Parts of a Poem (with examples)

• It can serve you: Verses, rhymes and stanzas

• minor art verses. They have between two and eight syllables. For example: An unbroken dream (seven syllables).
• Major art verses. They have nine syllables or more. For example: I want a pure, happy, free day (eleven syllables).

• Verse ending in a sharp word. One syllable is added. For example: What do I have of me? passion. "Passion" is a sharp word, therefore, one more syllable is counted and a verse of eight syllables is formed.
• Verse ending in a serious word. No syllables are added or subtracted. For example: I silence the glory that I feel."I feel" is a serious word, therefore, syllables are not added or subtracted from the verse.
• Verse ending in a esdrújula word. One syllable is left. For example: They are in my path spotlights of a light enigmatic."Enigmatic" is an esdrújula word, therefore, one syllable less is counted and a verse of sixteen syllables is formed.

• sinalefa. It is the union of two contiguous vowels that belong to different words, but that are pronounced in the same syllable. It is not really considered a license, because it is a phenomenon that occurs in spoken language. For example: “In your clarity I saw mi alegría" is a verse of eleven syllables, because the "i" and the "a" are joined in a single syllable: en-vues-tra-cla-ri-dad-vi-miaI yelled at him.
• syneresis. It is the union in a single syllable of two vowels that are in the same word and that form hiatus, that is, they would have to be in different syllables. For example: "Stayohs en aquesta playa" is a verse with eight syllables, because the "a" and the "o" are joined in a single syllable and the hiatus is broken: what-dohs-in-a-ques-ta-beach.
• Dialefa. It is the separation in two different syllables of two vowels that, in the current language, would form sinalefa. For example: “The call ofand tolguien” is with sinalefa a line of six syllables (el-lla-ma-do-deal-guien), but if the goal is to form a line of seven syllables, you can use the dialefa (the-call-ma-do-dand–al-who).
• umlaut. It is the transformation of a diphthong, the union of two letters in a single syllable, in a hiatus. For example: “FEU a great appouchso” is a verse with six syllables, but with an umlaut it can be eight: For–and-a-great-a-pla–or-SW.

• assonance rhyme. Only the vowels match from the last stressed vowel. For example:

Indifferent or cowardly,
the city turns the espalda. (a)
He doesn't want to look in your mirror
its wall sincentada.(a)

(Gerardo Diego Cendoya)

• Rhyme. Match all sounds (vowels and consonants) from the last stressed vowel. For example:

Why then have you calledado (a)
this heart, do not healaste? (B)
And, well, you robbed meado, (a)
why did you leave him like thisaste, (b)
and you don't take the robbery that he robbedaste? (B)

(Sor Juana Ines De La Cruz)

• The length of the verses. All the lines of a poem can have the same length, that is, the number of syllables in each line is repeated. In any case, there are poetic compositions whose rhythm is sustained by the combination of lines of different lengths. For example:

For you, as I used to,(seven-syllable verse – seven syllables)
Of the harsh horse does not correct (Hendecasyllable verse – eleven syllables)
The fury and gallantry, (seven-syllable verse)
Not even with a brake does it govern, (seven-syllable verse)
Not even with sharp spurs does it afflict him. (hendecasyllable verse)

(Garcilaso de la Vega)

• The accents. They establish which syllables of a line are pronounced with more emphasis and may or may not coincide with the accents of ordinary language. Its distribution is determined by the type of verse. For example, a hendecasyllable line can have accents on syllables 1, 6 and 10; 2, 6 and 10; 3, 6 and 10; 4, 6 and 10; or 4, 8 and 10. It is very common for different structures to be used in the same composition, to avoid producing a monotonous rhythm. For example:

and comeone hundreddo of the timefor the riversgobeef (stress on syllables 3, 6 and 10)
triumphantfar from the seejez and olsawdo (stress on syllables 2, 6 and 10)

(Sor Juana Ines De La Cruz)

• the pauses. They are found at the end of the verses and stanzas or are produced by the punctuation marks. Some lines have a caesura: a pause in the middle of the line that divides it into two or more parts (called "hemistichs"). For example:

He no longer wants the palace, (caesura) nor the silver spinning wheel, (pause – end of verse and comma)
nor the enchanted falcon, (caesura) nor the scarlet jester, (pause – end of verse and comma)

(Ruben Dario)

• The sounds. Words or expressions can be repeated or the verses can have rhyme. For example:

¡oh, who was the hypsipyle who left the chrysalisGoing! (A)
(the princess is sad. the princess is pale.) (A)
¡oh adored vision of gold, rose and ivorythe! (B)
Who will fly to the land where a former princeyou were,(C)
(the princess is pale. the princess is sad.) (C)
brighter than dawn, more beautiful than aprilthe!(B)

(Ruben Dario)

Two expressions (“the princess is sad” and “the princess is pale”) and one word (“Oh”) are repeated. In addition, all the verses have rhyme, that is, the final sounds of the verses are repeated.

• couplet. It is a stanza of two lines with rhyming assonance or consonance. For example:

For ever and ever, to youmasters(A)
the honor, and humiliated, I adore youbouquets. (A)

(Fernando de Herrera)

• triplet. It is a stanza of three hendecasyllable lines (of eleven syllables) with consonant rhyme. For example:

Also the player is prisonwas (A)
(the sentence is from Omar) from another tablwas(A)
of black nights and white daysyou went. (B)

God moves the player, and this, the pieza. (C)
What god behind god the empi ploteza(C)
of dust and time and sleep and agonyyou went? (B)

(Jorge Luis Borges)

• Quartet. It is a stanza of four hendecasyllable lines (of eleven syllables) with consonant rhyme (ABBA). For example:

In persecuting me, World, what inter?those?(A)
How do I offend you? When only intthen (B)
put beauties in my understandingthen,(B)
and not my understanding in the bellwow? (A)

(Sor Juana Ines De La Cruz)

• Quintet. It is a stanza of five verses of major art with rhyme and with specific rules (three lines cannot rhyme in a row and there cannot be verses without rhyme).

I believed from God my sovereign Alithen, (A)
Archangel my power; my soul risesit was (B)
snatched me to the high firmamthen, (A)
And the blue region of the bum I sawthen (A)
I fell in love with my first songit was. (B)

(Jose Zorrilla)

• Sextetlira. It is a stanza of six heptasyllable lines (of seven syllables) and hendecasyllables (of eleven syllables) with rhyme.

In the casesthose(a)
Don't lose hope or trustwent (B)
in the good sucthose(a)
The spirit, which is at night and dwent, (B)
to be combatgone (c)
Of temperance and valor apercebgone. (C)

(Fray Luis de Leon)

• Lyre Septet. It is a stanza of seven heptasyllable lines (of seven syllables) and hendecasyllables (of eleven syllables) with rhyme. For example:

Despite so much pena (a)
like since then yesthen, (B)
that vision called meena (a)
softly collectedthen (B)
and anointing…, as when hisena (A)
the shearing of some convthen (B)
in an afternoon to beena… (a)

(Loved nerve)

• royal eighth. It is a stanza of eight hendecasyllable lines (of eleven syllables) and the first line, the third and the fifth (A) rhyme; the second, the fourth and the sixth (B); and the seventh with the eighth (C). For example:

I thought with this one that there was noit was (A)
unfortunate that ours is the sameplow, (B)
when Fabia cruel tries to fiit was (A)
of the soul to darken the lightplow. (B)
Understanding is the firstit was (A)
light that understands it, and voice that declares itplow,(B)
it is your sight and his eyes, well what intthen (C)
more fierce than to blind his understandingwhere? (C)

(Felix Lope de Vega)

• Stay. It is a stanza of more than six hendecasyllable lines (of eleven syllables) and seven syllables (of seven syllables) with rhyme. For example:

The proud tyrant, trustado (A)
in the great apparatus of their nbirds, (B)
that of ours the neck catvat, (C)
and the hands avvat (c)
to the ministry of his hard estado, (A)
knocked down with his arms grbirds, (B)
the highest cedars of the cimma (C)
and the tree that climbs the stiffestimma,(C)
drinking agenas waters and pissI walk(D)
the most closed and secluded bI walk. (D)

(Fernando de Herrera)

• It can serve you: types of poems

• I lyrical and I poetic
• dramatic poems
• epic poems
• rhyming poems
• Dada poems
• baroque poems