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
In poetry, a couplet or distich is a pair of successive lines that rhyme and have the same metre. A couplet may be formal (closed) or run-on (open). In a formal (closed) couplet, each of the two lines is end-stopped, implying that there is a grammatical pause at the end of a line of verse. In a run-on (open) couplet, the meaning of the first line continues to the second.
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.
In languages with quantitative poetic metres, such as Ancient Greek, Latin, Arabic, Sanskrit, and classical Persian, an anceps is a position in a metrical pattern which can be filled by either a long or a short syllable.
Venpa or Venba is a form of classical Tamil poetry. Classical Tamil poetry has been classified based upon the rules of metric prosody. Such rules form a context-free grammar. Every venba consists of between two and twelve lines. The venpa meter is used in songs of the types neṭu veṇ pāṭṭu, kuṟu veṇ pāṭṭu 'short song in venpa meter', kaikkiḷai "one-sided love," and paripāṭṭu 'song that is quite accommodative' and in satirical compositions.
A catalectic line is a metrically incomplete line of verse, lacking a syllable at the end or ending with an incomplete foot. One form of catalexis is headlessness, where the unstressed syllable is dropped from the beginning of the line.
The Iambic trimeter, in classical Greek and Latin poetry, is a meter of poetry consisting of three iambic metra per line. In English poetry, it refers to a meter with three iambic feet.
Iambic tetrameter is a poetic meter in ancient Greek and Latin poetry; as the name of a rhythm, iambic tetrameter consists of four metra, each metron being of the form | x – u – |, consisting of a spondee and an iamb, or two iambs. There usually is a break in the centre of the line, thus the whole line is:
| x – u – | x – u – || x – u – || x – u – |
This is a glossary of poetry terms.
Basīṭ, or al-basīṭ (البسيط), is a metre used in classical Arabic poetry. The word literally means "extended" or "spread out" in Arabic. Along with the ṭawīl, kāmil, and wāfir, it is one of the four most common metres used in pre-Islamic and classical Arabic poetry.
Tamil prosody defines several metres in six basic elements covering the various aspects of rhythm. Most classical works and many modern works are written in these metres.
ʿArūḍ or ʿilm al-ʿarūḍ is the study of poetic meters, which identifies the meter of a poem and determines whether the meter is sound or broken in lines of the poem. It is often called the Science of Poetry. Its laws were laid down by Al-Khalīl ibn Aḥmad al-Farāhīdī, an early Arab lexicographer and philologist. In his book Al-ʿArḍ, which is no longer extant, he described 15 types of meter. Later Al-Akhfash al-Akbar described a 16th meter, the mustadārik.
The Tirukkuṟaḷ, or shortly theKural, is a classic Tamil language text consisting of 1,330 short couplets, or kurals, of seven words each. The text is divided into three books with aphoristic teachings on virtue (aram), wealth (porul) and love (inbam), respectively. It is widely acknowledged for its universality and secular nature. Its authorship is traditionally attributed to Valluvar, also known in full as Thiruvalluvar. The text has been dated variously from 300 BCE to 5th century CE. The traditional accounts describe it as the last work of the third Sangam, but linguistic analysis suggests a later date of 450 to 500 CE and that it was composed after the Sangam period.
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.
Tirukkural remains one of the most widely translated non-religious works in the world. As of 2014, there were at least 57 versions available in the English language alone. English, thus, continues to remain the language with most number of translations available of the Kural text.
Manakkudavar was a Tamil scholar and commentator known for his commentary on the Tirukkural. His is the earliest of the available commentaries on the Kural text, and hence considered to bear closest semblance with the original work by Valluvar. He was among the canon of Ten Medieval Commentators of the Kural text most highly esteemed by scholars. He was also among the five ancient commentators whose commentaries had been preserved and made available to the modern era, the others being Pari Perumal, Kaalingar, Paridhi, and Parimelalhagar.
Roman comedy is mainly represented by two playwrights, Plautus and Terence. The works of other Latin playwrights such as Livius Andronicus, Naevius, Ennius, and Caecilius Statius are now lost except for a few lines quoted in other authors. 20 plays of Plautus survive complete, and 6 of Terence.
The Ten Medieval Commentators were a canonical group of Tamil scholars whose commentaries on the ancient Indian didactic work of the Kural are esteemed by later scholars as worthy of critical analysis. These scholars lived in the Medieval era between the 10th and 13th centuries CE. Among these medieval commentaries, the commentaries of Manakkudavar, Kaalingar, and Parimelalhagar are considered pioneer by modern scholars.
Tiruvalluva Malai is an anthology of ancient Tamil paeans containing fifty-five verses each attributed to different poets praising the ancient work of the Kural and its author Tiruvalluvar. With the poets' time spanning across centuries starting from around 1st century CE, the collection is believed to have reached its present form by 10th century CE. With the historical details of the ancient philosopher and his work remaining obscure, much of the legend on the Kural and Tiruvalluvar as they are known today are chiefly from this work. The collection also reveals the name of the author of the Kural text as 'Tiruvalluvar' for the first time, as Tiruvalluvar himself composed the Kural text centuries earlier without indicating his name anywhere in his work. Reminiscing this, E. S. Ariel, a French scholar of the 19th century, famously said of the Tirukkural thus: Ce livre sans nom, par un autre sans nom.
Tirukkural, or the Kural, an ancient Indian treatise on common moralities, has been given by various names ever since its writing between the first century BCE and the 5th century CE. Originally referred to as Muppāl, perhaps as presented by its author Valluvar himself at the ruler's court, the work remains unique among ancient works in that it was not given any title by its author himself. All the names that the work is referred by today are given by later days' scholars over the millennia. The work is known by an estimated 44 names excluding variants, although some scholars list even more. E. S. Ariel, a French scholar of the 19th century who translated the work into French, famously said of the Kural thus: Ce livre sans nom, par un autre sans nom.
