Octosyllabic in the context of "Spanish poetry"

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⭐ Core Definition: Octosyllabic

The octosyllable or octosyllabic verse is a line of verse with eight syllables. It is equivalent to tetrameter verse in trochees in languages with a stress accent. Its first occurrence is in a 10th-century Old French saint's legend, the Vie de Saint Leger; another early use is in the early 12th-century Anglo-Norman Voyage de saint Brendan. It is often used in French, Italian, Spanish and Portuguese poetry. While commonly used in couplets, typical stanzas using octosyllables are: décima, some quatrains, redondilla.

In Spanish verse, an octosyllable is a line that has its seventh syllable stressed, on the principle that this would normally be the penultimate syllable of a word (Lengua Castellana y Literatura, ed. Grazalema Santillana. El Verso y su Medida, p. 46). If the final word of a line does not fit this pattern, the line could have eight or seven or nine syllables (as normally counted), thus –

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Octosyllabic in the context of The House of Fame

The House of Fame (Hous of Fame in the original spelling) is a Middle English poem by Geoffrey Chaucer, probably written between 1374 and 1385, making it one of his earlier works. It was most likely written after The Book of the Duchess, but its chronological relation to Chaucer's other early poems is uncertain.

The House of Fame is over 2,005 lines long in three books and takes the form of a dream vision composed in octosyllabic couplets. Upon falling asleep the poet finds himself in a glass temple adorned with images of the famous and their deeds. With an eagle as a guide, he meditates on the nature of fame and the trustworthiness of recorded renown. This allows Chaucer to contemplate the role of the poet in reporting the lives of the famous and how much truth there is in what can be told.

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Octosyllabic in the context of Lai (poetic form)

A lai (or lay lyrique, "lyric lay", to distinguish it from a lai breton) is a lyrical, narrative poem written in octosyllabic couplets that often deals with tales of adventure and romance. Lais were mainly composed in France and Germany, during the 13th and 14th centuries. The English term lay is a 13th-century loan from Old French lai. The origin of the French term itself is unclear; perhaps it is itself a loan from German Leich (reflected in archaic or dialectal English lake, "sport, play" and in modern Swedish (att leka = to play). The terms note, nota and notula (as used by Johannes de Grocheio) appear to have been synonyms for lai.

The poetic form of the lai usually has several stanzas, none of which have the same form. As a result, the accompanying music consists of sections which do not repeat. This distinguishes the lai from other common types of musically important verse of the period (for example, the rondeau and the ballade). Towards the end of its development in the 14th century, some lais repeat stanzas, but usually only in the longer examples. There is one very late example of a lai, written to mourn the defeat of the French at the Battle of Agincourt (1415), (Lay de la guerre, by Pierre de Nesson) but no music for it survives.

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Octosyllabic in the context of The Brus

The Brus, also known as The Bruce, is a long narrative poem, in Early Scots, of just under 14,000 octosyllabic lines composed by John Barbour which gives a historic and chivalric account of the actions of Robert the Bruce and Sir James Douglas in the Scottish Wars of Independence during a period from the circumstances leading up to the English invasion of 1296 through to Scotland's restored position in the years between the Treaty of 1328 and the death of Thomas Randolph, Earl of Moray in 1332.

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