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In poetry, a stanza (/ ˈ s t æ n z ə /; from Italian stanza, Italian:; lit. ' room ') is a group of lines within a poem, usually set off from others by a blank line or indentation. [1] Stanzas can have regular rhyme and metrical schemes, but they are not required to have either. There are many different forms of stanzas.
Canzone: a lyric poem originating in medieval Italy and France and usually consisting of hendecasyllabic lines with end-rhyme. Epithalamium; Madrigal: a song or short lyric poem intended for multiple singers. Ode: a formal lyric poem that addresses, and typically celebrates, a person, place, thing, or idea. Horatian Ode
However, many shorter poems have since been written. A notable example was composed by boxer Muhammad Ali. On June 4, 1975, after giving a speech at Harvard University, Ali was discussing poetry on stage with journalist George Plimpton. When asked for the shortest poem of all time, Plimpton recited "Fleas" as above, and Ali responded, "I've got ...
Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention.
In poetry, metre (Commonwealth spelling) or meter (American spelling; see spelling differences) is the basic rhythmic structure of a verse or lines in verse.Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.
Haiku (俳句, listen ⓘ) is a type of short form poetry that originated in Japan. Traditional Japanese haiku consist of three phrases composed of 17 morae (called on in Japanese) in a 5, 7, 5 pattern; [ 1 ] that include a kireji , or "cutting word"; [ 2 ] and a kigo , or seasonal reference.
One major exception is the fourth verse of the poem For the Fallen by Laurence Binyon, which is often known as The Ode to the Fallen, or simply as The Ode. W.H. Auden also wrote Ode , one of the most popular poems from his earlier career when he lived in London, in opposition to people's ignorance over the reality of war.
But due to linguistic change, Horace's imitators split on whether they imitated his quantitative structure (the long and short syllables, Horace's metrical foundation), or his accentual patterns (the stressed or unstressed syllables which were somewhat ordered, but not determinative of Horace's actual formal structure). [9]