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O bitter moon, O cold and bitter moon, climbing your midnight hillside of bleak sky, the earth, as you, once knew a blazing noon. Night brings the silver hour when she will die. We shall be cold as you are, and as bitter, icily circling toward a tepid fire, playing at life with our deceitful glitter, past joy, past hope, forever past desire. Yet still the forest lifts its leafy wings to flutter for a while before the chill.
And still the careless heart is gay, and sings in the green temple on the dusty hill. And the gulls tumble, and the homing ships peer for the harbor. And the sand drips. The Flight of the Eagle, v, Clement Wood. In an earlier volume, this had appeared with the usual line division of poetry as ordinarily printed. Rhyme can occur of course in ordinary prose, although this usage is extremely rare.
Where the rhythm of verse is used, as in the sonnet quoted, it is possible for poets to use the line and paragraph division usual to prose, if this is desired. Dimeter A verse containing two metrical feet. Dipody A measure consisting of two metrical feet; a ditrochee. Trimeter A verse containing three metrical feet.
Tetrameter A verse containing four metrical feet. Pentameter A verse containing five metrical feet. Hexameter A verse containing six metrical feet. Heptameter A verse containing seven metrical feet. Octometer A verse containing eight metrical feet. Distich A strophic verse of two lines, usually called a couplet today. Classical Name Explanation Acatalectic Verse Verse not defective in the last foot; verse complete in its number of syllables.
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Arsis The lighter or unstressed part of a foot, espe- cially in quantitative verse; later, the accented syllable of a foot. Caesura A break in a verse caused by the ending of a word within a foot. A masculine caesura follows the thesis or stressed part of a foot. A feminine caesura follows the arsis or caesura comes after the third half foot, which means in the second foot; a penthemimeral caesura, after the fifth half foot; a hepthemimeral caesura, after the seventh half foot; and so on.
A bucolic caesura, in dactylic hexameter, is a caesura occurring in the fourth foot, especially in pastoral poetry. Catalectic Verse Verse lacking a syllable at the beginning, or terminating in an imperfect foot. Diaeresis, Dieresis The break caused by the coincidence of the end of a foot with the end of a word.
Bucolic diaeresis, a diaeresis occurring in the fourth foot, especially in pastoral poetry. Enjambement The extension of the sentence beyond the lim- itations of the distich.
Ictus Metrical stress. Thesis The heavier or stressed part of a foot in clas- sical prosody, especially in quantitative verse; later, the unaccented syllable or syl- lables of a verse. Rhyme is the identity in sound of an accented vowel in a word, usu- ally the last one accented, and of all consonantal and vowel sounds following it; with a difference in the sound of the consonant imme- diately preceding the accented vowel. Rhyme deals exclusively with sounds and has nothing to do with spelling.
The rhyming dictionary terminating this book is strictly phonetic and therefore logical and useful. Correct rhymes may be spelled alike:. In this case the spelling is immaterial. So called "eye rhymes"—that is, words spelled alike that look alike but are pronounced differently—are not rhymes at all; they slip into versification, if at all, as consonance, which will be discussed later. That is, the incorrect rhyme. Identities do not rhyme, no matter what the spelling is; since the preceding consonantal sounds must differ.
The following are identi- ties, and not rhymes:. Sounds almost alike, after the identical accented vowel sounds, do not rhyme. These are properly called assonance and have not suc- ceeded as a versification device in English.
Examples are:. You can find examples of incorrect rhymes in poems by many accepted poets, and in a much higher percentage of popular songs and newspaper versification. Two of the above examples were taken directly out of songs nationally popular. Slovenly rhyming is one of the sure signs of mediocrity in versification.
Learn correct rhyming first; then, if you wish to break the rule you understand, that is your privilege. The language's poverty in rhyming has caused the following almost-rhymes to become widely accepted:. Bosom-blossom, was-grass are combinations of consonance and asso- nance; bliss-is is assonance; the others in the first list are consonance. The first three pairs in the second set are acceptable consonance; real, steal is an attempt to rhyme a two-syllabled word with a one-syl- labled one and has no justification from any standpoint.
Use conso- nance or assonance purposely, if desired; but always know that this is not correct rhyming. If the poet is tone-deaf as to sounds, it is best to rely upon the pho- netic symbols above each group of rhyming words in the rhyming dic- tionary that terminates this book, or upon dictionary markings. Many people cannot distinguish the obvious difference in sounds between this pair of words, which do not rhyme:.