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The stanza is often overlooked in studies of poetics, and this tendency is even more pronounced during the Renaissance, where it is practically absent from rhetorical treatises. Despite this theoretical neglect, the usage, dating back to Marot, has clearly demonstrated the extent to which poets exploit this scale of verse combination to carry out their lyrical experiments. Agrippa d'Aubigné is not exempt from this poetic exercitatio, as evidenced by the considerable variety of strophes at work in the Odes of Le Printemps. Building upon this reconstructed corpus, this article aims to illustrate how the stanza of the ode constitutes a privileged place for the poet in terms of rhythmic, syntactic, and sonic composition. [ABSTRACT FROM AUTHOR]

This contribution proposes a new interpretation of Les sept épées, the third lyrical intermezzo of Apollinaire’s romance La Chanson du Mal-aimé. In spite of a quite impressive number of interpretations, several problems of this text have remained unsolved. My basic assumption is that the complete understanding of the poem requires a sexual reading of its seven stanzas. The swords appear to be symbolic representations of Apollinaire’s physical desires. The young lover of the English governess Annie Playden felt deeply frustrated by her refusal of his proposals. The painful experience inspired an almost allegorical poem, in which the devotional representation of Our Lady of the Seven Sorrows was transformed into a succession of phallic images. My analysis tries to show that the seven swords evoke the masturbatory fantasies of the unfortunate lover. The physical character of his passion may explain why the poem contains so many enigmas. Contrary to the pornographer, the poet could not openly expose his obsessions, but was compelled to conceal them by using different hermetic tropes and figures of style such as anagram, word-play, portmanteau words, periphrasis, allusion, and symbol. Apollinaire’s vast knowledge of both erotic and esoteric literature enabled him to employ such obscure formulations that his poem continues to puzzle the uninitiated reader. [ABSTRACT FROM AUTHOR]

The article provides information on the book "A Story" which is a set of seventy nine sonnets of the 16th century consisting of fourteen free stanza divided into two quatrains and tercets. Topics include difference in various sonnet of different centuries, origin of the sonnets and the concept of connotation in poetry writing.

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The article examines verses and strophes (stanzas) of ancient Iranian poetry. The author discusses the challenges of translating this work into other languages. The author discusses and compares translations of this poetry by scholars. Works such as "Altiranisches Wörterbuch," by Christian Bartholomae and "Die Gāthās des Zarathustra," by Helmut Humbach are cited.