Stanzas


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Stanzas

 

a term that in the 18th and 19th centuries referred to a type of verse used in European poetry, for example, by Byron. The term was applied to a short, primarily meditative lyric consisting of strophes (stanzas) restricted in content and composition. Each stanza contained a complete thought and constituted a syntactic period ending in a full stop; the rhymes were nonrepeating. In Russian poetry, the term referred to a poem written inquatrains, generally of iambic tetrameter, with the rhyme scheme abab; it was most common in the first half of the 19th century. An example is Pushkin’s “Stanzas” (”In hope of glory and the good”). The term went out of use in the second half of the 19th century.

V. A. SAPOGOV

References in periodicals archive ?
The major images of the "wheel / barrow," the "rain / water," and the "chickens" are rendered in nouns; two of these ("wheel / barrow" and "rain / water") are compounds; and three nouns among these, or parts of these, are isolated on the even visual lines in stanzas 2-4 ("barrow," "water," and "chickens"), with a fourth word, albeit a preposition, "upon," completing the pattern in stanza 1.
Depends" and "upon" in stanza 1 and "white" and "water" and in stanzas 3 and 4 are linked by pararhyme.
Mansfield has an interesting version of 'Willie Drowned in Yarrow' (Child 215), which has the four stanzas from Orpheus Caledonius (1733) plus two unique stanzas and another found in other versions but in a quite different form.
It's what Meyer offers in Essay Stanzas with "A handful of flowers / put on the table": ordinary discourse that nevertheless contains hermetic recesses of wisdom, or a common way of telling that still somehow gestures toward the "unheard, unseen.
At Desert Stanzas, Mourid read from two his collections: A Small Sun and Midnight.
Singing from "this broken hill" of a lifetime's struggles allows him, in the final two stanzas, to petition the deity for an end to all human suffering:
The fashion (see Vali Vijelie--Moda care a iesit/The Fashion That Came Up, stanza 1).
Equally, in writing in rhyme royale stanzas, Hoccleve demonstrates his Chaucerian lineage.
The first structure is more aesthetic, creating three stanzas of equal length (three verses each), with the refrain carefully interspersed, standing outside the stanzas.
strophic, 3 stanzas 17 measures per stanza farewell to a friend (Schubert dedicated it to Schober) B minor; [F#.
Yoked together, stanzas 23 and 56 function as an antithetical construct.
The pelian sung poetic narrative has a specific structure that takes shape in a series of sections or stanzas of variable length (genteran or enteran), and the stanzas themselves are structured by a strict pattern of accented end-rhymes that are carefully followed by the manang (see further, Sather, Seeds of Play, Words of Power, 2001:162ff).