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Anapaest–A three-syllable metrical pattern in poetry in which two unstressed syllables are followed by a stressed syllable. Dactyl–A three-syllable metrical pattern in poetry in which a stressed syllable is followed by two unstressed syllables. Spondee–A beat in a poetic line that consists of two accented syllables. It is a poetic form ...
A metrical foot (aka poetic foot) is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry.. In some metres (such as the iambic trimeter) the lines are divided into double feet, called metra (singular: metron).
Resolution is the metrical phenomenon in poetry of replacing a normally long syllable in the meter with two short syllables. It is often found in iambic and trochaic meters, and also in anapestic, dochmiac and sometimes in cretic, bacchiac, and ionic meters. In iambic and trochaic meters, either the first or the second half of the metrical foot ...
Anaclasis / ə ˈ n æ k l ə s ɪ s / [1] [2] (from the Greek ἀνάκλασις "bending back, reflection") is a feature of poetic metre, in which a long and a short syllable (or long and anceps syllable) exchange places in a metrical pattern.
In poetry, metre (Commonwealth spelling) or meter (American spelling; see spelling differences) is the basic rhythmic structure of a verse or lines in verse.Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.
In every type of literature there is a metrical pattern that can be described as "basic" or even "national" [dubious – discuss]. The most famous and widely used line of verse in English prosody is the iambic pentameter, [7] while one of the most common of traditional lines in surviving classical Latin and Greek prosody was the hexameter. [8]
Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work.
By extension, this rhythmic pattern apparently formed the basis of an identically named ancient Greek war dance. Proclus thought it was the same as the hyporcheme (hyporchēma), while Athenaeus distinguished them; this may have depended on whether song accompanied the dance.