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Section C, "Petites Odes," contains no poems in alexandrines or decasyllabic lines.
VIII, twenty poems (from "Soeur Seraphine" through "Anna") appear in a motley mixture of metrical configurations, where Banville's original "Dans la Fournaise," according to his list, is close to homogeneity with its dominant configuration of alexandrines in flat rhyme, with only four poems in other metrical configurations.
regular alexandrine line in "Qu'est-ce pour nous, mon
know the alexandrine is a twelve-syllable line organized around the
His own sensitivity to Hugo's style is evident, however, in an excellent introduction to the uses of the alexandrine, with examples from Hugo's poems, and an analysis of how innovative Hugo's use of the traditional line was.
displays the glaring truth: the alexandrine's worse
The alexandrine's length can be curtailed, you see,
That he chose the alexandrine (a twelve-syllable line) in place of the Latin hexameter (with its six metrical feet), and in rhyming couplets at that, initially seems quirky.
Capturing, in empathetic terms, the poet's desire for a pliant structuring of the alexandrine that "flutter[s] on the edge of the reader's consciousness" (265), Evans probes the tension between fictional impersonality and universality of the poetic illusion.
The limitation, that is, of the rhymed alexandrine, is too narrow.
[W]hat constitutes the fatal fault of the rhyming Alexandrine of French tragedy [is] its incurable artificiality, its want of the fluidity, the naturalness, the rapid forward movement of true dramatic verse.[...]
Against a background of nineteenth-century commentary on the decay of the alexandrine, Jean-Michel Gouvard sets out to trace more precisely its productive evolution in the Romantic period, building on the descriptive method of Benoit de Cornulier.