Is named major verse in poetry to the line of text that contains at least nine metric syllables and is part of a poetic stanza. This can be rhymed, which makes it pair with other verses within the poem; or it can also be loose, which is common in prose.
The major verse in poetry has been widely popularized thanks to the sonnet, a poetic composition of great worldwide recognition that requires hendecasyllable verses for its stanzas to be elaborated. This poetic form consists of two quartets and two triplets of major art.
Among the most used poetic forms that apply the use of verses of major art are the couplet, the triplet, the quartet, the serventesio, the quintet, the sixth rhyme, the real eighth, the aforementioned sonnet, the heroic romance and the muse . All these possessors of consonant rhymes. However, major art verse is also popular in prose..
The verses of major art in poetry have the following characteristics:
The length of the major art verses must exceed 9 syllables. If you don't, then these are considered minor art..
The most common is that they reach 15 syllables, and the names that are given by their length are the following: 9 syllables are eneasyllables; of 10 syllables are decasyllables; of 11 syllables are hendecasyllables; 12 syllables are twelve syllables; of 13 syllables are tridecasyllables; of 14 syllables they are alejandrinos; 15 syllables are pentadecasyllables.
The verses of major art are used by both learned and popular poets. They are not exclusive to ancient poetic forms, such as triplets, quartets, or sonnets. In fact, these verses take on a lot of force in prose, where they enjoy great popularity..
The verses of major art in poetry are often used to address thoughtful and profound themes. This is due to the facilities provided by its extension regarding the application of rhetorical figures and other literary resources..
As with the verses of minor art, the length of the verses of major art in poetry is conditioned by the type of word that is located at the end of them. If the last word is sharp, the verse is subtracted one syllable; if it is serious, it remains the same; and if it is esdrújula, a syllable is added to the total extension.
Below are examples of verses of major art in poetry in each of its most used extensions:
He walked with hunger on his back,
guided by night dogs,
with the stigmata of life
and the guilt of man in the vein.
Who would have thought, no one,
the truth is that everyone, everyone,
the dark existence wounded us.
Here is presented a stanza of seven single verses in syllables (9 syllables). If we separate each part into syllables by applying the synalefa resource, we can verify that they comply with the metric. Example: Se_an / da / ba / con / el / ham / bre_a / cues / tas. The "_" implies a sinalefa.
Life goes and does not forgive,
when you least expect it
existence abandons us,
leaves us lying, with no answer.
Understanding this does cost,
one remains there, in the open,
erased from the world and from time.
Here a stanza of seven eneasyllable verses (9 syllables) of rhyme ABABB - - is presented. There is consonance in all, except in the second one that presents assonance. If we separate each part into syllables by applying the synalefa resource, we can verify that they comply with the metric. Example: un / o / que / da_here, _en / la_in / tem / pe / rie.
The child above does not come back,
his departure was defining,
his absence is very noticeable,
and her mother will never understand.
Tell me who will come and understand us?,
it wasn't fair that he left like that,
without saying goodbye, a goodbye, even,
that corrodes and corrupts the soul here,
the strongest snatch the calm,
no matter how hard he resisted.
Here is a ten-line stanza of decasyllables (10 syllables) of rhyming consonant ABBAACCDDC. If we separate each part into syllables by applying the synalefa resource, we can verify that they comply with the metric. Example: al / más / fit / te_a / rre / ba / ta / la / cal / ma.
Born of the night and a strange sea,
sheltered by the saline mist,
I took the crystal clear water on the shore
and I made myself a ladder without rungs.
I went into the dark in those years
when no one believed in what was possible,
and a finite light, almost unspeakable,
crowned life with hard steps,
it was useless to be one of the purest,
it was all absurd, gray, and loathsome.
Here is presented a stanza of ten hendecasyllable lines (11 syllables) of rhyme ABBAACCDDC consonant with assonance in the first verse. If we separate each part into syllables applying the synalepha resource, we can verify that they comply with the metric. Example: co / ro / nó / la / vi / da / con / pa / sos / du / ros.
Hope of the poor, you do not arrive,
you left without having touched the light
to light the house of that Pedro,
of that José, of that María Paula;
you followed along, to the newspapers,
to the white houses of prostitutes
with fine names and without memorials.
You left, hope, after the winged guide
of the black grim reaper and her boat on the run
hungry for those who were waiting for you,
and Pedro, José and María Paula will come
to have dinner with her for never finding you,
woman with a name that deludes and kills,
or illusion with a name, or woman who overwhelms,
the town was waiting for you, it was waiting for you,
under the red signs of vile oz,
and you were the hammer that fell there
for not having gone, and having forgotten us.
Here is presented a stanza of eighteen hendecasyllable verses (11 syllables) loose. If we separate each part into syllables by applying the synalefa resource, we can verify that they comply with the metric. Example: se / guis / te / de / lar / go, _a / los / pe / rió / di / cos.
The flower will know itself to the withered,
and we believe that it dies, it falls apart,
that becomes nothing between the slight nothing
from its ashes, volatile in the wind.
It rises among its remains, it looks at all,
and understand what happened to the land of air
where did that divine space come from
that sings to the primeval dust its worth
and makes geography in the ocher spaces.
The flower went to know itself to the withered,
and it does not return now or soon, it stays,
it is useless to return to the short world.
Here is presented a stanza of twelve twelve-syllable verses (12 syllables) loose. If we separate each part into syllables applying the synalepha resource, we can verify that they comply with the metric. Example: La / flor / se / fue_a / sa / ber / de / si_a / lo / mar / chi / to.
Shortness of light in absent eyes,
you show up just enough to miss you,
you show up to take yourself to death.
Here is presented a stanza of three tridecasyllable verses (13 syllables) loose. If we separate each part into syllables applying the synalepha resource, we can verify that they comply with the metric. Example: te / pre / sen / tas / lo / jus / to / pa / ra_a / si_ex / tra / ñar / te.
The cardón pokes its thorns into the desert
to hurt the air of white and green flesh,
to shout that the root hurts in the ground,
the air, the water, the inclement sun that approaches,
because he didn't ask to come with that mortal body,
because before it was dune, a colossus of sand.
Here is presented a stanza of six Alexandrian verses (14 syllables) loose. If we separate each part into syllables applying the synalepha resource, we can verify that they comply with the metric. Example: pa / ra / gri / tar / que / le / due / le / la / root / en / la / tie / rra.
We arrived from some strange gray-hued planet,
that's why this is not going well for us, it does not fit our ego,
and we must reduce it at best, to white ashes,
so we will be at home and we will have to go.
Here is presented a stanza of four pentadecasyllable verses (15 syllables) loose. If each part is separated into syllables applying the synalepha resource, we can verify that they comply with the metric. Example: y / de / be / mos / men / guar / lo_a / lo / su / mo, _a blan / cas / ce / ni / zas.