The tripartite character of a strophe appears somewhat more distinctly in stanzas formed on the scheme a b a b b b, or a b a b b x (cf.
The strophe in ancient poetry, and the stanza in mediaeval and modern analogues and derivatives of that poetic form, are combinations of single lines into a unity of which the lines are the parts.
Consequently the number of syllables in the successive lines of an accentual strophe would remain the same, where in the metrical antecedent they might have varied.
But as that great strophe of Adam's Heri mundus exultavit (the strophe of the Stabat Mater) was of mightiest dominance among the hymns, so for these student-songs there was also one measure that was chief.
He afterward made a few verbal changes, and added one new strophe after the eighth.
This strophe was not in the ode as delivered, but was written immediately after the occasion, and included in the published poem.
But no sooner was the poem published, with the matchless Lincoln strophe inserted, than its greatness and nobility were manifest.
But Lowell asks his critic to observe that this strophe "leads naturally" to the next, and "that I there justify" the sentiment.
For Vondel's beautiful threnody we have unfortunately no space, but shall content ourselves with quoting the first strophe of Huyghens' touching elegy: "Here Tesselschade lies.
It is strophe and anti-strophe nearly all the way through.
Strophe by strophe that perfect litany rose and was lost in a cloud of incense, in the mazy arches of the roof.
The Strophe was sung while the chorus moved from one side of the orchestra to the other; the Antistrophe while the reversed movement was being made; and the Epodos after the singers had returned to their original position.
The metrical scheme of this sonnet is simple: a strophe balanced by an antistrophe.
Metrical scheme: a brief strophe and antistrophe and conclusion.
The first strophe (after the prelude) simply states the fact of the deliverance; the second pictures it in detail, the third meditates on the consequences to the furthest future.
Strophe God cometh from Teman, And the Holy One from Mount Paran.
Sonnets (on page 125) is an example of a poem consisting simply of strophe and antistrophe; No.
The term strophe has come to be used also for verse paragraphs where there is no antistrophic arrangement.
The lines of invocation are not counted in strophe and antistrophe 2.
The metrical scheme of this sonnet is an example of 'antistrophic inversion': that is, two strophes followed by their antistrophes, but the antistrophe to the second stropheprecedes the antistrophe to the first.
Having one strophe only; not varied in measure; written in unvaried measure.
The "Nibelungen" strophe consists of four long lines separated by a caesura into two distinct halves.
A further peculiarity of the "Nibelungen" strophe is the frequent omission of the unaccented syllable in the second half of the last line of the strophe between the second and third stresses.
This strophe is evidently a late interpolation, as it contradicts the description given above.
The "Nibelungen" stropheis presumably much older, and, having become popular in Austria through the poem, was adopted by Kurenberg for his purposes.
Saxon, and the Rhenish traditions, prove that the strophe is considerably older than the preserved redactions of our poem, and that it was probably of Saxon origin.
The third strophe pursues the thought of the Divine condescension as especially shown in stooping to the dejected and helpless and lifting them.
The sterner aspect of Providence is dealt with in the next strophe (vv.
The singer comes closer to his own experience in the next strophe (vv.
The second strophe is full of allusions to earlier psalms and prophets.
The teaching of the strophe is gathered up in ver.
The second strophe contains the reason for praise--namely, the greatness and depth of the Divine works and purposes.
The figures for hostility in the second strophe are the other equally familiar ones of setting snares and traps.
Nothing in this strophe indicates that these oppressors are foreigners.
The terrible strophe ends with the assured declaration of the Divinely appointed transiency of the evil-doers, especially of the slanderers against whom the psalmist took refuge in Jehovah.
The structure of both psalms is the same, each being divided into four strophes, normally consisting of three verses each, though the last strophe of Psalm xcvi.
As in the previousstrophe the middle verse was central in idea as well as in place, so in this one.
The final strophe is almost identical with that of Psalm xcvi.
The second strophe therefore proclaims that all His dominion is based on uprightness, and is a continual passing of that into acts of "judgment and righteousness.
The more personal references are comprised in the fourth strophe (vv.
The fiery hatred of evil and evil men which burns in the last strophe offends many and startles more.
From the first strophe we learn that Kleandros had won a Nemean as well as an Isthmian victory, and perhaps this ode really belongs to the former.
The above details of the torture of Cornelius De Witt, who had the fortitude to recite this strophein the midst of atrocious sufferings, are scrupulously exact.
It is the old strophe and antistrophe of begging and blessing, and the singers are so wretched that one is often softened into charity.
Grecian Choruses, theStrophe and Ante-Strophe connected with the Stars, 462-m.
Among the Greeks, the march of the Choruses in their theatres represented the movements of the Heavens and the planets, and the Strophe and Anti-Strophe imitated, Aristoxenes says, the movements of the Stars.
One began the song: when he had ended his strophe the other took up the lay, and so continued the song alternately.
The other, who listened attentively, immediately began where the former left off, answering him in milder or more vehement notes, according as the purport of the strophe required.
In longer poems the strophe may be a group of lines.
The stropheis a group of words which round themselves satisfactorily to the ear.
The third strophesets the emptiness of men in strong contrast to the sufficiency of God.
The final strophe dwells more on the sufferings of the survivors than the earlier parts of the psalm do, and in this respect contrasts with Psalm lxxiv.
The twofold conditions of God's intervention are, as this strophe teaches, Israel's cry to Him to arise, and expectant diligence in preparing His way.
A final verse, of double the length of the others, stands somewhat apart from the preceding strophe both in rhythm and in thought.
The second strophe is distinguished from the first by the increased fervour of its calls to praise, by its still more exultant rush, and by its omission of reference to Jacob.
The third strophe soars with its theme, describing His triumphal entry thither and permanent abiding there.
As the text stands, thisstrophe is a verse too short, and ver.
The second strophe advances to a closer contemplation of the deeds of God, which the nations are summoned to behold.
As in the former strophe the singer showed to the peoples God working in the world, here he bids them look up and see Him ascending on high.
That musical indication is wanting at the close of the third strophe (ver.
In the second strophe the wilderness life is described.
This situation naturally leads up to the prayer and confidence of the closing strophe (vv.
This general theme is exhibited in the first strophe (vv.
The third strophe comes still closer to the particular deliverance underlying the psalm.
The fifth strophe contains a real human sentiment; it might exclaim with Falstaff, "Heaven send me better company!
In the fourth strophe courage comes along on regular seven league boots, and I wish the critic had as much reason to be satisfied with its contents, as had the Fatherland, to which a splendid vow is sworn therein.
In the sixth strophe we learn that the poet was not blustering in the fourth strophe, but that the fighting is really going to begin: at the same time it contains the principal beauty of the song, namely the end.
Let no one throw the German oaks (strophe four) in my way; I must stumble along over whole oak trees.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "strophe" in a variety of sentences. We hope that you will now be able to make sentences using this word.
