OTTAVA RIMA  , a See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza of eight See also:

• IAMBIC

iambic lines, containing three rhymes, invariably arranged as follows:—a b a b a b c c . It is an See also:

• ITALIAN

Italian invention, and we find the earliest specimens of its use in the See also:

• POETRY

poetry of the fourteenth See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . See also:

• BOCCACCIO, GIOVANNI (1313-1375)

Boccaccio employed it for the Teseide, which he wrote in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence in 1340, and for the Filostrato, which he wrote at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples some seven years later . These remarkable epics gave to ottava rima its classic See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . In the succeeding century it was employed by See also:

• POLITIAN (1454–1494)

Politian, and by See also:

• BOIARDO, MATTEO MARIA, COUNT (1434-1494)

Boiardo for his famous Orlando Innamorato (1486) . It was See also:

• PULCI, LUIGI (1431-1487)

Pulci, however, in the Morgante See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore (1487), who invented the See also:

• PECULIAR

peculiar See also:

• MOCK

mock-heroic, or rather See also:

• HALF

half-serious, half-See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque, See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style with which ottava rima has been most commonly identified ever since and in connexion with which it was introduced into See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England by See also:

• FRERE, JOHN HOOKHAM (1769-1846)
• FRERE, PIERRE EDOUARD (1819-1886)
• FRERE, SIR HENRY BARTLE EDWARD (1815-1884)

Frere and See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron . The measure, which was now recognized as the normal one for all Italian epic poetry, was presently wielded with. extraordinary See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm and variety by See also:

• BERNI, FRANCESCO (1497–1536)

Berni, See also:

• ARIOSTO, LODOVICO (1474-1533)

Ariosto and See also:

• TASSO, TORQUATO (1544-1595)

Tasso . The merits of it were not perceived by the See also:

• ENGLISH

English poets of the 16th and 17th centuries, although the versions of Tasso by See also:

• CAREW, GEORGE (d. about 1613)
• CAREW, RICHARD (1555–1620)
• CAREW, THOMAS (1595–1645?)

Carew (1594) and See also:

• FAIRFAX, EDWARD (c. 1580-1635)

Fairfax (1600) and of Ariosto by See also:

• HARINGTON, SIR JOHN (1561—1612)

Harington (1591) preserve its See also:

• EXTERNAL

external construction . The stanzaic forms inventedby See also:

• SPENSER, EDMUND (c. 1552-1599)
• SPENSER, JOHN (1559-1614)

Spenser and by the Fletchers have less real relation to ottava rima than is commonly asserted, and it is quite incorrect to say that the author of the See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

Fairy See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen adopted ottava rima and added a ninth See also:

• LINE

line to prevent the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound from being monotonously iterative . A portion of See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne's Britannia's Pastorals is composed in pure ottava rima, but this is the only important specimen in See also:

• ORIGINAL

original Elizabethan literature . Two centuries later a very successful See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt was made to introduce in English poetry the flexibility and gaiety of ottava rima by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Hookham Frere, who had studied Pulci and See also:

• CASTI, GIOVANNI BATTISTA (1721–1803)

Casti, and had caught the very See also:

• MOVEMENT

movement of their diverting measure . His Whistlecraft appeared in 1817 .

This is a specimen of the ottava rima of Frere: But chiefly, when the shadowy See also:

• MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
• MOON, SIR RICHARD, 1ST BARONET (1814-1899)

moon had See also:

• SHED

shed O'er See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods and See also:

• WATERS, TERRITORIAL

waters her mysterious See also:

• HUE

hue, Their passive See also:

• HEARTS

hearts and vacant fancies fed With thoughts and aspirations See also:

• STRANGE, SIR ROBERT (1721-1792)

strange and new, Till their See also:

• BRUTE, SIMON WILLIAM GABRIEL (1779–1839)

brute souls with inward working bred Dark hints that in the depths of See also:

• INSTINCT

instinct See also:

• GREW, NEHEMIAH (1641-1712)

grew Subjection—not from See also:

• LOCKE, GOTTFRIED CHRISTIAN FRIEDRICH (1791–1855)
• LOCKE, JOHN (1632-1704)
• LOCKE, MATTHEW (c. 1630-1677)

Locke's associations, Nor See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David See also:

• HARTLEY, DAVID (1705–1757)
• HARTLEY, JONATHAN SCOTT (1845– )
• HARTLEY, SIR CHARLES AUGUSTUS (1825– )

Hartley's See also:

• DOCTRINE

doctrine of vibrations . Byron was greatly impressed by the opportunities for See also:

• SATIRE (Lat. satira, satura; see below)

satire involved in . Frere's experiment, and in See also:

• OCTOBER

October 1817, in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of Whistlecraft, but keeping still closer to Pulci, he wrote Beppo . By far the greatest See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument in ottava rima which exists in English literature is See also:

• DON
• DON (anc. Tanais)

Don Juan (1819-1824) . Byron also employed this measure, which was peculiarly adaptable to the purposes of his See also:

• GENIUS (from Lat. genere, gignere)

genius, in The See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision of See also:

• JUDGMENT

Judgment (1822) . Meanwhile See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley also became attracted by it, and in 182o translated the See also:

• HYMNS

Hymns of See also:

• HOMER, WINSLOW (1836-191o)

Homer into ottava rima . The curious burlesque epic of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• TENNANT, CHARLES (1768-1838)
• TENNANT, SMITHSON (1761-1815)
• TENNANT, WILLIAM (1784-1848)

Tennant (:784-1848), A nster See also:

• FAIR

Fair (1812), which preceded all these, is written in what would be ottava rima if the eighth line were not an alexandrine . The See also:

• FORM (Lat. forma)

form has been little used in other See also:

• LANGUAGES

languages than Italian and English . It was employed by Boscan (1490-1542), who imitated See also:

• BEMBO, PIETRO (1470—1547)

Bembo vigorously in See also:

• SPANISH

Spanish, and the very See also:

• FINE

fine Araucana of Ercilla y Zflniga (1533-1595) is in the same measure . Lope de See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

Vega Carpio wrote plentifully in ottava rima . In Portuguese poetry of the 16th and 17th centuries this measure obtained the See also:

• SANCTION (Lat. sanctia, from sancire, to decree or ordain)

sanction of See also:

• CAMOENS [CAMOES], LUIS VAZ DE (1524-1580)

Camoens, who wrote in it his immortal Lusiads (1572) . Ottava rima has been attempted ix .

Gelman poetry by See also:

• UHLAND, JOHANN LUDWIG (1787-1862)

Uhland and others, but not for pieces of any considerable length . (E .