anapest


Also found in: Thesaurus.

an·a·pest

also an·a·paest  (ăn′ə-pĕst′)
n.
1. A metrical foot composed of two unaccented syllables followed by one accented one, as in the word seventeen.
2. A metrical foot in quantitative verse composed of two short syllables followed by one long one.

[Latin anapaestus, from Greek anapaistos : ana-, ana- + paiein, pais-, to strike (so called because an anapest is a reversed dactyl); see pau- in Indo-European roots.]

an′a·pes′tic adj.

an•a•pest

or an•a•paest

(ˈæn əˌpɛst)

n.
a trisyllabic metrical foot whose syllables are short, short, long in quantitative meter and unstressed, unstressed, stressed in accentual meter.
[1580–90; < Latin anapaestus < Greek anápaistos struck back, reversed (as compared with a dactyl)]
an`a•pes′tic, adj.
an`a•pes′ti•cal•ly, adv.

anapest

a foot of three syllables, the first two short or unstressed, the third long or stressed. — anapestic, adj.
See also: Verse

anapest

A metrical foot with three syllables, two unstressed and one stressed.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.anapest - a metrical unit with unstressed-unstressed-stressed syllables
metrical foot, metrical unit, foot - (prosody) a group of 2 or 3 syllables forming the basic unit of poetic rhythm
Translations
anapest
References in periodicals archive ?
While Longley's verse structure is loose, lines 1 and 3, both in the first stanza, consist of an anapest followed by an iamb, while line 4 reverses this at the beginning of the second stanza with a'trochee followed by an anapest.
He loosened his iambic pentameter by allowing himself an anapest or two, sometimes even three, in each line, but rarely a trochee (one stressed syllable followed by one unstressed) or dactyl (one stressed, two unstressed) except for the occasional traditional trochaic substitution at the start of a line.
It has less metrical variation than would be expected from the author of "Christabel" and curiously few examples of the major Coleridgean device, the anapest. "Kubla Khan's" metrical irregularity takes the form of feminine endings, truncated openings, inversions, and a few spondaic or pyrrhic substitutions--none of these variations novel or surprising in the Coleridge canon.
I for one confess to having a quotation from Hunt about the pleasures of a snug room filled with books posted on my office door, and to occasionally deploying bedtime stories such as Prince Caspian or If I Ran the Circus to make classroom points about Shakespearean intertextuality or the anapest. Lynch is characteristically playful in connecting past and present, speculating for instance about what sort of blog comments Seward would write if she were alive today.
The anapest, the "march rhythm" (Laban 181) was considered appropriate for more settled dances.
About a particular rhythm in the same piece, Morris writes, "Imagine an anapest in which the weak beats also feel something like spondees (thus, short/short/long)" (p.
Because of the unstressed syllable at the end of the line, the concluding foot is neither anapest (unstressed-unstressed-stressed) nor dactylic (stressed-unstressed-unstressed).
The attraction of it is Byron's display of mastery of versifying that it displays: the perfect handling of the anapest (the "running" meter).
Although it seems to accelerate the measure, the anapest, a variation on this patterning but in triple--or tripe, fitting Addison's mold--time, still requires a systematic oscillation between stresses.
Each of the three eleven-syllable lines has the following meter: unstressed syllable, stressed syllable, unstressed, stressed, unstressed, stressed, unstressed, unstressed, stressed, unstressed, stressed (or three iambs, one anapest, one iamb).
Perhaps they do so for reasons of meter (here in Levin's poem for the sake of the avoidance of the anapest in essentially iambic line with a truncated opening foot).