The chief device of ancient Hebrew Biblical poetry , including many of the psalms , was parallelism , a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three. Parallelism lent itself to antiphonal or call-and-response performance, which could also be reinforced by intonation . Thus, Biblical poetry relies much less on metrical feet to create rhythm, but instead creates rhythm based on much larger sound units of lines, phrases and sentences.  Some classical poetry forms, such as Venpa of the Tamil language , had rigid grammars (to the point that they could be expressed as a context-free grammar ) which ensured a rhythm.  In Chinese poetry , tones as well as stresses create rhythm. Classical Chinese poetics identifies four tones : the level tone, rising tone, departing tone, and entering tone . 
Ovid’s theme is the transforming power of passion over gods and mortals. These transformations, or metamorphoses, are not sweetly romantic; they are dramatic, terrible and irrevocable. They can represent divine punishment, as when Diana turns Actaeon into a stag; they can provide escape, as when Daphne turns into a laurel tree to flee Apollo’s advances. Through these bodily transformations, the universe is portrayed as a place of continual turbulence. Yet the ultimate shape-shifter is the poem itself. In Ovid’s sinuous and witty narrative, each story flows seamlessly into the next, in a structure that still feels revolutionary.
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