amphibrach


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am·phi·brach

 (ăm′fə-brăk′)
n.
A trisyllabic metrical foot having one accented or long syllable between two unaccented or short syllables, as in the word remember.

[Latin amphibrachys, from Greek amphibrakhus : amphi-, amphi- + brakhus, short; see mregh-u- in Indo-European roots.]

amphibrach

(ˈæmfɪˌbræk)
n
(Poetry) prosody a metrical foot consisting of a long syllable between two short syllables (˘¯˘). Compare cretic
[C16: from Latin, from Greek amphibrakhus, literally: both ends being short, from amphi- + brakhus short]
ˌamphiˈbrachic adj

am•phi•brach

(ˈæm fəˌbræk)

n.
a trisyllabic metrical foot whose syllables are short, long, short in quantitative meter, and unstressed, stressed, unstressed in accentual meter.
[1580–90; < Latin amphibrachus < Greek amphíbrachys short at both ends =amphi- amphi- + brachýs short]
am`phi•brach′ic, adj.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.amphibrach - a metrical unit with unstressed-stressed-unstressed syllables (e.g., `remember')
metrical foot, metrical unit, foot - (prosody) a group of 2 or 3 syllables forming the basic unit of poetic rhythm
References in periodicals archive ?
where Man-HAT-an as an amphibrach accents its middle syllable like the
The disposition of stressed and unstressed syllables represents the following amphibrach rhythm:--'-'-'-'-'-'--which does not need musical enhancement.
(10.) Just to reiterate, the amphibrach here is not a metrical foot but a rhythmic movement.
In Ludwig Bauer's "The Amphibrach," the focal character sees it as "a town of human proportions," but if it might have been so in the past, in the present it is almost labyrinthine.
The varieties of meter include iambs, anapests, dolniks, (2) and also the four-foot amphibrach Pasternak used in Doctor Zhivago for his own nativity poems (Vail 2001,104).
The siciliano-like dotted rhythm that pervades this setting derives naturally from the amphibrach rhythm of the words throughout--"a pretty a day," "to flower an hour," "some limber and lithe," "but lucy could learn and lily could pray." The unaffected, idyllic New England morality that laces itself through the poem is matched by the calm, triplet flow of the music, with its largely diatonic B-flat major harmonies.
This stanza begins with a stressed Hence, followed by a comma, creating an opening trochee; the rest of that line and the first foot of the next are a subordinate clause, with the comma following the amphibrach of "From heaven," creating a second pause.
He justifies all his formal changes by the actual transformation of the way of being in a new society: "It is hopeless," Mayakovsky notes, "to shove the bursting thunder of the Revolution into a four-stress amphibrach, devised for its gentle sound!" (Poemy i stikhotvorenia russian 15).