The quatrains, or groups of four lines, have a constant rhyme pattern of cdcd, efef, with the last two-line couplet rhyming, gg. This rhyme system was chosen by the author to emulate the sing-song character of genuine prayer. Furthermore, the poem is largely written in iambic meter. The iambic foot has two stressed syllables followed by one unstressed syllable and then back again.
In conclusion, the meter of the poem in prayer can be described as iambic quatrains with a final couplet.
As a result, "Virtue's" rhyme pattern is ABAB CBCB DBDB EFEF. Until the penultimate stanza of the poem, all of the even lines rhyme with each other. The final stanza of the poem does not follow the same rhyme pattern as the rest of the poem. Instead, it uses monosemic tetrameter, which means that each line of the stanza ends with an unstressed syllable.
Here are the full lyrics to "Virtue":
How virtuous I know myself to be,
For being so, must make me happy now.
If I am virtuous, I should feel glad;
But since I feel the opposite, it shows
That I am not yet so, nor never will be.
Then what makes me happy? Is it food?
No, for eating that which is good.
Is it friends? Yes, for having those
Who help and support me in times of need.
Is it honor? No, for I have been told
That many people without fame or wealth
Are more satisfied than I.
The poem "London" is composed of four quatrains with an ABAB rhyme pattern and written in iambic tetrameter. Alliteration, anaphora, repetition, and contradiction are among the poetic techniques employed. The poem describes the city as a woman who will one day be his wife.
The first quatrain begins with the image of the city as a woman. It then describes her teeth as "white and even," before moving on to her eyes which are "black as jet." This comparison of the city's beauty with that of a star is repeated in the third and fourth quatrains, where she is compared to Venus or Mars while he imagines what her hair would look like if it were red.
The last two lines of each stanza contain a half-line reversal, where normal word order is reversed: "Has been, was, shall be..." This technique creates tension between what has just been described ("her face") and what shall follow ("the grave").
Thus, "London" shows how beautiful and deadly women can be.
Versification and structure The poem is structured in the form of a song, with four rhyming or near-rhyming couplets and a concluding repeating refrain. The couplets are trochaic in style, with two stresses each line, like in many nursery rhymes. This emphasizes the speaker's childlike character.
The poem is divided into three stanzas which differ in tone and theme. The first expresses joy at the return of spring; the second, anxiety about the effects of winter on plants and people; the third, optimism about the future.
Each stanza begins with anaphora (repeating words or phrases), followed by a verb phrase beginning with a participle (a word or phrase that indicates a state or action). The anaphoric verbs express different aspects of spring: rebirth, renewal, awakening, etc. The participles indicate what kind of spring it is: young, green, fresh, etc.
Invictus is a four-stanza rhyming poetry written in iambic tetrameter, which means that each line has four beats or stresses. Trochees (and spondees) appear on occasion to spice up the steady pace. Because the ending rhymes are all complete, the rhyme scheme is abab cdcd efef ghgh. This helps to keep the poetry together. Meter is important in creating tone. In this case, the meter gives the work its serious tone.
Invictus was written by William Ernest Henley at age twenty-one. He had just returned home from South Africa where he had been appointed as an officer in the British army during the Boer War. Like many young men of his time, he felt called upon to serve his country. However, unlike most people his age, he saw service not only as an obligation but also as an opportunity to prove himself worthy and earn recognition from his fellow soldiers.
Henley wrote Invictus shortly after his arrival back in England. It was first published in London in 1900. The poem was very successful and soon became one of Britain's best-known poems. It still is today!
The title refers to the fact that Lord Nelson had asked Henley to write him down if he were ever invocated (called out for duty).