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: ''For etymology and similar terms see Octave.'' Ottava rima is a rhyming stanza form of Italian origin. Originally used for long poems on heroic themes, it later came to be popular in the writing of mock-heroic works. Its earliest known use is in the writings of Giovanni Boccaccio. The ottava rima stanza in English consists of eight iambic lines, usually iambic pentameters. Each stanza consists of three alternate rhymes and one double rhyme, following the a-b-a-b-a-b-c-c pattern. The form is similar to the older Sicilian octave, but evolved separately and is unrelated. The Sicilian octave is derived from the medieval strambotto and was a crucial step in the development of the sonnet, whereas the ottava rima is related to the canzone, a stanza form. == History == Boccaccio used ''ottava rima'' for a number of minor poems and, most significantly, for two of his major works, the ''Teseide'' (1340) and the ''Filostrato'' (c. 1335). These two poems defined the form as the main one to be used for epic poetry in Italian for the next two centuries. For instance, ''ottava rima'' was used by Poliziano and by Boiardo in his 1486 epic poem ''Orlando Innamorato''. The following year, Luigi Pulci published his ''Morgante Maggiore'' in which the mock-heroic, half-serious, half-burlesque use of the form that is most familiar to modern English-language readers first appeared. However, poets such as Ludovico Ariosto and Torquato Tasso continued to use ''ottava rima'' for serious epic poetry. It was later used in Italian libretti; perhaps the most famous example ends with the title of the comic opera ''Così fan tutte'' (1789). In English, ottava rima first appeared in Elizabethan translations of Tasso and Ariosto. The form also became popular for original works, such as Michael Drayton's ''The Barons' Wars'', Thomas Heywood's ''Troia Britannica'', or Aemilia Lanyer's ''Salve Deus Rex Judaeorum''. William Browne's ''Britannia's Pastorals ''also contains passages in ottava rima. The first English poet to write mock-heroic ottava rima was John Hookham Frere, whose 1817-8 poem ''Prospectus and Specimen of an Intended National Work'' used the form to considerable effect. Lord Byron read Frere's work and saw the potential of the form. He quickly produced ''Beppo'', his first poem to use the form. Shortly after this, Byron began working on his ''Don Juan'' (1819–1824), probably the best-known English poem in ''ottava rima''. Byron also used the form for ''The Vision of Judgment'' (1822). Shelley translated the Homeric Hymns into English in ottava rima. In the 20th century, William Butler Yeats used the form in several of his best later poems, including "Sailing to Byzantium" and "Among School Children".〔() 〕 So did Kenneth Koch for instance in his autobiographical poem "Seasons on Earth" of 1987. Outside of Italian and English, ottava rima has not been widely used, although the Spanish poets Boscan, Alonso de Ercilla y Zúñiga and Lope de Vega all experimented with it at one time or another. It is also the meter of several medieval Yiddish epic poems, such as the Bovo-Bukh (1507–1508), which were adaptations of Italian epics. In Russia, Pavel Katenin instigated a high-profile dispute on the proper way of translating Italian epics, which resulted in Alexander Pushkin's ottava rima poem "The Little House in Kolomna" (1830), which took its cue from Lord Byron's ''Beppo''. Pushkin's poem opens with a lengthy tongue-in-cheek discussion of the merits of ottava rima. Luís de Camões's 16th-century epic ''Os Lusíadas'', the most important work in the Portuguese language, is entirely written in ''ottava rima''. 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「ottava rima」の詳細全文を読む スポンサード リンク
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