4) flexibility of types of feet (iambs, trochees
, anapests, dactyls .
The poem, selected according to the commentator "because of Morriseau-Leroy's exploration of colonial legacies, neocolonial or postcolonial challenges, and general commitment to issues of social justice" grapples with issues of implied address, considerably more flexible pronouns than English, and a Creole-language meter that begins in iamb and devolves into "a heterogeneous (and wild) company of anapests, trochees
, iambs, and spondees.
They were scanning a poem by Edwin Arlington Robinson and "we'd been at the iambs and trochees
for a good two hours before it struck me that no one had yet mentioned that the poem was about euthanasia.
The basic foot type is the moraic trochee
, but in pre-stress position syllabic trochees
What she can do is tap out, on the bodily semaphore of that superb fifth line's rebel trochees
and spondee, a coded if subconsciously inarticulate resistance to the life sentence her culture has pronounced: a condition of make-believe that is neither faith nor poetry but something impalpably in between.
The portrait of the filmmaker's friend Nakou that began the third night's order seemed to me to assign a different poetic meter to each shot: At first the image was syncopated in a bold dactyl of white light; then each new image flashed as the short syllable in various cinematic anapests, choriambuses, trochees
, and bacchii.
b) Foot Construction: Form moraic trochees
from left to right.
The lines are tetrameters, described either as headless iambics or tailless trochees
Apparently, on looking for trochees
, dactylic hexameters, iambic pentameters, rhyme schemes, and not finding them, Dohne should have forgiven the Zulu bards if at least they had composed some poems dealing directly with the stars, the moon, and the Milky Way.
The meter is mainly iambic, with this important variation: the first and last lines start with strong trochees
, the falling foot, and with the letter N, the reversed stresses hitting hard on this fatal pair of words: Nature, Nothing.
Mansfield's rhythmic shifts, a mixture of trochees
, iambs, and anapaest, convey the uncertainty of early love.
Again and again Leithauser's trochees
(bugger, blister, wither, and so on) spill forward, enacting the speaker's frustration, as well as her lack of control.