, and this, along with the liberal use of exclamation
owes its speed to the embedding iambic context; it would make little sense to proclaim that anapests
are generally fast.
11) Unlike Frost, he has given his poem a fluent lilt by including anapests
(man / y a ros / lipt; man/y a light/foot), and giving every other line a feminine ending: laden, maiden, leaping, sleeping.
The lines firm up when they are read aloud; only then do the three anapests
of the opening phrase and the proliferation of soft consonants in the first sentence really emerge.
In a series of wild free anapests
punctuated by the iambic pleadings of the Chorus, she replies first that her lament is madness, then that it is her heart's desire, that it is honorable, and finally that it is the only proper recourse for a well-bred girl (131).
though trochees, anapests
, and dactyls stick around.
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).
Thus French, by means of purely syllable-counting (syllabic) meters, cannot reproduce the differences in accent- and syllable-counting (syllabotonic) meters of German, English, or Russian: their iambs, trochees, dactyls, anapests
, and so on.
In these early post-historical days, words are frequently used to create cartographies of a thing called individual identity; poetry, meanwhile, is often discussed with reference to trochees, iambs, sapphics and anapests
, and a historical artifact called the English Tradition.
117: "How Swinburne achieved a reputation for verbosity when his lines are composed almost entirely of monosyllables would remain mysterious if we were not sufficiently alert to note that the monosyllables 'the,' 'of,' 'and,' are what create his characteristic anapests
The poem might be scanned into metrical feet but only by doing it violence; the ear experiences a tacit tug which comes from the dim echo of those anticipated but thwarted iambs, trochees, and anapests
To my eye and ear this kind of writing seems as dated as the dactyls and anapests
of "Hiawatha," especially since Berrigan has no external controlling subject, as Olson did with the history of Cape Ann, and no internal driving force palpable as the mythic and musical sensibility of Robert Duncan.