terza rima

/tert"seuh ree"meuh/; It. /terdd"tsah rddee"mah/, Pros.

an Italian form of iambic verse consisting of eleven-syllable lines arranged in tercets, the middle line of each tercet rhyming with the first and last lines of the following tercet.

[1810-20; < It: third rhyme]

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Verse form consisting of tercets, or three-line stanzas, in which the second line of each rhymes with the first and third lines of the next.

The series ends with a separate line that rhymes with the second line of the last stanza, so that the rhyme scheme is aba, bcb, cdc, ..., yzy, z. Dante, in The Divine Comedy (с 1310–14), was the first to use terza rima in a long poem. A demanding form, it has not been widely adopted in languages less rich in rhymes than Italian. It was introduced into England by Thomas Wyat in the 16th century. Poets who have experimented with terza rima include Percy B. Shelley, Robert Browning, Elizabeth Barrett Browning, and W.H. Auden; Derek Walcott's book-length Omeros is written in modified terza rima.

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▪ poetic form

      Italian verse form consisting of stanzas of three lines (tercets); the first and third lines rhyming with one another and the second rhyming with the first and third of the following tercet. The series ends with a line that rhymes with the second line of the last stanza, so that the rhyme scheme is aba, bcb, cdc, . . . , yzy, z. The metre is often iambic pentameter.

      Dante, in his Divine Comedy (written c. 1310–14), was the first to use terza rima for a long poem, though a similar form had been previously used by the troubadours. After Dante, terza rima was favoured in 14th-century Italy, especially for allegorical and didactic poetry, by Petrarch and Boccaccio, and in the 16th century for satire and burlesque, notably by Ariosto. A demanding form, terza rima has not been widely adopted in languages less rich in rhymes than Italian. It was introduced in England by Sir Thomas Wyatt (Wyatt, Sir Thomas) in the 16th century. Many 19th-century Romantic poets such as Shelley (“Ode to the West Wind”), Byron, Elizabeth and Robert Browning, and Longfellow experimented with it. In the 20th century, W.H. Auden used terza rima for The Sea and the Mirror, and Archibald MacLeish in “Conquistador,” but with many deviations from the strict form.

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