poetry

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poetry.

For lyric poetry, see balladballad,
in literature, short, narrative poem usually relating a single, dramatic event. Two forms of the ballad are often distinguished—the folk ballad, dating from about the 12th cent., and the literary ballad, dating from the late 18th cent.
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; elegyelegy,
in Greek and Roman poetry, a poem written in elegiac verse (i.e., couplets consisting of a hexameter line followed by a pentameter line). The form dates back to 7th cent. B.C. in Greece and poets such as Archilochus, Mimnermus, and Tytraeus.
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; hymnhymn,
song of praise, devotion, or thanksgiving, especially of a religious character (see also cantata).

Early Christian hymnody consisted mainly of the Psalms and the great canticles Nunc dimittis, Magnificat, and Benedictus
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; lyriclyric,
in ancient Greece, a poem accompanied by a musical instrument, usually a lyre. Although the word is still often used to refer to the songlike quality in poetry, it is more generally used to refer to any short poem that expresses a personal emotion, be it a sonnet, ode,
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; odeode,
elaborate and stately lyric poem of some length. The ode dates back to the Greek choral songs that were sung and danced at public events and celebrations. The Greek odes of Pindar, which were modeled on the choral odes of Greek drama, were poems of praise or glorification.
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; pastoralpastoral,
literary work in which the shepherd's life is presented in a conventionalized manner. In this convention the purity and simplicity of shepherd life is contrasted with the corruption and artificiality of the court or the city.
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; sonnetsonnet,
poem of 14 lines, usually in iambic pentameter, restricted to a definite rhyme scheme. There are two prominent types: the Italian, or Petrarchan, sonnet, composed of an octave and a sestet (rhyming abbaabba cdecde
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. For narrative poetry, see chansons de gestechansons de geste
[Fr.,=songs of deeds], a group of epic poems of medieval France written from the 11th through the 13th cent. Varying in length from 1,000 to 20,000 lines, assonanced or (in the 13th cent.
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; epicepic,
long, exalted narrative poem, usually on a serious subject, centered on a heroic figure. The earliest epics, known as primary, or original, epics, were shaped from the legends of an age when a nation was conquering and expanding; such is the foundation of the Babylonian
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; idylidyl
, short poem. The ancient idyls, especially those of Bion and Moschus, were intended as little selections in the style of such longer poems as elegies or epics. There are 10 famous idyls by the Greek Theocritus, and, since some of them dealt with pastoral or rural scenes,
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; romanceromance
[O.Fr.,=something written in the popular language, i.e., a Romance language]. The roman of the Middle Ages was a form of chivalric and romantic literature widely diffused throughout Europe from the 11th cent.
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. Dramatic poetry is incidentally treated in the articles drama, Westerndrama, Western,
plays produced in the Western world. This article discusses the development of Western drama in general; for further information see the various national literature articles.
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; and tragedytragedy,
form of drama that depicts the suffering of a heroic individual who is often overcome by the very obstacles he is struggling to remove. The protagonist may be brought low by a character flaw or, as Hegel stated, caught in a "collision of equally justified ethical aims.
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. See also articles on individual poets and on various national literatures. For technical discussions of poetry, see free versefree verse,
term loosely used for rhymed or unrhymed verse made free of conventional and traditional limitations and restrictions in regard to metrical structure. Cadence, especially that of common speech, is often substituted for regular metrical pattern.
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; pentameterpentameter
[Gr.,=measure of five], in prosody, a line to be scanned in five feet (see versification). The third line of Thomas Nashe's "Spring" is in pentameter: "Cold doth / not sting, / the pret / ty birds / do sing.
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; rhymerhyme
or rime,
the most prominent of the literary artifices used in versification. Although it was used in ancient East Asian poetry, rhyme was practically unknown to the ancient Greeks and Romans.
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; versificationversification,
principles of metrical practice in poetry. In different literatures poetic form is achieved in various ways; usually, however, a definite and predictable pattern is evident in the language.
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.

Poetry

See also Inspiration.
Bragi
god of verse. [Norse Myth.: Parrinder, 50]
Calliope Muse
of epic poetry. [Gk. Myth.: Kravitz, 159]
Castalia Parnassian
fountain; endowed drinker with poetic creativity. [Gk. Myth.: LLEI, I: 325]
Daphnis
creator of bucolic poetry. [Gk. Myth.: Kravitz, 75]
Erato
Muse of love lyrics. [Gk. Myth.: Kravitz, 159]
Euterpe
Muse of lyric poetry. [Gk. Myth.: Kravitz, 159]
Homer
legendary author of the Iliad and the Odyssey. [Gk. Lit.: Benét, 474]
Parnassus
mountains sacred to Muses; hence, abode of poetry. [Gk. Myth.: Hall, 234]
Pleiade, The 16th
century poets sought to revitalize French literature. [Fr. Hist.: Benét, 795]
Sappho (c. 620–c. 565 B. C.)
lyric poet sometimes called the “tenth muse.” [Gk. Lit.: Benét, 896–897]
White Goddess,
the goddess of ancient fertility and the moon whose worship is claimed by Robert Graves to be the origin of poetry. [Br. Lit.: Benét, 1087]

poetry

1. literature in metrical form; verse
2. the art or craft of writing verse
www.bartleby.com/verse
www.bbc.co.uk/bbcfour/audiointerviews/professions
References in periodicals archive ?
I hit the age of twenty-four and went into a poetry workshop and discovered that no one was writing formal poetry anymore.
Another is Fred Feirstein, who is a psychologist in New York City and writes formal poetry and has for years; others are Fred Turner, down in Dallas; Dick Allen and Robert MacDowell on the West coast.
On the one hand Feirstein dismisses the identification of formal poetry with class bias as "sloganeer[ing]" accepted only by those who aren't "sophisticated enough to sort out aesthetics from politics from fashion" (55).
The Chicano poet Alberto Rios and black poets Cheryl Clarke and Carolyn Beard Whitlow come to mind; Derek Walcott (who is West Indian, resident in America by choice) has made stunning formal poetry in Caribbean patois, alongside the major body of his work in standard English.
The introduction of recognizably American speech(es) and diction(s) into formal poetry by writers as disparate as Langston Hughes, Robert Frost, Edna St.
AG What has changed in the climate of contemporary American poetry for formal poetry since you first started publishing in the 1980s?
If anything, that signals more of a rupture with potential readers in France than it does here, because people who receive a liberal arts education will have read and analyzed much more poetry, largely formal poetry, by the time they finish secondary school, than almost any American college graduate.
An experimentalist, O'Hara nevertheless occasionally wrote formal poetry, such as his brilliant, effective odes ("Ode to Michael Goldberg['s Birth and Other Births]") and elegies ("For James Dean"), working within the genres' limitations to expand their possibilities, as he did with the loose sequence of forty-four love poems written for Vincent Warren between 1959 and 1961 and including "Joe's Jacket," "Having a Coke with You," and "Poem V (F) W.
Gwyneth Lewis's background as a Welsh-speaking Welsh woman (her first collection of poetry, Sonedau Redsa, is in Welsh) may be one source for her commitment to formal poetry, since all of the ancient and much of modern Welsh-language poetry is composed in very strict forms.
In the 1980s, Bishop's and Merrill's examples are especially influential in reviving an interest in formal poetry and enabling such younger poets as Katha Pollitt, Mary Jo Salter, and William Logan to use traditional forms without subscribing to formalist assumptions.

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