The first line begins with an iambic foot ("But lo!") followed by a caesura, a dactylic foot ("Arion"), and an amphimacer (29) ("leaped on high").
(29) An amphimacer is a trisyllabic foot with an unstressed syllable between two stressed syllables.
"[And] there was no wind" becomes "and not a breath of wind any-where" (2:04): anapest and spondee become three dactyls and an amphimacer
; "groping their way in" becomes "groping blindly in" (2:06): dactyl and trochee become three insistent trochees, the last catalectic; "took a ship's shape as she past within" becomes "took on the shape of a ship as she passed within" (2:14): trochee, spondee, anapest, and iamb become three rocking dactyls and an amphimacer
; and "my view a live-sea" becomes "my view, a proper, live-sea" (3:15): spondee, pyrrhic syllable, spondee become spondee, amphibrach, sponde e.
The iconic design, along with its overtones of 'destinationality', is intended to embody those signs of wear which are the poem's preoccupation; but such signs may be deceptive, thanks to the reversibility of, or relationship of dialectical complementarity between - see the rhythm of Jaccottet's final lines - the principal forms of the trisyllabic foot used here: the amphibrach (x/x) (the 'benign' foot of our first poem) and the amphimacer