Form
The standard form of a limerick is a stanza of five lines, with the first, second and fifth usually rhyming with one another and having three feet of three syllables each; and the shorter third and fourth lines also rhyming with each other, but having only two feet of three syllables. The defining "foot" of a limerick's meter is usually the anapaest, (ta-ta-TUM), but limericks can also be considered amphibrachic (ta-TUM-ta).
However, from a rhythmic point of view, lines 1, 2 and 5 have a silent accent at the end, making 4 accents per line. Lines 3 and 4 combined also have 4 accents, making four lines with an overall total of 16 accents (i.e. foot tapping "beats" ). Reading, or reciting, naturally follows the rhythm of 6/8 time, making eight bars of two triplets per bar. A triplet represents a "foot" of 3 syllables.
The first line traditionally introduces a person and a place, with the place appearing at the end of the first line and establishing the rhyme scheme for the second and fifth lines. In early limericks, the last line was often essentially a repeat of the first line, although this is no longer customary.
Within the genre, ordinary speech stress is often distorted in the first line, and may be regarded as a feature of the form: "There was a young man from the coast;" "There once was a girl from Detroit…" Legman takes this as a convention whereby prosody is violated simultaneously with propriety. Exploitation of geographical names, especially exotic ones, is also common, and has been seen as invoking memories of geography lessons in order to subvert the decorum taught in the schoolroom; Legman finds that the exchange of limericks is almost exclusive to comparatively well-educated males, women figuring in limericks almost exclusively as "villains or victims". The most prized limericks incorporate a kind of twist, which may be revealed in the final line or lie in the way the rhymes are often intentionally tortured, or both. Many limericks show some form of internal rhyme, alliteration or assonance, or some element of word play.
Verses in limerick form are sometimes combined with a refrain to form a limerick song, a traditional humorous drinking song often with obscene verses.
Read more about this topic: Limerick (poetry)
Famous quotes containing the word form:
“Have you never been moved by poor men’s fidelity, the image of you they form in their simple minds? Why should you always talk of their envy, without understanding that what they ask of you is not so much your worldly goods, as something very hard to define, which they themselves can put no name to; yet at times it consoles their loneliness; a dream of splendor, of magnificence, a tawdry dream, a poor man’s dream—and yet God blesses it!”
—Georges Bernanos (1888–1948)
“This conflict between the powers of love and chastity ... it ended apparently in the triumph of chastity. Love was suppressed, held in darkness and chains, by fear, conventionality, aversion, or a tremulous yearning to be pure.... But this triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge—if in a form so altered as to be unrecognizable.”
—Thomas Mann (1875–1955)
“Be sure that it is not you that is mortal, but only your body. For that man whom your outward form reveals is not yourself; the spirit is the true self, not that physical figure which can be pointed out by your finger.”
—Marcus Tullius Cicero (106–43 B.C.)