conversations.from: human
conversations.value: What could be a title for a book about Part, ESPN, Chris with the genre: Sports & Outdoors, Golf?
conversations.from: assistant
conversations.value: A title for this book could be 'The Long and the Short of It'
conversations.from: human
conversations.value: Provide the first three paragraphs for this book.
conversations.from: assistant
conversations.value: The Long and the Short of It
  A.1. Syllables are treated differently in different verse systems. They may be undifferentiated, that is, the prosodic value of all syllables is the same, or they may be distinguished, either by accent (stressed vs. unstressed) or by quantity (long vs. short). The following are basic verse types categorized by syllable treatment:
  A.1.2. Pure forms of quantitative, isosyllabic, and accentual verse types are certainly possible, even though historical forms (Latin, French, and early Germanic) are less pure than often described. There is nothing to prevent a poet from defining rules of composition that would involve accent only; and strictly isosyllabic forms exist in the experimental verse of Robert Bridges and Marianne Moore (see chap. 6, B.2). What appear to be nearly pure forms of syllabic verse may also be found in verse composed for music, although such verse is controlled by extralinguistic factors (see chap. 6, D on the verse of John Donne).
  B.2. Many stanza types are traditional. And for these (the French "fixed forms," for example), basic principles are easily enough expressed in a table indicating line length and rhyme scheme. But for many other common but less traditional stanza types, the rules underlying verse structure are not so easily systematized, as in verse associated with musical compositions. Poets may compose stanzas according to any rules—accentual, syllabic, or even arbitrary rules unique to a poem—and they may overlay a pattern of line structures with a rhyme structure that can either support it or act as counterpoint. There is no theoretical limit to the length and complexity of a stanza. In English, examples of very complex forms are found in the odes of the seventeenth and eighteenth centuries (see chap. 5, B.2).
conversations.from: human
conversations.value: Provide four more paragraphs.. Start with the sentence 'B'.
conversations.from: assistant
conversations.value: B.2.1. A Horatian ode is a variant of Horace's poems in Aeolic form (see chap. 2, E). Although Horace's meters could be imposed directly upon other languages, English versions usually only allude to that form. Classicists now disagree as to whether Horace's stanzas should be analyzed as three- or four-line stanzas, but editions of his poems have always printed them as four-line stanzas, and all imitations have used this form. Most versions of Horation ode also attempt to reproduce common themes in Horace. One of the most famous in English is Andrew Marvell's "An Horatian Ode: Upon Cromwell's Return from Ireland." The stanzaic form is shown in the following:
  The relation to the Horatian ode is more visual than precisely metrical; Marvell's stanza is an apparent imitation of or allusion to the fifth Asclepiad (see chap. 2, E.3). The musical foundations of this form are remote and are little more than metaphorical even in Horace.
  B.2.2.1. English poets exploited both the obscurity of Pindar's language (as the above example shows) and the apparent freedom of Pindar's verse, a freedom perhaps enhanced by the obscurity of the fundamental rules of that verse. Many English odes, including those of Jonson, do not follow the three-stanza form but simply repeat a unique stanza. Since there was no set form in a Pindaric stanza, poets could use or invent any line or stanza in English, as long as the form was repeatable. Metrically coherent stanzas could be constructed of any length, in any meter or rhyme scheme (for example, in Coleridge's "Ode to Tranquillity"). In the fully developed romantic ode, even the requirement that successive stanzas repeat the same form is dropped (see as an example Coleridge's "Dejection: An Ode").
  C.1.1. Caccini's polemic concerned secular music. To clarify the words, Caccini promotes monody over polyphony, that is, music with a single vocal line with harmonic accompaniment rather than the production of harmony through the combination of potentially independent melodic lines. The melody is itself subordinate to the words: notes are to be chosen, Caccini states, "according to the sentiments of the words." In "The Role of the Guitar in the Rise of Monody" James Tyler notes that the popularity of the guitar is a direct function of this type of music.
conversations.from: human
conversations.value: Provide the last five paragraphs.
conversations.from: assistant
conversations.value: SAPPHIC STANZA: four-line lyric form used by Sappho in Greek and imitated by Catullus and Horace in Latin (chap. 2, E.2; English imitations, chap. 6, A.4).
  SENARIUS: a line consisting of seven metrical feet; used also to refer specifically to the iambic senarius (chap. 2, F.2; appendix).
  SONNET: in English, fourteen-line poem in decasyllables, organized into two quatrains and two tercets (Petrarchan), or three quatrains and concluding couplet (Shakespearean).
  SPRUNG RHYTHM: a metrical system invented and presumably followed by Gerard Manley Hopkins (chap. 6, C).
  STICHIC VERSE: classical term for any verse type involving repeating elements (such as a distich or stanza).