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Liasides wrote mainly in the Cypriot dialect and this play was written in political verse -- also known as Decapentasyllabic verse -- which is an iambic verse of 15 syllables and has the main metre of traditional popular and folk poetry.
As I have demonstrated at length in my article "Articulateness and Requiredness in Iambic Verse," a perceptual break near the end of a perceptual unit may generate opposite effects in a closed and a run-on unit.
Within the shared, metrically identical constraints of the so-called iambic verse, Russian iambs show rhythmic alleviation [nonstress] on metrically strong syllables (on average three stresses per tetrameter).
A specialist in Latin poet Horace (65-8 BC), Johnson (classics, College of Charleston) describes how his iambic verse in Epodes, though superficially a partisan attack on enemies of the recently triumphant Octavian, is also a criticism of civil war and those who foment it.
As a rule a word like "metrification," whose base stress contour (SWWSW) resembles a choriamb [ILLUSTRATION OMITTED], is difficult to place in strict iambic verse anywhere other than the beginning of the line (with a trochaic inversion).
In the long history and among scores of exponents of the epigram, there are surprisingly few epigrammatists who used the form for aggressive and personal blame, censure or invective (yogo~), the essential mode and matter of iambic verse.
Weak Monosyllables in Iambic Verse and the Communication of Metrical Form.
King of Texas'' retains the basic story line of ``King Lear,'' but in reimagining the time and place, it not only changes the character names but also dispenses with the iambic verse.
Even limiting themselves to these three time-sanctioned substitutions, "skillful poets" Steele argues, "can flexibly handle, in regular iambic verse, pretty much any and all the verbal and syntactical resources of English.
The basic verse-form of the poem is the traditional four-line ballad stanza, written in iambic verse with feminine rhymes.
In iambic verse, by contrast, there is--or at least can be--variety among the accents that realize the beat and a varied pace; beats will not necessarily occur at equal intervals of time throughout a poem.