in alexandrines

Many dialogues are written in alexandrines, though the typography does not always underline this feature.

Hermann and Canut (both in alexandrines) are generally considered his best tragedies.

It comprises 3,850 verses written in alexandrines.

It was written in alexandrines, in five acts, and with choral interludes between the acts.

A similar form in alexandrines (12 syllables) also exists, but is traditionally used in Spanish only for clerical poetry.

It is written in alexandrines, arranged in ottava rima.

An epic poem on the death of Gustavus Adolphus, in alexandrines, seems to have won most favor with his contemporaries.

But the preface to the Franciade is a very fine piece of verse, far superior (it is in alexandrines) to the poem itself.

The poem and several of its continuations were converted to a rhymed version in alexandrines in the 15th century (only one manuscript exists).

Many of his works show the influence of French classicism, such as De gecroonde leerse, split up into five parts and formulated in alexandrines.

The commentary, narrated by Pierre Dux, was written by Raymond Queneau, all in alexandrines.

They performed a piece, called Pyramus and Thisbe, in five mortal acts, and all written in Alexandrines fully as long as the performers.

The poem, which consists of four sections, is written in Alexandrines, or 12-syllable lines-typical to French verse in the same way that iambic pentameter is to English.

Her last stage role was as Célimène in Jacques Rampal's Celimene and the Cardinal, a 2006 play in alexandrines, based on Molière's characters from Le Misanthrope.

He wrote two lively and well-constructed comedies, Der Triumph der guten Frauen and Die stumme Schönheit, the former in prose, the latter in alexandrines.

The verse version (the "Cheltenham manuscript") is in alexandrines grouped in rhymed laisses; one of the two other compiled versions is in manuscript form, the other is in a printed edition (c.1502-11).

For over twenty years, Hugo had masterfully deployed the metaphor of the wave: he had bent the wave to his own ends, he had coupled it to revolution, to love, to Napoleon, to centuries, pinning it to the page in alexandrines and rhymes.

A few decades later, the nouveau romancier Alain Robbe-Grillet got the idea for his first novel, "Le Voyeur," from Roussel's "La Vue," a 73-page description of a miniature beach scene inside the glass of a penholder, written in alexandrines.