Editing Alexandrine (section)

==Other languages==

===Spanish===

The Spanish ''verso alejandrino'' is a line of 7+7 syllables, probably developed in imitation of the French alexandrine.{{sfn|Clarke|2012|p=1347}} Its structure is:{{sfn|Mérimée|1930|p=39}}

 o o o o o S o | o o o o o S o

It was used beginning about 1200 for ''[[mester de clerecía]]'' (clerical verse), typically occurring in the ''cuaderna vía'', a stanza of four ''alejandrinos'' all with a single end-rhyme.{{sfn|Clarke|2012|p=1347}}

The ''alejandrino'' was most prominent during the 13th and 14th centuries, after which time it was eclipsed by the metrically more flexible ''[[arte mayor]]''.{{sfn|Gasparov|1996|p=138}} [[Juan Ruiz]]'s [[Book of Good Love]] is one of the best-known examples of ''cuaderna vía'', though other verse forms also appear in the work.{{sfn|Gaylord|Mayhew|2012|p=1334}}

===Dutch===

The mid-16th-century poet [[Jan van der Noot]] pioneered syllabic Dutch alexandrines on the French model, but within a few decades Dutch alexandrines had been transformed into strict iambic hexameters with a caesura after the third foot.{{sfn|Gasparov|1996|p=193}} From the Low Countries the accentual-syllabic alexandrine spread to other continental literatures.{{sfn|Gasparov|1996|p=194}}
{{Verse translation|
{{lang|nl|Als ick in liefde ben, dan ben ick als gebonden,
Als ick daer buyten ben, dan ben ick gans geschonden…
Wat doe ick doch aldus? ontbonden wil ick zijn,
Soo ick ontbonden ben, soo meerdert doch mijn pijn…}}{{sfn|Gasparov|1996|p=194}}|attr1=[[Daniel Heinsius]]|
Whenas I am in love, in fetters am I bound,
When I in love am not, shame doth me quite confound.
Say then, what shall I do? My freedom would I gain,
But when I freedom get the greater is my pain.{{sfn|Gasparov|1996|p=194}}|attr2=Translated by [[Leofranc Holford-Strevens]]}}

===German===

Similarly, in early 17th-century Germany, [[Georg Rudolf Weckherlin]] advocated for an alexandrine with free rhythms, reflecting French practice; whereas [[Martin Opitz]] advocated for a strict accentual-syllabic iambic alexandrine in imitation of contemporary Dutch practice — and German poets followed Opitz.{{sfn|Gasparov|1996|p=194}} The alexandrine (strictly iambic with a consistent medial caesura) became the dominant long line of the German baroque.{{sfn|Gasparov|1996|p=196}}

===Polish===
{{main article|Polish alexandrine}}

Unlike many similar lines, the Polish alexandrine developed not from French verse but from Latin, specifically, the 13-syllable [[goliard]]ic line:{{sfn|Gasparov|1996|p=222}}

 Latin goliardic:    o o o s S s s | o o o s S s
 Polish alexandrine: o o o o o S s | o o o s S s
 
 s=unstressed syllable

Though looser instances of this (nominally) 13-syllable line were occasionally used in Polish literature, it was [[Mikołaj Rej]] and [[Jan Kochanowski]] who, in the 16th century, introduced the syllabically strict line as a vehicle for major works.{{sfn|Gasparov|1996|p=220}}

===Czech===
{{main article|Czech alexandrine}}

The Czech alexandrine is a comparatively recent development, based on the French alexandrine and introduced by [[Karel Hynek Mácha]] in the 19th century. Its structure forms a halfway point between features usual in syllabic and in accentual-syllabic verse, being more highly constrained than most syllabic verse, and less so than most accentual-syllabic verse. Moreover, it equally encourages the very different rhythms of iambic hexameter and dactylic tetrameter to emerge by preserving the constants of both measures:

 iambic hexameter:    s S <u>s S s</u> S | s S <u>s S s</u> S <u>(s)</u>
 dactylic tetrameter: S s <u>s S s</u> s | S s <u>s S s</u> s <u>(s)</u>
 Czech alexandrine:   o o <u>s S s</u> o | o o <u>s S s</u> o <u>(s)</u>

===Hungarian===

Hungarian metrical verse may be written either [[Syllabic verse|syllabically]] (the older and more traditional style, known as "national") or quantitatively.{{sfn|Lotz|1972|p=101}} One of the national lines has a 6+6 structure:{{sfn|Lotz|1972|p=101}}

 o o o o o o | o o o o o o

Although deriving from native folk versification, it is possible that this line, and the related 6-syllable line, were influenced by Latin or Romance examples.{{sfn|Gasparov|1996|pp=258-259}} When employed in 4-line or 8-line stanzas and rhyming in couplets, this is called the Hungarian alexandrine; it is the Hungarian [[heroic verse]] form.{{sfn|Lotz|1972|p=102}} Beginning with the 16th-century verse of [[Bálint Balassi]], this became the dominant Hungarian verse form.{{sfn|Gasparov|1996|p=259}}