massacre: the "Triple Tyrant," a reference to the pope with his triple crown.
|
|
53 George Saintsbury, in A History of English Prosody from the Twelfth Century to the Present Day, argues that the heroic quatrain, while breaking from the conventions of the heroic couplet, contains limitations that outweigh its liberating characteristics. To Saintsbury, the decasyllabic quatrain contains a stiffness that can not be overcome: > You can not vary your stops, as in blank verse or the Spenserian, there is > not room enough: and the recurrent divisions necessatated by the stanza lack > at once the conciseness and the continuity of the couplet, the variety and > amplitude of the rhyme-royal, octave, or Spenserian itself. In his essay on Annus Mirabilis, A. W. Ward suggests that the decasyllabic quatrain used by Davenant and Dryden, with its insistence on providing each quatrain with the "completeness" given by the final period, causes the verse to strike the reader as "prosy". While Ward respects Dryden's willingness to use a new form despite his mastery of the heroic couplet, he believes that Annus Mirabilis exemplifies the weaknesses of the form and hinders Dryden's ability to use poetry to fully express his philosophical conceits.
|
|
In former times, championship bouts were held in which the object was to blind the opponent's eye. The winner is required to happily sing a quatrain while the loser replies in a low voice to show despair.
|
|
It is recorded in Charles Harding Firth's Naval Songs and Ballads (1908) in a slightly different form from the one popularized in cinema, where its opening verse has been omitted, and with quatrain stanzas instead of couplets.Firth, Charles Harding, Naval Songs and Ballads Vol. XXXII, "Don't Forget Your Old Shipmate" (Navy Records Society: 1908), pp. 337-8 The first version opens with the following quatrain: :We're the boys that fear no noise, :Whilst the thundering cannons roar, :And long we've toiled on the rolling wave, :And now we're safe on shore.
|
|
Combellack subscribes to the idea that there are four characters represented in Sonnet 125: the Speaker, the Friend, the Informer, and the Suborner. He believes that the actions of the first quatrain were accusations leveled against Shakespeare as the Speaker. For Combellack, Shakespeare becomes the canopy-bearer as a means of advancement toward fame and fortune. In the second quatrain, Shakespeare shows how those who participate in these grand gestures often pay too much and lose a great deal only to have their gestures be seen as empty.
|
|
It fears not policy, that heretic, Which works on leases of short-number'd hours, But all alone stands hugely politic, That it nor grows with heat, nor drowns with showers.'' In the third quatrain there is a continuation from the second quatrain in the argument that because of "my dear love's" constant nature "it" does not fear "policy". Policy, is "self-serving political pragmatism"—"that heretic/ Which works on leases of short-number'd hours". In contrast to the fashion and politics of the time the speaker's love "all alone stands hugely politic".
|
|
Shakespeare seems to accept this inevitable outcome and writes the final line of the quatrain saying "Desire is death". The final line of the quatrain may hint at a biblical allusion and reference Romans 8:6, where a very similar line appears stating, "For to set the mind on the flesh is death, but to set the mind on the Spirit is life and peace", correlating with the inference that the Dark Lady is morally dark as well as physically dark, and is darkening her lovers morals as well.
|
|
The Éditions d'art Henri Piazza published the book almost unchanged between 1924 and 1979. Toussaint's translation has served as the basis of subsequent translations into other languages, but Toussaint did not live to witness the influence his translation has had. Quatrain XXV (equivalent of FitzGerald's quatrain XI in his 1st edition, as above): > Au printemps, je vais quelquefois m’asseoir à la lisière d’un champ fleuri. > Lorsqu’une belle jeune fille m’apporte une coupe de vin, je ne pense guère à > mon salut. Si j’avais cette préoccupation, je vaudrais moins qu’un chien.
|
|
The following quatrain can be attributed to C. H. Talbot: I talked in terms whose sense was hid, Dividendo, componendo et secundum quid; Now secundum quid is a wise remark And it earned my reputation as a learned clerk.
|
|
Kerrigan finds that line 11 is a good shadow of this line from Mathew (New Testament). This quatrain is able to bring out the sort of beliefs in the idea of beauty and power in the time of Shakespeare.
|
|
53 However, Henry David Thoreau, when writing about Emerson's "Ode to Beauty" criticizes the use of the decasyllabic quatrain by suggesting that its tune is unworthy of the thoughts expressed. Matthiessen, Francis Otto. American Renaissance. Kessinger Publishing (2006) p.
|
|
The third quatrain continues with the description of the heretical society in which they live, but then presents the idea that the speaker's love "alone stands" against time, which is then supported by the appeal to witnesses in the ending couplet.
|
|
He says that beyond its looks, we prize the rose for its scent. This scent is its "truth" or essence. In the second quatrain Shakespeare compares the rose to the canker bloom. They have similar in ways other than scent.
|
|
' (, ) is a meter and a metrical unit, found in both Vedic and Classical Sanskrit poetry, but with significant differences. By origin, an anuṣṭubh stanza is a quatrain of four lines. Each line, called a pāda (lit. "foot"), has eight syllables.
|
|
But compare Clébert, Jean-Paul, Prophéties de Nostradamus, 2003 In this case, the first expression may simply be a version of :Cinq[ante minutes] & quarante degrés – which is indeed the latitude of Naples. Another quatrain which came under the scrutiny of enthusiasts was quatrain I.87, which in the original 1555 edition (Albi copy) ran: :Ennosigée feu du centre de terre :Fera trembler au tour de cité neufve: :Deux grands rochiers long temps feront la guerre :Puis Arethusa rougira nouveau fleuve. or, in a possible English translation: :Earth-shaking fires from the world’s centre roar: :Around ‘New City’ is the earth a-quiver.
|
|
The aria is scored for modest forces: two clarinets, two bassoons, two horns, the usual string section, and the tenor soloist. Mozart's musical setting mostly follows the scheme of Schikaneder's poem. There is an opening section in E-flat corresponding to the first quatrain, a modulation to the dominant key of B-flat for the second quatrain, a chromatic and modulating passage for the first tercet, and a return to E-flat for the last. Both Branscombe and Kalkavage have suggested that Mozart's arrangement of keys embodies a variety of sonata form, with the standard elements of exposition, development, and recapitulation.
|
|
In Buah Rindu, particularly its earlier poems, Amir shows an affinity for using traditional Malay poetic forms such as the quatrain (found in pantun and syair). However, unlike the highly fixed traditional forms, Amir mixes the rhyming patterns; for instance, one quatrain may have a monorhyme (seloka) while the next may have an alternating simple 4-line (pantun) pattern. Lines are generally divided by a clear caesura, and in some cases even two. The caesura may not always be in the centre of a line; it is at times towards the front, and at times towards the rear.
|
|
In the Third Quatrain, Greene recognizes the shift from the overt actions of the other suitors toward the inverted and humble actions of the Speaker. The Speaker wishes to be seen as dutiful and devout by the Friend. To do so, the Third Quatrain employs language that evokes thoughts of a religious servant who makes sacrifice. According to Greene, "In this secularized sacrament, the dutiful poet freely makes an offering intended to manifest the inwardness and simplicity of his own devotion, knowing, or thinking that he knows, that his oblation will win him the unmediated, inner reciprocity which is his goal".
|
|
In the second quatrain, the poet elaborates upon his sentiments made in the first quatrain, comparing the present silence to the relationship when it was new. He uses seasonal imagery to set up his atmosphere, which he continues to use in line three, where we also encounter an allusion to the myth of Philomela, which can be a poetic name for the nightingale. In Ovid's Metamorphoses, the myth of Philomela involves Tereus, the King of Thrace, who kidnaps his wife's sister, Philomela, and then he rapes her and cuts out her tongue to silence her.Allen Mandelbaum (translator). Ovid.
|
|
Amrohvi was born on 12 September 1914 in Amroha, India. He migrated to Pakistan on 19 October 1947 and settled in Karachi. He was known for his style of Qatanigari (quatrain writing). For several decades he published quatrains for Pakistan's daily newspaper, Jang.
|
|
The video did reach one billion views on December 21, 2012, a popular date for which the world was predicted to end. However, the quatrain could not have been written by Nostradamus in 1503, when he was less than one year old.
|
|
Ward, A. W., The Cambridge History of English and American Literature. "Dryden: Annus Mirabilis". Volume 8: The Age of Dryden. This particular style dictates that each quatrain should contain a full stop, which A. W. Ward believes causes the verse to become "prosy".
|
|
This quatrain, or a variant of it, has often been portrayed by storytellers as the result of a slogan contest or advertising contest sponsored by the Carnation Company,See, e.g., American Highways, page 10 (1939). although such a contest never actually occurred.
|
|
Dent: Temple Shakespeare, n.d. N. pag. Print. pg 7 The rhyming words in this quatrain are "state" with "hate" and "unfather'd" with "gathered". "State", a political term, is coupled with "hate"—foreshadowing the speakers' negative descriptions of the political world in later lines.
|
|
By this quatrain "the speaker is wholly compounded… with clay, dissolved into dust."Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print. pg. 329. The sonnet as a whole leads the reader's mind and emotion to the climax, line 12.
|
|
Wang Zhihuan had two of his poems included in the famous poetry anthology Three Hundred Tang Poems, translated by Witter Bynner as "AT HERON LODGE" (also called "On the Stork Tower", a five-character-quatrain) and "BEYOND THE BORDER", a folk-song- styled-verse.
|
|
He can even build a cabin and stay on the island much as Thoreau, the American Transcendentalist, lived at Walden Pond. During Yeats's lifetime it was—to his annoyance—one of his most popular poems, and on one occasion was recited (or sung) in his honor by two (or ten—accounts vary) thousand Boy Scouts.R. F Foster: W. B. Yeats, A Life. Vol. 1. The apprentice Mage The first quatrain speaks to the needs of the body (food and shelter); the second to the needs of the spirit (peace); the final quatrain is the meeting of the inner life (memory) with the physical world (pavement grey).
|
|
Madison, NJ: Fairleigh Dickinson UP, 2007. Print, pg. 32. In the third quatrain, the key rhyming words given by the speaker are: "ornament" and "content", and "spring" and "niggarding"; additional images are presented in this quatrain, such as "fresh", "herald", "bud", "burial", and the oxymoron "tender churl". Other words and themes the speaker uses are explained by Helen Vendler: "The concepts – because Shakespeare's mind works by contrastive taxonomy – tend to be summoned in pairs: increase and decrease, ripening and dying; beauty and immortality versus memory and inheritance; expansion and contraction; inner spirit (eyes) and outward show (bud); self- consumption and dispersal, famine and abundance".
|
|
Shairi (Georgian: შაირი, ), also known as Rustavelian Quatrain, is a monorhymed quatrain used by Shota Rustaveli in The Knight in the Panther's Skin. It consists of four 16-syllable lines, with a caesura between syllables eight and nine. While there are stanzas with as many as five syllables rhyming, generally shairi uses either feminine or dactylic rhyme. It is worth noticing that despite the feminine and dactylic forms of rhyme, in Georgian shairi stress is very weak due to the nature of the Georgian language, which is characterized by dynamic and very weak stress placed on antepenultimate syllable in words longer than two syllables and on penultimate in two syllable words.
|
|
The sonnet's imagery of sea going vessels ("proud full sail") recalls the mighty galleons of the Spanish Armada that fought the British fleet of smaller, more nimble ships. The image of a galleon at full sail sailing in the direction of some treasure, invites admiration for the strength of the rival's poetry, and for the size of his ambition. This image is diminished in the second quatrain, when it is suggested that the rival is merely co-author along with his "compeers", and it is diminished further in the third quatrain when the rival is shown to be duped ("which nightly gulls him") by those "spirits".Shakespeare, William.
|
|
The description of a poet "by spirits taught to write" (line 5) has led some to name George Chapman as candidate, due to Chapman's supposed spiritual inspiration by the ghost of Homer. The phrase "Above a mortal pitch, that struck me dead" (line 6) has suggested to some Christopher Marlowe (who died in 1593) and his play Tamburlaine the Great. Shakespearean scholar Eric Sams considers the descriptions of spiritual communication in the second quatrain ("spirits taught to write") to perhaps suggest Barnabe Barnes as the Rival Poet, noting Barnes' interest in occultism in 16th century England. In the third quatrain, lines nine and ten are seen to reference a specific poet.
|
|
Cambridge, MA: Belknap of Harvard UP, 1997. Print. In Sonnet 124 the volta occurs in the eleventh and twelfth line, though arguable there could be two voltas in this sonnet—as there are at least two times in the poem where a new phrase of ideas is put forth. The first quatrain describes what the speakers' love would be like if it was simply a result of circumstance. There is then a change in thought as the second quatrain begins to attack the fickle state of the world in which the speaker and addressee reside where there is a lack of enduring resolve found wanting in politics, love, and fashion.
|
|
JSTOR Database While the first quatrain is referential and full of imagery, in the second quatrain Ernest Fontana focuses on the epithet "sluttish time". The Oxford English Dictionary gives "sluttish" two definitions: 1) dirty, careless, slovenly (which can refer to objects and persons of both sexes) and 2) lewd, morally loose, and whorish. According to Fontana, Shakespeare intended the second meaning, personifying and assigning gender to time, making the difference between the young man sonnets and the dark lady sonnets all the more obvious. Shakespeare had used the word "slut" nearly a year before he wrote sonnet 55 when he wrote Timon of Athens.
|
|
His friend Sergeant Henry T. Stanton read "Bivouac of the Dead" at the reinternment and said, "O'Hara, in giving utterance to this song, became at once the builder of his own monument and the author of his own epitaph." Lines from the poem would eventually grace the gates of numerous national cemeteries and several monuments of Confederate Dead. In particular, the first verse's second quatrain is often quoted: On Fame's eternal camping- ground Their silent tents are spread, And Glory guards, with solemn round, The bivouac of the dead. Because he served in the Confederacy, O'Hara often goes uncredited when the quatrain is used in non-Confederate settings.
|
|
The bell was decorated with the coat of arms of Lithuania and a quatrain by Balutis declaring that those who do not defend liberty are not worth it. The Lithuanian Liberty Bell reached Lithuania in 1922 and is kept at the Vytautas the Great War Museum.
|
|
In the second quatrain Shakespeare resembles his fondness to that of a traveler returning home punctually. Yet while suggesting his travels have been long, he arrives nonetheless back, unchanged by the flow of time. His love resisting all effects of time perpetuates the meaningfulness of his endearment.
|
|
The origin of the Cuban son can be traced to the rural rumbas, called proto-sones (primeval sones) by musicologist Danilo Orozco. They show, in a partial or embryonic form, all the characteristics that at a later time were going to identify the Son style: The repetition of a phrase called montuno, the clave pattern, a rhythmic counterpoint between different layers of the musical texture, the guajeo from the Tres, the rhythms from the guitar, the bongoes and the double bass and the call and response style between soloist and choir. According to Radamés Giro: at a later time the refrain (estribillo) or montuno was tied to a quatrain (cuarteta – copla) called regina, which was how the peasants from the Eastern side of the country called the quatrain. In this way, the structure refrain–quatrain–refrain appears at a very early stage in the Son Oriental, like in one of the most ancient Sones called "Son de Máquina" (Machine Son) which comprises three reginas with its correspondent refrains.
|
|
There are three kinds of Tullal distinguished on the basis of the performer's costume and the style of rendering, viz., Ottan, Seethankan and Parayan. Dravidian metres are used throughout although there is a quatrain in a Sanskrit metre. Kunchan Nambiar is known to have written 64 thullal stories.
|
|
The last line is a very powerful way to end the quatrain and start the next section. "Worse essays" is used in this line to describe the failed "experiments" of the poet. The failed experiments proved that the young man is the best love that he has encountered.
|
|
There is a five-line epilogue, which is the only section of the work which breaks the quatrain mold. It is a short prayer to God, recapping Zrinski's devotion and martyrdom, and asking for favor on behalf of the poet himself by virtue of the elder Zrinski's merits.
|
|
A classic pastoral scene, depicting a shepherd with his livestock; a pastoral subject was the initial distinguishing feature of the villanelle. Painting by , 19th century. A villanelle, also known as villanesque,Kastner 1903 p. 279 is a nineteen-line poetic form consisting of five tercets followed by a quatrain.
|
|
The Speaker begins Sonnet 4 (quatrain 1) by asking his male friend why he must waste his beauty on himself, because nature doesn't give people gifts besides the ones we get at birth. However, nature does lend to those who are generous with their own beauty. The second quatrain is about the speaker asking a friend, the subject of the poem, why he abuses the plentiful and generous gifts he was given, which are meant to be shared with others. Then the speaker goes on to ask why he vows to be a bad shareholder, using up what he has to offer but not able to care for himself or reserve his own money.
|
|
Sonnet 86 is one last attempt by the poet to explain why he has been struck silent, and how words seem useless when silence is the only decent expression. The sonnet describes in backwards motion the progress of his own anguish: In the first quatrain the poet in him is entombed, as the attempt and failure of the poet's writing process is described with a metaphor of a pregnancy and miscarriage (line 3). In the second quatrain the poet is struck dead, in the third he becomes sick. Running alongside of this, but in forward motion, there is a progressive derogation of the rival poet, a progress that starts high with the magnificent nautical metaphor of line one.
|
|
In 1823, he translated and published a 75-page booklet on beekeeping from a Polish work by Jan Krzysztof Kluk. The work was dedicated to Count Nikolay Rumyantsev. His brother Kajetonas claimed authorship of this work. It included a quatrain translated by Dionizas Poška that was also included in Kajetonas' primer.
|
|
Ithaca: Cornell UP, 1987. Print. Phrases and words like, "basest clouds", "ugly rack", "stealing", and "disgrace" in the second quatrain show the readers how the poet is feeling towards the young man's promiscuity. It also shows that a serious moral lapse has occurred. The poem's conceit has numerous parallels in Shakespeare's plays.
|
|
Ed. Patricia Parker and Geoffrey Hartman. New York City: Methuen, Inc., 1985. 230-244. Print. The First Quatrain sets out the argument that the Speaker could perform grand external gestures such as the bearing of a ceremonial canopy or the building of some great monument, but that these actions cannot outlast ruination.
|
|
Sonnet 56 is part of the Fair Youth sonnets. The sonnet's first line was inspired by George Whetstone's The Rocke of Regard (1576). The sonnet is divided up into four quatrain, groups of four lines, and a couplet. Sonnet 56 is puzzling because of its seemingly inappropriate placement next to Sonnet 55.
|
|
Trenches are also carved into a field when a farmer plows, and the agricultural connotation is touched on two lines later with the image of worthless weeds. Livery is usually a uniform for a butler or soldier, which may suggest that the young man's beauty does not belong to him. In the second quatrain, it points out that when the young man is old and asked where his beauty went, and he must then answer that his treasure is found only in his own self-absorbed “deep sunken” eyes, it would be a shame. The third quatrain suggests that this waste and shame could be avoided if the young man were to have a child who could inherit his beauty.
|
|
Quatrain on Late Spring, by Emperor Lizong. Emperor Lizong was a skilled poet and calligrapher. The Metropolitan Museum reports, "Lizong was the finest calligrapher among the Song emperors who came after Gaozong (r. 1127–62)." Lizong developed his own unique calligraphic style which was easily recognizable as it showed sharp and rapid brush strokes.
|
|
In the poem "Idź, idź w pokoju!" ("Go away in peace") Konopnicka used a six- line strophe 5a/11b/11b/11c/11c/5a. Another form used by Konopnicka suggestive of the Sapphic stanza is a quatrain composed of three hendecasyllabic lines and one trisyllable,Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 262.
|
|
The 13-syllable meter of the Persian ruba'i (quatrain) is also traditionally analysed as if it was a variety of the hazaj meter,See discussion in Maling (1973), pp. 118-135 but in reality it is quite different, and evidently has no connection with the meter described above.Elwell-Sutton, L.P. (1986). "Aruz". Encyclopaedia Iranica.
|
|
The third quatrain can be considered almost satirical in nature.(Zak, William F. A Mirror For Lovers : Shake-Speare's Sonnets As Curious Perspective / William F. Zak. n.p.: Lanham, Maryland : Lexington Books, [2013], 2013.) The word nothing is used both as a numerical value and also as a common Elizabethan slang term for vagina.(Vendler, Helen.
|
|
Emerson, ca. 1857 "Boston Hymn" consists of 22 rhyming quatrains. The edition printed in The Atlantic omits a quatrain Emerson accidentally left out of the manuscript he sent to the printer. The poem recalls the conception of Boston as a "city upon a hill" that originated with Massachusetts Colony's Puritan founders, also called Pilgrims.
|
|
The first quatrain details the love that the poet feels. The first line addresses "the quality of love." Shakespeare also wants his love to be noticed and to the "desired" effect to happen. The use of "sweet love" appears to address a specific person but later seems to address the love that the author feels.
|
|
In former times, championship bouts were held in which the objective was to blind the opponent's eye. The winner is required to happily sing a quatrain while the loser replies in a low voice to show despair. Participants must be agile, physically fit and able to sing local songs. Women playing a drum as musical accompaniment for Caci fighting.
|
|
Rais Amrohvi (), whose real name was Syed Muhammad Mehdi (1914-1988) was a Pakistani scholar, Urdu poet and psychoanalyst and elder brother of Jaun Elia. He was known for his style of qatanigari (quatrain writing). He wrote quatrains for Pakistani newspaper Jang for several decade. He promoted the Urdu language and supported the Urdu-speaking people of Pakistan.
|
|
Brincat, guided by his erudition as by common sense, concludes that the quatrain which stands on its own between the two stanzas, of six verses and ten verses each respectively, is erroneously transcribed by Brandan.Ibid. Brincat very aptly provides convincing internal evidence for the error.Ibid.: 13f. Brincat's important conclusion was followed by other scholars,Cassola, 1986: 119.
|
|
She also personifies immortality. Her familiarity with Death and Immortality at the beginning of the poem causes the reader to feel at ease with the idea of Death. However, as the poem progresses, a sudden shift in tone causes readers to see Death for what it really is, cruel and evil. This volta (turn) happens in the fourth quatrain.
|
|
Although Sonnet 33 is considered a part of the group of Shakespearean sonnets addressed to a young man, there have been claims that the third quatrain of sonnet 33 may have been co- addressed to Shakespere's only son, Hamnet, who died in 1596 at the age of 11.Schwartzberg, Mark. "Shakespeare's SONNET 33." Explicator 61.1 (2002): 13-14.
|
|
28 October 2014. If this notion is to be true, then sonnet 33 could be that of the "paternal guilt" motif. In other readings of the third quatrain, it should complete the metaphor of the young man as a sun, but fails to commit, "my sun" being a step removed from "my friend" or "my love".Hammond, Gerrold.
|
|
The Reader and Shakespeare's Young Man Sonnets. Totowa, N.J. Barnes & Noble. 1981. p. 42–43. This requires the reader to allow the speaker some leeway toward the metaphor, not to search to deeply into the "nature of the region cloud or its masking". The third quatrain restates the first two quatrains in the same metaphoric terms.
|
|
The purpose of a Shakespearean couplet is to analyze and summarize the author's experience, as well as, to describe and enact it. In regards to the relationship of quatrain to couplet, "one must distinguish the fictive speaker (even when he represents himself as a poet) from Shakespeare the author".Vendler, Helen. The Art of Shakespeare's Sonnets.
|
|
A Balliol rhyme is a doggerel verse form with a distinctive metre. It is a quatrain, having two pairs of rhyming couplets, each line having four beats. They are written in the voice of the named subject and elaborate on that person's character, exploits or predilections. The form is associated with, and takes its name from, Balliol College, Oxford.
|
|
Cambridge, Massachusetts: Harvard University Press, 1997. Print, pg. 51. Philip Martin describes the third quatrain as a "tone of self-love, as the poet sees it in the youth" and it is "not praise alone, nor blame alone; not one and then the other; but both at once".Martin, Philip J. T. Shakespeare's Sonnets; Self, Love and Art.
|
|
10 Oct. 2012. . The last line of the first quatrain follows the fled term, "fled", or fleeing from a "vile" world and insinuates that the next world is even worse as it is where the vilest worms dwell. This creates the question of if it is any better after death than it was in life.Guyer, Sara.
|
|
When discussing the auditory impression created by the sound of the decasyllabic quatrain, Ralph Waldo Emerson described how he would hum the tune created by the pattern of the rhyme scheme then long to fill the sounds in with the words of a poem. Emerson, Ralph Waldo. Qtd in American Renaissance by Francis Otto Matthiessen. Kessinger Publishing (2006) p.
|
|
"The Happiest Day", or "The Happiest Day, the Happiest Hour", is a six-quatrain poem. It was first published as part of in Poe's first collection Tamerlane and Other Poems. Poe may have written it while serving in the army. The poem discusses a self-pitying loss of youth, though it was written when Poe was about 19.
|
|
Associated with the land and kingship, they probably represent a triple goddess of sovereignty. Next come Ernmas' other three daughters: Badb, Macha, and the Morrígan. A quatrain describes the three as wealthy, "springs of craftiness", and "sources of bitter fighting". The Morrígu's name is also said to be Anand, and she had three sons: Glon, Gaim, and Coscar.
|
|
In some sources it is called "As I went to Walsingham", the first line of the following quatrain. As I went to Walsingham, To the shrine with speed, Met I with a jolly palmer"Palmer" meant a pilgrim in those days, since pilgrims returning from the Holy Land traditionally brought back a palm branch. In a pilgrim's weed.
|
|
Roberta Smith wrote in The New York Times: In the early 1990s, LeKay edited an underground magazine entitled Pig,Dannett, Adrian. "John LeKay – Cohen" , Flash Art, November/ December 1993. Retrieved from johnlekay.com, 10 December 2007 the name referring to a Nostradamus quatrain about men with pig snouts in flying machines and standing for "Politically Incorrect Geniuses".
|
|
The rhyme royal stanza consists of seven lines, usually in iambic pentameter. The rhyme scheme is ABABBCC. In practice, the stanza can be constructed either as a tercet and two couplets (ABA BB CC) or a quatrain and a tercet (ABAB BCC). This allows for variety, especially when the form is used for longer narrative poems.
|
|
Humpty Dumpty who explains to Alice the definitions of some of the words in "Jabberwocky". Illustration by John Tenniel, 1871 Though the poem contains many nonsensical words, English syntax and poetic forms are observed, such as the quatrain verses, the general ABAB rhyme scheme and the iambic meter.Gross and McDowell (1996). Sound and form in modern poetry, p. 15.
|
|
Bloomsbury Arden 2010. . p. 262 The sonnet seems to be sincerely self-denigrating about the poet's lack of variety, and lack of incorporating the latest fashions, but at the same time there is a sense that the self-effacing pose doesn't ring true. There is instead a self-asserting quality being implied: that when the poet compares himself with others in the first quatrain they appear to be mere followers of fashion, and (in the second quatrain) that his way of writing is a way for a writer to achieve a style that is distinct. There is also the assertion implied in the sestet that the poet requires fidelity to his subject in order to arrive at a proper style, as opposed to the fickle valuing of constantly changing fashions.Hammond.
|
|
Let those whom nature hath not made for store, Harsh, featureless and rude, barrenly perish; Look whom she best endowed, she gave the more, Which bounteous gift thou shouldst in bounty cherish: Quatrain 3 takes on a slightly different path in addressing to the Youth. It speaks of nature and how she gave more to those who already had so much and little to those who already had nothing (this example can be found in the Synopsis). As definitions of certain words have changed from their meanings in the sixteenth century, an explanation of their original content is needed to understand quatrain 3 in its entirety. One of these words is 'store', which Hammond points out that within the context of the line means, "The breeding of animals".
|
|
In 1751, Thomas Gray published "Elegy Written in a Country Churchyard", composed in the heroic stanza. Written in iambic pentameter, the poem followed the same metrical and structural patterns seen in Annus Mirabilis, but the use of the poetic form in an elegy gave it the title of the "elegiac decasyllabic quatrain". Other writers of Gray's time also wrote heroic stanzas about topics similar to those in Elegy, such as Thomas Warton in Pleasures of Melancholy and William Collins in Ode to Evening. While the topic chosen for these quatrains appealed to the novel literary devices of Gray's period with emphasis on melancholy and by taking place in the evening, Gray's contemporaries did not believe that the heroic quatrain, which was commonly used in the era, was dramatically changed or altered in the poems.
|
|
The work is based on the Tridentine Mass of the Roman Catholic Church. Although the liturgical passages are sung in Latin, Mass also includes additional texts in English written by Bernstein, Broadway composer Stephen Schwartz,The Official Leonard Bernstein Web Site page on Mass. Retrieved February 12, 2009. and Paul Simon (who wrote the first quatrain of the trope "Half of the People").
|
|
Wiesbaden: Harrassowitz. is the term for a quatrain, a poem or a verse of a poem consisting of four lines. It refers specifically to a form of Persian poetry, or its derivative form in English and other languages. In classical Persian poetry, the ruba'i is written as a four-line (or two- couplet) poem, with a rhyme-scheme AABA or AAAA.
|
|
Bloomsbury Arden 2010. p. 166 . In the second quatrain, Day and Night are personified as a pair of tyrants who were enemies to each other, but who have now shaken hands to join forces to torture the poet. Day tortures the poet with toil, Night tortures him by causing him to lament how far off the poet is from the young man.
|
|
For example, the quatrain for the letter "A" is: A is an Abolitionist— A man who wants to free The wretched slave—and give to all An equal liberty. The quatrains expose readers to abolitionist ideas and to problems with the treatment of slaves in the United States, such as the whipping of slaves and the separation of children from their mothers.
|
|
Further into the quatrain the narrator uses the term cancelled to describe the relationship with past friends, as if the time with them have expired. As if everything in his past has expired or been lost. "Moan the expense" is also used to express the narrator's moaning over what the loss of "precious friends" and how is costs him in sorrow.
|
|
The stotra is in the Asthi Chanda. It has 16 syllables per line of the quatrain, with laghu (short syllable) and guru (long syllable) characters alternating; the poetic meter is iambic octameter by definition. There are 16 quatrains in total. Both the ninth and tenth quatrains of this hymn conclude with lists of Shiva's epithets as destroyer, even the destroyer of death itself.
|
|
Select Poems: Being the Literature Prescribed for the Junior Matriculation and Junior Leaving Examinations, 1905. Copp, Clark Co. (1905) p.191 Shakespearean Sonnets, comprising 3 quatrains of iambic pentameter followed by a final couplet, as well as later poems in blank verse have displayed the various uses of the decasyllabic quatrain throughout the history of English Poetry.Gwynne Blakemore and Anthony Hect.
|
|
Portrait of Henric Piccardt. Engraving by Pierre Landry from 1672 after a lost painting by Nicolaes Maes. Under the portrait, a Quatrain by Guy Patin. Henric Piccardt (25 March 1636, – 6 May 1712, Harkstede) was an ambitious Dutch lawyer who made good at the court of young king Louis XIV of France in Paris where he became a published poet in French.
|
|
Jueju (), or Chinese quatrain, is a type of jintishi ("modern form poetry") that grew popular among Chinese poets in the Tang Dynasty (618–907), although traceable to earlier origins. Jueju poems are always quatrains; or, more specifically, a matched pair of couplets, with each line consisting of five or seven syllables. The five-syllable form is called wujue () and the seven- syllable form qijue ().
|
|
The name kyrielle derives from the Kýrie, which is part of many Christian liturgies. A kyrielle is written in rhyming couplets or quatrains. It may use the phrase "Lord, have mercy", or a variant on it, as a refrain as the second line of the couplet or last line of the quatrain. In less strict usage, other phrases, and sometimes single words, are used as the refrain.
|
|
Print, pg. 31-32. Gascoigne is quoted as saying, "The more monosyllables that you use, the truer Englishman you shall seemed, and the less you shall smell of the Inkhorn". It is in this final quatrain and the concluding couplet we see one final change. The couplet of the poem describes the seemingly selfish nature of the beloved (Shakespeare chooses to rhyme "be" and "thee" here).
|
|
Quatrain 2 continues with the poet confessing about his journey on finding false love. In line 5, the phrase "looked on truth" is used in terms that the poet has seen what is true. Scholar Stephen Booth has interpreted the line: "I have seen truth, but I have not properly regarded it." Booth's interpretation gives insight about the poet's disregard for the lover's affection.
|
|
The second quatrain (line 9) has the stock phrase, "Then up and spoke the Colonel's son that led a troop of the Guides", which is also found in Sir Patrick Spens. Such echoes are to be heard throughout the poem. There is a couplet that is repeated with slight variations several times: T. S. Eliot included the poem in his 1941 collection A Choice of Kipling's Verse.
|
|
London: Yale University Press, 1977. 426-430. Print. Booth also notes the author's play on words in lines 3-4. By placing eternity at the end of line 3 and saying, "proves more short", Shakespeare is highlighting the lack of timelessness in such endeavors. As aforementioned, this is a common theme of Shakespeare's sonnets and this quatrain of Sonnet 125 reiterates the motif of mortality.
|
|
Macmillan (1903). p.61 Hence, a quatrain formed of heroic couplets would have a scheme of AABB. However, Nosce teipsum used a variation of the form wherein the couplets were separated by interjected lines, causing the scheme to gain complexity. Following the publication of Nosce Teipsum, other poets in the English language also began to break free from the heroic couplet in their longer works.
|
|
In the first quatrain, the speaker confesses that both he and the friend are at the mistress's mercy; in the second one, he surmises that the attachment will hold, due to the friend's naivete and the mistress's greed. The remainder of the poem construes the mistress as an unethical moneylender: metaphorically, she lent her beauty to the speaker and then collected the friend as interest.
|
|
There was a plaque with a caption and a quatrain written by the poet Isaac de Benserade next to each fountain. A detailed description of the labyrinth, its fables and sculptures is given in Perrault's Labyrinte de Versailles, illustrated with engravings by Sébastien Leclerc. In 1778 Louis XVI had the labyrinth removed and replaced by an arboretum of exotic trees planted as an English-styled garden.
|
|
About half of all ataabas do not use fixed meter, while the other half use a standard rajaz or wāfir meter. Generally composed of four verses of poetry, the first three end with the same sound.Farsoun, 2004, p. 117. The end of a verse or quatrain in an ataaba is marked by adding a word ending in "-ba" to the end of the fourth hemistich.
|
|
The poem is dedicated to Merrill's friend, the distinguished poet, critic, and translator Richard Howard. It consists of 215 lines with an additional four line epigraph. The poem is mainly in unrhymed pentameter but includes a section in Rubaiyat quatrain stanzas. "Lost in Translation" may be classified as an autobiographical narrative or narrative poem, but is better understood as a series of embedded narratives.
|
|
Bernard Hoffer composed the music, as well as setting a quatrain by Baum inspired by Claus's famous laugh. The presentation of the Christmas tree is different; Claus, realizing his death is imminent, decorates a tree with ornaments and suggests it should be his memorial. This is the only Rankin/Bass Christmas special without a celebrity narrator. The special aired on Freeform and since 2018 on AMC currently airs the special.
|
|
A structured document is an electronic document where some method of markup is used to identify the whole and parts of the document as having various meanings beyond their formatting. For example, a structured document might identify a certain portion as a "chapter title" (or "code sample" or "quatrain") rather than as "Helvetica bold 24" or "indented Courier". Such portions in general are commonly called "components" or "elements" of a document.
|
|
Subhashitas are structured in pada-s (Sanskrit: पद, or lines) in which a thought or a truth is condensed. These epigrammatic verses typically have four padas (verse, quatrain), are poetic and set in a meter. Many are composed in the metrical unit called Anuṣṭubh of Sanskrit poetry, making them easy to remember and melodic when recited. But sometimes Subhashitas with two pada-s or even one pada proclaim a truth.
|
|
This technique is used again in Tennyson's later poem, "The Two Voices".Hughes 1988 pp. 26, 54, 107 The rhyme scheme of the poem, ABAB CDDC EFEF, is different than the standard ballad rhyme that serves to contain the poem then allow a free expression. The middle quatrain of the stanzas returns in theme to the beginning in a cyclical pattern while the last quatrain's lines contain the same words.
|
|
Rather, she related the contrasting voices in the first and second quatrain to a philosophical metaphor for the self. I have corrupted myself is a statement that presupposes a true "higher self which has, by a lower self, been corrupted, and which should once again take control. Even the metaphor of the lawsuits implies that one side in each suit is 'lawful' and should win."Vendler, Helen (1997).
|
|
Go and take all of my loves, my beloved—how would doing so enrich you? It would not give you anything you do not already have. All that I possessed was already yours before you took this. (The second quatrain is obscure and contested.) If, instead of loving me, you love the person I love, I can't blame you, because you are merely taking advantage of my love.
|
|
Edward Capell amended quarto "steeld" to "stelled," a word more closely related to the metaphor of the first quatrain. Edward Dowden notes parallels for the opening conceit in Henry Constable's Diana and in Thomas Watson's Tears of Fancy. The poem's central conceit, the dialogue between heart and eye, was a period cliché. Sidney Lee traces it to Petrarch and notes analogues in the work of Ronsard, Michael Drayton, and Barnabe Barnes.
|
|
A quatrain of the poem reads: "Nalyvaiko, Zalizniak / And Taras Triasylo / Call us from beyond the grave / To the holy battle". In 1926, a feature film, Taras Triasylo, directed by Pyotr Chardynin, was released by the All-Ukrainian Kino Foto Direction (BUFKU).Тарас Трясило, Энциклопедия отечественного кино, ред. Любовь Аркус It recounted the then nearly three-hundred-year-old events through the silent-movie prism of the Soviet film industry.
|
|
A chaupai (चौपाई) is a quatrain verse of Indian poetry, especially medieval Hindi poetry, that uses a metre of four syllables. Famous chaupais include those of poet-saint Tulsidas (used in his classical text Ramcharitamanas and poem Hanuman Chalisa) . Chaupai is identified by a syllable count 16/16, counted with a value of 1 in case of Hrasva (short sounding letter) and 2 in case of Dirgha (long sounding letter).
|
|
A canopy borne by courtiers over king Francis I of France The first quatrain introduces the reader to the author's general argument of mankind's endeavors. In the author's opinion, earthly ventures such as carrying the "canopy", which would have been held above the head of a celebrity during a ceremony, or "great bases" to mean massive foundations, are meaningless because time and "ruining" destroy them.Booth, Stephen. Shakespeare's Sonnets.
|
|
The final quatrain offers the poem's volta, or "turn in thought" ("volta" def. 1). This third section changes the focus from general reflection to a direct address of the "Fair Youth". The author begins with a declaration that he will be "obsequious" and dutiful to the "Youth". The speaker then asks the "Fair Youth" to accept his "oblation" or offer, which is free of both monetary obligations and underhanded motivations.
|
|
Shakespeare's second quatrain tells the reader that "as soon as lust is experienced, it is immediately hated". "Beyond the control of reason" the aggressor is searching for and looking forward to the pleasure that awaits. Shakespeare's "context is equivalent 'to have intercourse', 'to possess sexually'". The hate that is experienced after lust, is almost "irrational as was the original pursuit and like a bait that a fish swallows".
|
|
She begins by addressing the "grand marble" and "gilded" statues and monuments; these are called this way when the speaker compares them to the verse immortalizing the beloved. However, when compared to "sluttish time" they are "unswept stone besmeared". The same technique occurs in the second quatrain. Battle occurs between mortal monuments of princes, conflict is crude and vulgar, "wasteful war" overturns unelaborated statues and "broils" root out masonry.
|
|
See the article on line breaks for information about the division between lines. 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.
|
|
In the first quatrain the poet describes that he has become quiet about the love he has for his muse, but this does not mean that his love is less. Rather, he claims that it is for the exact opposite reason. Carl Aitkins feels that the tone established here is like an tangential thought from Sonnet 100 and Sonnet 101. Publishing sonnets about his love have become a kind of currency.
|
|
Wan Han had one poem collected in Three Hundred Tang Poems, a seven-syllable line quatrain (referred to as a ci in the title), which was translated by Witter Bynner as "A Song of Liangzhou". This poem discusses the vicissitudes of war, contrasting the threat of death with the music of the pipa and drinking grape wine out of luminous cups (夜光杯) of a traditional regional sort.
|
|
These lessons often take place at minstrel meetings and coffeehouses frequented by them. Those bard-poets who become experts or alaylı then take apprentices for themselves and continue the tradition. A minstrel's creative output usually takes two major forms. One, in musical rhyming contests with other bards, where the quarrel ends with the defeat of the minstrel who cannot find an appropriate quatrain to the rhyme and two, story telling.
|
|
Surprising effects are achieved by an endless variety of plots. Russians love jokes on topics found everywhere in the world, be it politics, spouse relations, or mothers-in-law. Chastushka, a type of traditional Russian poetry, is a single quatrain in trochaic tetrameter with an "abab" or "abcb" rhyme scheme. Usually humorous, satirical, or ironic in nature, chastushkas are often put to music as well, usually with balalaika or accordion accompaniment.
|
|
Sonnet 54 by William Shakespeare is divided into three quatrains and one heroic couplet. The first two quatrains work together, illustrating both the scentless canker bloom Shakespeare's Sonnets, edited by Stephen Booth (Google Books) and the scented rose. In the first two lines of the first quatrain he says that beauty seems more beauteous as a result of truth. In the next two he gives the example of a rose.
|
|
The poem is heterometric in nature; its lines switch between iambic and trochaic trimeter, tetrameter, and dimeter. It is divided into nine distinct stanzas, each stanza as a quatrain with four lines. There are a total of thirty-six lines in the entire poem. There are five distinct sections to the poem, each turn is given through the use of a period at the end of the section.
|
|
In the second quatrain, the speaker says that the young man is not only betrothed to himself, but is also eating away at himself and will leave famine behind where there is abundance, thus making the young man's cruel self an enemy of his “sweet self”. Line five, "But thou, contracted to thine own bright eyes", suggests the young man is pledged to himself, as in a betrothal, but reduced to the small scope of his own eyes. Shakespeare then goes on to give the imagery of a candle eating itself, "Feed'st thy light's flame with self-substantial fuel", which can be tied to gluttony in the thirteenth line. In the last two lines of the second quatrain, "Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel", Shakespeare uses the contrasting images of "famine" and "abundance" and then "sweet self" and "cruel" to describe the selfishness of the young man.
|
|
Italy, Thomas Nelson Int'l. 1997. p. 176. The second quatrain describes the young man's relationship with the poet. We can see here that there may be a moral or internal struggle for the narrator because the young man does not have loyalty towards only one person. The speaker is torn between hating the clouds and hating the young man who will "permit" the damage they (the clouds) cause and hurt the speaker's feelings.
|
|
Barnes & Noble. 1981. p. 112-113. Sonnet 28's first quatrain begins questioning how the poet can return to the young man in a happy plight. The concern is that at night he is prevented from resting, and by day he is oppressed by toil. The toil is the toil of travel, and the description of travel in the previous sonnet (Sonnet 27) is the journey that takes place in a poet's imagination.
|
|
The Reader and the Young Man Sonnets. Barnes & Noble. 1981. p. 112-113. The high level of ambiguity in the third quatrain is thought to be deliberate and intended to derail a simple reading of a conventional sonnet with questions of who is being referred to. The confusion begins with the phrase "to please him", which at first glance may seem to refer to the fair youth — a young man who appreciates flattery.
|
|
Brahma is the philosophical explication of the universal spirit by that name. The poetic form of elastic quatrain is used to represent the solemn nature of the subject. Throughout, the poem the Brahma appears as the only speaker, sustaining the continuity of the work. That the spirit is the only speaker signifies not only its absolute nature but also its sustaining power, upon which the existence of entire universe metaphorically, the poem is based.
|
|
If that is the case, then Sonnet 109 does contain some imagery that might refer to Wriothesley. Quatrain 1 (lines 1-4) In Of Comfort and Despair: Shakespeare's Sonnet Sequence, Robert Witt asserts that in Sonnet 109 Shakespeare comes to the realization of his lover's "Inner Beauty" and how it is a reflection of himself.Witt, Robert W. Of Comfort and Despair: Shakespeare's Sonnet Sequence. Salzburg: Inst. F. Anglistik U. Amerikanistik, 1979. Print.
|
|
Baer 2006, p. 130. The tercet also forms part of the villanelle, where the initial five stanzas are tercets, followed by a concluding quatrain. A tercet may also form the separate halves of the ending sestet in a Petrarchan sonnet, where the rhyme scheme is ABBAABBACDCCDC, as in Longfellow's "Cross of Snow". For example, while "Cross of Snow" is indeed a Petrarchan sonnet, it does not follow the form of ABBAABBA CDCCDC.
|
|
Later in quatrain war becomes "war's quick fire" and "broils" become "Mars his sword". The war is suddenly grand and the foes are emboldened. The blatant contempt with which the speaker regards anything not having to do with the young man, or anything that works against the young man's immortality, raises the adoration of the young man by contrast alone. Like the other critics, Vendler recognizes the theme of time in this sonnet.
|
|
One variation uses a book of assorted poems instead of a dictionary. A rhyming quatrain is chosen by the picker. The first three lines are read and a fake fourth line must be made up by the other players which acts like the fake definitions. Another variation asks players to write the first line of a novel using the title and the blurb read out from the back of the book as clues.
|
|
An interpretation of the first sentence of the Narsaq stick as a play on homonyms was first proposed by Jón Helgason who took the sentence to mean "He who sat on a tub saw a tub." (Á sá sá sá es á sá sat.), noting as a parallel an Icelandic quatrain which plays on sá homonyms. This interpretation has been called "very convincing" and "the most appealing". Other interpretations have been proposed.
|
|
In the second quatrain, specifically in lines 5 and 6, the speaker declares he is aware that she knows he is no longer young.(Atkins p. 339) Beginning line 5 with the words "Thus vainly" effectively negates the second half of the line, implying that the lady does not actually believe in the speaker's youth. The same can be said for line 7, with the second part of the line clearly contradicting the beginning.
|
|
It has 78 steps and a commemorative plaque in honour of Julius Euting, a famous orientalist and president-founder of the Club vosgien. The tower cost 4,000 German marks to construct. Julius Euting and the quatrains Beneath the entry portal, under the portrait of Euting, is posted a quatrain in German with a French translation. :Gennant bin ich der "Juliusturm", :Trotz biet'ich jedem Wettersturm; :Hochwacht halt ich im Wasgauland, :Mit ihm steh'ich in Gotteshand.
|
|
Mirroring the actions in the first two quatrains of Sonnet 153, Sonnet 154 deals with an unnamed Cupid that Rowse defines as "The little god of love" who is vulnerable in sleep. The conflict arises as a group of "nymphs vowed to chastity" walk by the sleeping Cupid.[Rowse pg. 319] The second quatrain explains that "The fairest of them took in her hand the fire that had warmed legions of hearts".
|
|
768, translated by Gamard & Farhadi. Versions of this quatrain have been > made by Shahram Shiva, "Hush: Don't Tell God", p. 17 and by Azima Kolin > (based on Mafi), "Rumi: Whispers of the Beloved", p. 71. [`âshiq to yaqîn > dân, ke musulmân na-bûd dar maZhab-é `ishq, kufr-o îmân na-bûd] In Islamic Sufism, unconditional love is the basis for the divine love Ishq-e- Haqeeqi, elaborated by many great Muslim saints to date.
|
|
The 1770 version of "Africa" was published without lyrics. Since it readily fits any iambic quatrain written in couplets of eight and six syllables (common meter), singers of this version would certainly have had no trouble finding lyrics to accompany it. Such quatrains are common in hymn lyrics. For the 1778 and 1779 versions, Billings chose lyrics: the first stanza of Hymn #39 of the first volume of hymns (1709) by the noted English hymnodist Isaac Watts.
|
|
This poem is variously known as "Song of the West Tomb", "Song of Xiling Lake", "Song of Su Xiaoxiao" (in a collection of Music Bureau poems) and "Song of the Same Heartbeat". It became very well known and inspired many future poets including those named above. In the original text, the poem is a quatrain composed of four lines of five words each. :, :, :, :。 :I ride in a decorated carriage, :My darling rides a blue-white horse.
|
|
A quatrain on Flann appears in an anonymous poem on the episcopal court of Áed úa Forréid (bishop of Armagh, 1032–1056), composed between 1032 and 1042; it provides a brief but probably near-contemporary thumbnail sketch of the man. "Flann, from the famous church of sweet-voiced Buite. Slow the glance of the eye in his gentle head. He is a magic mead scholar who imbibes ale. Final scholar of the three Finns’ land is Flann".
|
|
"The greatest poet of the Indian style, however, was ʿAbdul Qādir Bēdil, born in 1644 in Patna, of Uzbek descent."Mirza Abdul-Qader Bedil biography and peoetry He was born in Azīmābād, present-day Patna in India. Bīdel mostly wrote Ghazal and Rubayee (quatrain) in Persian, the language of the Royal Court, which he had learned since childhood. He is the author of 16 books of poetry, which contain nearly 147,000 verses and include several masnavi) in that language.
|
|
Song of Solomon is a multicultural text, with elements of Native American culture being intertwined with African- American culture in Shalimar, Virginia. Equally, Morrison employs Islamic imagery in the actual "Song of Solomon", including in the "nonsense" language of the song. Note in the second line of the fourth quatrain the words "Medina" and "Muhammet". Medina is a holy city in Islam, second perhaps only to Mecca, and Muhammet is an allusion to Muhammad, the Islamic prophet.
|
|
Structurally, the syllables shift from its constant 8-6-8-6 scheme to 6-8-8-6. This parallels with the undertones of the sixth quatrain. The personification of death changes from one of pleasantry to one of ambiguity and morbidity: "Or rather--He passed Us-- / The Dews drew quivering and chill--" (13–14). The imagery changes from its original nostalgic form of children playing and setting suns to Death's real concern of taking the speaker to the afterlife.
|
|
The Nyingma tradition is the oldest of the four major schools of Tibetan Buddhism. It is founded on the first translations of Buddhist scriptures from Sanskrit into Tibetan, in the eighth century. Ju Mipham (1846–1912) in his commentary to the Madhyamālaṃkāra of Śāntarakṣita (725–788) says:Commentary to the first couplet of quatrain/śloka 72 of the root text, (725–788) — Blumenthal, James (2008). "Śāntarakṣita", The Stanford Encyclopedia of Philosophy (Winter 2008 Edition), Edward N. Zalta (ed.).
|
|
Brahma is one of the poems composed by Ralph Waldo Emerson, an American transcendentalist of the nineteenth century. The poem is composed in the form of an utterance- a form which comprises sublime or metaphysical content while adding to it the balladic quatrain-music pattern. (A dramatic form not in vogue, and distinctly different from Browning's dramatic developments). The form, therefore, is the first of its kind to include Oriental poetical material in the Western verse framework.
|
|
The poem takes the form of a Shakespearean sonnet: fourteen decasyllabic, iambic pentameter lines, that form three quatrains and a concluding rhyming couplet. It follows the form's rhyme scheme: ABAB CDCD EFEF GG. Each line of the first quatrain of Sonnet 3 exhibits a final extrametrical syllable or feminine ending. The first line additionally exhibits an initial reversal: / × × / × / × / × / (×) Look in thy glass and tell the face thou viewest (3.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
|
|
Sonnet 18 is a typical English or Shakespearean sonnet, having 14 lines of iambic pentameter: three quatrains followed by a couplet. It also has the characteristic rhyme scheme: ABAB CDCD EFEF GG. The poem reflects the rhetorical tradition of an Italian or Petrarchan Sonnet. Petrarchan sonnets typically discussed the love and beauty of a beloved, often an unattainable love, but not always. It also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain.
|
|
Katherine Duncan-Jones believes that the sonnet is about Shakespeare's feelings about his own career as an actor. Scholar Henry Reed agrees with Duncan-Jones and believes that the sonnet is written about Shakespeare's own disdain with his acting career. The third line of the quatrain also suggests that the sonnet could be about the theater. Gored could be used in the sense of sewing triangular sized cloths into the motley that would be worn by the actor.
|
|
A strong pause at the close of each quatrain is usual for Shakespeare. While he suggests Petrarchan form by placing the chief pause after the eighth line in about 27 or so of the sonnets, in over two thirds of his sonnets he places the chief pause after the twelfth line instead. Iambic pentameter is used in almost all the sonnets, as it is here. This is a metre based on five pairs of metrically weak/strong syllabic positions.
|
|
This was a poetry characterized by a burning delight in intellectual analysis and a pure passion for knowledge. Davies's works are very well represented in Elizabethan anthologies. The last complete edition of his poems appeared in 1876 and is long out of print. His most famous poem, Nosce Teipsum, was reprinted numerous times, and was one of the first English poems to use the decasyllabic quatrain instead of the heroic couplet for a poem of its scope.
|
|
Booth takes a different approach to the sonnets. He suggests that the entire sonnet is an "emblem of the poets self-mocking tactics. He argues that though the sonnet works to remind the reader to forget the speaker, it is also contradicts as it constantly reminds the reader of the speaker. His comment on the reading of the first quatrain is that, the experience of reading the poem "an experience of being unable to get on to something new.
|
|
The poem is arranged in a series of 25 alexandrine quatrains with an a/b/a/b rhyme-scheme. It is woven around the delirious visions of the eponymous boat, swamped and lost at sea. It was considered revolutionary in its use of imagery and symbolism. One of the longest and perhaps best poems in Rimbaud's œuvre, it opens with the following quatrain: Rimbaud biographer Enid Starkie describes the poem as an anthology of memorable images and lines.
|
|
Herein lies wisdom, beauty and increase; Without this, folly, age and cold decay; If all were minded so, the times should cease, And threescore year would make the world away: The second quatrain (lines 5–8) warns the Youth of the negative effects the refusal to procreate would have on mankind, how if everyone thought/refused as the Youth did, "were minded so," humans would die off within "threescore year" (three generation, or sixty or so years in Shakespeare's time). Opening this quatrain, line 5 begins with 'Herein,' alluding to the concept of marriage and procreation which 'herein' possess the virtues of 'wisdom, beauty, and increase'. In contrast not following this "plan" of procreation leads to 'folly, age and cold decay' of both the Youth (having no child 'herein' to carry on his expiring "virtue and virility") and humankind. With the phrase 'minded so' in line 7 the speaker is referring to those who hold "the same opinion as you [the Youth]," with 'minded' referring to an opinion, thought or belief; in this case someone who holds the same position as the Youth.
|
|
Wetzsteon in The Collected Poems of Emily Dickinson (Introduction) The poem begins with a paradox (a liquor never brewed) and finishes with a striking image (a tippler supported by the sun rather than the traditional lamppost), both common devices in Dickinson's poetry. It employs slant rhyme in the first quatrain, where pearl is made to rhyme with alcohol. Dickinson was censured for this (precisely this example by Andrew Lang) by some early critics while others celebrated it as avant-garde.Benfey p.
|
|
The seventh and eighth lines state that the eyes disagree with the heart and argue that they are capable of detecting of the beauty of a person. The third quatrain sets up the decision to be made about this 'battle'. Lines 9–10 explain that deciding this legal right of possession requires a jury of thoughts and these thoughts are all tenants of the heart. The jury decides the verdict and what share (moiety) the clear eye and dear heart will receive.
|
|
The title "The Stars My Destination" appears in a quatrain quoted by Foyle twice during the book. The first time, while he is trapped in outer space, he states: :Gully Foyle is my name :And Terra is my nation. :Deep space is my dwelling place, :And death's my destination. Toward the end of the book, after he has returned to human life and become something of a hero, he states: :Gully Foyle is my name :And Terra is my nation.
|
|
Njanji Sunji consists of twenty-four titled pieces and an untitled quatrain. Indonesian literary documentarian H.B. Jassin classifies eight of the works as lyrical prose, with the remaining thirteen as poems. None of the works in Nyanyi Sunyi (and indeed none of Amir's other works) are dated. At the end of the book is a couplet, reading "", which American poet and translator Burton Raffel translates as "A flower floating in a loose knot of hair / Gave birth to my sorrowful poems".
|
|
Li Guang is mentioned by his nickname in Wang Changling's seven-character quatrain "On the Frontier" (出塞). Wang comments on how war has been taking its toll on the troops stationed at the frontier, particularly given the lack of a brilliant and charismatic military commander like Li Guang.Yang, 1993, p. 83-84 In the Imperial Japanese gunka Teki wa Ikuman, the song's lyrics reference Li Guang's ability to pierce a stone with an arrow as an example of determination regardless of difficulty.
|
|
Print, pg. 20. In the next line, "and, tender churl, mak'st waste in niggarding", the speaker uses the paradox of the tender churl that makes waste in niggarding as the beginning of the turning point for the sonnet.(Bennett, Kenneth C. Threading Shakespeare's Sonnets. Lake Forest, IL: Lake Forest College, 2007. Print, pg. 22.) Helen Vendler considers that quatrain three is used as a "delay in wonder and admiration" of the youth by the speaker.Vendler, Helen. The Art of Shakespeare's Sonnets.
|
|
The interpretation of line 7 can mean that these flawed affairs gave me a blink of youth. Booth has multiple interpretations of what this line could possibly mean. His interpretations is that it "rejuvenated [the poet] and gave [him] another chance to learn by trial and error" or that it "rejuvenated [his love]". The end of this quatrain ends the poets confession of failed attempts of finding the ideal love and starts his confession of love to the young man.
|
|
Ousby is making a case for eliminating the informer as some third party, much like Greene. The difference is that Ousby uses the subtraction of this would-be character to shift the tone of the sonnet. She agrees that the first two quatrains concern how the "dwellers on form and favor are destroyed by that humiliating process" of giving unreciprocated affection. She sees the third quatrain as a plea to the Friend or as a directive to both of them.
|
|
Eddington wrote a parody of The Rubaiyat of Omar Khayyam, recounting his 1919 solar eclipse experiment. It contained the following quatrain: During the 1920s and 30s, Eddington gave numerous lectures, interviews, and radio broadcasts on relativity, in addition to his textbook The Mathematical Theory of Relativity, and later, quantum mechanics. Many of these were gathered into books, including The Nature of the Physical World and New Pathways in Science. His use of literary allusions and humour helped make these difficult subjects more accessible.
|
|
208–209 Egypt was also an important Ottoman territory at this time. Similarly, Nostradamus's notorious "1999" prophecy at X.72 (see Nostradamus in popular culture) describes no event that commentators have succeeded in identifying either before or since, other than by twisting the words to fit whichever of the many contradictory happenings they claim as "hits". Moreover, no quatrain suggests, as is often claimed by books and films on the alleged Mayan Prophecy, that the world would end in December 2012.
|
|
One of the most common classical metres is deibhidhe,Pron. / 'devi: / in colloquial Irish and / 'devijə / for metrical purposes. written in quatrain form with seven syllables in each line. The metrical structure is as follows: • The last word of lines 1 and 3 must rhyme with the unstressed final syllable of the last word in lines 2 and 4 (a pattern called rinn and airdrinn, in which a stressed word in one line rhymes with an unstressed word in the line below).
|
|
In a letter dated 1 October 1922, Filippo Tommaso Marinetti wrote to inform the composer, theorist and writer Franco Casavola that: > "I've listened to Tankas, Quatrain, Gioielleria Notturna, Leila and Muoio di > sete on the piano. They reveal to me a strong and original musical genius. > We Futurists would be pleased if you would join our fight against obsolete > ideas." Casavola (who had studied music at the Rome Conservatory) accepted this invitation with alacrity and formally joined the radical Italian art movement.
|
|
The rhyme scheme is a simple ABAB CDCD EFEF GG format. The effect is “like going for a short drive with a very fast driver: the first lines, even the first quatrain, are in low gear; then the second and third accelerate sharply, and ideas and metaphors flash past; and then there is a sudden throttling-back, and one glides to a stop in the couplet”. Like Petrarch, Shakespeare used structure to explore the multiple facets of a theme in a short piece.
|
|
Smoking the Hookah, a painting by Rudolf Ernst In the Indian city of Fatehpur Sikri, Roman Catholic missionaries of the Society of Jesus arriving from the southern part of the country introduced tobacco to the Mughal emperor Akbar the Great (1542–1605 AD). Louis Rousselet writes that the physician of Akbar, Hakim Aboul Futteh Ghilani, then invented the hookah in India. However, a quatrain of Ahlī Shirazi (d. 1535), a Persian poet, refers to the use of the ḡalyān (Falsafī, II, p.
|
|
"The Continental Origins of the Sonnet" June 2006 Accessed 24 May 2010 In a strict Petrarchan sonnet, the sestet does not end with a couplet (since this would tend to divide the sestet into a quatrain and a couplet). However, in Italian sonnets in English, this rule is not always observed, and CDDCEE and CDCDEE are also used. Additionally, the Crybin variant uses the rhyme scheme ABBA CDDC EFG EFG. The octave and sestet have special functions in a Petrarchan sonnet.
|
|
The writer also questions whether or not this love is dying and doesn't want it to be spoken. According to Duncan-Jones, the use of "than appetite" in line two and the use of "feeding" in line three suggests a "sexual appetite" because of the topic of love. Sexual appetite is more common in Shakespeare's works than "the application of food." In this quatrain, Shakespeare also "admonishes" the youth that inspired this sonnet and wants to "return" to writing his praises.
|
|
In other words, we are presented with a great deal of pompous and high-sounding language which leaves no distinct impression on our minds.”The Monthly Review vol. 81, p.280 A good example of his writing, which changed little over 25 years, is contained in this quatrain from his description of Chatsworth House: :::But see – 'the faded forms of Sorrow' fly :::Before gay Minstrelsey’s enliv’ning Pow’rs, :::And fair Euphrosyne with sparkling Eye, :::In yon bright Palace, leads the golden Hours.
|
|
"Ready to suffer grief or pain" had a British author in the tradition of the Keswick Hymn-Book, but Tillman wrote the tune which is invariably and exclusively used in the United States. Tillman first published the British lyrics with his tune in Tillman's Revival No. 4 in Atlanta in 1903. The British lyrics are in five quatrains. Tillman moved the original first quatrain into the refrain of his version and altered the words to wed better to the repeated nature of a refrain.
|
|
150px From his time, Tulsidas has been acclaimed by Indian and Western scholars alike for his poetry and his impact on the Hindu society. Tulsidas mentions in his work Kavitavali that he was considered a great sage in the world.Indradevnarayan 1996, pp. 100–101 (Quatrain 7.72): राम नाम को प्रभाउ पाउ महिमा प्रताप तुलसी सो जग मनियत महामुनि सों। (It is the power, glory and majesty of the name of Rama due to which the likes of Tulsidas are considered like great sages in the world).
|
|
Poetry is politically significant in the region and the popular poet, Khamis Salim Kindi, made reference to the place in a famous quatrain about the powerful Adbat clan whose area was bombed by the British during WW2 because of their Axis sympathies, as the British had previously bombed the al-Say'ar tribe in the al-'Abr area. Thou wert repelled, o Ghurfah, like Berlin By Mister Ingrams and Chamberlain. They thought thee to be al-'Abr, [That] when attacked with bombs thou wilt atone.
|
|
The poem is written in the villanelle or villanesque form of poetry, which contains nineteen lines. These lines consist of five tercets and a quatrain at the end. Two lines of the opening tercet, the first and the third, are known as refrains and are repeated alternately throughout the poem as the final lines of the following tercets. In this poem, the refrains are the lines "I think I made you up inside my head" and "I shut my eyes and all the world drops dead".
|
|
The Battle of Fochart in 732 is alleged to have taken place between Áed Róin, king of Ulaid, and Áed Allán, High King of Ireland, as a result of a quatrain composed by Congus whilst bishop. It resulted in a devastating defeat for the Ulaid, to which Congus belonged, and resulted in the death of Áed Róin. An Irish proverb arose from this incident- “Torad penne Congusa” (the fruit of Congus's pen), i.e. the downfall of the Ulaid resulted from the letter of Congus.
|
|
Sonnet 15 is typical of an English (or "Shakespearean") sonnet. Shakespeare's sonnets "almost always consist of fourteen rhyming iambic-pentameter lines",(Cohen 1745) arranged in three quatrains followed by a couplet, with the rhyme scheme abab cdcd efef gg.(Cohen 1746) Sonnet 15 also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain. The first line of the couplet exemplifies a regular iambic pentameter: × / × / × / × / × / And all in war with Time for love of you, (15.13) :/ = ictus, a metrically strong syllabic position.
|
|
On this note, a "maiden garden" is a womb yet to be made fruitful. To "set" a garden was to 'sow' it (compare Sonnet 15 where it is used of grafting) so that it can give birth to the youth's "living flowers," self-generated new copies. Interpretation of the sonnet is said to hinge on the third quatrain (lines 9-12), which is generally regarded as obscure. Edmond Malone suggested that "lines of life" refers to children, with a pun on line as bloodline.
|
|
This supports the theme of the sonnet in its wish of the Youth to have a child. Another expansion on this quatrain further explores nature giving more to those whom she's already gifted and how John Kerrigan sees this as being similar to Matthew's paradox in Matt. 25:29 (Bible verse). The comparison comes from the line saying, "For unto everyone that hath shall be given, and he shall have abundance: But he that hath not, from him shall be taken away, even that which he hath".
|
|
During the 1970s, the influence of 17th-century English poetry resulted in Four Departures for Soprano and Violin (settings of Herrick) and The Pursuit (Symphony No. 2), inspired by a quatrain of Andrew Marvell. Herrick was again a starting point for another major work, Sun (Symphony No.3), premiered in 1993. It is structured in arch form, with the three movements representing the morning, noon and evening of human life, and with the central scherzo representing noon, or (in the composer's words) the zenith.Headington, Christopher.
|
|
Most importantly, "The pictures and the Bible quotations above them were the main attractions […] Both Catholics and Protestants wished, through the pictures, to turn men's thoughts to a Christian preparation for death.".Davis, p. 126. The 1538 edition which contained Latin quotations from the Bible above Holbein's designs, and a French quatrain below composed by Gilles Corrozet, actually did not credit Holbein as the artist. It bore the title: Les simulachres & / HISTORIEES FACES / DE LA MORT, AUTANT ELE/gammēt pourtraictes, que artifi/ciellement imaginées.
|
|
Line 7's "thrallèd" is two syllables, and line 8's "th'inviting" is three. This sonnet's form, like many other of Shakespeare's sonnets, uses the two-part structure of a typical Petrarchan sonnet in which, "eight lines are logically or metaphorically set against the last six [and] an octave-generalization will be followed by a particular sestet-application, an octave question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".Vendler, Helen. The Art of Shakespeare's Sonnets.
|
|
Lutung Kasarung is a Sundanese folklore tale from West Java, Indonesia. Set in the Pasir Batang Kingdom, it tells the tale of a magical lutung (a type of black monkey) who helped a beautiful princess, Purbasari Ayuwangi, when her older sister attempted to rob her of her status as crown princess. Lutung Kasarung in Sundanese language which literally means "The Lost Ape", is from an old Sundanese quatrain. The theme and moral of the legend are similar to those of the European folktale "Beauty and the Beast".
|
|
We can also find in Isla de Pinos, at the opposite Western side of the Island a primeval Proto-Son called Sucu-Sucu, which also shows the same structure of the Oriental Proto-Sones. According to Maria Teresa Linares, In the Sucu-Sucu the music is similar to a Son Montuno in its formal, melodic, instrumental and harmonic structure. A soloist alternates with a choir and improvises on a quatrain or a "décima." The instrumental section is introduced by the Tres, gradually joined by the other instruments.
|
|
Ridley 1933 202–204 Regardless of which sonnet structure was favoured over the other, Keats wanted to avoid the downsides of both forms. "Ode to Psyche" begins with an altered Shakespearean rhyme scheme of . The use of rhyme does not continue throughout the poem, and the lines that follow are divided into different groups: a quatrain, couplets, and a line on its own. These are then followed by a series of twelve lines that are modelled after the Shakespearean sonnet form, but lack the final couplet.
|
|
Thomas Fuller, in Worthies of England, included a story where the Queen told her treasurer, William Cecil, to pay Spenser one hundred pounds for his poetry. The treasurer, however, objected that the sum was too much. She said, "Then give him what is reason". Without receiving his payment in due time, Spenser gave the Queen this quatrain on one of her progresses: > I was promis'd on a time, To have a reason for my rhyme: From that time unto > this season, I receiv'd nor rhyme nor reason.
|
|
Here, four of the characters sing a quartet in canon, "a sublime musical wonder" , accompanied by orchestration of the utmost delicacy and refinement. "Each of the four participants delivers his or her quatrain" , "The use of canon to embody the differing perspectives of the participants a first glance seems odd, but the rigid form allows for some character differentiation and does in fact make a dramatic point" . "Everyone sings the same music to very different words, sinking their private thoughts into musical or at least linear anonymity" .
|
|
Its closing quatrain is: There's a Wheedle on the Needle / I know just what you're thinking / But if you look up late at night / You'll see his red nose blinking. The Wheedle has since become a fixture of Seattle. It became the mascot of the Seattle SuperSonics National Basketball Association (NBA) franchise, who played in nearby KeyArena (originally known as the Seattle Center Coliseum). The SuperSonics moved to Oklahoma City on July 3, 2008. In 1982, the SkyLine level was added at the height of .
|
|
The Metropolitan Museum says, "Lizong developed his own unique manner, which was distinguished by angular brushstrokes with straight rapid brush movements—in contrast to the slower, more rounded brushstrokes of Gaozong—and by his preference for Tang, rather than Jin, dynasty models." Emperor Lizong also expresses his feelings in his poems as shown in his poem 'Quatrain on Late Spring' which reads: :How spring makes me sad! :Timidly I bear the passing of spring. :The young lady has no feeling for me, :She treats my love merely as that of a waning spring.
|
|
Little Willie rhymes are light verses including an indifferent or cheerfully inappropriate response to a gruesome act of violence in a quatrain form attributed to Harry Graham (1874-1936). The earliest was included among the Ruthless Rhymes for Heartless Homes published in 1898 under Graham's pen name Col. D. Streamer while he was serving in the Coldstream Guards. > Billy, in one of his nice new sashes, > Fell in the fire and was burnt to ashes; > Now, although the room grows chilly, > I haven’t the heart to poke poor Billy.
|
|
"Reuben Bright" is a sonnet with decasyllabic lines of iambic pentameter. Its structure is that of the Petrarchan sonnet according to Stephen Regan; its rhyme scheme is abba abba cdcd ee. In other words, the octet has two quatrains of enclosed rhyme, and the sestet has a quatrain of alternating rhyme and a concluding couplet. The poem tells of a butcher, Reuben Bright, who might be supposed to be rough and unfeeling because of his profession, but when news is brought that his wife is to die, he cries like a baby.
|
|
The September 11, 2001 attacks on New York City's World Trade Center led to immediate speculation as to whether Nostradamus had predicted the event. Almost as soon as the event had happened, the relevant Internet sites were deluged with inquiries. In response, Nostradamus enthusiasts started searching for a Nostradamus quatrain that could be said to have done so, coming up with interpretations of Quatrains I.87, VI.97 and X.72. However, the various ways in which the enthusiasts chose to interpret the text were not supported by experts on the subject.
|
|
In the fourth line he further states "he stole it back." This is Michelangelo lamenting the loss of Perini as his lover. Furthermore, Michelangelo was so captivated by him, that in the first line of the second quatrain he states "he bound me and here released me" and follows in the next line stating "For myself I wept here, and with infinite sorrow" and finally stating in the final line "He who stole myself from me and never turned back." Sonnet 36, left unfinished, sums up the relationship between Michelangelo and Perini.
|
|
The Rhythms of English Poetry. p.93. Longman: New York When the poulter's measure couplet is divided at its caesurae, it becomes a short measure stanza, a quatrain of 3, 3, 4, and 3 feet. Examples of this form are Nicholas Grimald's A Truelove; Lord Brooke's Epitaph on Sir Phillip Sydney; Nicholas Breton's Phyllis in the Oxford Book of Sixteenth Century Verse.Boultom Marjorie, The Anatomy of Poetry, Routledge and Kegan, London, 1953 In the early 17th century, George Chapman famously used the fourteener when he produced one of the first English translations of Homer's Iliad.
|
|
Born in Breslau (Wrocław) in Silesia to a Lutheran merchant, Quirinus Kuhlmann studied at the Magdalena-Gymnasium with the help of a scholarship, as his father had died when Kuhlmann was young. As a boy, Kuhlmann suffered from a speech impediment and was often mocked for his condition. Some scholars believe that this may have been why he began to frequent Breslau's libraries from an early age. Kuhlmann's first book Unsterbliche Sterblichkeit of 100 epigrammatic Alexandrine quatrain epitaphs was published in 1668, before he left for the University of Jena in September 1670.
|
|
Kali (; ), is a form of Chhand:pa:ਕਲੀ (quatrain), a poetry bond under strict rules in Punjabi literature. Kali chhand is also used in singing as a type of Punjabi folk songs where it is also known by its plural form, Kalian or Kaliyan. Although it is not so common in singing, it became a particular genre of Punjabi music. Kali is sung by only few Punjabi singers like Kuldeep Manak, Surinder Shinda and some more, but it was popularized by Kuldeep Manak with Tere Tille Ton written by Dev Tharike Wala (also known as Hardev Dilgir).
|
|
" Towards the end of the second quatrain, Vendler begins to question some of the metaphors and figurative language that Shakespeare has used: "Does the learned's wing need added feathers? Coming after the first soaring of the speak, the heavy added feathers and given grace seem phonetically leaden, while later the line arts with thy sweet graces graced by suggest that the learned verse has become surfeited with elaboration." Another author, R.J.C. Wait, has a contrasting view of the learned wings. "The learneds wings represents another poet to whom Southampton has given inspiration.
|
|
From 1824 to 1828 Batyushkov was at the "Maison de santé" in Sonnenstein (Saxony), from 1828 to 1833 in Moscow; and from 1833 onward he lived in Vologda. On 9 December 1833 the incurable Batyushkov was at last released from service and granted a life pension. When ill, he wrote only a few incoherent texts. His final poem was written in Vologda on 14 May 1853; it is a quatrain which concludes as follows: "Ia prosypaius', chtob zasnut', / I spliu, chtob vechno prosypat'sia" (I only wake to fall asleep / And sleep, to awake without end).
|
|
Sonnet 12 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a procreation sonnet within the Fair Youth sequence. In the sonnet, the poet goes through a series of images of mortality, such as a clock, a withering flower, a barren tree and autumn, etc. Then, at the "turn" at the beginning of the third quatrain, the poet admits that the young man to whom the poem is addressed must go among the "wastes of time" just as all of the other images mentioned.
|
|
Representations, No. 7 (Summer 1984) pp. 59–86 While 46 focuses on the "war" between the heart and the eyes, 47 begins with the line "Betwixt mine eye and heart a league is took", suggesting that a truce has been made and the war has come to an end. The third quatrain and couplet from Sonnet 47 emphasize the equality of heart and eye, suggesting that they are complementary. While they are different parts of the body with different desires, they both find "delight" in the same thing: the young man.
|
|
The NDP also supported this proposal, but expressed concern that Vodrey did not provide for automatic financial deductions. See Alice Krueger, "Mothers applaud Vodrey", Winnipeg Free Press, 19 January 1995. The legislation was passed in 1995.Ruth Teichrob, "The best intentions", Winnipeg Free Press, 24 March 1995; Alice Krueger, "Tories revive maintenance bill", Winnipeg Free Press, 2 June 1995, B2; Linda Quatrain, "Single parents upset unchanged bill", Winnipeg Free Press, 22 June 1995, B2; Alice Krueger, "Tough new measures target deadbeat parents", Winnipeg Free Press, 2 July 1995, B6.
|
|
Water jets spurting from the animals' mouths were conceived to give the impression of speech between the creatures. There was a plaque with a caption and a quatrain written by the poet Isaac de Benserade next to each fountain. Perrault produced the guidebook for the labyrinth, Labyrinte de Versailles, printed at the royal press, Paris, in 1677, and illustrated by Sebastien le Clerc. Philippe Quinault, a longtime family friend of the Perraults, quickly gained a reputation as the librettist for the new musical genre known as opera, collaborating with composer Jean-Baptiste Lully.
|
|
The page for the letters K and L focuses on the mistreatment of slaves. The book is prefaced with a poem, "To Our Little Readers", that encourages readers to talk to other children and adults about ending slavery, and to refuse foods made with sugar, which was produced on plantations worked by slave labor. Each page of the main body of the book is illustrated with two decorated upper case letters of the English alphabet, in standard alphabetical order. After each letter is a rhyming quatrain discussing a word that begins with that letter.
|
|
Though released as a double-disc CD in the United Kingdom and in the rest of Europe, the original CD release in the United States was only one disc, with three tracks ("Quatrain", "Sweet Dream" and "Conundrum") omitted to fit the 80 minutes CD length, while the double-disc 1990 CD version in the United Kingdom (and Europe) incorporated the first track for both discs (the Introductions) in the song that follows. In 2004, the complete album was released worldwide as a two-disc set with the Introductions as separate tracks.
|
|
In 1924, Ramy took a scholarship and was sent to Paris on an educational mission where he received a licence en lettres in Persian from the École des Langues Orientales Vivantes. The Persian language diploma helped him in translating the famous Omar Khayyám Quatrain from the original Persian version to Arabic. His translation was so adequate that it reflected Khayyám’s philosophy. In 1925, he worked as a librarian at Dar al- Kutub, Egyptian National Library and Archives, where he applied the modern techniques of librarianship he learned in France to organize the library.
|
|
They plundered the country, and despatched messengers to Cían, lord of > the country, to Magh Seincheineoil, and they told him that the descendants > of Colla da Chrioch had come to demand tribute and territory from him. And > Cian was terrified by these sayings. He assembled his great forces, and > their number was thirty hundred, who bore shield and sword and helmet. Mac Fhirbhisigh quotes a quatrain which describes the army: > Aoinfhear as gach lios amach/as eadh do thigeadh le Cian/a Maigh > Sencheneiol, ni breug/dech cceud are fhichit ceud sgiath.
|
|
The speaker is saying that is wrong and deceives the friend's own self if he decides to remain single and childless. Line 11 also contains a sexually suggestive play on words when the speaker says "having traffic with thyself alone". The idea of being alone is used by the speaker as being the pathetic alternative to marrying and having a family. The speaker seems to personify nature in the first quatrain in saying: "Nature's bequest gives nothing, but doth lend, / And being frank, she lends to those are free" (lines 3–4).
|
|
Shakespeare contrasts the allusions to famine in the second quatrain with an allusion of gluttony by saying that the young man is "eat[ing] the world's due" if he were to die without offspring. The rhythmic structure of the couplet (particularly "by the grave and thee") suggests Shakespeare's "consummate ability to mimic colloquial speech so that the sonnet sounds personal and conversational, rather than sententious", and that upon first reading, one may be granted the ability to absorb more of the author's message as opposed to a close contextual reading.
|
|
F. Anglistik U. Amerikanistik, 1979. Print. Quatrain 2 (lines 5-8) When Shakespeare's sonnets on the theme of poetry as perpetuation lead to arguments that support the complex and metaphysical aspects of love, there is a conviction that Shakespeare is wrestling with the notion of time and love fighting one another. Love and time are always changing, dimming, growing, and suffering together, but in the end Shakespeare allows readers to feel that love itself is the "defier of time".Leishman, J. B. Themes and Variations in Shakespeare's Sonnets. London: Hutchinson, 1961. Print.
|
|
Greene puts a great deal of meaning to the closing line of the Second Quatrain. According to Greene, the word "spent" means bankrupted, exhausted, and failed while also referring to being "drained of semen". He sums this up by adding, "Unsuccessful entrepreneurs, with only the groundworks built of their mansion of love, the failure of their misguided, formalist generosity is symbolized by the suitors' symbolic distance from their prize, observable but not touchable". The suitors are "pittifull thrivors" who have expended so much to win affection only to find themselves wanting.
|
|
Combellack sees the third quatrain as the offer of genuine love to the Friend, "uncomplicated by any secondary thought of self-interest, in return for love". The couplet then changes tone once more as Combellack views it. He sees it as Shakespeare defending himself against gossip by pointing out how "outrageously untrue gossip" could not possibly be believed by his Friend. There is more hope in Combellack's interpretation of Sonnet 125, because he sees the altruism of the love offered by Shakespeare and how vehemently he denies the rumors against him.
|
|
No, it was builded far from accident; It suffers not in smiling pomp, nor falls Under the blow of thralled discontent, Whereto th' inviting time our fashion calls:'' The second quatrain argues against the hypothetical "if" that the speaker's "dear love" is the "child of state".Wright, 314 The speaker's love was created where it cannot be scathed by unpredictable events, an "accident", the "slings and arrows of outrageous Fortune" (Hamlet Act III. Sc.i 3). The sonnet shifts to criticizing the transitory nature of the society in which the speaker and addressee exist.
|
|
A poetic form similar to the tanaga is the ambahan. Unlike the ambahan whose length is indefinite, the tanaga is a compact seven-syllable quatrain. Poets test their skills at rhyme, meter and metaphor through the tanaga, not only because is it rhymed and measured, but also it exacts skillful use of words to create a puzzle that demands some kind of an answer. It is almost considered a dying art form, but is currently being revived by the Cultural Center of the Philippines and National Commission of the Arts.
|
|
Abū 'Abd Allāh Ja'far ibn Muḥammad al-Rūdhakī (; born c. 859, Rudaki, Khorasan—died 940/941), better known as Rudaki (), and also known as "Adam of Poets" (), was a Persian poetBritannica "Rūdakī Persian poet" regarded as the first great literary genius of the Modern Persian language. Rudaki composed poems in the modern Persian alphabet and is considered a founder of classical Persian literature. His poetry contains many of the oldest genres of Persian poetry including the quatrain,Sassan Tabatabai, "Father of Persian Verse: Rudaki and His Poetry", Amsterdam University Press, Feb 15, 2011.
|
|
As opposed to most of his sonnets, which have a "turn" in mood or thought at line 9, (the beginning of the third quatrain (See: Sonnets 29, 18) the mood of Sonnet 66 does not change until the last line, when the speaker declares that the only thing keeping him alive is his lover. This stresses the fact that his lover is helping him merely survive, whereas sonnets 29 and 30 are much more positive and have 6 lines in which they affirm that the lover is the fulfillment of the poet's life.
|
|
Philip McGuire states in his article that some refer to this as a "serious technical blemish", while others maintain that "the double use of 'state' as a rhyme may be justified, in order to bring out the stark contrast between the Speaker's apparently outcast state and the state of joy described in the third quatrain".McGuire, Philip C., "Shakespeare's Non-Shakespearean Sonnets." Shakespeare Quarterly 38.3 (1987): 304-19. JSTOR. Web. Paul Ramsey points out the line three specifically as "one of the most perturbed lines in our language".
|
|
Catulus composed a quatrain in his honour, and the dictator Sulla presented him with a gold ring, the badge of the equestrian order, a remarkable distinction for an actor in Rome, where the profession was held in contempt. Like his contemporary Aesopus, Roscius amassed a large fortune, being paid 1000 denarii per performance at his peak, equal to about US$21,000 in 2005. He appears to have retired from the stage some time before his death. In 76 BC he was sued by C. Fannius Chaerea for 50,000 sesterces.
|
|
Alliteration and onomatopoeia create rolling waves of resounding beauty in this example of Hindu devotional poetry. In the final quatrain of the poem, after tiring of rampaging across the earth, Ravana asks, "When will I be happy?" Because of the intensity of his prayers and ascetic meditation, of which this hymn was an example, Ravana received from Shiva powers and a celestial sword called Chandrahas. The story is that Ravana, a devotee of Shiva who was also the king of Lanka, tried to take kailasa, the abode of Shiva, to Lanka in his shoulders.
|
|
Screenwriter Julian P. Gardner created a musical production number, "Big Surprise" as the children at Weekum's orphanage plead Santa Claus for more toy cats. Other songs include the chorus "Babe in the Woods" and the powerful chant, "Ora e Sempre (Today and Forever)" representing the immortals. Bernard Hoffer composed the music, as well as setting a quatrain by Baum inspired by Claus's famous laugh. The presentation of the Christmas tree is different; Claus, realizing his death is imminent, decorates a tree with ornaments and suggests it should be his memorial.
|
|
Ashgate Publishing (2007) p.28 While Hobbes praised Davenant's intention to write a poem of the scope of Gondibert, the work was never completed, and Davenant's most significant contribution to the development of the form came from his influence on Dryden, who would prove to be the decasyllabic quatrain's most prominent practitioner. When Dryden published Annus Mirabilis in 1667, the form he used for the long poem was that of the decasyllabic quatrain. The poem achieved prominence quickly, as it discussed the year of 1666, during which many disasters had plagued the people of England.
|
|
The third quatrain continues the metaphor of the nightingale and seasonal imagery to further stress that the poet's silence is not because their love is less pleasant. The nightingale is used as a metaphor to explain that just because he does not flatter the Fair Youth, does not mean that he loves less. As one scholar put it, "too much praise ceases to please". The poet explains his silence further in line 11, that the wild birds physically burden the tree branches as well as crowd the air with their songs.
|
|
There are two major types of yangge, one is Stilt Yangge which is performed on stilts, the other is Ground Yangge which is more common and is performed without stilts. Another version of the yangge is the village play, an anthology of which was published by Sidney D. Gamble in 1970, based on transcriptions made by Li Jinghan as part of the Ding Xian Experiment's surveys in the 1930s. The Yangge drama or Yangge opera () usually consists of a quatrain of seven stanzas or long and short sentences.China monthly review - Volumes 120 à 121.
|
|
The particular quatrains and tercets are divided by change in rhyme. Petrarch typically used an ABBA ABBA pattern for the octave, followed by either CDE CDE or CDC DCD rhymes in the sestet. (The symmetries (ABBA vs. CDC) of these rhyme schemes have also been rendered in musical structure in the late 20th century composition Scrivo in Vento inspired by Petrarch's Sonnet 212, Beato in Sogno.) The rhyme scheme and structure of Petrarch's sonnets work together to emphasize the idea of the poem: the first quatrain presents the theme and the second expands on it.
|
|
But where your multiple streams intersect and converge towards a goal, – one stream being determined by the other. – it is only there that you manifest stability, the object and the name of an earthly truth, united, called unity, in order to be your mirror. This text deviates significantly in structure from Broch's German original, which is a quatrain in alternating hexameters and pentameters. The main text of the composition, written by Barraqué as a commentary on another citation from Broch, is in a style that recalls in places the techniques of French surrealism .
|
|
The format of the code also appeared to follow the quatrain format of the Rubaiyat, supporting the theory that the code was a one-time pad encryption algorithm. Copies of the Rubaiyat, as well as the Talmud and Bible, were being compared to the code using computers to get a statistical base for letter frequencies. However, the code's short length meant the investigators would require the exact edition of the book used. With the original copy lost in the 1960s, researchers have been looking for a FitzGerald edition without success.
|
|
Other short poems merely address the facts of life in Iași or Bucharest. His first ever quatrain, published in Crinul, poked fun at the Imperial Russian Army, whose soldiers were still stationed in Moldavia. A later epigram locates the hotspot of prostitution in Bucharest: the "maidens" of Popa Nan Street, he writes, "are beautiful, but they're no maidens". Horia Gârbea, "Locuri de taină și desfrîu" , in România Literară, Nr. 49/2008 In 1926, Contimporanul published his French-language calligram and "sonnet", which recorded in writing a couple's disjointed replies during the sexual act.
|
|
Shakespeare's use of the words "play" and "wantonly" together implies that "play" has a sexual connotation.Shakespeare's Sonnets, edited by Stephen Booth (Google Books) In the third quatrain the author compares the death of the two flowers. The canker bloom dies alone and "unrespected", while roses do not die alone, for "of their sweet deaths are sweetest odours made". The final couplet indicates that the young man, or perhaps that which is beauteous and lovely, will enjoy a second life in verse, while that which is meaningless and shallow will be forgotten.
|
|
The first line of the third quatrain extends the conceit of the Platonic theory, the idea that the perceptions of reality are merely reflections of the essential reality of forms. Platonic theory suggests that our perceptions are derived from this world of forms in the same way shadows are derived from the objects that are lit. The metaphor of shadow was often employed to help explain the illusory quality of perception and the reality of forms, both by Renaissance Platonists and by Plato himself in his book, Symposium.Atkins, Carl D., ed.
|
|
The verse form AABA as used in English verse is known as the Rubaiyat Quatrain due to its use by Edward FitzGerald in his famous 1859 translation, Rubaiyat of Omar Khayyam. Algernon Charles Swinburne, one of the first admirers of FitzGerald's translation of Khayyam's medieval Persian verses, was the first to imitate the stanza form, which subsequently became popular and was used widely, as in the case of Robert Frost's 1922 poem "Stopping by Woods on a Snowy Evening". FitzGerald's translation became so popular by the turn of the century that hundreds of American humorists wrote parodies using the form and, to varying degrees, the content of his stanzas, including The Rubaiyat of Ohow Dryyam, The Rubaiyat of A Persian Kitten, The Rubaiyat of Omar Cayenne and The Rubaiyat of Omar Khayyam, Jr. Quatrain VII from the fourth edition of FitzGerald's Rubaiyat: Come, fill the Cup, and in the fire of Spring Your Winter-garment of Repentance fling: The Bird of Time has but a little way To flutter—and the Bird is on the Wing. In extended sequences of ruba'i stanzas, the convention is sometimes extended so that the unrhymed line of the current stanza becomes the rhyme for the following stanza.
|
|
He received formal crown provision (rather than papal provision) on 24 March; a rival, Lachlan MacGill-Eathain (MacLean), was accused of going to the papacy to obtain the rights to the Isles and Iona, but gave up his rights in May 1567.Watt & Murray, Fasti Ecclesiae, p. 267; Watt & Shead, Heads of Religious Houses, p. 115. Carsuel had obtained other benefices by this time, and by the end of his life had acquired land all over the west coast of Scotland, and it was later said in a Gaelic quatrain that he had "an empty greedy capacious maw" (sgròban lom gionach farsaing).
|
|
Damascus-born Khalil Mardam Bey was the writer of the Syrian national anthem's lyrics. The Syrian national anthem is divided into four quatrain stanzas, each containing four lines. The rhyme scheme used is an Arabic form called "Ruba'i", where each stanza has the same final rhyme in its component lines, giving the following rhyme scheme in the anthem: AAAA, BBBB, CCCC, DDDD. All of the lines in the state anthem consist each of 11 syllables, all of which have the same system of scansion, which is as follows: \ / ˘ \ / ˘ \ / ˘ \ / where \ is an intermediate stress, / is a strong stress, and ˘ is unstressed.
|
|
Ten of the poems had previously been published, including Amir's first published works (both from 1932), "Mabuk..." and "Sunyi". In Buah Rindu, Amir shows an affinity for using traditional Malay poetic forms such as the quatrain, but unlike the highly fixed traditional forms, he mixes the rhyming patterns. The text is dominated by terms related to love and searching, and according to Dutch scholar of Indonesian literature A. Teeuw the collection is united by a theme of longing. Johns states that the imagery in Buah Rindu is dependent on traditional Malay literature, and that Amir's terminology is heavily influenced by classical Malay poetry.
|
|
The first quatrain runs:Veturliði G. Óskarsson, 'Heilög þrenning: Land, þjóð og tunga. Hugleiðing um orðræðu', Tímarit máls og menningar, 74.2 (June 2013), 37-45 (p. 37). (Unlike you, which can be singular or plural, the Icelandic word þú used in the poem is the second person singular, emphasising the unity of the land, people, and language.) While Snorri's opening line can be read quite metaphorically, some scholarship and political commentary has taken it quite literally, even seeing its allusion to the Holy Trinity as supporting the centrality of the Church of Iceland to Icelandic identity.Veturliði G. Óskarsson, 'Heilög þrenning: Land, þjóð og tunga.
|
|
The combat between the two rivals is indirect and the speaker never addresses his literary adversary and only mentions his beloved. It is the body language of Sonnet 78 (the first in the series) 79, 80 and 84 that serves to convert the topic of letters into that of eroticism. Shakespeare is known for his usage of puns and double meaning on words. So it isn't surprising that he uses wordplay in the first quatrain on "pen" for the male appendage, or, as a Stein-cum-Joyce might say, "a pen is a penis a pen," is fully utilized.
|
|
Quatrain 1 has multiple references to astronomy, and other literature. Edward Dowden argues that Philip Sidney's Astrophel and Stella is an influence in this sonnet due to the nature of both of the sonnets. For example, Sonnet 26 of Sidney's Astrophel and Stella has a line "though duskie wits doe scorne Astrology.. who oft bewares my after following case, by only those two starres in Stella's face." A. L. Rowse points out in both of these poems the speaker is unable to predict the future by using astrology, and can only predict the future through the object of their poem's eyes.
|
|
The usual metre of a Persian ruba'i, which is used for all four lines of the above quatrain by Rumi, is as follows:L. P. Elwell-Sutton (1986), “ʿARŪŻ,” Encyclopaedia Iranica, II/6-7, pp. 670-679. : – – u u – u – u – – u u – In the above scheme, "–" represents a long syllable, and "u" a short one. As variations of this scheme, any sequence of – u can be replaced by a single "overlong" syllable, such as gēkh, tīf, luṭf in the poem above, containing either a long vowel followed by a consonant other than "n", or a short vowel followed by two consonants.
|
|
Sonnet 40 is an English or Shakespearean sonnet, composed of three quatrains followed by a final couplet. It follows the typical rhyme scheme of the English sonnet, ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line four exemplifies a regular iambic pentameter: × / × / × / × / × / All mine was thine, before thou hadst this more. (40.4) All four lines in the second quatrain have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But yet be blam'd, if thou thy self deceivest (40.7) :/ = ictus, a metrically strong syllabic position.
|
|
The Day and the Night are disturbed that the young man, or at least his image, will not appear to the poet, so they attempt to torture it out of him. The third quatrain begins (line 9) with the poet telling the young man that he (the poet) flatters the day by telling him he is bright, and that he graces the young man even when the clouds hide the sun. In a similar way, the poet flatters the dark (swart) complexioned night. The poet, motivated to stop the torture and conjure the image of the young man, beguiles (guil’st) the evening.
|
|
These two quatrains, being one sentence, are best analyzed together. In the 8 lines of quatrains 1 and 2, the patterned adjectives "help construct not an elaborate but an elegant metaphor of the sun as a noble countenance, normally given to blessing by his blaze and kiss but often obscured by base elements". In the first quatrain, the narrator is comparing the young man of his interest with the beauty of nature, specifically the sun and meadows. The sun makes the mountains look beautiful, and the meadows and streams are glittering in a way that only heavenly magic can do.
|
|
Edward Capell was the first of several scholars to note the similarity of content between the first quatrain and the dedication to Henry Wriothesley in The Rape of Lucrece. Other scholars have speculated that the poem was written to accompany some other of Shakespeare's writings, perhaps the first group of sonnets. Edward Massey and Sidney Lee, among others, accept the connection between sonnet and dedication; among the skeptics are Thomas Tyler, Nicolaus Delius, and Hermann Isaac. More specific arguments have been made that the poem's similarities to the Venus dedications indicate that the poem was written to Southampton.
|
|
Vietnamese poetry originated in the form of folk poetry and proverbs. Vietnamese poetic structures include six-eight, double-seven six-eight, and various styles shared with Classical Chinese poetry forms, such as are found in Tang poetry; examples include verse forms with "seven syllables each line for eight lines," "seven syllables each line for four lines" (a type of quatrain), and "five syllables each line for eight lines." More recently there have been new poetry and free poetry. With the exception of free poetry, a form with no distinct structure, other forms all have a certain structure.
|
|
In January 1969, General de Gaulle attempted to use his uncle's reputation in Brittany by declaiming the second quatrain of his uncle's poem Da Varsez Breiz (the lines above) during a speech at Quimper. The speech followed a series of crackdowns on Breton nationalist activists. De Gaulle's use of the poem led to a severe adverse reaction from his audience who drowned out much of the rest of his speech. He was later accused of double standards, having recently spoken in Canada in support of a "free" Quebec, because its French language tradition distinguished it from the English-dominated majority of Canada.
|
|
He is best known for his yuefu poems, which are intense and often fantastic. He is often associated with Taoism: there is a strong element of this in his works, both in the sentiments they express and in their spontaneous tone. Nevertheless, his gufeng ("ancient airs") often adopt the perspective of the Confucian moralist, and many of his occasional verses are fairly conventional. Much like Mozart, many legends exist on how Li Bai effortlessly composed his poetry, even (or some say, especially) when drunk; his favorite form is the jueju (five- or seven-character quatrain), of which he composed some 160 pieces.
|
|
Among its well-known lines is Crashaw's observation on the miracle of turning water into wine (): Nympha pudica Deum vidit, et erubuit, often translated as "the modest water saw its God, and blushed". For instance, this quatrain, titled Dominus apud suos vilis from the collection, was based on a passage from the Gospel of Luke:Richard Crashaw, translated by Clement Barksdale, "III. Dominus apud suos vilis" ("The Lord despised and rejected by his own people"). See Alexander B. Grosart (ed), The Complete Works of Richard Crashaw, (London: printed for private circulation by Robson and Sons, 1873), vol.
|
|
Vaičaitis left 98 known original poems and 21 translations of poems by Russian and Polish authors, including Alexander Pushkin, Mikhail Lermontov, Nikolay Nekrasov, Nikolay Yazykov, and Maria Konopnicka. His manuscripts have not survived. In 2008, three new poems and one quatrain were discovered among other papers that belonged to Martynas Jankus during a renovation of a house in Kaunas. The booklet also contained a loose and shortened translation of Christmas Eve by Nikolai Gogol, which was published by Jankus in 1892. One of the poems is dated 1883, but that would mean that Vaičaitis wrote it when he was seven years old.
|
|
If Shakespeare's use of a complete phrase within the rhyme scheme implies a statement then the use of a consistent metaphor at the end of each quatrain shows both the author's acknowledgement of his own mortality and a cynical view on aging. This view on aging is interconnected with the inverse introduction of each symbol within the poem. By dropping from a year, to a day, to the brief duration of a fire, Shakespeare is establishing empathy for our speaker through the lapse in time. Additionally, the three metaphors utilized pointed to the universal natural phenomenon linked with existence.
|
|
Sonnet 1 has the traditional characteristics of a Shakespearean sonnet—three quatrains and a couplet written in iambic pentameter with an ABAB CDCD EFEF GG rhyme scheme. Many of Shakespeare's sonnets also reflect the two-part structure of the Italian Petrarchan Sonnet. In this type of sonnet (though not in Sonnet 1) "the first eight lines are logically or metaphorically set against the last six [and] an octave-generalization will be followed by a particular sestet- application, an octave question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".Vendler, Helen.
|
|
Sonnet 109 explores the uncertainty of a fulfillment of a promise made by the poet to his apparent love. The poet's promised love is inextricable from the fact that the poet is lamenting over a long lost lover who, moreover, has not seen him for quite some time. In the sonnet a sense of forced separation is felt in each quatrain, along with an inconsolable tone which Shakespeare uses to convey an anachronism of revisiting a time of ephemeral love. The poet ends the sonnet with a magnanimous confession of love which is most likely unrequited.
|
|
The lyrics of "The Joker" include the quatrain: :Some people call me the space cowboy. :Yeah! Some call me the gangster of love. :Some people call me Maurice, :'Cause I speak of the pompatus of love. Each line references a track on a previous Miller album: "Space Cowboy" on Brave New World (1969); "Gangster of Love" on Sailor (1968); and "Enter Maurice" on Recall the Beginning...A Journey from Eden (1972), which includes the lines: : My dearest darling, come closer to Maurice : so I can whisper sweet words of epismetology : in your ear and speak to you of the pompatus of love.
|
|
This poem extends the debate of the Rival Poet group of sonnets: Is the young man praised best in the simple, true and straightforward manner of the speaker, or in the more rhetorically flamboyant style of other poets? The first quatrain asks: Which of the poets can say more to the young man than “You are uniquely you? Inside of you is stored all that can offer the example (or simile) worthy (or equal) of you?” The suggestion is that there is no simile worthy, and without a simile or metaphor there will be no poetry.
|
|
It is an adapted form of the Shakespearean sonnet, retaining the three quatrains plus couplet structure but reducing the metre to iambic tetrameter and specifying a distinct rhyme scheme: the first quatrain is cross-rhymed (ABAB), the second couplet-rhymed (CCDD), and the third arch-rhymed (or chiasmic, EFFE), so that the whole is ABABCCDDEFFEGG.For detailed discussion of the Onegin stanza see the introduction in Eugene Onegin: A Novel in Verse by Aleksandr Pushkin. Translated from the Russian, with a Commentary by Vladimir Nabokov (rev. ed., in 4 vols, London: Routledge Kegan Paul, 1975), especially i.
|
|
Walter Damrosch commissioned the work for the New York Philharmonic Society. Tapiola portrays Tapio, the animating forest spirit mentioned throughout the Kalevala. When asked by the publisher to clarify the work's program, Sibelius responded with a prose explanation converted by his publisher (Breitkopf & Härtel) into a quatrain prefixed to English language editions of the score: :Wide-spread they stand, the Northland’s dusky forests, :Ancient, mysterious, brooding savage dreams; :Within them dwells the Forest’s mighty God, :And wood-sprites in the gloom weave magic secrets. Tapiola was premiered by Walter Damrosch and the New York Symphonic Society on 26 December 1926.
|
|
A change of rhyme usually indicates that a new section of the story is beginning. Aside from rhyming, the final syllable of each line must also observe rules governing linguistic tones: the final syllables in lines 1 and 3 must exhibit oblique tones, those in lines 2 and 4 even tones. A further structural rule is that line 2 must end on an upper even tone, line 4 on a lower even tone. The music of naamyam consists basically of a single tune in four lines, matching the four lines of the text in the quatrain.
|
|
Painter John French Sloan was a regular from 1912 until 1935 when he returned to Chelsea. His vivid portrait of Romany Marie, painted in 1920, is now in the Whitney Museum of American Art. There are still a number of prints in existence of his 1922 etching, Romany Marye in Christopher Street. Poet Edna St. Vincent Millay wrote the famous quatrain that begins My candle burns at both ends, which at the time she called "My Candle" and later re-titled "First Fig," at Romany Marie's in 1915 or 1916 during a visit with Charles Edison, his fiancée Carolyn Hawkins, and others.
|
|
The sculptors Jean-Baptiste Tuby, Etienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine hydraulic sculptures. Each fountain was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade. It was from these plaques, Louis XIV’s son learned to read. In his Fables d'Ésope en quatrains, dont il y en a une partie au labyrinthe de Versailles de Benserade claims that, as well being the one to choose the fables, it was the King himself who had wanted a quatrain to describe each of them.
|
|
Boisrond-Tonnerre studied in France before returning to Haiti, where he took part in the Haitian Revolution. Boisront- Tonnerre became a victim of post-revolutionary infighting and was executed in October 1806. According to the Haitian author Christophe Phillippe Charles, Boisrond-Tonnerre scribbled the following quatrain on the walls of his cell before his execution on either the night of 23 or 24 October 1806: > Humide et froid séjour fait par et pour le crime > Où le crime en riant immole sa victime > Que peuvent inspirer tes fers et tes barreaux > Quand un cœur pur y goûte un innocent repos? (Christophe 35).
|
|
Naser al-Din Shah Qajar smoking qalyan Persian woman with hookah (qalyan), 1900, Iran The exact date of the first use of ḡalyān in Persia is not known. However, the earliest known literary evidence of the hookah, anywhere, comes in a quatrain by Ahlī Shirazi (d. 1535), a Persian poet, referring to the use of the ḡalyān,Falsafī, II, p. 277; Semsār, 1963, p. 15 thus dating its use at least as early as the time of the Shah Ṭahmāsp I. This suggests, the hookah was already in use in ancient Persia, and it made its way into India soon afterward.
|
|
His best-known works, apart from the quatrain, are probably Amusements Serious and Comical, calculated for the Meridian of London (1700) and Letters from the Dead to the Living (1702), although his writings were quite prolific. Several works of the period whose author is unknown are suspected to be his. Toward the end of his life he began to regret the licentiousness with which he had lived it, and on his deathbed he secured from his publisher (one Sam Briscoe) a promise that any posthumously published works would be censored of "all prophane, undecent passages". The promise was promptly reneged upon.
|
|
Many translations, whether of Aesop's fable or of La Fontaine's, are wordy and often add details not sanctioned by the original. Two English authors have produced short poetical versions which still retain both the general lines of the story and its lesson. The first of these is a quatrain by Aphra Behn appearing in Francis Barlow's illustrated edition of the fables (1687): The second also accompanies an illustrated edition, in this case the work of Walter Crane in Baby's Own Aesop (1887). Each fable has been reduced to a limerick by W.J.Linton and is enclosed within the design.
|
|
A 'compound' is a medicinal concoction, in this case one that is sharp or "biting" like 'vin-egar', a wine that is made 'eager' or sharp. The second pair of lines explores emetics that are taken ("we purge") to "prevent" illnesses yet to come ("maladies unseen"). Emetics make us sick through vomit ("sicken"), so that we might avoid ailments ("shun sickness"). The second quatrain applies the principles of the first: "being full of your ne'er-cloying sweetness, / To bitter sauces did I frame my feeding;" "ne'er" firstly means never, as in the poet is never sated by the youth's sweetness.
|
|
A number of etymologies are suggested: 1) Divona, Devona - the name of a Gaulish goddess of a sacred spring providing water for the city that is now Bordeaux, invoked in a 4th- century Latin poem by Ausonius. The Latin quatrain was engraved on a stone tablet above a spring at Divonne in the nineteenth century by persons erroneously supposing that Divonne was referred to. It can still be seen near the Casino. 2) Conflation of the Latin word divis (rich, abundant) and the word Ona or Ana, for a flowing river (as in the river Rhone) 3) Conflation of the Celtic word vonne (a source) and di (abundant)M.
|
|
This is the oldest section of the gardens, laid out in a rectangular shape and divided into four quadrangles, the "quatrains" (or quartini). Each quatrain is further divided into flowerbeds, within which the plants were originally organised along the lines of the Linneian system of classification. The design of this section has gradually changed over time to display certain specimens at the expense of others that are now gone. At the centre of this section, is the particularly evocative “cross”, the small plaza that results from the intersection of the central axis (the Viale centrale) with the tree lined avenue of palms (the Viale delle palme).
|
|
Soaz or soz (Persian and Urdu: سوز) is an elegiac poem written to commemorate the honor of Husain ibn Ali and his family and Sahabah in the battle of Karbala. In its form the soaz, salam and Marsiya, with a rhyming quatrain and a couplet on a different rhyme. This form found a specially congenial soil in Lucknow (a city in Northern India), chiefly because it was the center of Shia Muslim community, which regarded it an act of piety and religious duty to eulogies and bemoan the person who killed in the battle of Karbala. The form reached its peak in the writing of Mir Babar Ali Anis.
|
|
Tom Paine as a figure may represent common sense or civil liberties, which the historical Tom Paine championed. However, it is also likely that this song references the prestigious Tom Paine Award that Dylan received in 1963 from the National Emergency Civil Liberties Committee. Dylan delivered an acceptance speech and was booed and rushed from the stage when he claimed to have empathy for some of Lee Harvey Oswald feelings.Copy of Dylan's acceptance speech at NECLC accessed 14 August 2011 The song bears a resemblance to the W. H. Auden poem As I Walked Out One Evening, including sharing the same iambic meter and quatrain form.
|
|
The novel's title comes from a quatrain from the Rubaiyat of Omar Khayyam which appears as the book's epigraph. The book, one of Drury's longest and most complex, deals with a wide range of issues, including race, bureaucratic infighting, the role of the press, the effects of fame, and the way that Presidents behave. Drury speaks of his research into the space program in the foreword and the nature of the program and the kinds of people who were attracted to it form the backbone of most of the story. Specifically political characters are important, but mainly shown in the way their actions affect "the program".
|
|
The second quatrain continues this trend of excuses with subtler wording. "Gentle thou art" suggests that the youth is of noble birth, and courted by many as a result. Alexander writes that it also suggests that the youth is not "rough and uncouth, but kind," and is therefore more likely to attract sexual attention and be too kind to turn it away. Note the proverb used twice by Shakespeare, "She's beautiful; and therefore to be Wooed: /She is a Woman; therefore to be Wonne," (Henry VI, 5.3.78-79) and "Shee is a woman, therefore may be woo'd, /Shee is a woman, therefore may be wonne," (Titus Andronicus, 2.1.
|
|
Philip Stack (born John Philip Stack; December 27, 1900 in St. Albans, Vermont – March 4, 1948 in Manhattan, New York), also known under the alias of Don Wahn, was an American poet who was active during the 1930s and 40s. He is known for contributing sonnets to Walter Winchell's widely syndicated Hearst Newspapers column and was also known as the quatrain-writer for Vargas drawings in Esquire. In 1932, Liveright published his book of love poems titled "Love in Manhattan." In 1936 his poem "Admonition" (as Philip Stack) was published by Doubleday in The Best Loved Poems of the American People and the book received a re-printing in 2008.
|
|
The Seven Steps Verse, also known as the Quatrain of Seven Steps (), is a highly allegorical poem that is usually attributed to the poet Cao Zhi. The poem's first appeared in the classic text Shishuo Xinyu, published in 430. The famed scene (79th hui) describes Cao Pi's suspicions of his brother Cao Zhi trying to usurp his rule (Cao Pi was also jealous of his brother's talents, particularly his masterful command of imagery). Consequently, Cao Zhi is summoned to the court and is issued an ultimatum in which he must produce a poem within seven strides such that Cao Pi is convinced of his innocence.
|
|
Cao Zhi does so, and Cao Pi becomes so flustered with emotion that he spares his brother, although he later exacts punishment upon Cao Zhi in the form of demotion. The poem itself is written in the traditional five-character quatrain style and is an extended metaphor that describes the relationship of two brothers and the ill-conceived notion of one harming the other over petty squabbling. There exists two versions of the poem, one being six lines in length and the other four. The former is generally thought to be original; however, the "燃" character that is (often) used in the former generates confusion over its authenticity.
|
|
The poem is one of Li's shi poems, structured as a single quatrain in five- character regulated verse with a simple AABA rhyme scheme (at least in its original Middle Chinese dialect as well as the majority of contemporary Chinese dialects). It is short and direct in accordance with the guidelines for shi poetry, and cannot be conceived as purely a personal poem, but as a poem relatable to all those detached from their hometowns out of obligation. Hence, in contrast to Li Bai's longer, more free-form gushi, "Quiet Night Thought" is vague, yet expresses solemnity and yearning through a combination of its night-time imagery and its spare form.
|
|
Quatrain for wind quartet won the 1990 from the Académie Royale des Beaux- Arts. The Silver Medal with mention from the Académie Internationale de LutèceAcadémie internationale de Lutèce on BnF (Paris) was awarded to him in 1992 on the occasion of its international composition competition. The Union of Belgian Composers awarded him the 1997 Trophée Fuga for his work in favor of the national repertoire. The influence of musicians such as Steve Reich, John Adams, Arvo Pärt and Henryk Górecki is felt in his music and makes him one of the leading figures of the Entretiens avec Michel Lysight on Musique Nouvelle current in Belgium.
|
|
Sonnet 88 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter lines, which is a poetic metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter, including the first line: × / × / × / × / × / When thou shalt be disposed to set me light, (88.1) Each line of the second quatrain ends with an extra syllable known as a feminine ending: × / × / × / × / × / × That thou in losing me shalt win much glory (88.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
|
|
The first chapter opens with the first quatrain of John Myers O'Hara's poem, Atavism, published in 1902 in The Bookman. The stanza outlines one of the main motifs of The Call of the Wild: that Buck when removed from the "sun-kissed" Santa Clara Valley where he was raised, will revert to his wolf heritage with its innate instincts and characteristics. The themes are conveyed through London's use of symbolism and imagery which, according to Labor, vary in the different phases of the story. The imagery and symbolism in the first phase, to do with the journey and self-discovery, depict physical violence, with strong images of pain and blood.
|
|
Sonnet 72 continues after Sonnet 71, with a plea by the poet to be forgotten. The poem avoids drowning in self-pity and exaggerated modesty by mixing in touches of irony. The first quatrain presents an image of the poet as dead and not worth remembering, and suggests an ironic reversal of roles with the idea of the young man reciting words to express his love for the poet. Line five imagines that the young man, in this role, would have to lie. And line seven suggests that the young man as poet would have to “hang more praise” on the poet than the truth would allow.
|
|
The Prophets' Paradise is a sequence of eerie prose poems forming an open- ended short story published by Robert W. Chambers in his short story collection The King in Yellow (1895). The sequence employs repetition of phrases and internal symmetry, beginning and ending with a similar or even the same phrase, and carrying it on almost to a "palindrome". The style of the prose poems reflects the quotation from the fictional play The King in Yellow that introduces the story "The Mask". The title of the sequence and the length and rhyming pattern of the opening quatrain (AABA) are based upon Fitzgerald's translation of the Rubáiyát of Omar Khayyám.
|
|
Vendler, Helen. The Art of Shakespeare's Sonnets. London: The Belknap Press of Harvard University Press, 1997 Analyzing specific words within the sonnets gives further evidence of the Quatrain transition. It begins with the first line in which the speaker declares that he is separate from her by saying "that heart (of hers) makes my heart groan".Vendler, Helen. The Art of Shakespeare's Sonnets. London: The Belknap Press of Harvard University Press, 1997. Although he declares himself separate from her, her cruel eye has taken the speaker from himself and not only this, but she has taken his "next self", which refers to his friend as addressed earlier in the sonnets.
|
|
Wilde writes specifically of Sonnet 144, "[Shakespeare] has his moments of loathing for her [the Dark Lady], for, not content with enslaving the soul of Shakespeare, she seems to have sought to snare the senses of Willie Hughes."(Wilde, 198) In Sonnet 144, the second quatrain is full of dislike toward the Dark Lady, "To win me soon to hell, my female evil / … / and would corrupt my saint to be a devil."(Shakespeare, Sonnet 144, Lines 5+) However, Wilde recognizes that the Willie Hughes theory is that, just a theory. One will never know what Shakespeare was thinking when he was completing the sonnets.
|
|
Until the end, the voice is supported by the piano, written on three staves, and discreet outfits of the strings. Placet futile offers rhythm games and "dialogues" of more whimsical sonorities: the measure often changes, when Soupir remained immutably four-stroke. The piano, absent during the whole first quatrain of the poem, makes an entrance almost as "spectacular" as in the future Tzigane of 1924: a rush of arpeggios accompanying the evocation of frivolous pleasures and the "lukewarm games" of the poem. The flute offers a counter-singing to the last verses of the sonnet, which prefigures the "princess's air" of l'Enfant et les Sortilèges.
|
|
William Wordsworth, author of "She Dwelt among the Untrodden Ways" "She dwelt among the untrodden ways" consists of three quatrains, and describes Lucy who lives in solitude near the source of the River Dove.Wordsworth knew three rivers of that name; in Derbyshire, Yorkshire and Westmorland, but each could equally be the setting for the verse. In order to convey the dignity and unaffected flowerlike naturalness of his subject, Wordsworth uses simple language, mainly words of one syllable. In the opening quatrain, he describes the isolated and untouched area where Lucy lived, while her innocence is explored in the second, during which her beauty is compared to that of a hidden flower.
|
|
When the publication Sebilürreşat, which was then operating out of Ankara, published this speech, it spread all over the country and was even made into a pamphlet distributed to Turkish soldiers. Mehmet Akif Ersoy University However, Mehmet Akif Ersoy earned himself his significant place in the history of the Republic of Turkey as the composer of the lyrics of the Turkish National Anthem. During the session of 12 March 1921, the Turkish Grand National Assembly officially designated his ten-quatrain poem as the lyrics of the national anthem. Mehmet Akif Ersoy is an important national figure in the history of modern Turkey and has left an immortal trace in its history.
|
|
Although a group discussion may provide fruitful conditions for some to explore philosophical themes, poetry may be seen an alternative entry into philosophical thinking. Children and young writers may find it easier to begin writing philosophical poetry if they start by using poetic styles other than rhyme, such as repetitive form, since rhyme can be distracting and may interfere with the free flow of their philosophical thoughts. Most, but not all, philosophical poets do eventually develop one preferred form of philosophical verse when it comes to the style of their writing. For example, Rumi and Hafiz often utilize the single verse form, while Dickinson usually adheres to the quatrain form.
|
|
The octave's purpose is to introduce a problem, express a desire, reflect on reality, or otherwise present a situation that causes doubt or a conflict within the speaker's soul and inside an animal and object in the story. It usually does this by introducing the problem within its first quatrain (unified four-line section) and developing it in the second. The beginning of the sestet is known as the volta, and it introduces a pronounced change in tone in the sonnet; the change in rhyme scheme marks the turn. The sestet's purpose as a whole is to make a comment on the problem or to apply a solution to it.
|
|
Measuring at , Catholic Postil has a total of 646 pages: 8 pages of dedications written by Daukša, 630 pages of translated sermons (the printed book marks only 627 pages due to some numbering errors), 6 pages of erratum, and 2 pages of covers. Some surviving copies of the book have an image of the coat of arms (a rose from the Poraj coat of arms) of Merkelis Giedraitis, the Bishop of Samogitia and sponsor of the postil, with a Latin quatrain about it as well as an eight-line dedication to Giedraitis. The dedication was written by Vaclovas Daujotas from . Daukša added two dedications, one in Latin to his benefactor Giedraitis and another in Polish to the reader.
|
|
There are either as isolated poems or within the divans: the murabba', quatrain; the ilahi, religious hymns; the qaside, the longer panegyric odes favoured by the Arabs; and the ghazal, shorter poems, often love lyrics which were favoured by the Turks and Persians. The subject matter was often religious, either meditatively intimate or openly didactic, serving to spread the faith. The speculative character of much of this verse derived its inspiration from the currents of Islam: from Sunnite spirituality to the intense mystical spheres of Shi'ite Sufism and later, to the more liberal, though equally mystical reflections of Bektashi pantheism. Secular verses occur as well: love lyrics, nature poetry and historical and philosophical verse.
|
|
165 One of the channels through which the fable was taken to be Aesop's was its inclusion among the hydraulic statues in the labyrinth of Versailles in 1669. These were accompanied by quatrains by Isaac de Benserade, which subsequently appeared in Les fables d'Ésope, mises en françois, avec le sens moral en quatre vers, & des figures à chaque fable (Aesop's fables in French, with a verse commentary and illustrations, 1709). Here the initial quatrain refers to the version where force is used ('The monkey looks sprightly/ but the cat doesn't take lightly/ having its paw acquired/ to pull chestnuts from the fire') while the prose telling which follows is of La Fontaine's version.
|
|
1535), in which they express surprise that Hafez had borrowed a line from such a hated figure as Yazid, who was notorious among other things for causing the death of the Prophet's grandson Husayn at the Battle of Karbala in 680. Some Iranians believe that Sudi was mistaken in attributing the quatrain to Yazid; they include Hafez's editor Muhammad Qazvini, who published an article arguing against the attribution.Arberry (1947), p. 139. The verse is not included in a volume containing the collected fragments of Yazid's poetry published in 1982; but according to Meisami, even if it is not by Yazid, it is likely that Hafez believed it was and used it deliberately.
|
|
However, this conception of the document has been discredited in recent years, firstly by Isabel Henderson, and more recently by the Glasgow University-based mediaevalist Professor Dauvit Broun. Most likely, the document has little if anything to do with the Picts. The document in fact makes perfect sense in the early thirteenth century, and much of his information can actually be traced to the other Scottish documents in the Poppleton MS. For instance, the names of seven sons of Cruithne (=Albanactus?) are given in the Pictish king-list that follows one document after the dSA. (There is another source for the seven kingdoms myth, in a Gaelic quatrain contained in versions of the Lebor Bretnach).
|
|
The poet says that he has not seen that the young man needed to be described in a flattering way ("painting"), and so he has not attempted it. Line 4 ("I found, or thought I found") suggests that he has been rebuked for being silent, which is also suggested in line 9 ("this silence for my sin you did impute"). "Modern quill" suggests an inadequately ordinary kind of writing, and the whole of line 7 ("How far a modern quill doth come too short") contains a sexual inadequacy pun aimed the rival poet or poets. The third quatrain is so insistent on the poet's silence ("silence" "dumb" "mute") that it suggests deliberateness.
|
|
The second quatrain says that it is an impoverished pen that cannot write something to add some glory to his subject, but in the youth's case all that writer needs to do is simply describe the youth. Just copy, don't make it worse, and the writer will become famous for his wit. The couplet points out that the desire the youth has for flattery hurts the praise he receives, because that praise is not the simple, and ideal description — it is mere flattery. This is an idea that sounds like the problem Cordelia has in King Lear: Whatever she can say about her father, he wants flattery, and she cannot satisfy that desire.
|
|
Their poetic form is not uniform, but generally it is a quatrain where the word 'vidalita' appears between the first and second and between the third and the fourth lines as follows: :los días mas bellos, vidalita :tienen su hora amarga :y hasta en la agonía, vidalita :luce la esperanza. María Luisa Anido prepares the theme with four bars of guitaristic arpeggios. The melody of the piece respects its characteristic rhythm, but instead of flowing in a homophone way or through parallel thirds, sixths or tenths, it is built as a chorale in four voices, which gives it a special depth. The Gato that concludes this group is one of the most popular dances.
|
|
The first quatrain of the sonnet lets the reader know the poet has been "infected", in a sense, by his mistress. Though the idea of being "love-sick" has been often idealized and romanticized in modern culture, the way the poet describes his lustfulness and want leads to a more dark reading, almost as if he is a host to some sort of sickly desired parasite feeding on his sense and reason. The poet begins the sonnet by linking and treating love and disease as parallel and intricately linked concepts. The poet's mistress has planted a sickly fever within the poet, being a type of bodily love and desire, which is causing an illness within him.
|
|
In the final quatrain, the poet begins to describe his downfall and continuing/ worsening sickness. The line "Past cure I am, now reason is past care," is a play on an old proverb which is usually read "'past care, past cure' expressing the traditional wisdom, that, if a patient is incurable, care will not help him". Many scholars have speculated what exactly the play on the common proverb means, since it is extremely unlikely Shakespeare misused a common and well known phrase. One could read the line as a potential marker for the madness the poet says is taking over his body, becoming so muddled and crazed with the fever, he can not even properly use a common saying.
|
|
He wants to appear younger, while she wants to think that she is with a more youthful lover.(Booth p. 479) However, the editor, Carl D. Atkins, approaches the first quatrain with a slightly different take, believing the word "lies" in line 2 to be nothing more than a set-up for the pun in the ending couplet, using the word "lies" to mean "sleep with" instead of "falsehoods". He also has a slight twist about who lies to whom, claiming that the lady lies to the speaker about her faithfulness, but he does not lie to her, only to himself, imagining that she believes him to be an "untutored youth". (Ed.
|
|
This method was also known as the "pendulum". Poe places a Latin epigraph before the story, describing it as "a quatrain composed for the gates of a market to be erected upon the site of the Jacobin Club House at Paris". The epigraph was not Poe's invention; such an inscription had been reported, no later than 1803, as having been composed with the intention (possibly facetious) of having it placed on the site, Internet Archive and it had appeared, without attribution, as an item of trivia in the 1836 Southern Literary Messenger, a periodical to which Poe contributed.Google Books It does not appear, however, that the market was ever built as intended.
|
|
Following George Wyndham, John Bernard notes the neoplatonic underpinnings of the poem, which derive ultimately from Petrarch: the beloved's transcendent beauty is variously diffused through the natural world, but is purer at its source. The reference to Adonis has led numerous scholars, among them Georg Gottfried Gervinus, to explore connections to Venus and Adonis; Gerald Massey notes that the twinned references to Adonis and Helen underscore the sense of the beloved's androgyny, most famously delineated in Sonnet 20. Hermann Isaac notes that the first quatrain resembles a sonnet by Tasso. In support of his hypothesis that the person addressed in the sonnet was an actor, Oscar Wilde hypothesized that the poem's "shadows" refer to the young man's roles.
|
|
The Whiner parodies The Crier and The Hilltop and lampoons various Saint Anselm College issues. The motto of the Saint Anselm Whiner was "Unreliability You Can Count On." The Quatrain, published annually by a small group of students with the help of the English Department and the printing office, is a collection of students' poetry, short stories, and artwork (photographic and otherwise) that is collected via submissions over the course of the academic year and is freely distributed to the student population near the end of the second semester. The Shank, published each semester, is the History Department's journal consisting exclusively of students' work. The journal is open to all students regardless of their major, as long as the paper submitted was written in a history class.
|
|
The song is structured as a series of ABAB quatrain verses, with each verse followed by a chorus that is just a repeat of the last line of the verse, which is always "won't you come see me Queen Jane". Each B line ends with a rhyme on "ain", while the A lines each end with a double-syllable rhyme, such as "cheek to / speak to" or "lent you / resent you". The music is recorded with a "warts and all" philosophy consistent with the rest of the Highway 61 Revisited album. The electric guitars are out of tune or out of phase and clash with the organ and piano chords, the bass has Spanish inflections, and the mix is raw with a sound similar to garage rock.
|
|
However, there are others showing the players relaxing on their vessel, the SS Rotorua, and on trips, such as to Melbourne Zoo or up New Zealand glaciers. The Test matches were dominated by Myrtle Maclagan, who made 279 runs and took 26 wickets. So much so that just after the men's team had lost the men's version of the Ashes, the Morning Post praised Maclagan's batting prowess with the quatrain: :What matter that we lost, mere nervy men :Since England's women now play England's game, :Wherefore Immortal Wisden, take your pen :And write MACLAGAN on the scroll of fameWisden obituary of Myrtle Maclagan MBE. However, she was outscored by Betty Snowball, who made 381 runs, including a mammoth 189 against the Kiwis.
|
|
Some members of the royal family were writers of merit and authored important works such as Jambavati Kalyana by King Krishnadevaraya, and Madura Vijayam by Princess Gangadevi, a daughter-in-law of King Bukka I. Also known as Veerakamparaya Charita, the book dwells on the conquest of the Madurai Sultanate by the Vijayanagara empire. Poetic inscription in Kannada by Vijayanagara poet Manjaraja (1398 CE). The Kannada poets and scholars of the empire produced important writings supporting the Vaishnava Bhakti movement heralded by the Haridasas (devotees of Vishnu), Brahminical and Veerashaiva (Lingayatism) literature. The Haridasa poets celebrated their devotion through songs called Devaranama (lyrical poems) in the native meters of Sangatya (quatrain), Suladi (beat based), Ugabhoga (melody based) and Mundige (cryptic).
|
|
The second quatrain introduces "one wide expanse" that was ruled by Homer, but which was "heard of" rather than known to Keats at first-hand, for Homer wrote in Greek, and Keats, like most cultured Englishmen of his time, was at ease only in Latin. The "wide expanse" might have been a horizon of land or sea, but in Keats' breathing its "pure serene", we now sense that it encompasses the whole atmosphere, and in it Chapman's voice rings out. This sense of fresh discovery brings the reader to the volta: "Then felt I...". The reference to a "new planet" would have been salient to contemporary readers due to the recent discovery of Uranus with a telescope in 1781 by William Herschel, Court Astronomer to George III.
|
|
In order to be a permissible line of iambic pentameter, no stress maxima can fall on a syllable that is designated as a weak syllable in the standard, unvaried iambic pentameter pattern. In the Donne line, the word God is not a maximum. That is because it is followed by a pause. Similarly the words you, mend, and bend are not maxima since they are each at the end of a line (as required for the rhyming of mend/bend and you/new.) Rewriting the Donne quatrain showing the stress maxima (denoted with an "M") results in the following: / × × M × M × / × / Batter my heart three-personed God, for you × M × / × / × M × / As yet but knock, breathe, shine and seek to mend.
|
|
"Fee-fi-fo-fum" is the first line of a historical quatrain (or sometimes couplet) famous for its use in the classic English fairy tale "Jack and the Beanstalk". The poem, as given in Joseph Jacobs' 1890 rendition, is as follows: Illustration by Arthur Rackham in English Fairy Tales by Flora Annie Steel, 1918 > Fee-fi-fo-fum, I smell the blood of an Englishman, Be he alive, or be he > dead I'll grind his bones to make my bread. Though the rhyme is tetrametric, it follows no consistent metrical foot; however, the lines correspond roughly to a monosyllabic tetrameter, a dactylic tetrameter, a trochaic tetrameter, and an iambic tetrameter respectively. The poem has historically made use of assonant half rhyme.
|
|
At the end of the first quatrain, Shakespeare's pun on the word "tender" (to mean both the obvious meaning of youth and beauty and the less obvious sense of currency to alleviate a debt) further illustrates the beloved's need to reproduce in order to pay off his debt of chastity. The phrase “tender heir” of line 4 contains a pun as it alludes to the false etymology of the Latin word mulier (wife), from mollis aer (soft air), giving the phrase a double meaning: not only that a child will preserve his memory, but that his wife will bear that child. This pun is repeated in Shakespeare's play CymbelineShakespeare, William. Cymbeline, act V, scene 5, lines 448-449, where the etymology is discussed.
|
|
The villanelle consists of five stanzas of three lines (tercets) followed by a single stanza of four lines (a quatrain) for a total of nineteen lines.Strand et al. 2001 p. 7 It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line of the third and fifth stanzas. The rhyme-and-refrain pattern of the villanelle can be schematized as 1b2 ab1 ab2 ab1 ab2 ab12 where letters ("a" and "b") indicate the two rhyme sounds and numerals (1 and 2) indicate Refrain 1 and Refrain 2, both of which rhyme with a.
|
|
The green U follows the red I, "the red/green chromatic opposition is maximum like the black/white achromatic opposition which it succeeds". However, from the phonetic point of view, the strongest opposition to the I is the sound ou and not the U: Rimbaud would have chosen to oppose the I to the U, for lack of a French vowel specific to the sound ou. There remains then only one vowel, the O, but two colours, blue and yellow. Under the blue of the O, the yellow of the Clairon ("Trumpet") appears in the second tercet, as the bright red was underlying the black A in the first quatrain: the O contains the blue/yellow opposition, an opposition analogous to that of red and green.
|
|
" A quatrain which appeared in the Teachers' World with other verses, was used as a memory gem in many schools, and was proven to be a favorite with hundreds of little pupils. It reads:— "When the beautiful stars peep out one by one, As I look far up and away, How sweet to be able to whisper to God, I've made some one happy to-day!" Thoughts of Peace, a book of verse, and Appointed Paths, a story for girls, were published by James H. Earle, of Boston. These had positive reviews by the Congregationalist and other papers, notably, Teachers World (1897) commented:— "Appointed Paths, by Annie Stevens Perkins, is a good, wholesome, elevating story, full of wise counsel and stimulating thought.
|
|
According to the brief accounts in the Lebor Gabála Érenn, Lugh used the "sling-stone" (cloich tabaill) to slay his grandfather, Balor the Strong-Smiter in the Battle of Magh Tuired.op. cit. ¶312, ¶312, ¶364 The narrative , preserved in a unique 16th century copy, words it slightly different saying that Lugh used the sling-stone to destroy the evil eye of Balor of the Piercing Eye (Bolur Birugderc). The ammunition that Lugh used was not just a stone, but a tathlumeDIL s.v. táthluib according to a certain poem in Egerton MS. 1782 (olim W. Monck Mason MS.), the first quatrain of which is as follows: The poem goes on to describe the composition of this tathlum, as being formed from the bloods collected from toads, bears, the lion, vipers and the neck-base eDIL s.v.
|
|
"Ode on Indolence" relies on ten line stanzas with a rhyme scheme that begins with a Shakespearian quatrain (ABAB) and ends with a Miltonic sestet (CDECDE). This pattern is used in "Ode on Melancholy", "Ode to a Nightingale" and "Ode on a Grecian Urn", which further unifies the poems in their structure in addition to their themes. The poem contains a complicated use of assonance (the repetition of vowel sounds), as evident in line 19, "O why did ye not melt, and leave my sense", where the pairs ye/leave and melt/sense share vowel sounds. A more disorganized use of assonance appears in line 31, "A third time pass'd they by, and, passing, turn'd", in which the pairs third/turn'd, time/by, and pass'd/passing share vowel sounds.
|
|
Invoking the youth as his muse, the speaker finds, has helped his poetry by providing direct inspiration, and this perhaps also refers to the help provided through patronage. The speaker notes that other poets have appropriated his way of invoking the young man, and this has helped them distribute their poetry, perhaps by being published, or by otherwise finding readers. The poet's strategy in this sonnet is to portray himself as ignorant and lacking in talent, but the second quatrain in lines 5 and 6 introduces sarcastic mock humility, by the ridiculousness of the image of croaking ("taught the dumb on high to sing"), paired with the image of heavy objects flying about ("heavy ignorance aloft to fly"). This is followed by the hyperbole of young men adding double majesty to grace.
|
|
Mir Ghulam Rasool Nazki (16 March 1910 16 April 1998), also spelled Meer Ghulam Rasul Naazki, was a Kashmiri poet, writer, broadcaster, and teacher. He wrote books, including poetry in regional and foreign languages such as Urdu, Persian, Arabic and later work in Kashmiri language. The receipent of Sahitya Akademi Award for Awaz-e-dost, a Kashmiri poetry, he is also credited as the "first Kashmiri writer" to write in Ruplic of India after independence, and the first poet to resuscitate quatrain poetic form in Kashmiri literature, which originally began during the period of thirteen and fourteenth century poets such as Lal Ded and Nund Reshi. He wrote poetry on various subjects and in poetic genres such as rubaʿi, spiritualism, moral philosophy, gazals, esthetics and in satirical genre.
|
|
Surviving lore concerning the rex Nemorensis indicates that this priest or king held a very uneasy position. Macaulay's quatrain on the institution of the rex Nemorensis states: : Those trees in whose dim shadow The ghastly priest doth reign The priest who slew the slayer, And shall himself be slain. This is, in a nutshell, the surviving legend of the rex Nemorensis: the priesthood of Diana at Nemi was held by a person who obtained that honour by slaying the prior incumbent in a trial by combat, and who could remain at the post only so long as he successfully defended his position against all challengers. However, a successful candidate had first to test his mettle by plucking a golden bough from one of the trees in the sacred grove.
|
|
The villanelle consists of five stanzas of three lines (tercets) followed by a single stanza of four lines (a quatrain) for a total of nineteen lines.Strand et al. 2001 p. 7 It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line of the third and fifth stanzas. The rhyme-and-refrain pattern of Do not go gentle into that good night can be schematized as A1bA2 abA1 abA2 abA1 abA2 abA1A2 where letters ("a" and "b") indicate the two rhyme sounds, upper case indicates a refrain ("A"), and superscript numerals (1 and 2) indicate Refrain 1 and Refrain 2.
|
|
But God, how deadly dull to sample sickroom attendance night and day and never stir a foot away! And the sly baseness, fit to throttle, of entertaining the half-dead: one smoothes the pillows down in bed, and glumly serves the medicine bottle, and sighs, and asks oneself all through: "When will the devil come for you?" Like the Shakespearean sonnet, the Onegin stanza may be divided into three quatrains and a closing couplet, although there are normally no line breaks or indentations, and it has a total of seven rhymes, rather than the four or five rhymes of the Petrarchan sonnet. Because the second quatrain (lines 5-8) consists of two independent couplets, the poet may introduce a strong thematic break after line 6, which is not feasible in Petrarchan or Shakespearian sonnets.
|
|
The idea being that these actions are fleeting and are therefore of little value to either the Speaker or the Friend. Greene recognizes the "great bases" of line 3 to be a manor house which carry over into his understanding of the Second Quatrain. According to Greene, this "manor house is faintly sustained by "ruining", "dwellers", "rent", and the possible allusion to compound and simple interest". This economic terminology transforms the actions of the suitors into a sort of currency that is spent too quickly. In line 7, the compound sweet is seen by Greene as an artificial confection or overwrought style of poetry in great use by the other suitors who are themselves poets. It is a reference to Sonnet 76 in "which the poet reproached himself for omitting it from his own verse".
|
|
Patin and his son Charles were also dealers in clandestine books, and Patin wrote occasional poetry (such as a quatrain to honor Henric Piccardt (1636-1712) ). On 22 March 1648, Patin wrote a famous letter commenting on the new rage of tea drinking in Paris, calling it "the impertinent novelty of the century", and mentioning the new book by Dr. Philibert Morisset titled Ergo Thea Chinesium, Menti Confert (Does Chinese Tea Increase Mentality?), which praises tea as a panacea: > One of our doctors, named Morisset, who is much more of a braggart than a > skilful man... caused a thesis on tea to be published here. Everybody > disapproved of it; there were some of our doctors who burned it, and > protests were made to the dean for having approved the thesis.
|
|
Astrology itself is mentioned only twice in Nostradamus's Preface and 41 times in the Centuries themselves, but more frequently in his dedicatory Letter to King Henry II. In the last quatrain of his sixth century he specifically attacks astrologers. His historical sources include easily identifiable passages from Livy, Suetonius' The Twelve Caesars, Plutarch and other classical historians, as well as from medieval chroniclers such as Geoffrey of Villehardouin and Jean Froissart. Many of his astrological references are taken almost word for word from Richard Roussat's ' of 1549–50. One of his major prophetic sources was evidently the Mirabilis Liber of 1522, which contained a range of prophecies by Pseudo-Methodius, the Tiburtine Sibyl, Joachim of Fiore, Savonarola and others (his Preface contains 24 biblical quotations, all but two in the order used by Savonarola).
|
|
Gilles Corrozet, who had compiled a fable collection in French verse earlier than La Fontaine, twice featured the contest between the sun and the wind in his emblem books. In Hecatomgraphie (1540), the first of these, the story is told in a quatrain, accompanied by a woodcut in which a man holds close a fur cloak under the wintry blast while on the other side he strips naked beneath the sun's rays. It is titled with the moral “More by gentleness than strength” (Plus par doulceur que par force).Glasgow University The same illustration was used to accompany another poem in Corrozet's later Emblemes (1543), which counsels taking enjoyment and being careful as necessity demands, wisely adapting oneself to circumstances in the same way as one dresses differently for winter than for summer.
|
|
As mentioned above, rather than asking for inspiration, the poet demands explanation, though now he presumes his Muse's excuse for the neglect, which the poet takes to be that truth of beauty is self-evident, and needs no further embellishment. It is in the second and third line of this quatrain, or the sixth and seventh lines in the sonnet, where the rhythmic structure of Sonnet 101 becomes noteworthy. Whereas the rest of Sonnet 101 follows conventional structural patterns, it is in line 6 and 7, "Truth needs no colour with his colour fixed; / Beauty no pencil, beauty's truth to lay," that the rhythm deviates from the established norm, which is discussed in depth earlier in this article. Though there is no definitive explanation for this alteration, its inconsistency warrants speculation.
|
|
If we assume that the difference in pattern is not an oversight on the part of Shakespeare, then it is conceivable that this creative idiosyncrasy was made for aesthetic or symbolic reasons. It is then pertinent to question why these particular lines are given this unique structural treatment. Putting aside aesthetic interpretation, it could be conceived that Shakespeare intentionally chose these two lines with which to assert freedom from the regular metrics of iambic pentameter, to show that truth and beauty should be singled out. Given this interpretation of the second and third lines of the quatrain, the fourth line, "But best is best, if never intermixed?" can even be read as the poet-speaker's assessment that his Muse does not see fit to embellish truth and beauty through poetic inspiration.
|
|
The first French translation, of 464 quatrains in prose, was made by J. B. Nicolas, chief interpreter at the French embassy in Persia in 1867. Prose stanza (equivalent of Fitzgerald's quatrain XI in his 1st edition, as above): > Au printemps j’aime à m’asseoir au bord d’une prairie, avec une idole > semblable à une houri et une cruche de vin, s’il y en a, et bien que tout > cela soit généralement blâmé, je veux être pire qu’un chien si jamais je > songe au paradis. The best-known version in French is the free verse edition by Franz Toussaint (1879–1955) published in 1924. This translation consisting of 170 quatrains was done from the original Persian text, while most of the other French translations were themselves translations of FitzGerald's work.
|
|
Polizzotti, in his study of Highway 61 Revisited, writes that the opening track of Side Two, "Queen Jane Approximately" is in a similar vein to "Like a Rolling Stone", but the song offers "a touch of sympathy and even comfort in place of relentless mockery". The song is structured as a series of ABAB quatrain verses, with each verse followed by a chorus that is simply a repeat of the last line of each verse: "Won't you come see me Queen Jane?". Gill calls this song "the least interesting track" on Highway 61, but praises the piano ascending the scale during the harmonica break as an evocation of "the stifling nature of an upper class existence". Others have speculated that the song is directed at Joan Baez and the folk movement, which Dylan had largely left behind.
|
|
The Malay pantun is a poetical expression of orality which can be formalized as a quatrain of four lines which cross rhyme (ABAB), where the first two lines introduce a general analogical atmosphere while the last two convey the meaning of the poem, which can be moral, sentimental, etc. Georges Voisset explains and illustrates in his book the filiation from the Malay pantun to the pantoum "à la française" and its internationalization, after this form was revealed to Victor Hugo by a young romantic orientalist, Ernest Fouinet. Hugo was the first, in France, to quote a linked pantun in a famous note of his collection The Orientals (1829). It is first of all due to the success of this work, and to a misprint (pantoum for pantoun), that the pantoum owes its individualization in French poetics.
|
|
She played in the first women's Test match in 1934, and was one of the best-known women cricketers of her day, famous for making high scores against the Australians. She scored the first Test century in women's cricket on 4 January 1935, when she made 119 for England against Australia at Sydney Cricket Ground. In that same historical women's test match, she notched another record for becoming the first woman cricketer to open the batting as well as to open the bowling in a same test match. The English men's team had lost the Ashes a few months earlier, and the Morning Post praised Maclagan's batting prowess with the quatrain: :What matter that we lost, mere nervy men :Since England's women now play England's game, :Wherefore Immortal Wisden, take your pen :And write MACLAGAN on the scroll of fame.
|
|
Initially, reviews of The Stars My Destination were mixed. The well-regarded science fiction writer and critic Damon Knight, in In Search of Wonder (1956), wrote of the novel's "bad taste, inconsistency, irrationality, and downright factual errors", but called the ending of the book "grotesquely moving". In a profile of Bester for Continuum Encyclopedia of American Literature (2005), critic Steven H. Gale cited the novel as a reflection of the author's maturation, addressing as it does "the continued evolution of humankind as a species", a grander theme than those treated with in his earlier work. Gale declared the novel to be Bester's most stylistically ambitious work, citing the use of disparate fonts to evoke synaesthesia, the progressively intelligent language accorded to the maturing protagonist, and the framing of the narrative between the variations on Blake's quatrain.
|
|
Feeling vulnerable to opposition on religious grounds, however, he devised a method of obscuring his meaning by using "Virgilianised" syntax, word games and a mixture of other languages such as Greek, Italian, Latin, and Provençal. For technical reasons connected with their publication in three installments (the publisher of the third and last installment seems to have been unwilling to start it in the middle of a "Century," or book of 100 verses), the last fifty- eight quatrains of the seventh "Century" have not survived in any extant edition. Century I, Quatrain 1 in the 1555 Lyon Bonhomme edition The quatrains, published in a book titled Les Prophéties (The Prophecies), received a mixed reaction when they were published. Some people thought Nostradamus was a servant of evil, a fake, or insane, while many of the elite evidently thought otherwise.
|
|
A mezzotint engraving of the fable by Robert Earlom, 1772 The fable only existed in Greek sources formerly and concerns a lion and boar who fight each other to be the first to drink from a spring. Observing vultures gathering to swoop on the loser, the two fierce animals decide that it is better to have friendly relations rather than be eaten by such vile creatures. The story appeared in few of the main fable collections but was given popularity during the Renaissance by being included among the emblems of Andrea Alciato under the heading “One man’s loss is another man’s gain” (ex damno alterius, alterius utilitas). The Latin quatrain accompanying the illustration does not mention the cause of the quarrel but concludes that the victor’s glory will belong to the one that gets the spoil.
|
|
For example, The Blind Boys of Alabama rendered the hymn "Amazing Grace" to the setting of The Animals' version of the folk song "The House of the Rising Sun". This is possible because the texts share a popular basic four-line (quatrain) verse-form called ballad metre or, in hymnals, common metre, the four lines having a syllable- count of 8–6–8–6 (Hymns Ancient and Modern Revised), the rhyme-scheme usually following suit: ABAB. There is generally a pause in the melody in a cadence at the end of the shorter lines so that the underlying musical metre is 8–8–8–8 beats, the cadences dividing this musically into two symmetrical "normal" phrases of four bars each. In some regional music, for example Balkan music (like Bulgarian music, and the Macedonian metre), a wealth of irregular or compound metres are used.
|
|
The epigraph at the top of the poem is taken from Thomas Mann, "In our time the destiny of man presents its meanings in political terms". The phrase had been quoted in a copy of the Yale Review and Yeats wrote notes on that edition and attached them to the first typescript draft of the "Politics". The last two lines of the poem, "But oh that I were young again/ And held her in my arms", is likely taken from a quatrain cited by American writer Archibald MacLeish in a 1938 article in the Yale Review intended to exemplify the use of "living tongue" by the anonymous author of the 16th Century song "The Western Wynde": :O Western wind when wilt thou blow :That small rain down can rain:-- :Christ, that my love were in my arms :And I in my bed againMacLeish, Archibald. "Public Speech and Private Speech in Poetry".
|
|
In Shakespeare's time, a pencil was both a small painter's brush and a tool to engrave letters, although graphite pencils bound in wax, string or even wood were known in the 16th century. Following William Empson, Stephen Booth points out that all of the potential readings of the disputed lines, in particular the third quatrain, are potentially accurate: while the lines do not establish a single meaning, the reader understands in general terms the usual theme, the contrast between artistic and genealogical immortality. The assertion is that procreation is a more viable route to immortality than the "counterfeit" of art. The sonnet concludes with resignation that the efforts of both time and the poet to depict the youth's beauty cannot bring the youth to life ("can make you live") in the eyes of men (compare the claim in Sonnet 81, line 8, "When you entombed in men's eyes shall lie").
|
|
Rondò texts usually employ an elevated rhetorical style and are almost always either laments of unhappy lovers or conventional calls to love. As a result, they are rather generalised and conventional in expression, detached and distant emotionally, so that they are easily transferable from one opera libretto to another, as happened with "Non tardar amato bene", rejected by Mozart for Le nozze di Figaro and recycled by his librettist, Lorenzo Da Ponte for another opera, Il demogorgone, ovvero il filosofo confuso, set by Vincenzo Righini . While there are examples of two-strophe rondòs through most of its period of popularity, the poetry far more often consists of three quatrains of ottonario, with the third quatrain usually shifting mood or dramatic focus in order to justify a new musical section. The slow part of the music sets the first two quatrains in an ABA pattern.
|
|
South Barrule, reputed home of Manannán on the Isle of Man Manannán according to the local lore of the Isle of Man was its first ruler. ;First ruler A document called the "Supposed True Chronicle of Man" (16th century) asserts that Manannan was the first "ruler of Mann" and "was as paynim (pagan), and kept, by necromancy, the Land of Man under mists", and imposed as tax a bundle of green rushes, which was due every Midsummer Eve at a place called Warfield (the present-day South Barrule). More or less the same thing is stated in verse within "The Traditionary Ballad" aka "Manannan beg va Mac y Leirr" (1504), whose third quatrain ran: The poem thus identified the king of the island as one Manannan-beg-mac-y-Lheirr, "little Manannan, son of the Sea" (or, "son of Leir"). Manannan was later banished by Saint Patrick according to the poem.
|
|
Chandler's work has appeared in numerous print and online journals and anthologies, including Able Muse, Alabama Literary Review, American Arts Quarterly, The Centrifugal Eye, Comstock Review, First Things, Iambs and Trochees, Light Quarterly, The Lyric, Measure, Möbius, Orbis, Quadrant, The Raintown Review, Texas Poetry Journal and many others. She is the author of Lines of Flight (Able Muse Press, 2011), a highly acclaimed full-length collection of poetry in various forms, including the sonnet, pantoum, rondeau (poetry), villanelle, triolet, sapphic stanza, ballad stanza, quatrain, cinquain, cento (poetry) and other forms. Her second book, Glad and Sorry Seasons was published in the Spring of 2014 by Biblioasis Press of Windsor, Ontario, and her third book, "The Frangible Hour", winner of the Richard Wilbur Award, was published by the University of Evansville Press at the end of December 2016. Her fourth full-length collection, "Pointing Home" was published by Kelsay Books in April 2019.
|
|
Hulme interprets how the words 'hate', 'fiend', and 'away' in this quatrain are more analogous to the devil than to Anne Hathaway: "In Shakespeare's 'fiend' context, his simple adverb 'away' may similarly bring to mind the adverbial phrase 'a devil way' defined as 'originally an impatient strengthening of AWAY'...As the fiend flies back to his proper place in hell, carrying away with him the 'hate' sense of the lady's unfinished 'I hate' sentence, day follows night for the poet!" (428). Stephen Booth brings up an interesting point that other critics had not really mentioned. He says that a lot of people hope that it is not part of Shakespeare's work due to the odd way in which it was written, "One cannot be certain that the sonnet is Shakespeare's, but the effect it describes- that of being surprised by a sentence that signals one direction and then takes another- is an effect that Shakespeare is very fond of actually achieving in his reader" (500).
|
|
It was renamed The Macclesfield, being in Macclesfield Street, and was soon leased by a retired Dutch sea captain called "Papa" De Hem who ran it as an oyster-house, charging a shilling and fourpence ha'penny for a serving. It was patronised by fin-de-siècle literati such as the poet Swinburne, who travelled 10 miles daily to eat oysters at the long marble bar, and George Sims who wrote a quatrain in praise: Oyster shells in the walls of the Shell RoomThe rhyme alludes to the common proverb that it is only safe to eat oysters when there is an R in the name of the month -- after the hot summer months from May to August. The grotto referred to was The Shell Room upstairs, created from the discarded oyster shells which decorated its walls -- some 300,000 at their peak. Only a few now remain but the bar now claims to sell a similar number of pints of Oranjeboom each year.
|
|
From the 1980s onward, however, an academic reaction set in, especially in France. The publication in 1983 of Nostradamus's private correspondence and, during succeeding years, of the original editions of 1555 and 1557 discovered by Chomarat and Benazra, together with the unearthing of much original archival material revealed that much that was claimed about Nostradamus did not fit the documented facts. The academics revealed that not one of the claims just listed was backed up by any known contemporary documentary evidence. Most of them had evidently been based on unsourced rumours relayed as fact by much later commentators, such as Jaubert (1656), Guynaud (1693) and Bareste (1840), on modern misunderstandings of the 16th-century French texts, or on pure invention. Even the often-advanced suggestion that quatrain I.35 had successfully prophesied King Henry II's death did not actually appear in print for the first time until 1614, 55 years after the event.
|
|
Skeptics such as James Randi suggest that his reputation as a prophet is largely manufactured by modern-day supporters who fit his words to events that have either already occurred or are so imminent as to be inevitable, a process sometimes known as "retroactive clairvoyance" (postdiction). No Nostradamus quatrain is known to have been interpreted as predicting a specific event before it occurred, other than in vague, general terms that could equally apply to any number of other events. This even applies to quatrains that contain specific dates, such as III.77, which predicts "in 1727, in October, the king of Persia [shall be] captured by those of Egypt"—a prophecy that has, as ever, been interpreted retrospectively in the light of later events, in this case as though it presaged the known peace treaty between the Ottoman Empire and Persia of that year;See, for example, Cheetham, Erika, The Final Prophecies of Nostradamus, Futura, 1990, pp.
|
|
Shakespeare 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. A traditional Italian or Petrarchan sonnet follows the rhyme scheme ABBA, ABBA, CDECDE, though some variation, perhaps the most common being CDCDCD, especially within the final six lines (or sestet), is common. The English (or Shakespearean) sonnet follows the rhyme scheme ABAB, CDCD, EFEF, GG, introducing a third quatrain (grouping of four lines), a final couplet, and a greater amount of variety with regard to rhyme than is usually found in its Italian predecessors.
|
|
Classical Chinese poetic metric may be divided into fixed and variable length line types, although the actual scansion of the metre is complicated by various factors, including linguistic changes and variations encountered in dealing with a tradition extending over a geographically extensive regional area for a continuous time period of over some two-and-a-half millennia. Beginning with the earlier recorded forms: the Classic of Poetry tends toward couplets of four-character lines, grouped in rhymed quatrains; and, the Chuci follows this to some extent, but moves toward variations in line length. Han Dynasty poetry tended towards the variable line-length forms of the folk ballads and the Music Bureau yuefu. Jian'an poetry, Six Dynasties poetry, and Tang Dynasty poetry tend towards a poetic metre based on fixed-length lines of five, seven, (or, more rarely six) characters/verbal units tended to predominate, generally in couplet/quatrain- based forms, of various total verse lengths.
|
|
As most explicitly noted by the first quatrain, the poem was originally intended to be sung. Indeed, as noted by Stephen Medcalf, Emeritus professor at Sussex University, the text itself seems to imply melody and verse.Stephen Medcalf, The Later Middle Ages (London: Methuen & Co., 1981) , 14. However, due to the oral tradition of the time, the original melody of the song was not notated and over the course of time was forgotten. Since the rediscovery of the text, many composers have set the text to music, amongst them diverse choral or vocal interpretations by Martin Shaw,William Emmett Studwell, The Christmas Carol Reader (New York: Haworth Press, 1995) , 43 Patrick Hadley,David Willcocks, Kings College Choir, Cambridge, Argo RG 240 (Mono) ZRG 5240 (stereo) Roger Quilter,Roger Quilter, An old carol, for voice & piano, Op.25, No.3 John Gerrish, Gustav Holst,Gustav Holst, "I sing of a maiden", Four Songs for Voice and Violin op.
|
|
The Knightly Tale of Gologras and Gawain is written in stanzas of thirteen lines each, rhyming ABABABABCDDDC. Like another Middle English poem, Sir Gawain and the Green Knight, most of the lines of each stanza are alliterative long lines; and like this earlier and more famous Arthurian poem recounting an adventure of Sir Gawain, it has a tail of four short lines at the end of every stanza. In the case of The Knightly Tale of Gologras and Gawain, however – unlike its more famous cousin – the last four lines of every stanza form a "separate quatrain... linked by final rhyme to the ninth line", a style of alliteration and rhyme that is identical to that found in the Middle English poem The Awntyrs off ArthureHahn, Thomas (Ed). 1995. Perhaps this challenging rhyme scheme, coupled with the poem's use of a large number of technical terms for combat and costume, a Scots dialect and general unavailability of the text, has contributed to its relative, although undeserved, neglect.
|
|
Once he had advanced a little along the Sufi way, he became more and more interested in composing poetry, and one of the first things he penned was a qasidah (quatrain) in praise of his spiritual guide. Initially he preferred to write siharfis and duhras, but then he advanced to composing stories in verse. His poetry is essentially written in a mixed language composed of standard Punjabi and the Pothohari and Hinko dialects of Punjabi, and utilizes a rich vocabulary of Persian and Arabic words. Mian Muhammad Bakhsh, in his lifetime, contributed his great mystic thought in the language of the masses – Punjabi language which was also his mother tongue. His works include: Siharfi, Sohni Mahiwal, Tuhfah-e Miran, Tuhfah-e- Rasuliyah, Shirin Farhad, Mirza Sahiban, Sakhi Khavass Khan, Shah Mansur, Gulzar-e Faqir, Hidayatul Muslimin,Panj Ganj, Masnavi-e Nīrang-e ‘Ishq. He also wrote a commentary on the Arabic Qasidat al-Burda of al-Busiri and his most famous work, entitled Safarul ‘Ishq (Journey of Love), but better known as Saif ul Maluk.
|
|
Accordingly, under New York law at the time, his holdings were divided among his widow, fifteen nephews and one grand nephew. They decided to subdivide and sell the property, and within a few years more buildings had gone up, just in time for the construction of the Hudson River Railroad in 1848, which laid its track on a causeway right across the river's mouth. Over the next several decades, as Yonkers' population grew rapidly, leading it to incorporate as a village and then, in 1872, a city, the rest of the estuary was filled in and narrowed and the bluffs on its south side graded out of existence. By the later decades of the 19th century, industry had grown up along the river's lower portion. So much pollution was dumped into the river from the factories alongside it that a local poet lamented the Saw Mill's decline in an 1891 quatrain: To let the river replenish itself, most of the dams that had been built were removed in 1893.
|
|
The Annals of the Four Masters make the following note of it: > The battle of Turlach Adhnaigh, between Áed in Gai Bernaig, King of > Connaught, and Aedh, the son of Art Uallach Ua Ruairc, and the men of > Breifne along with him; where fell Áed in Gai Bernaig, King of the province > of Connaught, the helmsman of the valour of Leath-Chuinn; and the chiefs of > Connaught fell along with him, and, among the rest, Aedh Ua Con Ceanainn, > lord of Uí Díarmata, and many others. It was to commemorate the death of > Aedh Ua Conchobhair this quatrain was composed:"Seven years, seventy, not a > short period/And a thousand, great the victory/From the birth of Christ/not > false the jurisdiction/Till the fall of Aedh, King of Connaught." The same source records another battle in Aidhne in 1094. > A battle was gained by Tadhg, son of Ruaidhri Ua Conchobhair, and the Sil- > Muireadhaigh, over the people of Thomond and West Connaught, in which three > hundred were slain; and they plundered all West Connaught.
|
|
Michael Wood also suggests the allusion of the third quatrain of Sonnet 33 to the death of the poet's son with an implied pun on "sun". In In Search of Shakespeare, he suggests that this sonnet might have nothing to do with the so-called Fair Youth sonnets, that it alludes to the death of the poet's son, Hamnet in 1596 at age 11, and that there is an implied pun on "sun" and "son": "Even so my sun one early morn did shine, with all triumphant splendour on my brow; but out, alack, he was but one hour mine, the region cloud hath mask'd him from me now". If this is the case the link of this sonnet with sonnets 34, 35 and 36 would be entirely coincidental and spurious. Kerverne Smith believes that the emotional effect that Hamnet's death had on Shakespeare resulted in recurring features found in Shakespeare's later plays, which fit into one of five motifs: "the resurrected child or sibling, androgynous and twin-like figures, a growing emphasis on father- daughter relationships; paternal guilt; family division and reunion".
|
|
The treble drum is called "quinto", the medium range drum is called "macho or tres-dos" (three-two), because its essential rhythm is based on the Cuban clave pattern, and the bass drum is called "hembra o salidor," because it usually began or "broke in" (rompía) the rumba. In the Rumba ensemble they also utilize two sticks or spoons to beat over a hollow piece of bamboo called "guagua" or "catá," as well as the Cuban Claves, the Güiro and some rattles from bantu origin called "nkembi". The vocal part of the rumba corresponds to a modified version of the ancient Spanish style of "copla-estribillo" (quatrain-refrain), including a "montuno" section that one may consider an expanded or developed "refrain" that constitute an independent section which include the call and response style, so typical of the African traditions. Rumba drummers From the many rumba styles that began to appear during the end of the 19th century called "Spanish times" (Tiempo'españa), such as tahona, jiribilla, palatino and resedá, three basic Rumba forms have survived: the Columbia, the guaguancó and the yambú.
|
|
In the Annals of the Four Masters, dated to the 17th century, was recorded as the site of a great Viking massacre in 928 AD: > "Godfrey Uí Ímair, with the foreigners of Ath Cliath, demolished and > plundered Dearc Fearna, where one thousand persons were killed in this year > as is stated in the quatrain: > > Nine hundred years without sorrow, twenty-eight, it has been proved, 'Since > Christ came to our relief, to the plundering of Dearc-Fearna." Gofraith, ua > h-Iomhair, co n-Gallaibh Atha Cliath, do thoghail & do orgain Derce Fearna, > airm in ro marbhadh míle do dhaoinibh an bhliadhain-si, amhail as-berar > isin rann, Naoi c-céd bliadhain gan doghra, > a h-ocht fichet non-dearbha, > o do-luidh Criost dár c-cobhair > co toghail Derce Ferna. While the human remains found in the cave are thought to be victims of the Viking massacre, this has not been reliably confirmed. Many of the remains belong to women and children, and it is hypothesised that they are the bodies of people hiding in the cave who were unable to leave when the Vikings tried to smoke them out, dying from asphyxiation.
|
|