Stanza

1. StanzaStanza

2. What is a stanza?What is a stanza?
a unit within a larger poema unit within a larger poem
can be identified and grouped can be identified and grouped
togethertogether
share a rhyme scheme or a fixed share a rhyme scheme or a fixed
number of linesnumber of lines
types: distich/couplet, tercet, types: distich/couplet, tercet,
quatrain, cinquain/quintain, sestetquatrain, cinquain/quintain, sestet

3. Distich/ CoupletDistich/ Couplet
Also known as Also known as ditichditich in classical prosody in classical prosody
Two successive lines of verse marked Two successive lines of verse marked
usually by rhythmic correspondence, usually by rhythmic correspondence,
rhyme, or the inclusion of a self-rhyme, or the inclusion of a self-
contained utterance.contained utterance.
Most frequently used as units of Most frequently used as units of
composition in long poemscomposition in long poems
Often composed as independent poems Often composed as independent poems
or function as parts of other verse or function as parts of other verse
forms.forms.

4. Examples of a coupletExamples of a couplet
Think what you will, we seize into Think what you will, we seize into
our handsour hands
His plate, his goods, his money, His plate, his goods, his money,
and his lands.and his lands.
- From - From Richard IIRichard II, by William , by William
ShakespeareShakespeare

5. Examples of a CoupletExamples of a Couplet
True wit is nature to advantage dressed,True wit is nature to advantage dressed,
What oft was thought, but ne'er so well What oft was thought, but ne'er so well
expressed.expressed.
- Alexander Pope- Alexander Pope
Whether or not we find what we are Whether or not we find what we are
seekingseeking
is idle, biologically speaking.is idle, biologically speaking.
-Edna St. Vincent MillayEdna St. Vincent Millay

6. Heroic CoupletHeroic Couplet
A couple of rhyming iambic pentameters A couple of rhyming iambic pentameters
often forming a distinct rhetorical as well as often forming a distinct rhetorical as well as
metrical unit; the rhyme is always masculinemetrical unit; the rhyme is always masculine
commonly used for epic and narrative poetrycommonly used for epic and narrative poetry
Geoffrey Chaucer in the 14Geoffrey Chaucer in the 14
thth
century was the century was the
first to make extensive use of it.first to make extensive use of it.
Mid-17Mid-17
thth
century: became the principal meter century: became the principal meter
used in dramaused in drama
Late 17Late 17
thth
– early 18 – early 18
thth
centuries: Perfected by centuries: Perfected by
John Dryden and Alexander PopeJohn Dryden and Alexander Pope

7. Examples of a Heroic CoupletExamples of a Heroic Couplet
Then share thy pain, allow that sad Then share thy pain, allow that sad
relief;relief;
Ah, more than share it, give me all Ah, more than share it, give me all
thy grief.thy grief.
- From - From Eloisa to AbelardEloisa to Abelard, by , by
Alexander PopeAlexander Pope

8. O could I flow like thee, and make thy O could I flow like thee, and make thy
streamstream
My great example, as it is my theme!My great example, as it is my theme!
Though deep, yet clear, though gentle, yet Though deep, yet clear, though gentle, yet
not dull,not dull,
Strong without rage, without o'erflowing full.Strong without rage, without o'erflowing full.
- - Cooper's HillCooper's Hill by John Denham by John Denham
Examples of a Heroic CoupletExamples of a Heroic Couplet

9. TercetTercet
three lines of poetry forming a three lines of poetry forming a
stanza or complete poem; usually stanza or complete poem; usually
contains rhymecontains rhyme
Haiku is an example of an Haiku is an example of an
unrhymed tercet poemunrhymed tercet poem

10. Examples of a TercetExamples of a Tercet
Death is now the phoenix’ nest;Death is now the phoenix’ nest;
And the turtle’s loyal breastAnd the turtle’s loyal breast
To eternity doth rest,…To eternity doth rest,…
-From From The Phoenix and the TurtleThe Phoenix and the Turtle,,
by William Shakespeareby William Shakespeare

11. QuatrainQuatrain
poem or a stanza within a poem poem or a stanza within a poem
that consists always of four linesthat consists always of four lines
common of all stanza forms in common of all stanza forms in
European poetryEuropean poetry
rhyming patterns include aabb, rhyming patterns include aabb,
abab, abba, abcbabab, abba, abcb

12. Basic forms of a quatrainBasic forms of a quatrain
abab (from "The Unquiet Grave")abab (from "The Unquiet Grave")
"The wind doth blow today, my love"The wind doth blow today, my love
And a few small drops of rain;And a few small drops of rain;
I never had but one true-loveI never had but one true-love
In cold grave she was lain.In cold grave she was lain.

13. Basic forms of a quatrainBasic forms of a quatrain
abcb (from "The Wife of Usher's abcb (from "The Wife of Usher's
Well")Well")
There lived a wife at Usher's Well,There lived a wife at Usher's Well,
And a wealthy wife was she;And a wealthy wife was she;
She had three stout and stalwart sons,She had three stout and stalwart sons,
And sent them over the sea.And sent them over the sea.

14. Basic forms of a quatrainBasic forms of a quatrain
aabb (from William Blake, "The aabb (from William Blake, "The
Tyger")Tyger")
Tyger! Tyger! burning brightTyger! Tyger! burning bright
In the forests of the night,In the forests of the night,
What immortal hand or eyeWhat immortal hand or eye
Could frame thy fearful symmetry?Could frame thy fearful symmetry?

15. Basic forms of a quatrainBasic forms of a quatrain
abba, also called the abba, also called the envelope stanzaenvelope stanza or or
introverted quatrainintroverted quatrain (from Tennyson (from Tennyson In In
MemoriamMemoriam))
Strong Son of God, immortal Love,Strong Son of God, immortal Love,
Whom we, that have not seen thy face,Whom we, that have not seen thy face,
By faith, and faith alone, embrace,By faith, and faith alone, embrace,
Believing where we cannot proveBelieving where we cannot prove

16. Basic forms of a quatrainBasic forms of a quatrain
aaba, or the aaba, or the Omar Khayyám stanzaOmar Khayyám stanza (also (also
known as Rubaiyat)known as Rubaiyat)
Awake! for Morning in the Bowl of Night,Awake! for Morning in the Bowl of Night,
Has flung the Stone that puts the stars to Has flung the Stone that puts the stars to
flight:flight:
And Lo! the Hunter of the East has caughtAnd Lo! the Hunter of the East has caught
The Sultan's Turret in a Noose of light.The Sultan's Turret in a Noose of light.

17. Basic forms of a quatrainBasic forms of a quatrain
The The heroic stanzaheroic stanza or or elegiac stanzaelegiac stanza (iambic (iambic
pentameter, rhyming ABAB; from Thomas pentameter, rhyming ABAB; from Thomas
Gray's "Elegy Written in a Country Church-Gray's "Elegy Written in a Country Church-
yard")yard")
The Curfew tolls the knell of parting day,The Curfew tolls the knell of parting day,
The lowing herd wind slowly o'er the lea,The lowing herd wind slowly o'er the lea,
The plowman homeward plods his weary way,The plowman homeward plods his weary way,
And leaves the world to darkness and to me.And leaves the world to darkness and to me.

18. CinquainCinquain
5 line stanza, varied in rhyme and 5 line stanza, varied in rhyme and
line, usually with the rhyme line, usually with the rhyme
scheme ababbscheme ababb

19. Example of a CinquainExample of a Cinquain
Murmuring how she loved me -- she Murmuring how she loved me -- she
waswas
Too weak, for all her heart and loveToo weak, for all her heart and love
To set its struggling passion freeTo set its struggling passion free
From pride, and vainer ties dissever,From pride, and vainer ties dissever,
And give herself to me for everAnd give herself to me for ever
-From From Porphyria's LoverPorphyria's Lover ,,
by Robert BRowningby Robert BRowning

20. SestetSestet
A stanze or poem or six linesA stanze or poem or six lines
The last lines of a Petrarchan The last lines of a Petrarchan
sonnetsonnet
The first documented user of this The first documented user of this
poetical form was the Italian poet, poetical form was the Italian poet,
PetrarchPetrarch

21. Example of a CinquainExample of a Cinquain
So answerest thou; but why not rather say:So answerest thou; but why not rather say:
"Hath man no second life? - Pitch this one high!"Hath man no second life? - Pitch this one high!
Sits there no judge in Heaven, our sin to see? -Sits there no judge in Heaven, our sin to see? -
More strictly, then, the inward judge obey!More strictly, then, the inward judge obey!
Was Christ a man like us? Ah! let us tryWas Christ a man like us? Ah! let us try
If we then, too, can be such men as he!“If we then, too, can be such men as he!“
- From- From The Better Part The Better Part, by Matthew Arnold, by Matthew Arnold

22. OctaveOctave
A stanza of eight linesA stanza of eight lines
Also called Ottava RimaAlso called Ottava Rima
OctetOctet
A stanza or group of eight verse lines the A stanza or group of eight verse lines the
first two quatrains r eight lines of an first two quatrains r eight lines of an
Italian sonnetItalian sonnet

23. SonnetSonnet
A fixed verse form of Italian originA fixed verse form of Italian origin
Has 14 lines that are typically five-foot iambics Has 14 lines that are typically five-foot iambics
rhyming according to a prescribed schemerhyming according to a prescribed scheme
expressing different aspects of a single thought, expressing different aspects of a single thought,
mood, or feeling, resolved or summed up in the mood, or feeling, resolved or summed up in the
last lines of the poemlast lines of the poem
It retained its appeal for major poets for five It retained its appeal for major poets for five
centuriescenturies
Two forms: Petrarchan (Italian) sonnet, Two forms: Petrarchan (Italian) sonnet,
Elizabethan (English) sonnetElizabethan (English) sonnet

24. The Petrarchan SonnetThe Petrarchan Sonnet
consists of an octave, or eight-line stanza, and consists of an octave, or eight-line stanza, and
a sestet, or six-line stanza. a sestet, or six-line stanza.
Octave: two quatrains, rhyming a b b a, a b b Octave: two quatrains, rhyming a b b a, a b b
a; the first quatrain presents the theme or a; the first quatrain presents the theme or
problem, the second develops it. problem, the second develops it.
Sestet: built on two or three different rhymes, Sestet: built on two or three different rhymes,
arranged either c d e c d e, or c d c d c d, or c arranged either c d e c d e, or c d c d c d, or c
d e d c e; the first three lines exemplify or d e d c e; the first three lines exemplify or
reflect on the theme or a change in thought, reflect on the theme or a change in thought,
and the last three lines bring the whole poem and the last three lines bring the whole poem
to a unified close. to a unified close.
Example: Sir Philip Sidney's sonnet sequence Example: Sir Philip Sidney's sonnet sequence
Astrophel and Stella (1591Astrophel and Stella (1591

25. Example of a Petrarchan SonnetExample of a Petrarchan Sonnet
The world is too much with us; The world is too much with us;
late and soon,late and soon,
Getting and spending, we lay Getting and spending, we lay
waste our powers;waste our powers;
Little we see in Nature that is Little we see in Nature that is
ours;ours;
We have given our hearts away, We have given our hearts away,
a sordid boom!a sordid boom!
This Sea that bares her bosom This Sea that bares her bosom
to the moon,to the moon,
The winds that will be howling The winds that will be howling
at all hours,at all hours,
And are up—gathered now like And are up—gathered now like
sleeping flowers,sleeping flowers,
For this, for everything, we are For this, for everything, we are
out of tune;out of tune;
It moves us not.—Great God! It moves us not.—Great God!
I’d rather beI’d rather be
A Pagan suckled in a creed A Pagan suckled in a creed
outworn;outworn;
So might I, standing on this So might I, standing on this
pleasant lea,pleasant lea,
Have glimpses that would make Have glimpses that would make
me less forlorn;me less forlorn;
Have sight of Proteus rising Have sight of Proteus rising
from the sea;from the sea;
Or hear old Triton blow his Or hear old Triton blow his
wreathwreathééd horn.d horn.

26. The Elizabethan SonnetThe Elizabethan Sonnet
exemplified by the work of Shakespeare or exemplified by the work of Shakespeare or
Edmund Spenser's Amoretti (1595)Edmund Spenser's Amoretti (1595)
developed as an adaptation to a language less developed as an adaptation to a language less
rich in rhymes than Italianrich in rhymes than Italian
differs from the Petrarchan in being divided into differs from the Petrarchan in being divided into
three quatrains, each rhymed differently, with a three quatrains, each rhymed differently, with a
final, independently rhymed couplet that makes final, independently rhymed couplet that makes
an effective, unifying climax to the whole. The an effective, unifying climax to the whole. The
rhyme scheme is a b a b, c d c d, e f e f, g g.rhyme scheme is a b a b, c d c d, e f e f, g g.

27. Example of a Shakespearean Example of a Shakespearean
SonnetSonnet
Let me not to the marriage Let me not to the marriage
of true minds of true minds
Admit impediments. Love is Admit impediments. Love is
not lovenot love
Which alters when it Which alters when it
alteration finds,alteration finds,
Or bends with the remover Or bends with the remover
to remove:to remove:
Oh, no! it is an ever-fixOh, no! it is an ever-fixééd d
mark,mark,
That looks on tempests and That looks on tempests and
is never shaken;is never shaken;
It is the star to every It is the star to every
wandering bark,wandering bark,
Whose worth’s unknown, Whose worth’s unknown,
although his height be takenalthough his height be taken
Love’s not Time’s fool, Love’s not Time’s fool,
though rosy lips and cheeks though rosy lips and cheeks
Within his bending sickle’s Within his bending sickle’s
compass come;compass come;
Love alters not with his brief Love alters not with his brief
hours and weeks,hours and weeks,
But bears it out even to the But bears it out even to the
edge of doom.edge of doom.
If this be error and upon me If this be error and upon me
proved,proved,
I never writ, nor no man ever I never writ, nor no man ever
loved.loved.
-Sonnet 116Sonnet 116,,
by William Shakespeareby William Shakespeare