Understanding limerick in poetry
You may have once heard an acclaimed story of a man from Nantucket. The story is five lines in length, contains rhymes, and, in certain adaptations, contains subtleties that aren’t printable. On the off chance that you’ve heard this beautiful story, at that point you understand what a limerick is.
Limericks follow an extremely severe sythesis structure. Every conventional limerick:
Comprise of a single verse
Comprise of precisely five lines
Utilize one rhyme on the main, second, and fifth lines
Utilize a second rhyme on the third and fourth lines
Because of their short and straightforward structure, limericks are a famous structure among beginner writers. Among set up experts, Edward Lear possesses specific notoriety as a writer of limericks. Brought into the world in England in 1812, Lear got related with a type named “artistic babble.” Embracing the portrayal, he distributed a volume of limericks entitled A Book of Nonsense in 1846. The book contained 117 limericks, a large portion of them intentionally senseless. Take “Limerick No. 91”:
There was a Young Lady of Russia, Who shouted so nobody could quiet her; Her shouts were outrageous, No one heard such a shout, As was shouted by that woman of Russia.
The AABBA rhyme plan of this sonnet is clear—to the point that Lear utilizes a similar word to close Line 1 and Line 5, which was a supported method. The topic is paltry, a quality that Lear appears to intentionally mine for material, as confirmed by his hounded reiteration of “shout.”
