Sidelight: Fables in which animals speak and act as humans are sometimes called beast fables. Beast Epics are longer narratives, often satirical, written in mock-epic form.(Compare Allegory, Aphorism, Apologue, Didactic Poetry, Epigram, Gnome, Proverb)
(See Jongleur, Trouvere)
Of old, when Scarron his companions invited(Contrast Masculine Rhyme)
Each guest brought his dish, and the feast was united,
(See also Epithalamium, Prothalamium)
Sidelight: Some rhetoricians have classified over 200 separate figures of speech, but many are so similar that differences of interpretation often make their classification an arbitrary judgment. How they are classified, or "labeled," however, is secondary to the importance of construing their effect correctly.
Sidelight: Figures of speech are also a means of concentration; they enable the poet to convey an image with the connotative power of a few words, where a great many would otherwise be required.
The other metrical feet are the amphibrach, antibacchius, antispast, bacchius, choriamb, cretic, diiamb, dispondee, dochmius, molossus, proceleusmatic, pyrrhic, and tribrach, plus two variations of the ionic, four variations of the epitrite, and four variations of the paeon. The structure of a poetic foot does not necessarily correspond to word divisions, but is determined in context by the feet which surround it.
Sidelight: A line of verse may or may not be written in identical feet; variations within a line are common. Consequently, the classification of verse as iambic, anapestic, trochaic, etc., is determined by the foot which is dominant in the line.
Sidelight: To help his young son remember them, Coleridge wrote the poem, "Metrical Feet."(See Dipody)
Sidelight: The form of a poem which follows a set pattern of rhyme scheme, stanza form, and refrain (if there is one), is called a fixed form, examples of which include: ballade, limerick, pantoum, rondeau, sestina, sonnet, triolet, and villanelle. Used in this sense, form is closely related to genre.
Sidelight: While familiarity and practice with established forms is essential to learning the craft, a poet needn't be slavishly bound by them; a great poet masters techniques, experiments, and extends his or her imaginative creativity to new boundaries.(Compare Diction, Motif, Persona, Style, Texture, Tone)
Sidelight: If two fourteeners are split into hemistichs to form a quatrain of alternating tetrameter and trimeter lines with a rhyme scheme of xbyb, they become ballad meter.(See Heptameter, Poulter's Measure, Septenarius)
Sidelight: Although as ancient as Anglo-Saxon verse, free verse was first employed "officially" by French poets of the Symbolist movement and became the prevailing poetic form at the climax of Romanticism. In the 20th century it was the chosen medium of the Imagists and was widely adopted by American and English poets.
Sidelight: One of the characteristics that distinguish free verse from rhythmical prose is that free verse has line breaks which divide the content into uneven rhythmical units. The liberation from metrical regularity allows the poet to select line breaks appropriate to the intended sense of the text, as well as to shape the white space on the page for visual effect.
Sidelight: Free verse enjoys a greater potential for visual arrangement than is possible in metrical verse. Free verse poets can structure the relationships between white space and textual elements to indicate pause, distance, silence, emotion, and other effects.
Sidelight: Poorly written free verse can be viewed simply as prose with arbitrary line breaks. Well-written free verse can approach a proximity to the representation of living experience.(See also Polyphonic Prose, Polyrhythmic Verse)