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Fixed verse forms are a kind of template or formula that poetry can be composed in. The opposite of Fixed verse is Free verse poetry, which by design has little or no pre-established guidelines. The various poetic forms, such as meter, rhyme scheme, and stanzas guide and limit a poet's choices when composing poetry. A fixed verse form combines one or more of these limitations into a larger form. A form usually demands strict adherence to the established guidelines that to some poets may seem stifling, while other poets view the rigid structure as a challenge to be innovative and creative while staying within the guidelines. == Examples of Fixed Verse forms == *; Haiku : A Japanese form designed to be small and concise by limiting the number of lines and the number of syllables in a line. Japanese haiku are three-line poems with the first and the third line having five syllables and the middle having seven syllables. English-language Haiku may be shorter than seventeen syllables, though some poets prefer to keep to the 5-7-5 format. *::Whitecaps on the bay: *::A broken signboard banging *::In the April wind. *::—Richard Wright (collected in ''Haiku: This Other World'', Arcade Publishing, 1998) *; Sonnet : The sonnet is a European form and at its most basic requires that the total length be fourteen lines. There are two primary forms of the sonnet: * *; English Sonnet * *: In addition to above requirements, the English Sonnet must be four stanzas, the first three being quatrains and the last a couplet. Also the rhyme scheme for the quatrains is A-B-A-B and the final couplet is rhyming. * *::Let me not to the marriage of true minds * *::Admit impediments, love is not love * *::Which alters when it alteration finds, * *::Or bends with the remover to remove. * *::O no, it is an ever fixed mark * *::That looks on tempests and is never shaken; * *::It is the star to every wand'ring bark, * *::Whose worth's unknown although his height be taken. * *::Love's not time's fool, though rosy lips and cheeks * *::Within his bending sickle's compass come, * *::Love alters not with his brief hours and weeks, * *::But bears it out even to the edge of doom: * *::If this be error and upon me proved, * *::I never writ, nor no man ever loved. * *::—William Shakespeare, ''Sonnet 116'' * *; Italian Sonnet : The Italian sonnet requires that the fourteen lines be broken into one octave (two quatrains), which describe a problem, followed by a sestet (two tercets), which gives the resolution to it. * *::Methought I saw my late espoused Saint * *::Brought to me like Alcestis from the grave, * *::Whom Joves great Son to her glad Husband gave, * *::Rescu'd from death by force though pale and faint. * *::Mine as whom washt from spot of child-bed taint, * *::Purification in the old Law did save, * *::And such, as yet once more I trust to have * *::Full sight of her in Heaven without restraint, * *::Came vested all in white, pure as her mind: * *::Her face was vail'd, yet to my fancied sight, * *::Love, sweetness, goodness, in her person shin'd * *::So clear, as in no face with more delight. * *::But O as to embrace me she enclin'd * *::I wak'd, she fled, and day brought back my night. * *::—John Milton, ''Sonnet XXIII'' *; Sestina : The sestina has a highly structured form consisting of six stanzas of six lines each, followed by a tercet (called its envoi or tornada) for a total of thirty-nine lines. The same set of six words ends the lines of each of the six-line stanzas, but in a different order each time. *::Sestina ::September rain falls on the house. ::In the failing light, the old grandmother ::sits in the kitchen with the child ::beside the Little Marvel Stove, ::reading the jokes from the almanac, ::laughing and talking to hide her tears. ::She thinks that her equinoctial tears ::and the rain that beats on the roof of the house ::were both foretold by the almanac, ::but only known to a grandmother. ::The iron kettle sings on the stove. ::She cuts some bread and says to the child, ::It's time for tea now; but the child ::is watching the teakettle's small hard tears ::dance like mad on the hot black stove, ::the way the rain must dance on the house. ::Tidying up, the old grandmother ::hangs up the clever almanac ::on its string. Birdlike, the almanac ::hovers half open above the child, ::hovers above the old grandmother ::and her teacup full of dark brown tears. ::She shivers and says she thinks the house ::feels chilly, and puts more wood in the stove. ::It was to be, says the Marvel Stove. ::I know what I know, says the almanac. ::With crayons the child draws a rigid house ::and a winding pathway. Then the child ::puts in a man with buttons like tears ::and shows it proudly to the grandmother. ::But secretly, while the grandmother ::busies herself about the stove, ::the little moons fall down like tears ::from between the pages of the almanac ::into the flower bed the child ::has carefully placed in the front of the house. ::Time to plant tears, says the almanac. ::The grandmother sings to the marvelous stove ::and the child draws another inscrutable house. :: --Elizabeth Bishop *; Villanelle : A villanelle has only two rhyme sounds. The first and third lines of the first stanza are rhyming refrains that alternate as the third line in each successive stanza and form a couplet at the close. A villanelle is nineteen lines long, consisting of five tercets and one concluding quatrain. *::Do not go gentle into that good night, *::Old age should burn and rave at close of day; *::Rage, rage against the dying of the light. *::Though wise men at their end know dark is right, *::Because their words had forked no lightning they *::Do not go gentle into that good night. *::Good men, the last wave by, crying how bright *::Their frail deeds might have danced in a green bay, *::Rage, rage against the dying of the light. *::Wild men who caught and sang the sun in flight, *::And learn, too late, they grieved it on its way, *::Do not go gentle into that good night. *::Grave men, near death, who see with blinding sight *::Blind eyes could blaze like meteors and be gay, *::Rage, rage against the dying of the light. *::And you, my father, there on the sad height, *::Curse, bless, me now with your fierce tears, I pray. *::Do not go gentle into that good night. *::Rage, rage against the dying of the light. *::—Dylan Thomas, ''Do not Go Gentle into That Good Night'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fixed verse」の詳細全文を読む スポンサード リンク
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