The French alexandrine (French : alexandrin) is a syllabic poetic metre of (nominally and typically) 12 syllables with a medial caesura dividing the line into two hemistichs (half-lines) of six syllables each. It was the dominant long line of French poetry from the 17th through the 19th century, and influenced many other European literatures which developed alexandrines of their own.
According to verse historian Mikhail Gasparov, the French alexandrine developed from the Ambrosian octosyllable,
× – u – × – u × Aeterne rerum conditor
by gradually losing the final two syllables,
× – u – × – Aeterne rerum cond (construct)
then doubling this line in a syllabic context with phrasal stress rather than length as a marker. [1]
The earliest recorded use of alexandrines is in the Medieval French poem Le Pèlerinage de Charlemagne of 1150, but the name derives from their more famous use in part of the Roman d'Alexandre of 1170. [2] L. E. Kastner states:
From about the year 1200 the Alexandrine began to supplant the decasyllabic line as the metre of the chansons de geste , and at the end of the thirteenth century it had gained so completely the upper hand as the epic line that several of the old chansons in the decasyllabic line were turned into Alexandrines... [3]
These early alexandrines were slightly looser rhythmically than those reintroduced in the 16th century. Significantly, they allowed an "epic caesura" — an extrametrical mute e at the close of the first hemistich (half-line), as exemplified in this line from the medieval Li quatre fils Aymon:
o o o o o S(e) o o o o o S Or sunt li quatre frère | sus el palais plenier [4] o=any syllable; S=stressed syllable; (e)=optional mute e; |=caesuraHowever, toward the end of the 14th century, the line was "totally abandoned, being ousted by its old rival the decasyllabic"; [5] and despite occasional isolated attempts, would not regain its stature for almost 200 years. [6]
The alexandrine was resurrected in the middle of the 16th century by the poets of the Pléiade, notably Étienne Jodelle (tragedy), Guillaume de Salluste Du Bartas (narrative), [7] Jean-Antoine de Baïf (lyric), and Pierre de Ronsard. [8] Later, Pierre Corneille introduced its use in comedy. [9] It was metrically stricter, allowing no epic caesura:
o o o o o S | o o o o o S (e)
Typically, each hemistich also holds one secondary accent which may occur on any of the first five syllables, most frequently on the third; this frequently balanced four-part structure resulted in one of several monikers for the line: alexandrin tétramètre (in contradistinction to the trimètre or alexandrin ternaire described below).
Often called the "classical alexandrine", vers héroïque, or grands vers, it became the dominant long line of French verse up to the end of the 19th century, [7] and was "elevated to the status of national symbol and eventually came to typify French poetry overall". [10] The classical alexandrine is always rhymed. The règle d'alternance des rimes (rule of alternation of rhymes), which was a tendency in some poets before the Pléiade, was "firmly established by Ronsard in the sixteenth century and rigorously decreed by Malherbe in the seventeenth." [11] It states that "a masculine rime cannot be immediately followed by a different masculine rime, or a feminine rime by a different feminine rime." [12] This rule resulted in the preponderance of three rhyme schemes, though others are possible. (Masculine rhymes are given in lowercase, and feminine in CAPS): [13]
These lines by Corneille (with formal paraphrase) exemplify classical alexandrines with rimes suivies:
Nous partîmes cinq cents; | mais par un prompt renfort | As five hundred we left, | but soon we gained support: |
| —Corneille: Le Cid Act IV, scene 3, lines 1259-62 |
The classical alexandrine was early recognized as having a prose-like effect, for example by Ronsard and Joachim du Bellay. [10] This in part explains the strictness with which its prosodic rules (e.g. medial caesura and end rhyme) were kept; they were felt necessary to preserve its distinction and unity as verse. [15] Nevertheless, several strategies for reducing the strictness of the verse form have been employed over the centuries.
Although used in exceptional cases by some 17th-century French poets, [16] Victor Hugo popularized the alexandrin ternaire (also referred to as trimètre) as an alternative rhythm to the classical alexandrine. His famous self-descriptive line:
J'ai disloqué | ce grand ¦ niais | d'alexandrin [17] | I dislocate | the great ¦ nitwit | alexandrin |
| —Hugo: "XXVI: Quelques mots à un autre", line 84 |
exemplifies the structure of the alexandrin ternaire, which preserves the medial caesura with a word break, but de-emphasizes it by surrounding it with two stronger phrase breaks after syllables four and eight:
o o o S | o o ¦ o S | o o o S (e) |=strong caesura; ¦=word break
Although generally embraced by the French Romantics and Symbolists, the alexandrin ternaire remained a supplemental line, used within a classical alexandrine context and forming no more than one quarter of the alexandrine lines written during this time. [18] Passages of classical alexandrines were still written by these poets, as for example this rimes croisées quatrain by Charles Baudelaire:
La très-chère était nue, | et, connaissant mon cœur, | My most darling was bare | but she knew my desire |
| —Baudelaire: "Les Bijoux", lines 1-4 |
These three similar terms (in French vers libres and vers libre are homophones [20] ) designate distinct historical strategies to introduce more prosodic variety into French verse. All three involve verse forms beyond just the alexandrine, but just as the alexandrine was chief among lines, it is the chief target of these modifications.
Vers libres (also vers libres classiques, vers mêlés, or vers irréguliers [21] ) are found in a variety of minor and hybrid genres of the 17th and 18th century. [21] The works are composed of lines of various lengths, without regularity in distribution or order; however, each individual line is perfectly metrical, and the rule of alternation of rhymes is followed. [21] The result is somewhat analogous to the Pindarics of Abraham Cowley. [20] Two of the most famous works written in vers libres are Jean de La Fontaine's Fables and Molière's Amphitryon .
Vers libéré was a mid-to-late-19th-century extension of the liberties begun to be taken by the Romantics with their embrace of the alexandrin ternaire. The liberties taken included the weakening, movement, and erasure of caesurae, and rejection of the rule of alternation of rhymes. [22] Although writers of vers libéré consistently continued to use rhyme, many of them accepted categories of rhyme which were previously considered "careless" or unusual. [23] The alexandrine was not their only metrical target; they also cultivated the use of vers impair — lines with an odd, rather than even, number of syllables. [23] These uneven lines, though known from earlier French verse, were relatively uncommon and helped suggest a new rhythmic register.
Vers libre is the source of the English term free verse, and is effectively identical in meaning. It can be seen as a radical extension of the tendencies of both vers libres (various and unpredictable line lengths) and vers libéré (weakening of strictures for caesura and rhymes, as well as experimentation with unusual line lengths). Its birth — for the reading public at least — can be dated exactly: 1886; in this year, editor Gustave Kahn published several seminal vers libre poems in his review La Vogue, including poems by Arthur Rimbaud (written over a decade previously) and Jules Laforgue, with more following in the next years. [24] Vers libre shed all metrical and prosodic constraints, such as verse length, rhyme, and caesura; Laforgue said, "I forget to rhyme, I forget about the number of syllables, I forget about stanzaic structure." [24]
Alexandrine is a name used for several distinct types of verse line with related metrical structures, most of which are ultimately derived from the classical French alexandrine. The line's name derives from its use in the Medieval French Roman d'Alexandre of 1170, although it had already been used several decades earlier in Le Pèlerinage de Charlemagne. The foundation of most alexandrines consists of two hemistichs (half-lines) of six syllables each, separated by a caesura :
o o o o o o | o o o o o o o=any syllable; |=caesura
Free verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent meter patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech.
In poetry, a hendecasyllable is a line of eleven syllables. The term may refer to several different poetic meters, the older of which are quantitative and used chiefly in classical poetry, and the newer of which are syllabic or accentual-syllabic and used in medieval and modern poetry.
Hexameter is a metrical line of verses consisting of six feet. It was the standard epic metre in classical Greek and Latin literature, such as in the Iliad, Odyssey and Aeneid. Its use in other genres of composition include Horace's satires, Ovid's Metamorphoses, and the Hymns of Orpheus. According to Greek mythology, hexameter was invented by Phemonoe, daughter of Apollo and the first Pythia of Delphi.
In poetry, metre or meter 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. The study and the actual use of metres and forms of versification are both known as prosody.
A rhyme is a repetition of similar sounds in the final stressed syllables and any following syllables of two or more words. Most often, this kind of perfect rhyming is consciously used for a musical or aesthetic effect in the final position of lines within poems or songs. More broadly, a rhyme may also variously refer to other types of similar sounds near the ends of two or more words. Furthermore, the word rhyme has come to be sometimes used as a shorthand term for any brief poem, such as a nursery rhyme or Balliol rhyme.
Modern lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.
A caesura, also written cæsura and cesura, is a metrical pause or break in a verse where one phrase ends and another phrase begins. It may be expressed by a comma (,), a tick (✓), or two lines, either slashed (//) or upright (||). In time value, this break may vary between the slightest perception of silence all the way up to a full pause.
In prosody, alliterative verse is a form of verse that uses alliteration as the principle ornamental device to help indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, and the Alliterative Morte Arthur all use alliterative verse.
The Sapphic stanza, named after Sappho, is an Aeolic verse form of four lines. Originally composed in quantitative verse and unrhymed, since the Middle Ages imitations of the form typically feature rhyme and accentual prosody. It is "the longest lived of the Classical lyric strophes in the West".
Syllabic verse is a poetic form having a fixed or constrained number of syllables per line, while stress, quantity, or tone play a distinctly secondary role — or no role at all — in the verse structure. It is common in languages that are syllable-timed, such as French or Finnish — as opposed to stress-timed languages such as English, in which accentual verse and accentual-syllabic verse are more common.
Iambic pentameter is a type of metric line used in traditional English poetry and verse drama. The term describes the rhythm, or meter, established by the words in each line. Rhythm is measured in small groups of syllables called "feet". "Iambic" indicates that the type of foot used is the iamb, which in English is an unstressed syllable followed by a stressed syllable. "Pentameter" indicates that each line has five "feet".
Heroic verse is a term that may be used to designate epic poems, but which is more usually used to describe the meter(s) in which those poems are most typically written. Because the meter typically used to narrate heroic deeds differs by language and even within language by period, the specific meaning of "heroic verse" is dependent upon context.
Decasyllable is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent, it is the equivalent of pentameter with iambs or trochees.
This is a glossary of poetry.
A hemistich is a half-line of verse, followed and preceded by a caesura, that makes up a single overall prosodic or verse unit. In Latin and Greek poetry, the hemistich is generally confined to drama. In Greek tragedy, characters exchanging clipped dialogue to suggest rapidity and drama would speak in hemistichs. The Roman poet Virgil employed hemistichs in the Aeneid to indicate great duress in his characters, where they were incapable of forming complete lines due to emotional or physical pain, but more likely he never finished the poem.
A line is a unit of language into which a poem or play is divided. The use of a line operates on principles which are distinct from and not necessarily coincident with grammatical structures, such as the sentence or single clauses in sentences. Although the word for a single poetic line is verse, that term now tends to be used to signify poetic form more generally. A line break is the termination of the line of a poem and the beginning of a new line.
Latin prosody is the study of Latin poetry and its laws of meter. The following article provides an overview of those laws as practised by Latin poets in the late Roman Republic and early Roman Empire, with verses by Catullus, Horace, Virgil and Ovid as models. Except for the early Saturnian poetry, which may have been accentual, Latin poets borrowed all their verse forms from the Greeks, despite significant differences between the two languages.
Polish alexandrine is a common metrical line in Polish poetry. It is similar to the French alexandrine. Each line is composed of thirteen syllables with a caesura after the seventh syllable. The main stresses are placed on the sixth and twelfth syllables. Rhymes are feminine.
1 2 3 4 5 6 7 1 2 3 4 5 6 o o o o o S x | o o o o S x Moja wdzięczna Orszulo, bodaj ty mnie była S=stressed syllable; x=unstressed syllable; o=any syllable.
Czech alexandrine is a verse form found in Czech poetry of the 20th century. It is a metre based on French alexandrine. The most important features of the pattern are number of syllables and a caesura after the sixth syllable. It is an unusual metre, exhibiting characteristics of both syllabic and syllabotonic (accentual-syllabic) metre. Thus it occupies a transitional position between syllabic and accentual patterns of European versification. It stands out from the background of modern Czech versification, which is modeled chiefly after German practice.
