Sapphic stanza in Polish poetry for Renaissance poets. Horace's Sapphic stanza comprised three "lesser sapphics" and an "adonic": In Polish there was no quantitative verse, as phonemic quantity itself was extinct. Nor was there accentual-syllabic versification, save some attempts by Jan Kochanowski. But Polish syllabic lines were available. A syllabic hendecasyllable 11(5+6) took the place of the quantitative lesser sapphic; likewise with the adonic. The hendecasyllable (with caesura after the fifth syllable) is very common in Polish poetry, and the pentasyllable is so typical for Polish verse that Karol Wiktor Zawodziński gave it the name of "polonik". Pentasyllables occur in Polish poetry either in a
A Song Flung Up to Heaven Album in 2003. Angelou returned to the same poem she based the title of "Caged Bird" upon for the title of "A Song Flung Up to Heaven," from the third stanza of the Paul Laurence Dunbar poem "Sympathy". Along with Shakespeare, Angelou has credited Dunbar with forming her "writing ambition". The caged bird, a symbol for the chained slave, is an image Angelou uses throughout all her writings. I know why the caged bird sings, ah me,When his wing is bruised and his bosom sore,When he beats his bars and would be free;It is not a carol of joy or