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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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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).

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
For my second example, I am relying on Catherine Addison's (2004) brilliant account of what she does not quite call--though she might have--the narrative affordances of the ottava rima stanza.
The same insistence on political irony distinguishes the treatment of John Hookham Frere's influence on Byron's ottava rima. Shelley then moves to the center of the second chapter on class, a sustained critical meditation on the "Romantic resistance to the vulgar" (72) that draws on Hazlitt and Bourdieu to show how syntactical distortions and muted couplet rhymes in Shelley's Julian and Maddalo help forge a familiar style that observes and manages vulgar idioms even as it seeks to transcend them.
However, at the time of its composition, most Italian vernacular verse, almost all of it still oral, was in ottava rima (Wilkins 9-10; De Robertis 9-15), and Dante's invention of terza rima for his epic must be seen as a deliberate rejection of this form.
Auden, no mean metrist, used rhyme royal rather than ottava rima in his "Letter to Lord Byron." Among modern practitioners of light verse, only the late Gavin Ewart came near to matching Byron's range and technical ingenuity, and political correctness has made a modern Byron virtually unthinkable.
Camo es's treatment of ottava rima differs from Ariosto's because his treatment of the epic narrator is different.
This unfinished epic satire is written in ottava rima and contains 16,000 lines in its sixteen cantos.
It introduced the use of terza rima, ottava rima, rondeau, the first English sonnets, and possibly the first original English blank verse.
Benedetti discusses Marinella's life and works that cover different literary genres, from her hagiographical texts on Saint Colomba, Saint Francis, Saint Justina, Saint Catherine of Siena and on the Virgin Mary (some of which are in prose, some in ottava rima, and some a mixture of the two), her allegorical poem Amore innamorato et impazzato, a psychomachy which "ends with the triumph of rationality and faith" (10), her Rime sacre (mainly sonnets and madrigals), her pastoral novel Arcadia felice, her epic poem Enrico, celebrating the fourth crusade (which ended with the sack of Christian Constantinople only to enrich Venice), and her famous feminist treatise, Le nobilta et eccellenze delle donne.
It also reveals the extent of her willingness to expand beyond established "feminine" genres: one of the "finds" of the edition is the opening of an ottava rima biblical epic (256-65), presumably dating from the end of her life.
Not serious about boycotting the form, his aim was clearly to play with the reader's knowledge about the poet's preference for four-foot iambs, especially in the context of this poem written in ottava rima.
113-32) si studia la nascita e lo sviluppo dei poemi in ottava rima, dopo aver analizzato la ricchezza espressiva della Divina Commedia.