Lines 1522-1553. Cuartetas (12-syllable verse); rime-scheme abab; even verses assonate or form a masculine rime; the crescendo is now at its height.

Lines 1554-1569. Octavillas italianas (11-syllable verse); see above for description of this verse form.

Lines 1570-1585. Octavillas italianas (10-syllable verse).

Lines 1586-1601. Octavillas italianas (9-syllable verse).

Lines 1602-1617. Octavillas italianas (8-syllable verse).

Lines 1618-1633. Octavillas italianas (7-syllable verse).

Lines 1634-1649. Octavillas italianas (6-syllable verse).

Lines 1650-1661. An irregular 12-verse stanza of 5-syllable verse in which verses 3 and 4, 8 and 9 rime as couplets; 6 and 12 also rime; the other verses are blank.

Lines 1662-1669. Variant of the octavilla italiana; 4-syllable verse; verse 6 is blank instead of 5.

Lines 1670-1677. Octavilla italiana; 3-syllable verse; rime-scheme normal.

Lines 1678-1680. Irregular meter of 2-syllable verse; rime and blank; the diminuendo effect ends here.

Lines 1681-1704. Octavas reales.

 

"CANCIÓN DEL PIRATA"

Lines 1-16. Octavillas italianas (8-syllable verse).

Lines 17-22. Sextina (8-syllable verse, except that verse 2 is a verso quebrado or "broken verse" of 4 syllables). The sextina admits of the greatest variety of form; those in this poem are all of the same pattern; rime-scheme abaccb.

Lines 23-30. Octavilla italiana (4-syllable verse).

Lines 31-34. Cuarteta (8-syllable verse); verses 1 and 3 are blank; 2 and 4 assonate.

Lines 35-40. Sextina.

Lines 41-48. Octavilla italiana, same as above.

 Prev. P 48/339 next