Before delving into the issue of tenths, it is extremely important to define certain terms, which are mandatory in versification.
Versification: is the art of composing verses.
VERSE: meeting is as subject words and cadence, as fixed rules or only certain rhythm and often rhyme.
PROSE: is the form of written or oral communication is not subject to standards or rules of verse, namely: is the language we use to speak, write, text, etc.
SOME TYPES OF VERSE VERSE
ART MAJOR: It consists of nine syllables or more.
VERSE ART MINOR: Any who fail to eight syllables.
VERSES OF ART MINOR:
disyllabic: Two syllables.
Night
sad
saw
and
air
sky
ground
Tues
trisyllabic: Three syllables.
Looking
world
deep
solace.
tetrasyllabic: Four syllables.
The wounded
hearts.
pentasyllable: Five syllables.
You always say
the partridges.
hexasyllabic : Six syllables.
Night Christmas
in my sweet home
later Madrid.
Heptasílabos: Seven syllables.
When the moon rises
behind the mountains .
octosyllabic: eight syllables.
The circus elephant
moves his feet well.
is very large and very heavy
VERSES OF ART MAJOR:
Eneasílabos: Nine syllables.
decasílabo: Ten syllables.
hendecasyllable: Eleven syllables.
dodecasyllabic: Twelve syllables.
Tridecasílabos: Thirteen syllables. Alexandrian
: Fourteen syllables.
Pentadecasílabos: Qince syllables.
Hexadecasílabos: Sixteen syllables.
Heptadecasílabos: seventeen syllables.
Octodecasílabos: Eighteen syllables.
Eneadecasílabos: Nineteen syllables.
THE RHYTHM According to the Royal Academy of the language, the rhythm is a welcome and harmonious blend of voices, clauses, pauses, and cuts in the language. In the verse we can add that achieved the distribution of accents in the verse.
RIMA: Rhyme is the repetition of certain sounds at the end of the verse, from the last accented vowel.
RIMA assonance: is one in which only the vowels are repeated from the last accented vowel. Example:
Mad was - doc ena - po ema. Ermin
T - po ethical.
rhyme: is keeping the identity of termination from the vowel that bears the accent. Example:
Coraz ng - can ng.
Commemorative igo - igo test.
Dol or - am or .
Po ema - EMBL ema.
ACTION: number of syllables is the metric that has the verse. To measure verse must be taken into account: The law of the final accent and licensing metrics: sinalefa, Umlauts, syneresis and Hiatus.
ACCENT FINAL ACT: If the verse ends in serious word count the syllables.
Example: Ro-man-ti-ca se-duc-to-ra.
If the verse ends in sharp word, a syllable is added.
Example: Co-mien-zo-by-sa-lu-to 7 +1 = 8
If the verse ends in proparoxytone we subtract one.
Example: is mu-ni-fi-co sim-da-ti-co 9-1 = 8
sinalefa: is the union or connection of two syllables to form a single, combining the last syllable of a word and the first of the next, when that ends and it begins with a vowel, followed or not by an "h" (a mute).
Example:
call me or e r..
Va Subienda or the moon has sta.
sinalefa
Sometimes may include more than two vowels.
Example:
Volvi or to Eu clothes.
Also this rule if involved the "Y"
see example:
And has sta deep sea.
HIATAL: is presented in verse when sinalefa breaks because of the measure, look at this example:
Me-mo-ria-and-fi-ja- tion.
La-cris-tia-na-he-ro-i-na.
Per-to-tie-ne-four-to-the.
diaeresis: This happens when we make two syllables of a diphthong or metric triphthong, is used to increase a syllable and thus achieve the correct measure of verse, the umlaut is indicated by the sign (¨) put on the vocal weak or weaker.
Example:
E-ra-a-jar-din-is-ri-en-te.
Go-to-thirst-in-sa-ci-a-ble.
syneresis: is the opposite of Umlaut, this is when two vowels are not diphthongs usually pronounced as if it formed, in order to subtract a syllable verse.
Example:
Vi-no-gui-ta-war and-poe-si-a.
COPLA: poetic combination consists of four eight-syllable verses in which the first and the third is free and the second rhyming with the fourth.
Example:
x I managed to stick a key
to I learned on TV
x and with it I almost
to open it as a gate.
(I also hold a dwarf Achilles Nazoa).
Quartet: poetic expression that consists of four eight-syllable verses, which rhyme: the first with the third and second to the fourth:
Example:
to According to information
b I recently read
to Christopher Columbus was not
b who discovered the continent.
(Colon was teased Achilles Nazoa).
Redondilla: is also a combination of four eight-syllable verses but they rhyme: the first, fourth and second with the third.
Example:
to the curtain rises
b seen in a dinner scene
b where a dinner
dozen to of thirds in her nightgown.
(The Passion According to St. Cocho or be a saint not to be polled Achilles Nazoa)
THE TENTH
The tenth is the poetic expression that the American people have grown more fervor has spread across the continent charging the musicality of each of the regions that make up our geography, so we can find, to name a few genres written in tenth:
The mizzen and the Panamanian Torrente, the Six Puerto Rican, El Guaguanco and Yambú of Cuba, The Tenth Mexicana, is also present in the Argentine milonga, El Socabon Peru, the Colombian tenths, etc.
E n Venezuela is present in almost all musical genres, we can name: the barn, and weeping point, the point room, the point Cruzao, redoblao point, the gaita East Falcon tenth, tenth gracitana, tenth Zulia, point of sailing, Lara tenth, tenth Yaracuyanos, also found in some passages and prairie blows in Caracas merengue, joropos tuyero. Notably, in Miranda the tenth no singing, reciting, and, in alternating cross wakes song to the tenths Fuli recited.
This genre has established itself thanks to its cadence and sound, this has facilitated the development of the creative talent of our popular poets.
The story of this excellent unit stanza no longer as interesting as herself, then we must go back to centuries past to understand why, this beautiful literary expression that delighted the kings, queens, clergy great poets and scholars of the past, today we are provided with all his wit and sweetness in the voice of popular poets. (Often illiterate).
First there was the verse of sixteen syllables but because of the monotony that they presented, and division occurs form the eight-syllable verses. This verse of eight syllables metric imposed on mid-fourteenth century.
is said there was already a line around the years octosyllable 1,300, just was not organized into stanzas, and later, the poets began to group these verses in stanzas more organized and thus create and quatrains quatrains that give rise to birth of the tenth.
A tenth also has called him "Spinel" for his invention attributed to Vicente Espinel, but studies conducted by professionals, they tell us the tenth Espinel existed before, was Lope de Vega, his book THE CIRCE (dating from 1624) who created the name of Spinel.
Professor José Peñin, in his "Tenth Canto AND POETS illiterate" tells us the story of Vicente Espinel, which says:
"was born in Ronda, English city of Salamanca, back in the fifteenth century and closed this university, returns to his hometown. The walking experience and contact with travelers, innkeepers, popular poets, acrobats and students gave him the vision of English life at the time, which reflects wonderfully in his work. "
I would not say whether or not Espinel was the creator of this poetic form, but if that was the one who popularized it.
TENTH TYPE:
According
, Luís. A. Dominguez, in his text: "Meet Our Folklore", the tenths can be classified by their form or content. Its content: They are divided into, the human tenths and tenths to the divine. By the way: they receive the following headings:
, Luís. A. Dominguez, in his text: "Meet Our Folklore", the tenths can be classified by their form or content. Its content: They are divided into, the human tenths and tenths to the divine. By the way: they receive the following headings:
tenth book: versicación is that in your paragraphs or feet (as they are called in Venezuela) is present in free form, ie, the subject of each one of them is solved in ten lines independently. In addition, this type of tenth is not limited to four feet (paragraphs) as in the gloss, but you can create an unlimited number of these.
I
January moonless night,
shadow of fierce panther
to rub the hair, ebony
your entire body. Venus
seeking
Eros in a voracious whirlpool, I drive on roads
full lust Prominences
January moonless night,
shadow of fierce panther
to rub the hair, ebony
your entire body. Venus
seeking
Eros in a voracious whirlpool, I drive on roads
full lust Prominences
feeling that the divine universe.
II
heavy rain wet us and our bodies not dressed in the union vibrate
wild dancing on the leaves.
of jealousy
red rose has faded in your face, in a flash fallacious
look just your figure, to feel your gently
shooting tonight.
heavy rain wet us and our bodies not dressed in the union vibrate
wild dancing on the leaves.
of jealousy
red rose has faded in your face, in a flash fallacious
look just your figure, to feel your gently
shooting tonight.
III
Mad, angry panther,
Aphrodite's garden,
see, ride in horse
and go to heaven where Goddess. Penthesilea
powerful mythology
make this love we eat today
flush, pour
lava caves,
eternal woman under
of sparkling brilliance.
Mad, angry panther,
Aphrodite's garden,
see, ride in horse
and go to heaven where Goddess. Penthesilea
powerful mythology
make this love we eat today
flush, pour
lava caves,
eternal woman under
of sparkling brilliance.
IV
warrior sheathed his sword, when entering your forests
and
Shifting allows you to feel in the spring.
crosses borders,
ebony, black cat, your in bed
dominate me breaking my senses
and at dawn I pray, tris
warrior sheathed his sword, when entering your forests
and
Shifting allows you to feel in the spring.
crosses borders,
ebony, black cat, your in bed
dominate me breaking my senses
and at dawn I pray, tris
that my soul loves.
I'll still be the secret
that lives in my heart, but set my passion
and completely freak out;
swear that I am committed to silence, has it,
but I know that in the process to remain silent
, I feel even more
that lives in my heart, but set my passion
and completely freak out;
swear that I am committed to silence, has it,
but I know that in the process to remain silent
, I feel even more
tied to the nectar of your kisses.
II's late, yes, I understand, but not me
resign;
because if they found you
how I keep pretending?
looking at you I feel that your chest I I am in prison,
then begin to remember the night you gave me to
waste that nectar of your kisses.
III
This love that consumes me
perhaps impossible, but it is also
invincible
what my soul is presumed;
you in my body as you consume you until my
bones.
I do not forget the rapture, I
or out of my mind, you gave me tenderly
that nectar of your kisses.
This love that consumes me
perhaps impossible, but it is also
invincible
what my soul is presumed;
you in my body as you consume you until my
bones.
I do not forget the rapture, I
or out of my mind, you gave me tenderly
that nectar of your kisses.
IV
not ask me Remember, always keep that handkerchief
,
he is shown the desire
asks only passion. Make this desire
arrive and allow us access, that can trip
I fly like a bee,
to return to sip the nectar
your kisses.
not ask me Remember, always keep that handkerchief
,
he is shown the desire
asks only passion. Make this desire
arrive and allow us access, that can trip
I fly like a bee,
to return to sip the nectar
your kisses.
ALETRILLADA TENTH FOOT DOUBLE DOUBLE OR FORCED: repeat here the last two lines in all the tithe.
I
between champagne and martinis,
sharpened their iris
and my eyes got drunk,
with the sweetness that made their offerings that look
urging;
do love does not matter,
think this fear,
the night for me
and against the clock.
II
II
My lips
confused with the taste of their own,
music was the lullaby
and our hands were joined.
agreed
Desires but time is running out,
this love that is crammed
may be in error,
through the night for me
and against the clock.
IV
IV
My fingers are covering this vast universe
:
warm, venusta, smooth,
that pleasure is fear,
that reason I do not understand because my brain
aborts,
now time is running out and kill me
itching,
through the night for me
and the clock against.
IV
IV
That irresistible desire is satisfied only in bed,
as you see now is a fact that life
made possible.
,
my leave does not matter,
is that I am but no love:
through the night for me
and the clock against.
CHAINED TENTH: The particularity of this is that the verse These last days of the first tenth is repeated in the first of the second and so on.
I say that your feelings are
notes in a veil, which
cherubs from heaven or a chorus in the sky.
Your smile at a time when you draw
joy
wasting sympathy
doing
forget my sorrows in a calm night,
becomes fantasy.
II
Fantasy Becomes
pain, also crying,
because when listening to your song with your cute
melody
days ago
becomes light and dark, old age is
youth in peace
hatred becomes,
movement in the inert
and calm anxiety.
Fantasy Becomes
pain, also crying,
because when listening to your song with your cute
melody
days ago
becomes light and dark, old age is
youth in peace
hatred becomes,
movement in the inert
and calm anxiety.
TENTH IN POETRY OR GLOSA: For this tenth first constructed a quatrain, then the first tenth whose last line is the first quatrain, the second foot ends with the second verse of the quartet and well until the fourth.
high heaven Lucerito
lend your clarity,
to illuminate the steps
my beloved to be.
(Trovo oral tradition)
lend your clarity,
to illuminate the steps
my beloved to be.
(Trovo oral tradition)
I
Night dark and silent that always accompanies me with his spray
bathes a scene naive.
Night that is nothing eternal
a black veil,
to which you go into heat
with lightning flash chip
most beautiful,
lucerito high heaven.
Night dark and silent that always accompanies me with his spray
bathes a scene naive.
Night that is nothing eternal
a black veil,
to which you go into heat
with lightning flash chip
most beautiful,
lucerito high heaven.
II
Night in which you do not look
becomes into madness,
of your sweetness
suffer by staying in a sigh.
Night in which I hope turning to look at your beauty
and in full darkness, as I love
and tell my star:
lend your clarity.
III
Night that you are confident
of my wishful thinking,
know my emotions and my feelings latent.
Let me have my head resting on his lap, as it was at that
sunset when she approached me.
I asked the sun does not
to illuminate the steps.
IV
Night you'll pleased,
night so pure and beautiful,
sweet, exquisite,
have always been in life. Today
let me ask you a desire nothing more,
the light of the immensity of stars
that you bathe,
to
always accompany my beloved to be.
RETRUQUE TENTH OF OR PUN: also called quintuplet tenth, is consisting of puns or verses that are repeated back and forth or put another way: there are five eight-syllable verses that are repeated back and forth.
TENTH IN MIRROR: This tenth has the peculiarity that the tenth read the first verse to keep the same meaning and rhyme.
GLOSA GLOSA: gloss Unlike the first two quatrains are built on the theme may have no relationship, then the first decimal place, the first verse is the first of the first quartet and the tenth is the first of the second quatrain.
OVILLEJO: The ovillejo is a stanza of ten lines made popular by Miguel de Cervantes in his masterpiece The Ingenious Hidalgo Don Quixote de la Mancha where and what time later used, among others, José Zorrilla, in his work Don Juan Tenorio. In the first six verses are couplets, with the eight-syllable (8 syllables) wondered. And with the bankrupt answered. Forming something like an "echo." The rhyme has to be consonant. Example:
Who undermines my property?
disdain.
And who increases my grief?
Jealousy.
And who test my patience?
absence.
Thus, in my condition
no resolution is reached,
hope they kill me
scorn, jealousy and absence.
Who - me-us-ca-ba - my-bie-tions? = 8 syllables.
Des-de-tions = 3 syllables (broken)-Y-
Who - au-men-ta - I - due-the? = 8 syllables
The - ce-the = 3 syllables (broken)
Y-who - Prue-ba - I - pa-sci-ence? = 8 syllables
Au-sen-ing = 3 syllables (broken)
Redondilla (4 lines of 8 syllables):
ES-I - mo-do in - my - do-len-ing = 8 syllables
nin-gun - re-gave-me - is al-can-za, = 8 syllables
it - me - ma-tan - the es-pe-ran-za = 8 syllables
des-de-tion, - ce-the - and au-sen-ence. = 8 syllables.
