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Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Polymetry, the art of using different metric forms in the same literary composition (Paraíso), is one of the main features of Spanish Golden Age theater and is linked to Calderón de la Barca's authorial intent in his plays. In this paper, we propose an analysis of La vida es sueño, El alcalde de Zalamea, and El mágico prodigioso with the purpose of identifying the compelling reasons for polymetry's adoption as a defining stylistic feature of Spanish Golden Age theather. Thus, we seek to identify the different relations between the metric forms used and the dramatic conflict of the plays, considering that using one metric-strophic variety or another is not chosen at random, but rather an intentional gesture of the author seeking to establish intrinsic relationships between metric forms and dramatic action. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin Hispanique is the property of Universite de Bordeaux III (Michel de Montaigne), Institut Hispanique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present discussion reconsiders the extant poetic and grammatical fragments of Simias of Rhodes in an attempt to point out his main preoccupations and, as a consequence, to sketch his intellectual profile. His interest in philology manifests itself not only in his grammatical fragments—which suggest that his lexicographical technique, albeit rather rudimentary, was of distinct character—but also, on a more sophisticated level and in accord with the practice of later poets, in his poetic works. Further attention is devoted to his well-known penchant for formal experimentalism, both in the field of metre and wordplay. Finally, it is argued that the marked presence of the fantastic element was a defining trait of his poetry. One of the most notable manifestations of his predilection for the eerie and the uncanny is his obsession with the paradoxes of the voice, speech and communication of humans, animals and fantastic creatures.

The concept of free verse is extremely difficult to define. Therefore, its modernist variety is very ambiguous. The feature that characterizes all, not just futuristic variants of free verse, is the great influence of the semantics on the form of line. The structure of the verse is determined by emotional reasons, not rigid metrical framework. Futuristic free verse in this respect constitutes the rich research material and is a particularly good example confirming what has been said above. In this paper we will analize such variants of futuristic vers libre as free verse built according to the principle of cubist forms assembly, free sentence verse (non-numeric syntax) and polymetric line. The selected works of representatives of the Russian and Ukrainian Futurism – Velimir Khlebnikov and Mykhayl Semenko, will serve as an example of these metric patterns. [ABSTRACT FROM AUTHOR]