ottava rima


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ottava rima

(ōtä`və rē`mə): 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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Ottava Rima

 

in versification, an eight-lined hendecasyllabic stanza, rhyming abababcc.

The ottava rima developed in Italian poetry in the 14th century and became the traditional stanza of Italian and Spanish Renaissance epic verse, for example Ariosto’s Orlando Furioso, Tasso’s Jerusalem Delivered, and Camões’ Os Lusíadas. In other literatures, the ottava rima was for a long time used only for translations and imitations. In the 19th century Byron used it for his lyrical satires Beppo and Don Juan. In his narrative poem The Little House in Kolomna, A. S. Pushkin followed Byron’s example. Pushkin’s poem, in turn, became the model for A. K. Tolstoy’s The Dream of Popov and A. A. Fet’s The Two Lindens.

In Russian versification, the ottava rima is written in five- and six-foot iambics, generally with alternating masculine and feminine rhymes (the rule of alternation).

References in periodicals archive ?
According to Addison (2004:134), the Italian Renaissance poets Ariosto and Tasso used ottava rima to produce "not epics but novels"--Ariosto gleefully, Tasso somewhat reluctantly.
Instead of illustrating these Byronic shock tactics with an example from Don Juan itself, however, let me use one from a later practitioner of the ottava rima in Lord Byron's mode: Kenneth Koch in The duplications (1977), the second installment of a long narrative poem eventually published under the title, Seasons on earth (Koch, 1987; the first installment in 1960 was Ko, or A season on earth).
An ottava rima stanza may possess the same complex and self-reflexive beauty as a lyric form such as the sonnet.
But Gerusalemme conquistara was still in ottava rima and Tasso remained discontented.
Camo es's treatment of ottava rima differs from Ariosto's because his treatment of the epic narrator is different.
Meanwhile, Burgess presses on steadily in ottava rima as he describes Byrne's offspring making operas out of the life of Calvin and Wells's Time Machine.
editors note another ottava rima lament for the city, "O summo et
73) Guerre in Ottava Rima, 1:151-61, lists six undated editions
Pulci, faithful to the traditions of the cantari popolari, of which he "revived content and forms" and often made "an ingenious and often grotesque parody" (Lebano, "Introduction" xxiii), employed the ottava rima (abababcc).
One can see Tasso thinking here about the same formal questions that swirl about epic narrative and that boil down to ottava rima vs.
She published several works in her lifetime under the pseudonym Moderata Fonte: an ottava rima romance, Tredici canti del Floridoro (1581); a cantata, Le feste (1581) and two devotional narratives in ottava rima, La Passione di Cristo (1582) and La Resurrettione di Cristo (1592).
3 I refer (with some exaggeration) to the analogies drawn by Praz, 87, among various circular forms, including the smile of the Mona Lisa, the cupola, the ottava rima with its concluding rhymed couplet, and the sonnet with its concluding tercets.