The following is an example of the division of this stanza into a quatrain and a distich. Seigneur, dans ta gloire adorable Quel mortel est digne d'entrer? Qui pourra, grand Dieu, pénétrer Ce sanctuaire impénétrable, Où tes saints inclinés, d'un œil respectueux Contemplent de ton front l'éclat majestueux? ROUSSEAU. § 60. The stanza of seven verses is composed of a quatrain and a triplet, and one of the rhymes of the first passes into the second. Sometimes the triplet precedes the quatrain. This stanza is commonly isometrical. $ 61. Ex. Suspends tes flots, heureuse Loire, quatrains. Quels bords t'offriront plus de gloire Jamais votre onde fortunée Ne coula sous de plus beaux cieux. GRESSET. The stanza of eight verses is composed of two Ex. Par les ravages du tonnerre Nous verrions les champs moissonnés, Et des entrailles de la terre Les plus hauts monts déracinés; Nos yeux verraient leur masse aride, Tomber d'une chute rapide Dans le vaste gouffre des mers. ROUSSEAU. NOTE. The isometrical stanza of eight verses was much used in the 16th century, especially in verses of eight syllables. At present it is little used, except for the couplets of songs (§ 54, 2). § 62. The stanza of nine verses is commonly divided into a quatrain, a triplet, and a distich. Ex. Dans ces jours destinés aux larmes, Le Seigneur fut mon seul recours : Et sa main vint à mon secours. ROUSSEAU. § 63. The stanza of ten verses (dizain) has a distinct pause after the fourth verse, and another less plainly marked after the seventh, thus dividing the stanza into a quatrain and two triplets. The isometric stanza of ten verses of seven or eight syllables is the most majestic, and is very generally used in odes. Ex. J'ai vu mes tristes journées Je touchais à mon couchant. Et dans cette nuit funeste, Je cherchais en vain le reste De mes jours évanouis. ROUSSEAU. § 64. OBSERVATIONS UPON THE SIX GENERAL RULES.† RULE 1. The close of a stanza is not necessarily marked by a period. Sometimes there is merely a suspension of the voice, especially in direct addresses, enumerations, and when a long subordinate clause is introduced, commenced generally by si or lorsque. Ex. Si du tranquille Parnasse Les habitants renommés * If another line followed this, rhyming with puissance, this would be a regular dizain, consisting of a quatrain and two triplets. † See General Rules, § 55. Y gardent encor leur place, Que dis-tu, sage Malherbe, De voir tes maîtres proscrits, etc. ROUSSEAU. RULE 2. Many violations of the general principle that stanzas should not begin and end with rhymes of the same nature, are found in the best poets. Ex. Rois, chassez la Calomnie: Ses criminels attentats Des plus paisibles États Troublent l'heureuse harmonie. Sa fureur, de sang avide, Rois, prenez soin de l'absent Contre sa langue homicide. RACINE. RULE 3. When the second and third verses of a quatrain rhyme together, and the first and fourth rhyme together, the stanzas commence alternately with masculine and feminine rhymes. Ex. Quel plaisir de voir les troupeaux, Quand le midi brûle l'herbette, Rangés autour de la houlette, Chercher le frais sous les ormeaux! Puis, sur le soir, à nos musettes Ouïr répondre les coteaux, Et retentir tous nos hameaux Du hautbois et des chansonnettes! CHAULIEU. RULE 4. The necessity of alternate rhymes in the stanza was not recognized until the time of Malherbe. Ex. Ce petit enfant Amour Cueillait des fleurs à l'entour D'une ruche où les avettes * Font leurs petites logettes. RONSARD. * The bees. RULE 5. Although stanzas are usually either isometrical, or contain but two different measures, this is not an invariable rule. The following harmonious stanza from Le Brun presents a combination of three different metres: Tel qu'aux cris de l'oiseau ministre du tonnerre, S'essaie à l'empire de l'air : En vain d'oiseaux jaloux une foule rivale Loin des profanes yeux. RULE 6. This rule, founded on the same principle as the second, is, like that, not infrequently violated by the best writers. Ex. L'épi naissant mûrit de la faux respecté, Sans crainte du pressoir le pampre tout l'été Et moi, comme lui belle et jeune comme lui, Je ne veux pas mourir encore ! Qu'un stoïque aux yeux secs vole embrasser la mort, etc. CHÉNIER. § 65. The choice of stanzas is directed by a regard for harmony and the character of the ideas to be expressed. In general, those stanzas containing few verses and short measures are adapted to light subjects and agreeable descriptions, while those of a greater number of verses and longer measures are better suited to the expression of elevated thoughts. 1. Sometimes the poet employs two different species of stanzas alternately. Ex. Inspire-moi de saints cantiques, Mon âme, bénis le Seigneur. Quels concerts assez magnifiques, L'éclat pompeux de ses ouvrages, Sont ses vêtements éternels. Ainsi qu'un pavillon tissu d'or et de soie, Le vaste azur des cieux sous sa main se déploie; Les eaux autour de lui demeurent suspendues; Il foule aux pieds les nues, Et marche sur les vents. LE FRANC DE POMPIGNAN. 2. Sometimes a new measure or stanza is introduced at irregular intervals, when the poet enters upon a new order of thought, which he considers a different rhythm better adapted to express. For illustrations of this remark, and more full illustrations of the principles laid down in this treatise, see the poetical selections in Part II. of this work. The following fable presents a combination of verses of all the different measures, except those of eleven and of nine syllables, which are rarely used (§ 44): |