The term Alexandrine refers to a specific poetic meter used primarily in French poetry. An Alexandrine line consists of 12 syllables, typically broken into two equal halves of six syllables each, with a pause or caesura in the middle. This structure gives the verse a rhythmic and formal quality, making it a popular meter in classical French literature.
Origin of the Alexandrine
The name “Alexandrine” is believed to have come from a 12th-century French poem about Alexander the Great, Roman d’Alexandre, which was written in this meter. Over time, the Alexandrine became the dominant meter in French poetry, especially during the classical era.
Usage in French Literature
In the 17th century, French playwrights like Pierre Corneille and Jean Racine used Alexandrines extensively in their tragedies, where the regularity and formality of the meter suited the elevated, serious tone of the works. For example, Racine’s play Phèdre is written entirely in Alexandrines, which gives it a grand and dignified flow.
Structure of an Alexandrine
An Alexandrine line has two halves, or hemistichs, of six syllables each, with a pause (caesura) in between. The structure is often iambic, meaning it alternates between unstressed and stressed syllables. This balance creates a pleasing rhythm and gives the poet flexibility to play with word choices and sounds.
Influence Beyond French Poetry
Though the Alexandrine is most associated with French literature, it has influenced other European poetic traditions. English poets like Edmund Spenser experimented with it, and in the 19th century, it became popular in German literature, particularly in the works of poets like Friedrich Schiller.
Modern Use
While the Alexandrine is less common in modern poetry, it remains a symbol of formal, classical poetry in French literature. Contemporary poets may use or adapt the Alexandrine form to create a sense of tradition or grandeur in their work.
Alexandrine in Romantic and Symbolist Poetry
During the 19th century, as Romanticism began to influence French poetry, the Alexandrine underwent changes. Poets like Victor Hugo played with its structure to suit the more emotional, expressive nature of Romantic literature. Hugo, in his collection Les Contemplations, stretched the boundaries of the strict 12-syllable line, sometimes introducing irregularities in the meter to convey the heightened emotion of his themes.
Following the Romantic era, the Symbolists, such as Charles Baudelaire and Stéphane Mallarmé, further experimented with the Alexandrine form. They used it to explore the deeper symbolic meanings and sensations in their poetry, while often blending the traditional structure with freer forms.
Alexandrine in English Literature
The Alexandrine has also made appearances in English literature, although less frequently. One famous example is its use in Edmund Spenser’s The Faerie Queene. Spenser employed the Alexandrine as the final line in his nine-line Spenserian stanza, adding a sense of weight and closure to each stanza. This shows how the meter could be adapted into English to create an elevated, formal tone.
Spenser’s version of the Alexandrine doesn’t adhere strictly to the French style. Instead, it features more flexibility in stress patterns, reflecting the differences between English and French prosody.
Alexandrine in German Poetry
In German literature, the Alexandrine gained prominence during the Baroque period. Poets like Andreas Gryphius and Paul Fleming used it for its grand, solemn rhythm, which suited the Baroque interest in themes of mortality, fate, and the fleeting nature of life. Friedrich Schiller and Johann Wolfgang von Goethe later incorporated Alexandrines into their dramatic and narrative poetry.
Modern Perspectives on the Alexandrine
In the 20th century, as free verse became dominant in modern poetry, the strict Alexandrine form fell out of favor. However, it still retains a place in contemporary literature as a formal poetic tool, often used when poets wish to evoke classical themes, grandeur, or structure. Modern poets sometimes use it ironically or subvert its form, contrasting its traditional associations with new and unconventional subject matter.
Today, the Alexandrine remains a hallmark of formal French poetry, symbolizing the rich legacy of classical literary tradition while offering opportunities for creative experimentation in modern verse. Its long history and adaptability across languages and styles reflect its enduring significance in the world of poetry.
The Alexandrine also has some interesting technical and stylistic aspects that have contributed to its long-lasting appeal:
Technical Aspects of the Alexandrine
- Caesura: A key feature of the Alexandrine is the mandatory pause, or caesura, after the sixth syllable. This break divides the line into two equal halves (hemistichs), creating a balanced, symmetrical rhythm. The caesura allows for flexibility in tone and pacing, which poets use to create tension, contrast, or harmony between the two halves of the line.
- Variations in Rhyme: Although traditionally written in rhyming couplets, Alexandrine lines can also appear in alternate rhyme schemes, such as ABAB or more complex patterns. This allows poets to maintain the formal beauty of the Alexandrine while exploring different rhythmic and thematic effects.
Stylistic Elements of the Alexandrine
- Majestic and Solemn Tone: Due to its formal structure, the Alexandrine naturally lends itself to conveying a majestic, solemn, or even moralistic tone. This makes it ideal for epic poetry, serious themes, and grand narratives. Its use often reflects an intention to elevate the subject matter, giving it a timeless, almost philosophical resonance.
- Flexibility: While the Alexandrine has a rigid syllabic structure, it offers flexibility within its framework. The placement of stresses and the use of enjambment (running lines without a pause) can break up the monotony, allowing poets to create a more dynamic and varied rhythm.
Influence on Other Literary Forms
The structure and style of the Alexandrine influenced other metrical forms across Europe, especially in drama and epic literature. It laid the groundwork for the development of the iambic pentameter in English, which became the dominant meter in works by Shakespeare and Milton.
In French theater, especially in the 17th century, dramatists like Jean Racine and Pierre Corneille relied heavily on the Alexandrine for their tragedies, as it lent a sense of gravity and formality to the spoken dialogue. This created a strong connection between meter and emotion in French theatrical tradition.