An aspect of showing off is built into ottava
rima; but by writing in those stanzas, I'm cross-dressing as Byron or antically reinhabiting a dead body, Byron's dead body, and playing around with the Byronic costume.
102) La Commissione centrale preparatoria tratto del de beata Maria Virgine Matre Dei et Matre hominum nella ottava
congregazione (il 20.
But "Lycidas" does not end here; rather, the final stanza of ottava
rima steps back to open a more distant perspective of the "uncouth swain" twitching "his Mantle blue," a retreat which paradoxically allows the poem to move forward in time, place, and person, "Tomorrow to fresh Woods, and Pastures new.
Parallel to the level of the section, for instance, it might be desirable to interpolate that of the stanza, such as the Spenserian stanza of The Faerie Queene, the highly adaptable ottava
rima of Ariosto, Byron, and Kenneth Koch, among others (see Addison), and the fourteen-line Onegin stanza of Pushkin.
Jane Everson singles out Domenico Scolari's Istoria Alexandri Regis as an early example of a work in ottava
rima on classical themes, identifying its sources and characterizing it as transitional--in places appropriate for public recitation but elsewhere more suited to reading.
The playful possibilities of ottava
rima as deployed by Byron's serendipitous, brilliantly allusive wit allow the narrator to wobble on a high wire above deep nostalgia, palpably conjuring the feeling without wallowing in it.
It is followed by two epic poems, "Ko, or A Season on Earth" and "The Duplications," which were written in the Italian form of ottava
Twice a month, Costa Coffee on Bold Street transforms itself into Liverpool Poetry Cafe, where Mersey side literary buffs discuss everything from assonance to alliteration, and onomatopoeia to ottava
rima over a nice cup of coffee and piece of cake.
En la primera parte de esta serie dejamos al joven Salvador Elizondo cuando acababa de cumplir dieciseis anos y se encontraba estudiando la preparatoria en la Universidad de Ottava
, en Canada, en diciembre de 1948.
La traduccion de El Morgante permite a Byron una experiencia con la ottava
rima en sus primeros pasos (4).
90) He even suggested that the poet might send some more compositions suitable for their musical forces and performance space in Rome, to be set to music by Caccini as she had done with verses by Salvadori: "If I had had Your Lordship's composition I would have been able to choose some appropriate ottava
[rima] and Signora Francesca would have been pleased to sing it.
Of the younger Byronists, Jane Stabler's detailed attention to the texture of Byon's allusive style works particularly effectively in an essay which draws out the Shandyean aspects of Mazeppa and usefully compares these to the modes of intertextuality in the ottava