See also:

• QUATORZAIN (from Fr. quatorze, fourteen)

QUATORZAIN (from Fr. quatorze, fourteen)  , the See also:

• TERM

term used in See also:

• ENGLISH

English literature, as opposed to " See also:

• SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet," for a poem in fourteen rhymed See also:

• IAMBIC

iambic lines closing (as a sonnet strictly never does) with a See also:

• COUPLET

couplet . The distinction was See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long neglected, because the English poets of the 16th See also:

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

century had failed to apprehend the true See also:

• FORM (Lat. forma)

form of the sonnet, and called See also:

• PETRARCH (1304-1374)

Petrarch's and other See also:

• ITALIAN

Italian poets' sonnets quatorzains, and their own incorrect quatorzains sonnets . Almost all the so-called sonnets of the Elizabethan cycles, including those of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, consist of three quatrains of alternate See also:

• RHYME

rhyme, not repeated in the successive quatrains, and the whole closes with a couplet . A more perfect example of the form could hardly be found than the following, published by See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael See also:

• DRAYTON, MICHAEL (1563-1631)

Drayton in 1602: Dear, why should you commend me to my See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest, When now the See also:

• NIGHT

night doth summon all to See also:

• SLEEP (0. Eng. slcepan; Ger. schlafen; cf. Lat. labi, to glide, and " slip ")

sleep ? Methinks this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time becometh lovers best, Night was ordained together See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends to keep . How happy are all other living things Which though the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day conjoin by several See also:

• FLIGHT

flight, The quiet evening yet together brings, And each returns unto his love at night, 0 See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

thou that See also:

• ART

art so courteous unto all, Why should'st thou, Night, abuse me only thus, That every creature to his See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind dost See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call, And yet 'tis thou dost only sever us ? Well could I wish it would be ever day, If, when night comes, you bid me go away . See also:

• DONNE, JOHN (1573–1631)

Donne, and afterwards See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton, fought against the facility and incorrectness of this form of See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre and adopted the Italian form of sonnet . During the 19th century, most poets of distinction prided themselves on following the strict Petrarchan See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of the sonnet, and particularly in avoiding the final couplet . In his most mature See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, however, See also:

• KEATS, JOHN (1795-1821)

Keats returned to the See also:

• QUATORZAIN (from Fr. quatorze, fourteen)

quatorzain, perhaps in emulation with Shakespeare; and some of his examples, such as " When I have fears," " See also:

• STANDING

Standing aloof in See also:

• GIANT (O.E. geant, through Fr. giant, O.Fr. gaiant, jaiant, jeant, med. pop. Lat. gagante—cf. Ital. gigante—by assimilation from gigantem, ace. of Lat. gigas, Gr. yiyas)

giant See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance," and " See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

Bright See also:

• STAR

Star," are the most beautiful in See also:

• MODERN

modern literature . The " See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

Fancy in Nubibus," written by S . T .

See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge in 1819, also deserves See also:

• NOTICE

notice as a quatorzain of See also:

• PECULIAR

peculiar beauty .