Synonymer & Anagram | Engelska ordet RIMA

Exempel på hur man kan använda RIMA i en mening

• It is in adapted ottava rima and is full of elaborate use of literary devices, particularly alliteration.
• Ariosto composed the poem in the ottava rima rhyme scheme and introduced narrative commentary throughout the work.
• Other types of tercet include an enclosed tercet where the lines rhyme in an ABA pattern and terza rima where the ABA pattern of a verse is continued in the next verse by making the outer lines of the next stanza rhyme with the central line of the preceding stanza, BCB, as in the terza rima or terzina form of Dante Alighieri's Divine Comedy.
• The Sicilian octave is derived from the medieval strambotto and was a crucial step in the development of the sonnet, whereas the ottava rima is related to the canzone, a stanza form.
• It is written in the decasyllabic ottava rima, which has the rhyme scheme ABABABCC, and contains a total of 8816 lines of verse.
• He introduced the sonnet, the elegy, the eclogue, the ottava rima and other classical poetic forms, adapting the Portuguese language to the Italian hendecasyllable verse.
• Terza rima can lend a sense of strength and solidity to the story or the poem — each tercet, though brief, has enough length to contain a complete thought or expression, that can be considered independently.
• It was written in the ottava rima adopted a few years later by "the ingenious brothers Whistlecraft" (John Hookham Frere), and turned to such brilliant account by Byron in Don Juan.
• the Danish Angelfyr og Helmer kamp, the Faroese Hjálmar og Angantýr, Arngrims synir, Gátu rima, and in the Swedish Kung Speleman.
• was Byron's 1818 poem which in terms of style and tone, and the use of ottava rima, owed something to the "Whistlecraft" Arthurian burlesque published by Frere, for Rose, as Prospectus and Specimen of an intended National Work (1817), and later (after expansion) known as The Monks and the Giants (1818).
• He composed cantari in the eight-line stanzas called ottava rima, telling the subjects of courtly romance in a fast-paced narrative, with an undertone of subversive populist skepticism that undercut the very conventions that the stories embraced, full of vivid contemporary color and pious sentiment, and perhaps he declaimed them in the public squares: La Reina d'Oriente, Gismirante, Apollonio di Tiro, Brito di Brettagna, Madonna Lionessa.

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