![]() ![]() There is a strong tendency for hendecasyllabic lines to end with feminine rhymes (causing the total number of syllables to be eleven, hence the name), but ten-syllable lines ( "Ciò che 'n grembo a Benaco star non può") and twelve-syllable lines ( "Ergasto mio, perché solingo e tacito") are encountered as well. The first case is called endecasillabo a minore, or lesser hendecasyllable, and has the first hemistich equivalent to a quinario the second is called endecasillabo a maiore, or greater hendecasyllable, and has a settenario as the first hemistich. ![]() The verse also has a stress preceding the caesura, on either the fourth or sixth syllable. Its defining feature is a constant stress on the tenth syllable, so that the number of syllables in the verse may vary, equaling eleven in the usual case where the final word is stressed on the penultimate syllable. The hendecasyllable ( Italian: endecasillabo) is the principal metre in Italian poetry. Leaning in and listening to your sweet voice, He, it seems to me, is completely godlike:Īh, that man who's sitting across from you, there, This is a line used only occasionally in Greek choral odes and scolia, but a favorite of Catullus who realized the Aeolic base as – – or – × or × –, but not as × × for example, in the first poem in his collection (with formal equivalent, substituting English stress for Latin length): Phalaecian ( Latin: hendecasyllabus phalaecius): The three Aeolic hendecasyllables (with base and choriamb in bold) are: Īeolic meters are characterized by an Aeolic base × × followed by a choriamb – u u – where –=a long syllable, u=a short syllable, and ×=an anceps, that is, a syllable either long or short. ![]() In classical poetry, "hendecayllable" or "hendecasyllabic" may refer to any of three distinct 11-syllable Aeolic meters, used first in Ancient Greece and later, with little modification, by Roman poets. ![]()
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