On Fridays, the day when many Persians relax with poetry, talk, and a samovar, people do not, it is true, stream into Chehel Sotun -- a pavilion and garden built by Shah Abbas 2, in the seventeenth century -- but they do retire into hundreds of pavilions throughout the city and up the river valley, which are smaller, more humble copies of the former.

The professed mission of this disaffiliated generation is to find a new way of life which they can express in poetry and fiction, but what they produce is unfortunately disordered, nourished solely on the hysteria of negation.

William Wimsatt and Cleanth Brooks, it seems to me, have a penetrating insight into the way in which this control is effected: `` For if we say poetry is to talk of beauty and love ( and yet not aim at exciting erotic emotion or even an emotion of Platonic esteem ) and if it is to talk of anger and murder ( and yet not aim at arousing anger and indignation ) -- then it may be that the poetic way of dealing with these emotions will not be any kind of intensification, compounding, or magnification, or any direct assault upon the affections at all.

Understanding, as he did, the difficulty of the art of poetry, and believing that the `` only technical criticism worth having in poetry is that of poets '', he felt obliged to insist upon his duty to be hard to please when it came to the review of a book of verse.

Plato's attitude toward poetry has always been something of an enigma, because he is so completely sensitive to its charm.

We may further grant to those of her ( Poetry's ) defenders who are lovers of poetry and yet not poets, the permission to speak in prose on her behalf: let them show not only that she is pleasant but also useful to States and to human life, and we will listen in a kindly spirit ; ;

for if this can be proved we shall surely be the gainers -- I mean, if there is a use in poetry as well as a delight ''.

And we can add that Krutch's interpretation of purgation is also one answer to Plato's fear that poetry will encourage our passions.

Lawrence Ferlenghetti and Bruce Lippincott have concentrated on writing a new poetry for reading with jazz that is very closely related to both the musical forms of jazz, and the vocabulary of the musician.

Patchen's musicians are outsiders in established jazz circles, and Patchen himself has remained outside the San Francisco poetry group, maintaining a self-imposed isolation, even though his conversion to poetry-and-jazz is not as extreme or as sudden as it may first appear.

Beginning in Cloth Of The Tempest ( 1943 ) he experimented in merging poetry and visual art, using drawings to carry long narrative segments of a story, as in Sleepers Awake, and constructing elaborate `` poems-in-drawing-and-type '' in which it is impossible to distinguish between the `` art '' and the poetry.

In addition to his experiments in reading poetry to jazz, Patchen is beginning to use the figure of the modern jazz musician as a myth hero in the same way he used the figure of the private detective a decade ago.

This involves a shift in Patchen's attitude and it is a first step toward writing a new jazz poetry.

Perhaps tracing some of these more important symbols through the body of his work will show that Patchen's new poetry is well thought out, and remains within the mainstream of his work, while being suited to a new form.

This angry and exasperated stance which Patchen has maintained in his poetry for almost fifteen years has been successfully modulated into a kind of woe that is as effective as anger and still expresses his disapproval of the modern world.

`` Although it is not the best of which he is capable '', said Shelley as he closed the book, `` it is still poetry of a high order ''.

So far these remarks, like most criticisms of Hardy, have tacitly assumed that his poetry is all of a piece, one solid mass of verse expressing a sensibility at a single stage of development.

This seems odd when one recalls that he wrote poetry longer than any other major English poet: `` Domicilium '' is dated `` between 1857 and 1860 '' ; ;

The ' far-away light ' () is a reference to St Elmo's Fire, an electrical discharge supposed by ancient Greek mariners to be an epiphany of the Dioscuri, but the meaning of the line was obscured by gaps in the papyrus until reconstructed by a modern scholar — such reconstructions are typical of the extant poetry ( see Scholars, fragments and sources below ).

In the Restoration and eighteenth century, poetry written in couplets is sometimes varied by the introduction of a triplet in which the third line is an alexandrine, as in this sample from Dryden, which introduces a 6-5-6 triplet after two pentameter couplets:

A treatise on poetry by Diomedes Grammaticus is a good example, as this work ( among other things ) categorizes dactylic hexameter verses in ways that were later interpreted under the golden line rubric.

* Diaeresis ( prosody ), pronunciation of vowels in a diphthong separately, or the division made in a line of poetry when the end of a foot coincides with the end of a word

In poetry, enjambment or enjambement is the breaking of a syntactic unit ( a phrase, clause, or sentence ) by the end of a line or between two verses.

The hendecasyllable is a line of eleven syllables, used in Ancient Greek and Latin quantitative verse as well as in medieval and modern European poetry.

The term " hendecasyllable " is sometimes used in English poetry to describe a line of iambic pentameter with an extra short syllable at the end, as in the first line of John Keats's Endymion: " A thing of beauty is a joy for ever.

Edith Wharton described him as a man " to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City ..."

A single verse is not poetry unless it is a one-verse poem ; and even the finest line draws its life from its context.

( Although this poetry is in fact specified using feet, each " foot " is more or less equivalent to an entire line.

* Albert Cook, 1967 ( Norton Critical Edition ), poetry, very accurate line by line version

Meter is the definitive pattern established for a verse ( such as iambic pentameter ), while rhythm is the actual sound that results from a line of poetry.

Old English poetry used a metrical pattern involving varied numbers of syllables but a fixed number of strong stresses in each line.

Among major structural elements used in poetry are the line, the stanza or verse paragraph, and larger combinations of stanzas or lines such as cantos.

For the other variations of shi poetry, generally either a four line ( quatrain, or jueju ) or else an eight line poem is normal ; either way with the even numbered lines rhyming.

On the evening before he departed, he sat with his companions and the tutor of one of his sons quoted a line of poetry: " enjoy the scent of the ox-eye plant of Najd, for after this evening it will come no more.

Stylistically, Williams also worked with variations on a line-break pattern that he labeled " triadic-line poetry " in which he broke a long line into the three, free-verse segments.

However, another line of thinking arose with Theagenes of Rhegium, who suggested that instead of taking poetry literally, what was expressed in poems were allegories of nature.

In the 1530s, he wrote poetry in the Devonshire MS declaring his love for a woman ; employing the basic acrostic formula, the first letter of each line spells out SHELTUN.

In his poem " Past Ruin'd Ilion ", English writer and poet Walter Savage Landor ( 1775-1864 ) wrote the line " Alcestis rises from the shades " as having a double meaning, evoking her rise from Hades while demonstrating the ability of enduring poetry to give her vitality, drawing her into the light from the shadows of historical oblivion.

Following her motto, " Not a day without a line ", Françoise d ' Eaubonne wrote more than 50 works, from Colonnes de l ' âme ( poetry, 1942 ) to L ' Évangile de Véronique ( essay, 2003 ).

If, as Reid says, `` nearly all his poetry was produced when he was not taking opium '', there may be some reason to doubt that he was under its influence in the period from 1896 to 1900 when he was writing the poems to Katie King and making plans for another book of verse.

An example of ancient aesthetics in Greece through poetry is Plato's quote: " For the authors of those great poems which we admire, do not attain to excellence through the rules of any art ; but they utter their beautiful melodies of verse in a state of inspiration, and, as it were, possessed by a spirit not their own.

Anglo-Saxon poets typically used alliterative verse, a form of verse that uses alliteration as the principal structuring device to unify lines of poetry, as opposed to other devices such as rhyme, a tool which is used rather infrequently.

The elegiac couplet is presumed to be the oldest Greek form of epodic poetry ( a form where a later verse is sung in response or comment to a previous one ).

At the end of the 7th century BCE, Mimnermus of Colophon struck on the innovation of using the verse for erotic poetry.

Its purpose was to enable Icelandic poets and readers to understand the subtleties of alliterative verse, and to grasp the mythological allusions behind the many kennings that were used in skaldic poetry.

By the 1930s, the five-line cinquain verse form became widely known in the poetry of the Scottish poet William Soutar.

His published poetry dates from this period and, along with Edward Dyer he was one of the first courtiers to introduce vernacular verse to the court.

This is similar to the parallel structure of Hebrew poetry, in which the second verse of a couplet often carries the same meaning as the first, though in the epistle the frequent recapitulations of already expressed ideas serve also to add to what has previously been said.

Free verse is a form of poetry that does not use consistent meter patterns, rhyme, or any other musical pattern.

Turning to poetry, he gathered a collection of verse that failed to interest a publisher.

Hesiod practised various styles of traditional verse, including gnomic, hymnic, genealogical and narrative poetry, but he was not able to manipulate them all fluently.

The looser type of couplet, with occasional enjambment, was one of the standard verse forms in medieval narrative poetry, largely because of the influence of the Canterbury Tales.

He wrote a semi-autobiographical novel, Michael, two verse plays, and quantities of romantic poetry.

It has been said by some that Alamanni was the first to use blank verse in Italian poetry, but that distinction belongs rather to his contemporary Giangiorgio Trissino.

Peake also wrote poetry and literary nonsense in verse form, short stories for adults and children ( Letters from a Lost Uncle ), stage and radio plays, and Mr Pye, a relatively tightly-structured novel in which God implicitly mocks the evangelical pretensions and cosy world-view of the eponymous hero.

In poetry, metre ( meter in American English ) is the basic rhythmic structure of a verse or lines in verse.

In many Western classical poetic traditions, the metre of a verse can be described as a sequence of feet, each foot being a specific sequence of syllable types — such as relatively unstressed / stressed ( the norm for English poetry ) or long / short ( as in most classical Latin and Greek poetry ).