Measure of ability to segregate competing Word Test speech signals using spondaic
An exploration of the anxious delight of inevitable perpetual change, the poem celebrates the ongoing metamorphosis that announces itself in the first two words, "Flow, flow," foregrounded by their opening repetition and spondaic
meter (a sort of counterpoint to Tennyson's "Break, break, break/On thy cold grey stones, O Sea
Several lines actually resist the falling rhythm with a spondaic
The tale recounted that the man only began to respond to reason when the mode of the music was changed to the slow and rhythmic Spondaic
mode (Book I, Part 1).
Chesterton's reversed trochaic and spondaic
rhythm echoes this divine reversal--i.
Canto II, in fact, provides many of the key rhythmic signatures which would haunt the work as a whole, with its spondaic
compounds ("pad-foot," "lynx-purr," and so on) combining with an incantatory use of the present tense to produce a space in which the mind can free itself from the dense particularity of the historical materials which press upon it.
Pound's line-despite the pyrrhic and spondaic
feet with which it (appropriately) heaves away-sticks in my mind because of those strong initial iambs.
The meter of the poem breaks twice only and in only two significant places: "Strong, silent, purposeful beyond his kind," where we get the ten syllables scan not as iambic but rather as spondaic
On the other hand, there is no real comment on aspects of versification, such as the unusual spondaic
fifth foot in Elegy 1.
The slight alteration in the metre's pattern of stresses as the spondaic
refrain 'Be still' is repeated--and a significant metrical alteration also occurs in the later poem--suggests another heart rhythm overlaid and intermeshed with the speaker's.
Framed and lineated in this way, they would be read as a poem (of sorts), and we would attend to the sound of its words and the rhythm of its enjambed lines in a way that we did not with the first text, where the lineation, the spondaic
rhythms, the nearly equal letter count in each line (8-7-8), and the internal assonance (rape case) were disattended, treated as inconsequential.
Then, at the verse end, Zuk's "in three," rendering lexically the previously "sacked" tribus, borrows the spondaic
oomph it rhetorically wants from chartis, which in turn gets rendered lexically--moved one line down but sitting in its proper verse-final seat--as "papers.