For etymology and similar terms see Octave.

Ottava rima is a rhyming stanza form of Italian origin. Originally used for long poems on heroic themes, it later came to be popular in the writing of mock-heroic works. Its earliest known use is in the writings of Giovanni Boccaccio.

The ottava rima stanza in English consists of eight iambic lines, usually iambic pentameters. Each stanza consists of three alternate rhymes and one double rhyme, following the a-b-a-b-a-b-c-c pattern. The form is similar to the older Sicilian octave, but evolved separately and is unrelated. The Sicilian octave is derived from the medieval strambotto and was a crucial step in the development of the sonnet, whereas the ottava rima is related to the canzone, a stanza form.

History[link]

Boccaccio used ottava rima for a number of minor poems and, most significantly, for two of his major works, the Teseide (1340) and the Filostrato (1347). These two poems defined the form as the main one to be used for epic poetry in Italian for the next two centuries. For instance, ottava rima was used by Poliziano and by Boiardo in his 1486 epic poem Orlando Innamorato . The following year, Luigi Pulci published his Morgante Maggiore in which the mock-heroic, half-serious, half-burlesque use of the form that is most familiar to modern English-language readers first appeared. However, poets such as Ludovico Ariosto and Torquato Tasso continued to use ottava rima for serious epic poetry. It was later used in Italian libretti; perhaps the most famous example ends with the title of the comic opera Così fan tutte (1789).

In English, ottava rima first appeared in Elizabethan translations of Tasso and Ariosto. However, the form did not become popular for original works, and a section of William Browne's Britannia's Pastorals is the only known original work in the form that survives. The first English poet to write mock-heroic ottava rima was John Hookham Frere, whose 1817-8 poem Prospectus and Specimen of an Intended National Work used the form to considerable effect. Byron read Frere's work and saw the potential of the form. He quickly produced Beppo, his first poem to use the form. Shortly after this, Byron began working on his Don Juan (1819-1824), probably the best-known English poem in ottava rima. Byron also used the form for The Vision of Judgment (1822). Shelley translated the Homeric Hymns into English in ottava rima. In the 20th century, William Butler Yeats used the form in several of his best later poems, including "Sailing to Byzantium" and "Among School Children".^[1] So did Kenneth Koch for instance in his autobiographical poem "Seasons on Earth" of 1987.^[2]

Outside of Italian and English, ottava rima has not been widely used, although the Spanish poets Boscan, Alonso de Ercilla y Zúñiga and Lope de Vega all experimented with it at one time or another. It is also the meter of several medieval Yiddish epic poems, such as the Bovo-Bukh (1507-1508), which were adaptations of Italian epics. In Russia, Pavel Katenin instigated a high-profile dispute on the proper way of translating Italian epics, which resulted in Alexander Pushkin's ottava rima poem "The Little House in Kolomna" (1830), which took its cue from Lord Byron's Beppo. Pushkin's poem opens with a lengthy tongue-in-cheek discussion of the merits of ottava rima. Luís de Camões's 16th Century epic Os Lusíadas, the most important work in the Portuguese Language, is entirely written in ottava rima.

Some examples[link]

From Frere's Prospectus and Specimen of an Intended National Work, commonly known as The Monks and the Giants^[3]

But chiefly, when the shadowy moon had shed

O'er woods and waters her mysterious hue,

Their passive hearts and vacant fancies fed

With thoughts and aspirations strange and new,

Till their brute souls with inward working bred

Dark hints that in the depths of instinct grew

Subjection not from Locke's associations,

Nor David Hartley's doctrine of vibrations.

From Byron's Don Juan

"Go, little book, from this my solitude!

I cast thee on the waters – go thy ways!

And if, as I believe, thy vein be good,

The world will find thee after many days."

When Southey's read, and Wordsworth understood,

I can't help putting in my claim to praise –

The four first rhymes are Southey's every line:

For God's sake, reader! take them not for mine.

From Anthony Burgess's Byrne: A Novel

He thought he was a kind of living myth

And hence deserving of ottima rima,

The scheme that Ariosto juggled with,

Apt for a lecherous defective dreamer.

He'd have preferred a stronger-muscled smith,

Anvilling rhymes amid poetic steam, a

Sort of Lord Byron. Byron was long dead.

This poetaster had to do instead.

References[link]

External links[link]

• Orlando Innamorato
• Byron's Beppo
• Frere's The Monks and the Giants

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2010)

Alemayehu Eshete in 2010

Alemayehu Eshete (Amharic: ዓለማየሁ እሸቴ^?) (also written Alèmayèhu Eshèté in French) is an Ethiopian Ethio-jazz singer active since the 1960s who primarily sings in Amharic. Eshete's talent was recognized by colonel Rètta Dèmèqè who invited the young singer to perform with Addis Ababa's famous Police Orchestra. Eshete had his first hit ("Seul") in 1961 before moving on to found the orchestra Alèm-Girma Band with Girma Bèyènè. Over the course of 15 years, Eshete released some 30 singles until the arrival of the communist Derg junta, which forced Eshete and many other artists into exile.^[1]

Alemayehu Eshete has since gained fame in Europe and the Americas with the release of Buda Musique's Ethiopiques series of compilations on compact disc. Ethiopiques Volume 9 is devoted entirely to recordings of Eshete's earlier music, and Volume 22 covers his career between 1972 and 1974. Other songs have also appeared on Volumes 3, 8, 10, and 13 or the series. In 2008 Eshete toured the United States with fellow Ethiopian singer Mahmoud Ahmed, backed by Boston's 10-piece Either/Orchestra.

Partial discography[link]

References[link]

Jacob Kirkegaard is a sound artist born in 1975 in Denmark, living in Berlin, Germany. In early 2006 he graduated at the Academy of Arts and the Media in Cologne, Germany. Jacob is exploring sound in art with a scientific approach. Parallel to his studies, he has been giving lectures on sound and space at the Royal Architect Academy and at the Art Academy in Copenhagen.

Aside from academics, Jacob Kirkegaard collaborates with various artists on installations and resonances and has performed in Asia, America and Europe.

Jacob Kirkegaard's sound works focus on investigations into the potential musicality in hidden sound layers in the environment. In this context he has been capturing and exploring sounds from, for example, volcanic earth, ice, atmospheric phenomena, nuclear power plants and deserted places. Recording tools used include accelometers, hydrophones and home-built electromagnetic receivers.

Discography[link]

• (1998) Luftantenner - in the band Æter (Helicopter Records)
• (2002) Soaked - with Philip Jeck Touch
• (2003) 01.02 (Bottrop-boy)
• (2005) Eldfjall Touch
• (2006) Four Rooms Touch
• (2008) Labyrinthitis Touch

External links[link]

• Fonik.dk - Official website: bio, reviews, interviews, works.

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