blank verse

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blank verse:

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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Blank Verse

 

(literally from the French vers blanc, which can be traced back to the English “blank verse”), unrhymed verse in syllabic and tonic syllabic versification.

Blank verse should not be confused with ancient metrical or Russian bylina (epic folk song) verse, for which rhyme was not at all characteristic. The similarity or alternation of fixed “closures” (the endings of the verse lines) plays the structural role of rhymes in blank verse. Because it lacks a rhyme system, blank verse is characterized by a lack of stanzas or weak stanzas and a great deal of freedom and verbal flexibility.

In Russia, blank verse was first used in syllabic versification by A. D. Kantemir and in tonic syllabic versification by M. V. Lomonosov. Blank verse was used by A. N. Radishchev (Bova and Ancient and Historical Songs; on blank verse, see his Journey . . . , the chapter “Tver’ ”) and V. A. Zhukovskii.

Blank verse (usually iambic pentameter) is associated primarily with dramatic genres (for example, Shakespeare’s plays; in Russian literature, A. S. Pushkin’s Boris Godunov and “Little Tragedies” and A. K. Tolstoy’s dramatic trilogy). Examples of blank verse in Russian poetry include Pushkin’s poem “I Visited Anew,” M. Iu. Lermontov’s “If That’s Your Voice I Hear,” and V. A. Lugovskii’s narrative poems “The Middle of the Century.”

blank verse

Prosody unrhymed verse, esp in iambic pentameters
References in periodicals archive ?
In elongating the eight-line nursery rhyme of "Jack and Jill" into 86 lines of the blank-verse pseudo-epic he called "Tile Flight of the Bucket," Kipling was unaware that "The Flight of the Duchess," the poem he was ostensibly parodying, had also undergone a considerable expansion.
But the blank-verse dramatic monologue Kipling first called "One Word More: In the Manner of Robert Browning" and then re-titled "One Viceroy Resigns: Lord Dufferin to Lord Landsowne" no longer addresses questions of belief.
Like many of Browning's complementary monologues, "The 'Mary Gloster'" and "McAndrew's Hymn" are blank-verse pendants.
In the next section I read several songs interpolated into The Princess, showing how these songs push against the blank-verse body of the poem, and pull it toward a kind of stasis that resembles the stillness of death.
The mock-heroic blank-verse sections of The Princess do not melancholically incorporate into their narrative structure--at least not so explicitly--the repetitions of falling and rising, losing and finding.