The first tercet
tells us that it is indeed Rome that defeated Rome--the ambiguity is that the former and the latter Rome may or may not be the same.
In contrast to the opening sun, still powerful enough to ignite the viewer's breast, the rising star in the closing tercet
(12) Piero's first tercet
commenting on the sweetness of Vergil's words and his own consequent desire to speak (13:55-57) follows the standard teaching regarding the exordium, that it bring "the mind of the orator into a proper condition to receive the rest of the speech" (Cicero, 1.14.20).
The sonnet is a highly constrained form, but it has, at the same time, that element of unpredictability, of structural temperament, which operates as an intense privacy within a public form, an intimacy that Labe exploits to the full; the quatrains have rhyme-schemes that endow them individually with a large degree of structural independence, while, curiously, obliging them to a conformity; conversely, the rhyme-schemes of the tercets
create in them a mutual dependence, while making available a certain margin of caprice, or expressive idiosyncrasy.
Du point de vue former encore, alors que l'amant et Cassandre vent d'abord separes dans le premier quatrain par des couplets alternants, ils se rapprochent ensuite graduellement; apres s'etre partage le vers central de ce tercet
, ils vent symboliquement juxtaposes dans les pronoms, "m'y", pour etre enfin reunis dans le pronom "nous," en position centrale dans le dernier vers du sonnet.
The division of the first part of 'Vocation' into three tercets
allows for rapid development of thought, whereby a would-be martyr is suddenly and surprisingly transformed into a tempter.
Pinsky has chosen to write a "consonantical" terza rima, with abundant though not exclusive use of near-rhymes and rhymes in lines 1 and 3 of each tercet
, and, when possible, in line 2 linking the tercets
(which are divided by a blank space).
To catch some of that quality, at once propulsive and epigrammatic, I have allowed myself the compromise or liberty of enjambment, at times letting the sentence run over the line ending more aggressively than in the original, and also crossing freely from tercet
Each sequence is made up of tercets
or three-line stanzas.
Poems are often written in couplets or tercets
that impose order on their subjects, which are often of the disordered world.
These songs are fit to the mood of the novel's themes, its characters' dynamics, and its poetic structure, which consists of an intro, a quatrain, and two tercets
A short line after a pattern of longer lines can create the same effect as an interior caesura; for example, James Wright's "Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota" is a 13-line gem with a piled-on title, that begins with embedded and enjambed tercets
. Then, suddenly, "To my right," brings the eye left like an old typewriter carriage, both a visual and aural event, setting up the longer sentence enjambed over four lines.