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Updated: June 27, 2025
In these cases he has even introduced rhymed strophes, which approach to the form of the sonnet, then usual in England. The assertion of Malone, that Shakspeare in his youth was fond of rhyme, but that he afterwards rejected it, is sufficiently refuted by his own chronology of the poet's works.
After these rapturous strophes, culminating in a health to the good Spirit above, one is just a little surprised to hear the singer urge, with unabated ardor, a purely militant ideal of life, firm courage in heavy trial, succor to the oppressed, manly pride in the presence of kings, and death to the brood of liars.
"The Marshal supported his accomplices, embraced them, adjured them to have 'great displeasure and contrition of their ill deeds' and, beating his breast, he supplicated the Virgin to spare them, while the clergy, the peasants, and the people joined in the psalmody, intoning the sinister and imploring strophes of the chant for the departed: "'Nos timemus diem judicii Quia mali et nobis conscii.
But when the solemn strophes of the Litany for the Dead broke in upon a profound silence, the responses of the multitude surged upwards like giant billows shattering their forces in hollow thunder upon Arctic heights.
Then it was that the Chambertin or the Clos Vougeot came in, slumbering in its straw cradle. Ah me! what strains and strophes of unwritten verse pulsate through my soul when I open a certain closet in the ancient house where I was born!
All looked old in full youth. Their joy at returning to the cantonment after a week in the trenches, made them fill the silence of the plain with songs in time to the tramp of their nailed boots. Through the violet twilight drifted the winged strophes of the Marseillaise, or the heroic affirmations of the Chant du Depart.
and far below shines and murmurs the Sicilian sea. Here Daphnis and Menalcas, two herdsmen of the golden age, meet, while still in their earliest youth, and contend for the prize of pastoral. Daphnis is the winner, it is his earliest victory, and the prelude to his great renown among nymphs and shepherds. In this version the strophes are arranged as in Fritzsche's text.
The foolish virgins confess their sins and beg their sisters for help. They sing in Latin, and their three strophes have a melody different from that of the preceding strophes. They terminate, like the others, with a sad and plaintive refrain, of which the words are Provençal: "Dolentas! Chaitivas! trop i avem dormit." In modern French this line reads, "Malheureuses! Chétives!
Besides the infinite variety of the lyrical strophes, which the poet invented for each occasion, they have also a measure to suit the transition in the tone of mind from the dialogue to the lyric, the anapest; and two for the dialogue itself, one of which, by far the most usual, the iambic trimeter, denoted the regular progress of the action, and the other, the trochaic tetrameter, was expressive of the impetuousness of passion.
But the triumph of the piece is in one of those metrical coups which give the triumph of all the greatest poetry, in the sudden change from the slower movements of the earlier stanzas or strophes to the quicker sweep of the famous conclusion "The salt tide rolls seaward, Lights shine from the town" to "She left lonely for ever The kings of the sea." Here the poet's poetry has come to its own.
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