The first two tercets
constitute two paratactic subject-predicate structures, each comprising a condition, an action, and an object of that action, which has also been affected by the prior condition.
Pushkin's free use of variations on the word "desire" throughout the poem ("zhelal" appears twice in the first and second quatrain, "zhelaniia" in the final tercet
) is later sharply contrasted with the chaste qualities of the Madonna ("Prechistaia" appears in the second quatrain; "chisteishii" twice in the final tercet
Next comes a sentence running through six tercets
with a parallel assertion, and then a single tercet
at the end doing the same thing.
She reveals the meaning of her allusions (Apollo, flames, and flight into the sky) in the opening of the first tercet
. She speaks of her newfound audacity that makes her "like Phaeton" (9).
He even uses alliteration and verbal repetition to convey his message: the second tercet
repeats three times the syllable 'ver', hidden in 'verdades', 'tiverdes' and 'versos'.
The themes of the octave are taken up immediately and varied in the first tercet
in which the human, personal favour ("durch welcher Gunst") is intensified by the divine favour ("Dess frommen Himmels-Gunst") enjoyed by the Russian empire.
This interplay between the existential and the religious comes to the fore in the last tercet
: "Christ minds [...] / [...] eyes them, heart wants, care haunts, foot follows kind, / Their ransom, their rescue, and first, fast, last friend" (12-14).
La gradation, de la description de la beaute du lieu du premier quatrain, a l'acrete du dernier tercet
, est toutefois a elle seule tres eloquente:
Another scholar seems to skip over Yeats entirely (though his own phrasing echoes line 1 of "Lapis Lazuli"), seeing the "Grave men/blind" tercet
(which contains the injunction to "be gay") as "perhaps invok[ing] the Miltonic" (Tindall also mentions Milton 205) and the effect of the phrase "be gay" as "rather hysterical sentimentality" (Holbrook, Dissociation 53); of the earlier "Wise men/lightning" verse, however, he says "The images are merely there, histrionically, to bring in the phrase `forked no lightning' to give a Lear-like grandeur to the dirge" (52).
As arranged in The Dynasts the lines that form 'The Eve of Waterloo' in Selected Poems are no lyric, nor are they singly voiced: twelve tercets
are distributed between 'The Chorus of the Years' and 'The Chorus of the Pites', and a final tercet
is given to the 'Chorus of Sinister Spirits'.
Although the last two lines rhyme (albeit imperfectly), they are not a separate couplet, being structurally part of a concluding unit of three lines, a tercet
formed by parentheses:
or tiercetFrench tercet
, from Middle French tiercet, from Italian terzetto, a derivative of terzo third