po·et·ry /ˈpoətri, ɪtri ||ˈpɔ()ɪtri/
1. The art of apprehending and interpreting ideas by the faculty of imagination; the art of idealizing in thought and in expression.
For poetry is the blossom and the fragrance of all human knowledge, human thoughts, human passions, emotions, language. --Coleridge.
2. Imaginative language or composition, whether expressed rhythmically or in prose. Specifically: Metrical composition; verse; rhyme; poems collectively; as, heroic poetry; dramatic poetry; lyric or Pindaric poetry. “The planetlike music of poetry.”
She taketh most delight
In music, instruments, and poetry. --Shak.
n 1: literature in metrical form [syn: poesy, verse]
2: any communication resembling poetry in beauty or the
evocation of feeling
has been well defined as "the measured language of emotion."
Hebrew poetry deals almost exclusively with the great question
of man's relation to God. "Guilt, condemnation, punishment,
pardon, redemption, repentance are the awful themes of this
In the Hebrew scriptures there are found three distinct kinds
of poetry, (1) that of the Book of Job and the Song of Solomon,
which is dramatic; (2) that of the Book of Psalms, which is
lyrical; and (3) that of the Book of Ecclesiastes, which is
didactic and sententious.
Hebrew poetry has nothing akin to that of Western nations. It
has neither metre nor rhyme. Its great peculiarity consists in
the mutual correspondence of sentences or clauses, called
parallelism, or "thought-rhyme." Various kinds of this
parallelism have been pointed out:
(1.) Synonymous or cognate parallelism, where the same idea is
repeated in the same words (Ps. 93:3; 94:1; Prov. 6:2), or in
different words (Ps. 22, 23, 28, 114, etc.); or where it is
expressed in a positive form in the one clause and in a negative
in the other (Ps. 40:12; Prov. 6:26); or where the same idea is
expressed in three successive clauses (Ps. 40:15, 16); or in a
double parallelism, the first and second clauses corresponding
to the third and fourth (Isa. 9:1; 61:10, 11).
(2.) Antithetic parallelism, where the idea of the second
clause is the converse of that of the first (Ps. 20:8; 27:6, 7;
34:11; 37:9, 17, 21, 22). This is the common form of gnomic or
proverbial poetry. (See Prov. 10-15.)
(3.) Synthetic or constructive or compound parallelism, where
each clause or sentence contains some accessory idea enforcing
the main idea (Ps. 19:7-10; 85:12; Job 3:3-9; Isa. 1:5-9).
(4.) Introverted parallelism, in which of four clauses the
first answers to the fourth and the second to the third (Ps.
135:15-18; Prov. 23:15, 16), or where the second line reverses
the order of words in the first (Ps. 86:2).
Hebrew poetry sometimes assumes other forms than these. (1.)
An alphabetical arrangement is sometimes adopted for the purpose
of connecting clauses or sentences. Thus in the following the
initial words of the respective verses begin with the letters of
the alphabet in regular succession: Prov. 31:10-31; Lam. 1, 2,
3, 4; Ps. 25, 34, 37, 145. Ps. 119 has a letter of the alphabet
in regular order beginning every eighth verse.
(2.) The repetition of the same verse or of some emphatic
expression at intervals (Ps. 42, 107, where the refrain is in
verses, 8, 15, 21, 31). (Comp. also Isa. 9:8-10:4; Amos 1:3, 6,
9, 11, 13; 2:1, 4, 6.)
(3.) Gradation, in which the thought of one verse is resumed
in another (Ps. 121).
Several odes of great poetical beauty are found in the
historical books of the Old Testament, such as the song of Moses
(Ex. 15), the song of Deborah (Judg. 5), of Hannah (1 Sam. 2),
of Hezekiah (Isa. 38:9-20), of Habakkuk (Hab. 3), and David's
"song of the bow" (2 Sam. 1:19-27).