36:
50:
943:
452:
897:
138:
466:
424:
240:
920:
722:) are found in a variety of minor and hybrid genres of the 17th and 18th century. The works are composed of lines of various lengths, without regularity in distribution or order; however, each individual line is perfectly metrical, and the rule of alternation of rhymes is followed. The result is somewhat analogous to the
490:. This in part explains the strictness with which its prosodic rules (e.g. medial caesura and end rhyme) were kept; they were felt necessary to preserve its distinction and unity as verse. Nevertheless, several strategies for reducing the strictness of the verse form have been employed over the centuries.
438:
309:
cannot be immediately followed by a different masculine rime, or a feminine rime by a different feminine rime." This rule resulted in the preponderance of three rhyme schemes, though others are possible. (Masculine rhymes are given in lowercase, and feminine in CAPS):
677:) designate distinct historical strategies to introduce more prosodic variety into French verse. All three involve verse forms beyond just the alexandrine, but just as the alexandrine was chief among lines, it is the chief target of these modifications.
587:
remained a supplemental line, used within a classical alexandrine context and forming no more than one quarter of the alexandrine lines written during this time. Passages of classical alexandrines were still written by these poets, as for example this
293:, it became the dominant long line of French verse up to the end of the 19th century, and was "elevated to the status of national symbol and eventually came to typify French poetry overall". The classical alexandrine is always rhymed. The
249:
Typically, each hemistich also holds one secondary accent which may occur on any of the first five syllables, most frequently on the third; this frequently balanced four-part structure resulted in one of several monikers for the line:
92:
dividing the line into two hemistichs (half-lines) of six syllables each. It was the dominant long line of French poetry from the 17th through the 19th century, and influenced many other
European literatures which developed
200:
However, toward the end of the 14th century, the line was "totally abandoned, being ousted by its old rival the decasyllabic"; and despite occasional isolated attempts, would not regain its stature for almost 200 years.
795:
consistently continued to use rhyme, many of them accepted categories of rhyme which were previously considered "careless" or unusual. The alexandrine was not their only metrical target; they also cultivated the use of
851:(weakening of strictures for caesura and rhymes, as well as experimentation with unusual line lengths). Its birth — for the reading public at least — can be dated exactly: 1886; in this year, editor
887:
shed all metrical and prosodic constraints, such as verse length, rhyme, and caesura; Laforgue said, "I forget to rhyme, I forget about the number of syllables, I forget about stanzaic structure."
804:— lines with an odd, rather than even, number of syllables. These uneven lines, though known from earlier French verse, were relatively uncommon and helped suggest a new rhythmic register.
301:(rule of alternation of rhymes), which was a tendency in some poets before the Pléiade, was "firmly established by Ronsard in the sixteenth century and rigorously decreed by
186:
These early alexandrines were slightly looser rhythmically than those reintroduced in the 16th century. Significantly, they allowed an "epic caesura" — an extrametrical
197:
o o o o o S(e) o o o o o S Or sunt li quatre frère | sus el palais plenier o=any syllable; S=stressed syllable; (e)=optional mute e; |=caesura
565:, which preserves the medial caesura with a word break, but de-emphasizes it by surrounding it with two stronger phrase breaks after syllables four and eight:
787:. The liberties taken included the weakening, movement, and erasure of caesurae, and rejection of the rule of alternation of rhymes. Although writers of
919:
896:
942:
1416:
1526:
1500:
1472:
1444:
1382:
451:
1348:
457:
218:
178:, and at the end of the thirteenth century it had gained so completely the upper hand as the epic line that several of the old
158:
576:
572:
306:
35:
754:
465:
779:
was a mid-to-late-19th-century extension of the liberties begun to be taken by the
Romantics with their embrace of the
1328:
1362:
1555:
63:
Molière and Racine, perhaps the greatest writers of classical alexandrines in comedy and tragedy respectively.
744:
471:
302:
222:
835:, and is effectively identical in meaning. It can be seen as a radical extension of the tendencies of both
1550:
1482:
1454:
1426:
423:
486:
The classical alexandrine was early recognized as having a prose-like effect, for example by
Ronsard and
437:
1545:
172:
From about the year 1200 the
Alexandrine began to supplant the decasyllabic line as the metre of the
164:
49:
902:
739:
141:
129:
then doubling this line in a syllabic context with phrasal stress rather than length as a marker.
1487:
1459:
1431:
1374:
1226:
1200:
597:
443:
214:
190:
at the close of the first hemistich (half-line), as exemplified in this line from the medieval
137:
1522:
1496:
1468:
1440:
1412:
1378:
1344:
1340:
1333:
487:
429:
226:
174:
1358:
1142:
243:
230:
111:
520:) as an alternative rhythm to the classical alexandrine. His famous self-descriptive line:
1152:
153:
74:
1393:
1236:
1194:
353:
These lines by
Corneille (with formal paraphrase) exemplify classical alexandrines with
1510:
948:
876:
872:
727:
85:
82:
209:
The alexandrine was resurrected in the middle of the 16th century by the poets of the
1539:
1515:
1404:
1367:
925:
411:
233:
introduced its use in comedy. It was metrically stricter, allowing no epic caesura:
852:
1146:
239:
17:
1230:
1190:
501:
94:
55:
1411:(Fourth ed.). Princeton, NJ: Princeton University Press. pp. 35–36.
832:
819:
749:
210:
41:
723:
674:
162:
of 1150, but the name derives from their more famous use in part of the
89:
500:
Although used in exceptional cases by some 17th-century French poets,
114:, the French alexandrine developed from the Ambrosian octosyllable,
627:
So her bright jewels she wore, | her tinkling chains, her treasure:
238:
136:
568:
o o o S | o o ¦ o S | o o o S (e) |=strong caesura; ¦=word break
602:
522:
359:
1517:
Missing
Measures: Modern Poetry and the Revolt Against Meter
631:
Like to a Moor's slave girl | in the days of her pleasure.
1491:. In Preminger, Alex; Brogan, T.V.F.; et al. (eds.).
1463:. In Preminger, Alex; Brogan, T.V.F.; et al. (eds.).
1435:. In Preminger, Alex; Brogan, T.V.F.; et al. (eds.).
616:
Qu'ont dans leurs jours heureux | les esclaves des Maures.
386:
Thus, seeing us all march | in league and with such favor,
1307:
1305:
1292:
1290:
1265:
1263:
1261:
1050:
1048:
182:
1089:
1087:
144:
in a diving bell: a scene from the line's namesake, the
88:
of (nominally and typically) 12 syllables with a medial
1248:
1246:
384:
To three thousand we grew | as we approached the port.
382:
As five hundred we left, | but soon we gained support:
367:
Nous partîmes cinq cents; | mais par un prompt renfort
1493:
The New
Princeton Encyclopedia of Poetry and Poetics
1465:
The New
Princeton Encyclopedia of Poetry and Poetics
1437:
The New
Princeton Encyclopedia of Poetry and Poetics
614:
Dont le riche attirail | lui donnait l'air vainqueur
610:
La très-chère était nue, | et, connaissant mon cœur,
388:
The fear melted away, | the throng becoming braver!
152:
The earliest recorded use of alexandrines is in the
1521:. Fayetteville, AR: University of Arkansas Press.
1514:
1486:
1458:
1430:
1366:
1332:
369:Nous nous vîmes trois mille | en arrivant au port,
625:My most darling was bare | but she knew my desire
549:—Hugo: "XXVI: Quelques mots à un autre", line 84
1409:The Princeton Encyclopedia of Poetry and Poetics
1339:. New York: New York University Press. pp.
1235:. Paris: Poulet-Malassis et De Broise. p.
530:J'ai disloqué | ce grand ¦ niais | d'alexandrin
371:Tant, Ă nous voir marcher | avec un tel visage,
629:Such an air of command | in her golden attire,
120:by gradually losing the final two syllables,
1403:Peureux, Guillaume (2012). "Alexandrine". In
843:(various and unpredictable line lengths) and
373:Les plus épouvantés | reprenaient de courage!
8:
953:
930:
907:
881:
865:
857:
845:
837:
825:
809:
798:
789:
781:
773:
763:
732:
716:
708:
700:
692:
682:
667:
659:
648:
612:Elle n'avait gardé | que ses bijoux sonores,
608:
590:
581:
559:
528:
514:
506:
365:
343:
333:
323:
315:
295:
287:
279:
268:
260:
252:
117:× – u – × – u × Aeterne rerum conditor
1327:Flescher, Jacqueline (1972). "French". In
730:. Two of the most famous works written in
571:Although generally embraced by the French
277:Often called the "classical alexandrine",
1467:. New York: MJF Books. pp. 1344–45.
1439:. New York: MJF Books. pp. 1343–44.
879:, with more following in the next years.
1407:; Cushman, Stephen; et al. (eds.).
1213:
1177:
1165:
1105:
1054:
1015:
979:
1129:
1117:
1093:
1078:
1066:
1039:
1027:
1003:
991:
972:
892:
875:(written over a decade previously) and
419:
305:in the seventeenth." It states that "a
1311:
1296:
1281:
1269:
1252:
1495:. New York: MJF Books. p. 1345.
657:These three similar terms (in French
638:—Baudelaire: "Les Bijoux", lines 1-4
7:
1151:. Boston: Ginn and Company. p.
1369:A History of European Versification
1335:Versification: Major Language Types
1199:. Paris: Nelson, Éditeurs. p.
539:I dislocate | the great ¦ nitwit |
123:× – u – × – Aeterne rerum cond
831:is the source of the English term
27:French poetic line of 12 syllables
25:
1395:A History of French Versification
557:exemplifies the structure of the
1145:(1912). Searles, Colbert (ed.).
941:
918:
895:
464:
450:
436:
422:
48:
34:
458:Guillaume de Salluste Du Bartas
399:Act IV, scene 3, lines 1259-62
219:Guillaume de Salluste Du Bartas
168:of 1170. L. E. Kastner states:
1398:. Oxford: The Clarendon Press.
1373:. Translated by Smith, G. S.;
236:o o o o o S | o o o o o S (e)
1:
258:(in contradistinction to the
110:According to verse historian
297:règle d'alternance des rimes
159:Le Pèlerinage de Charlemagne
1377:. Oxford: Clarendon Press.
1572:
855:published several seminal
817:
650:Vers libres, libéré, libre
1488:"Vers Libres Classiques"
1392:Kastner, L. E. (1903).
1361:(1996). Smith, G. S.;
1180:, p. 190, note 7.
954:
931:
908:
882:
866:
858:
846:
838:
826:
810:
799:
790:
782:
774:
764:
733:
717:
709:
702:vers libres classiques
701:
693:
683:
668:
660:
649:
623:
609:
606:
591:
582:
560:
537:
529:
526:
515:
507:
380:
366:
363:
344:
334:
324:
316:
296:
288:
280:
269:
261:
253:
246:
205:16th to 18th centuries
184:
149:
101:12th to 15th centuries
78:
951:(1860–1887) composed
928:(1844–1896) composed
905:(1621–1695) composed
871:, including poems by
512:(also referred to as
254:alexandrin tétramètre
242:
170:
140:
1363:Holford-Strevens, L.
863:poems in his review
482:Loosening strategies
472:Jean-Antoine de BaĂŻf
223:Jean-Antoine de BaĂŻf
192:Li quatre fils Aymon
1375:Tarlinskaja, Marina
1284:, pp. 1343–44.
1227:Baudelaire, Charles
903:Jean de La Fontaine
783:alexandrin ternaire
740:Jean de La Fontaine
583:alexandrin ternaire
561:alexandrin ternaire
508:alexandrin ternaire
495:Alexandrin ternaire
270:alexandrin ternaire
142:Alexander the Great
1196:Les Contemplations
1042:, pp. 146–47.
982:, pp. 130–31.
598:Charles Baudelaire
274:described below).
247:
150:
71:French alexandrine
18:French Alexandrine
1418:978-0-691-13334-8
1232:Les Fleurs du Mal
1143:Corneille, Pierre
644:
643:
555:
554:
488:Joachim du Bellay
430:Pierre de Ronsard
405:
404:
227:Pierre de Ronsard
175:chansons de geste
165:Roman d'Alexandre
146:Roman d'Alexandre
126:
16:(Redirected from
1563:
1532:
1520:
1506:
1490:
1478:
1462:
1450:
1434:
1422:
1399:
1388:
1372:
1354:
1338:
1315:
1309:
1300:
1294:
1285:
1279:
1273:
1267:
1256:
1250:
1241:
1240:
1223:
1217:
1211:
1205:
1204:
1187:
1181:
1175:
1169:
1163:
1157:
1156:
1139:
1133:
1127:
1121:
1115:
1109:
1103:
1097:
1091:
1082:
1076:
1070:
1064:
1058:
1052:
1043:
1037:
1031:
1025:
1019:
1013:
1007:
1001:
995:
989:
983:
977:
957:
945:
934:
922:
911:
899:
885:
869:
861:
849:
841:
829:
813:
802:
793:
785:
777:
767:
736:
720:
718:vers irréguliers
712:
704:
696:
686:
671:
663:
652:
618:
603:
594:
585:
563:
532:
523:
518:
510:
504:popularized the
468:
454:
440:
426:
409:Some members of
375:
360:
347:
345:rimes embrassées
339:: aBaB (or AbAb)
337:
327:
319:
299:
291:
283:
272:
264:
256:
244:Pierre Corneille
231:Pierre Corneille
133:Rise and decline
124:
112:Mikhail Gasparov
52:
38:
21:
1571:
1570:
1566:
1565:
1564:
1562:
1561:
1560:
1556:Types of verses
1536:
1535:
1529:
1511:Steele, Timothy
1509:
1503:
1481:
1475:
1453:
1447:
1425:
1419:
1402:
1391:
1385:
1359:Gasparov, M. L.
1357:
1351:
1326:
1323:
1318:
1314:, p. 1344.
1310:
1303:
1299:, p. 1344.
1295:
1288:
1280:
1276:
1272:, p. 1345.
1268:
1259:
1251:
1244:
1225:
1224:
1220:
1212:
1208:
1189:
1188:
1184:
1176:
1172:
1164:
1160:
1141:
1140:
1136:
1128:
1124:
1116:
1112:
1104:
1100:
1092:
1085:
1077:
1073:
1065:
1061:
1053:
1046:
1038:
1034:
1026:
1022:
1014:
1010:
1002:
998:
990:
986:
978:
974:
970:
965:
964:
963:
960:
946:
937:
923:
914:
900:
822:
655:
633:
630:
628:
626:
620:
615:
613:
611:
569:
544:
534:
498:
484:
479:
478:
477:
474:
469:
460:
455:
446:
444:Étienne Jodelle
441:
432:
427:
416:
415:
390:
387:
385:
383:
377:
372:
370:
368:
237:
215:Étienne Jodelle
207:
198:
154:Medieval French
135:
127:
118:
108:
103:
67:
66:
65:
64:
60:
59:
58:
53:
45:
44:
39:
28:
23:
22:
15:
12:
11:
5:
1569:
1567:
1559:
1558:
1553:
1548:
1538:
1537:
1534:
1533:
1527:
1507:
1501:
1479:
1473:
1451:
1445:
1423:
1417:
1405:Greene, Roland
1400:
1389:
1383:
1355:
1349:
1329:Wimsatt, W. K.
1322:
1319:
1317:
1316:
1301:
1286:
1274:
1257:
1242:
1218:
1216:, p. 133.
1206:
1182:
1170:
1168:, p. 179.
1158:
1134:
1122:
1110:
1108:, p. 180.
1098:
1083:
1081:, p. 148.
1071:
1069:, p. 147.
1059:
1057:, p. 130.
1044:
1032:
1030:, p. 146.
1020:
1018:, p. 131.
1008:
1006:, p. 145.
996:
984:
971:
969:
966:
962:
961:
949:Jules Laforgue
947:
940:
938:
924:
917:
915:
901:
894:
891:
890:
889:
877:Jules Laforgue
873:Arthur Rimbaud
818:Main article:
816:
815:
770:
769:
728:Abraham Cowley
689:
688:
654:
645:
642:
641:
639:
635:
634:
621:
592:rimes croisées
567:
553:
552:
550:
546:
545:
535:
497:
492:
483:
480:
476:
475:
470:
463:
461:
456:
449:
447:
442:
435:
433:
428:
421:
418:
417:
408:
407:
406:
403:
402:
400:
392:
391:
378:
351:
350:
349:aBBa (or AbbA)
340:
335:rimes croisées
330:
307:masculine rime
235:
206:
203:
196:
134:
131:
122:
116:
107:
104:
102:
99:
97:of their own.
62:
61:
54:
47:
46:
40:
33:
32:
31:
30:
29:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1568:
1557:
1554:
1552:
1551:French poetry
1549:
1547:
1544:
1543:
1541:
1530:
1528:1-55728-125-4
1524:
1519:
1518:
1512:
1508:
1504:
1502:1-56731-152-0
1498:
1494:
1489:
1484:
1480:
1476:
1474:1-56731-152-0
1470:
1466:
1461:
1456:
1452:
1448:
1446:1-56731-152-0
1442:
1438:
1433:
1432:"Vers Libéré"
1428:
1424:
1420:
1414:
1410:
1406:
1401:
1397:
1396:
1390:
1386:
1384:0-19-815879-3
1380:
1376:
1371:
1370:
1364:
1360:
1356:
1352:
1346:
1342:
1337:
1336:
1330:
1325:
1324:
1320:
1313:
1308:
1306:
1302:
1298:
1293:
1291:
1287:
1283:
1278:
1275:
1271:
1266:
1264:
1262:
1258:
1255:, p. 17.
1254:
1249:
1247:
1243:
1238:
1234:
1233:
1228:
1222:
1219:
1215:
1214:Gasparov 1996
1210:
1207:
1202:
1198:
1197:
1192:
1186:
1183:
1179:
1178:Flescher 1972
1174:
1171:
1167:
1166:Flescher 1972
1162:
1159:
1154:
1150:
1149:
1144:
1138:
1135:
1132:, p. 67.
1131:
1126:
1123:
1120:, p. 63.
1119:
1114:
1111:
1107:
1106:Flescher 1972
1102:
1099:
1096:, p. 36.
1095:
1090:
1088:
1084:
1080:
1075:
1072:
1068:
1063:
1060:
1056:
1055:Gasparov 1996
1051:
1049:
1045:
1041:
1036:
1033:
1029:
1024:
1021:
1017:
1016:Gasparov 1996
1012:
1009:
1005:
1000:
997:
994:, p. 35.
993:
988:
985:
981:
980:Gasparov 1996
976:
973:
967:
958:
956:
950:
944:
939:
935:
933:
927:
926:Paul Verlaine
921:
916:
912:
910:
904:
898:
893:
888:
886:
884:
878:
874:
870:
868:
862:
860:
854:
850:
848:
842:
840:
834:
830:
828:
821:
814:
812:
807:
806:
805:
803:
801:
794:
792:
786:
784:
778:
776:
768:
766:
761:
760:
759:
757:
756:
751:
747:
746:
741:
737:
735:
729:
725:
721:
719:
713:
711:
705:
703:
697:
695:
687:
685:
680:
679:
678:
676:
672:
670:
664:
662:
653:
651:
646:
640:
637:
636:
632:
622:
619:
617:
605:
604:
601:
599:
595:
593:
586:
584:
578:
574:
566:
564:
562:
551:
548:
547:
543:
542:
536:
533:
531:
525:
524:
521:
519:
517:
511:
509:
503:
496:
493:
491:
489:
481:
473:
467:
462:
459:
453:
448:
445:
439:
434:
431:
425:
420:
414:
413:
401:
398:
394:
393:
389:
379:
376:
374:
362:
361:
358:
356:
355:rimes suivies
348:
346:
341:
338:
336:
331:
328:
326:
325:rimes suivies
320:
318:
313:
312:
311:
308:
304:
300:
298:
292:
290:
284:
282:
281:vers héroïque
275:
273:
271:
265:
263:
257:
255:
245:
241:
234:
232:
228:
225:(lyric), and
224:
221:(narrative),
220:
216:
212:
204:
202:
195:
193:
189:
183:
181:
177:
176:
169:
167:
166:
161:
160:
155:
147:
143:
139:
132:
130:
121:
115:
113:
105:
100:
98:
96:
91:
87:
84:
80:
76:
72:
57:
51:
43:
37:
19:
1516:
1492:
1483:Scott, Clive
1464:
1460:"Vers Libre"
1455:Scott, Clive
1436:
1427:Scott, Clive
1408:
1394:
1368:
1350:08147-9155-7
1334:
1277:
1231:
1221:
1209:
1195:
1191:Hugo, Victor
1185:
1173:
1161:
1147:
1137:
1130:Kastner 1903
1125:
1118:Kastner 1903
1113:
1101:
1094:Peureux 2012
1079:Kastner 1903
1074:
1067:Kastner 1903
1062:
1040:Kastner 1903
1035:
1028:Kastner 1903
1023:
1011:
1004:Kastner 1903
999:
992:Peureux 2012
987:
975:
952:
929:
906:
880:
864:
856:
853:Gustave Kahn
844:
836:
824:
823:
808:
797:
788:
780:
772:
771:
762:
753:
743:
731:
715:
707:
699:
691:
690:
681:
666:
658:
656:
647:
624:
607:
596:quatrain by
589:
580:
570:
558:
556:
540:
538:
527:
513:
505:
499:
494:
485:
410:
396:
395:—Corneille:
381:
364:
354:
352:
342:
332:
322:
317:rimes plates
314:
294:
286:
278:
276:
267:
259:
251:
248:
208:
199:
191:
187:
185:
179:
173:
171:
163:
157:
151:
145:
128:
119:
109:
95:alexandrines
86:poetic metre
70:
68:
1546:12 (number)
1312:Scott 1993b
1297:Scott 1993a
1282:Scott 1993a
1270:Scott 1993c
1253:Steele 1990
932:vers libéré
909:vers libres
847:vers libéré
839:vers libres
800:vers impair
791:vers libéré
775:Vers libéré
765:Vers libéré
734:vers libres
694:Vers libres
684:Vers libres
661:vers libres
502:Victor Hugo
289:grands vers
217:(tragedy),
125:(construct)
56:Jean Racine
1540:Categories
1321:References
955:vers libre
883:Vers libre
859:vers libre
833:free verse
827:Vers libre
820:Vers libre
811:Vers libre
755:Amphitryon
710:vers mêlés
675:homophones
669:vers libre
577:Symbolists
541:alexandrin
412:La Pléiade
213:, notably
79:alexandrin
1485:(1993c).
1457:(1993b).
1429:(1993a).
724:Pindarics
573:Romantics
229:. Later,
1513:(1990).
1365:(eds.).
1229:(1857).
1193:(1856).
867:La Vogue
516:trimètre
303:Malherbe
262:trimètre
180:chansons
83:syllabic
1331:(ed.).
750:Molière
211:Pléiade
106:Genesis
90:caesura
81:) is a
42:Molière
1525:
1499:
1471:
1443:
1415:
1381:
1347:
1341:177-90
1148:Le Cid
745:Fables
698:(also
579:, the
397:Le Cid
329:: aaBB
188:mute e
75:French
968:Notes
714:, or
285:, or
156:poem
1523:ISBN
1497:ISBN
1469:ISBN
1441:ISBN
1413:ISBN
1379:ISBN
1345:ISBN
748:and
738:are
673:are
665:and
575:and
69:The
752:'s
742:'s
726:of
321:or
266:or
1542::
1343:.
1304:^
1289:^
1260:^
1245:^
1237:52
1201:74
1153:62
1086:^
1047:^
758:.
706:,
600::
357::
194::
77::
1531:.
1505:.
1477:.
1449:.
1421:.
1387:.
1353:.
1239:.
1203:.
1155:.
959:.
936:.
913:.
148:.
73:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
