anapaestic


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Adj.1.anapaestic - (of a metric foot) characterized by two short syllables followed by a long one
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Browning embodied this "fancy" in the poem's famously propulsive anapaestic meter and in his speaker's journey, even though, as he stated forty years later, he was not certain how the speaker would get to where he was going: because Browning "had no map, and wrote swiftly .
The poem's nine quatrains contain a changing rhyme pattern but all the way they keep a three-beat rhythm, while the last stanza is markedly anapaestic.
But in Ultra-Crepidarius, his verse satire on Gifford, he translated his ire into bouncing anapaestic couplets full of relaxed Cockney fun.
In place of the thirty-one lines of anapaestic dimeter of the Latin, Studley has thirty-seven lines rhyming in the pattern ababcdcd.
He thus produces a graphical visualization of sound patterns associated with four metrical feet (trochaic, iambic, anapaestic, and dactyl), which readers/users can freely recombine [Fig.
Although the gender is there not guaranteed either by metre (the phrase closes an acatalectic anapaestic octonarius) or the support of the grammarian tradition, most manuscripts present uitalem aeuom.
This is particularly apparent in his discussion of the vexed question of the translation of Homer: anapaestic metres are described as dactylic on a number of occasions, and Matthew Arnold's specimen translations are summarily dismissed as evidence of his 'inert academicism' without any attempt at the kind of detailed close reading needed to support this judgement.
6 is a long anapaestic poem that follows on the longest prose passage in the Consolatio, in which Philosophia spells out the relation between Providence and Fate and the role of humanity's Free Will in a mix of Stoic and Platonic concepts.
This responsiveness is again rhythmically shown by the contrast between an anapaestic or dactylic beat as the speaker describes the heart beating harder, speeding up, and the slower beat of 'tread out my measure', where 'tread out' could potentially consist of two stressed beats.
Schoolboys and undergraduates with no sense of rhythm, compose, or used to compose, verses on this principle, trying to keep their wits, and doing so, if at all, only with considerable difficulty, on sense, idiom, grammar, prosody, and meter, all at once: the place of the caesura, of the spondee, of dividing the tribrach, the law of the final cretic, anapaestic license with proper names, and suchlike elementary manners.