The iambic measure then replaced the trochaic
tetrameter, which was originally employed when the poetry was of the Satyric order, and had greater affinities with dancing.
And I think that I have an indistinct recollection of his mentioning a complex Cretic rhythm; also a dactylic or heroic, and he arranged them in some manner which I do not quite understand, making the rhythms equal in the rise and fall of the foot, long and short alternating; and, unless I am mistaken, he spoke of an iambic as well as of a trochaic
rhythm, and assigned to them short and long quantities.
Her placement of polysyllabic words in the third position, her trochaic
finales, and the strong emphasis of the line-initial addresses and commands all prove a control of the stave like that of Tennyson.
We focus on two properties of meter, the rhythmic part (iambic, trochaic
Iambic and trochaic
, anapestic and dactylic rhythms are mirror-image and .
meters were extensively used in ancient Greek and Latin tragedy and comedy in a form called trochaic
catalectic tetrameter (seven and one half trochees), which was particularly favored by Plautus and Terence.
We had to bushwhack our way up to the top, over awkwardnesses of the sort any new learner of an unfamiliar skill has to get past: how to work a trochaic
or anapestic substitution, or balance the books with spondee-pyrrhic pairing--ropes that one learns to handle by practice.
In the second, Swinburne returns to the painful destructive power of nature, echoed by the emphatic trochaic
opening of the third section: "Miles, and miles, and miles of desolation
For "Common English rhythm" the AP pares the number of possible feet to two: trochaic
Like many poems of the period, Chivers' four beat trochaic
lines are exactly half the length of Poe's octameter lines that have a conspicuous caesura in the middle, underscoring the ghost of a partially elided tetrameter structure.
Moreover, the jolting trochaic
rhythm--with its partly military origins-clashes with the term "nocturn": a word that relates both to nighttime prayers, on the one hand, and dreamy music, on the other.
substitution at the beginning of line 44 ("Something") is the first naming of the freedom-loving energy within Juan, and the second naming--"Passionate stretch" at the beginning of line 46--is also marked by a trochaic
substitution ("Passion"), a little node of energy that is, both semantically and metrically, a disruptive force in an iambic line.