Post your articles online and promote your website for free! Boost your sites ranking by linking it from the ArticleZap database! Free Article directory and instant translation publishing!
Blank verse, unrhymed iambic pentameter, the pre-eminent dramatic and narrative verse form in English and also the standard form for dramatic verse in Italian and German. Its richness and versatility depend on the skill of the poet in varying the stresses and the position of the caesura (pause) in each line, in catching the shifting tonal qualities and emotional overtones of the language, and in arranging lines into thought groups and paragraphs.
Adapted from unrhymed Greek and Latin heroic verse, blank verse was introduced in 16th century Italy along with other classical metres. The Italian Humanist Francesco Maria Molza attempted the writing of consecutive unrhymed verse in 1514 in his translation of Virgil’s Aeneid. Other experiments in 16th-century Italy were the tragedy of Sofonisba (written 1514—15) by Gian Giorgio Trissino, and the didactic poem Le api (1539) written by Giovanni Rucellai. Rucellai was the first to use the term versi sciolti, which became translated as “blank verse.” It soon became the standard metre of Italian Renaissance drama, used in important works such as the comedies of Ariosto, L’Aminta of Tasso, and the Ii pastor fido of Guarii.
Henry Howard, earl of Surrey, introduced the measure, along with the sonnet and other Italian Humanist verse forms, to England in the early 16th century. Thomas Sackville and Thomas Norton used blank verse for the first English tragic drama, Gorboduc (first performed 1561), and Christopher Marlowe developed its musical qualities and emotional power in Tamburlaine, Doctor Faustus, and Edward II. Shakespeare transformed the line and the instrument of blank verse into the vehicle for the greatest English dramatic poetry.
In his early plays, he combined it with prose and a 10-syllable rhymed couplet; he later employed a blank verse dependent on stress rather than on syllabic length. Shakespeare’s poetic expression in his later plays, such as Hamlet, King Lear, Othello, Macbeth and The Winter’s Tale, is supple, approximating the rhythms of speech, yet capable of conveying the subtlest human delight, grief, or perplexity.
After a period of debasement, blank verse was restored to its former grandeur by Milton’s Paradise Lost (1667). Milton’s verse is intellectually complex, yet flexilyle, using inversions, Latinized words, and all manner of stress, line length, variation of pause, and paragraphing to gain descriptive and dramatic effect. In the 18th century, James Thomson used blank verse in his long descriptive poem The Seasons, and Edward Young’s Night Thoughts uses it with power and passion. Later, Wordsworth wrote his autobiography of the poetic spirit The Prelude (completed 1805; published 1850) in blank verse; Shelley used it in his drama The Cenci (1819) and Keats in Hyperion (1820). The extreme flexibility of blank verse can be seen in its range from the high tragedy of Shakespeare to the low-keyed, conversational tone of Robert Frost in A Masque of Reason (1945). It is still used to voice the moods of modern man in a rhythm linking him to the past.
Blank verse was established in German drama by Gotthold Lessing’s Nathan der Weise (1779). Examples of its use are found in the writings of Goethe, Schiller, and Gerhart Hauptmann. It was also used extensively in Swedish, Russian, and Polish dramatic verse.
