ottava rima


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ottava rima

(ōtä`və rē`mə): see 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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Ottava Rima

 

in versification, an eight-lined hendecasyllabic stanza, rhyming abababcc.

The ottava rima developed in Italian poetry in the 14th century and became the traditional stanza of Italian and Spanish Renaissance epic verse, for example Ariosto’s Orlando Furioso, Tasso’s Jerusalem Delivered, and Camões’ Os Lusíadas. In other literatures, the ottava rima was for a long time used only for translations and imitations. In the 19th century Byron used it for his lyrical satires Beppo and Don Juan. In his narrative poem The Little House in Kolomna, A. S. Pushkin followed Byron’s example. Pushkin’s poem, in turn, became the model for A. K. Tolstoy’s The Dream of Popov and A. A. Fet’s The Two Lindens.

In Russian versification, the ottava rima is written in five- and six-foot iambics, generally with alternating masculine and feminine rhymes (the rule of alternation).

References in periodicals archive ?
According to Addison (2004:134), the Italian Renaissance poets Ariosto and Tasso used ottava rima to produce "not epics but novels"--Ariosto gleefully, Tasso somewhat reluctantly.
However, at the time of its composition, most Italian vernacular verse, almost all of it still oral, was in ottava rima (Wilkins 9-10; De Robertis 9-15), and Dante's invention of terza rima for his epic must be seen as a deliberate rejection of this form.
Camo es's treatment of ottava rima differs from Ariosto's because his treatment of the epic narrator is different.
Don Juan, an "epic" poem written in ottava rima, is permeated throughout with Byronic philosophy.
Benedetti discusses Marinella's life and works that cover different literary genres, from her hagiographical texts on Saint Colomba, Saint Francis, Saint Justina, Saint Catherine of Siena and on the Virgin Mary (some of which are in prose, some in ottava rima, and some a mixture of the two), her allegorical poem Amore innamorato et impazzato, a psychomachy which "ends with the triumph of rationality and faith" (10), her Rime sacre (mainly sonnets and madrigals), her pastoral novel Arcadia felice, her epic poem Enrico, celebrating the fourth crusade (which ended with the sack of Christian Constantinople only to enrich Venice), and her famous feminist treatise, Le nobilta et eccellenze delle donne.
It also reveals the extent of her willingness to expand beyond established "feminine" genres: one of the "finds" of the edition is the opening of an ottava rima biblical epic (256-65), presumably dating from the end of her life.
Not serious about boycotting the form, his aim was clearly to play with the reader's knowledge about the poet's preference for four-foot iambs, especially in the context of this poem written in ottava rima.
113-32) si studia la nascita e lo sviluppo dei poemi in ottava rima, dopo aver analizzato la ricchezza espressiva della Divina Commedia.
Though Martirano's early works seem to have been in Latin, he also turned his attention to the vernacular, in which he composed two 'poemetti' in ottava rima, and a prose translation of Macrembolita's Hysmene, unfortunately lost.
With the exception of the third part, which is measured in Spenserian stanzas, Byrne (written in 1993) is presented in Byron's adaptation of ottava rima, which has heroic lines of ten syllables.
The last, originally written in rhyme royal, was recast in Ludovico Ariosto's ottava rima verse as The Barrons Warres (1603).
The last line is adapted from the poem to which Adams is everywhere indebted, from his ottava rima stanza and digressive style to his satiric stance: Don Juan.