They are written in first person with the word "me" ending almost every line of each tercet in the English translation.

As in much other heroic verse, the poet here seems to object nothing to the occasional rhyming tercet.

Musically they can be classified as strophic, with 75, 62, and 48 tercet stanzas each, respectively.

English-language haiku is an example of an unrhymed tercet poem.

A tercet is composed of three lines of poetry, forming a stanza or a complete poem.

Following the rhyme scheme of the 'Villanelle', but with five extra couplets just after each tercet.

A tercet also ends sestinas where the keywords of the lines before are repeated in a highly ordered form.

The sestet, with either two or three different rhymes, uses its first tercet to reflect on the theme and the last to conclude.

The tercet was introduced into English poetry by Sir Thomas Wyatt in the 16th century.

The first tercet from Quevedo's sonnet "¡Ah de la vida!"

The tercet also forms part of the villanelle, where the initial five stanzas are tercets, followed by a concluding quatrain.

I turned over the pages, reading a line here and there, or a tercet, and committing to mem- ory the entire canto.

Henderson translated every hokku and haiku into a rhymed tercet (a-b-a), whereas the Japanese originals never used rhyme.

The last tercet is dreamy - there's no shock (of, say, responsibility, or money, or feeling like one needs to hide), but you could say, " - yet."

Thus a collection of two lines is a couplet (or distich), three lines a triplet (or tercet), four lines a quatrain, and so on.

He has also published a collection of unrhymed tercet poems about melancholy loosely influenced by both Celt tercets and Japanese haikus.

The sestina is composed of six stanzas of six lines (sixains), followed by a stanza of three lines (a tercet).

There are two refrains and two repeating rhymes, with the first and third line of the first tercet repeated alternately until the last stanza, which includes both repeated lines.

Each strophe is composed of monorhyming ottonari and a concluding monorhymed couplet or tercet of endecasillabi, though there are metrical and linguistic irregularities.

Constructed on three days, the redondilla or the décima is used in the dialogues, the romance in the narrations, the sonnet in the monologues and the tercet in serious situations.

The sestina has a highly structured form consisting of six stanzas of six lines each, followed by a tercet (called its envoi or tornada) for a total of thirty-nine lines.

The poetic canzone was a strophic form, like the musical frottola in which the same music was commonly fitted to each quatrain or tercet, carrying the words very distinctly but without reflecting their specific sense.

A tercet may also form the separate halves of the ending sestet in a Petrarchan sonnet, where the rhyme scheme is abbaabba cdccdc, as in Longfellow's "Cross of Snow".

The sixth stanza is followed by a tercet that is known variably by the French term envoi, the Occitan term tornada, or, with reference to its size in relation to the preceding stanzas, a "half-stanza".

Each canto is composed of three-line tercets, the first and third lines rhyme, the second line rhymes with the beginning of the next tercet, establishing a kind of overlap, reflected in the overlapping motif of the Danteum design.