Many writers are already very familiar with prosody, and for them this is basic information they have already learned although it never hurts to have a review. However, others who write may simply hear their own music in their ears, and write it as it comes. It’s useful to know that there are terms for what we’re writing especially when working on specific forms that call for their use. Thinking about this once in a while, particularly if you write mostly in free verse, will help you appreciate the effort other poets employ while constructing their poetry.
However, I will make this observation: regional accents and stresses inform the way we scan what we read and what we write. This complicates the rhythms we read. Like music, poetry is best appreciated when heard, especially if read by its author.
Poetry’s relationship to music:
Music is written by being arranged on staffs and separated by bars. The notes within the bars are called measures; the time signature at the front of the staff sets the rhythm. Written as a fraction, the top number designates the beats in the measure, and the bottom number designates what kind of note gets one beat.
I think of Poetry as word music; and like music; it can be observed in some similar ways. In poetry, we speak of lines and feet. A line is the line length – made up of words which can be further broken into stressed and unstressed syllables. Those stressed and unstressed syllables may not be combined in a single word but spread out so that a foot falls over two words or sometimes three words, part being in one word and the other part or parts being in the next.
Iambs (iambic) and trochees (trochaic) are two syllable feet. An iamb starts with an unstressed syllable followed by a stressed one. In the phrase The supper bell the first foot would be The sup/ with the first syllable having a light stress and the second having a heavy one. The second foot would be per bell and it would be the same, another iamb, with an unstressed syllable followed by a stressed one.
Trochees are the reverse, a stressed syllable followed by an unstressed one (and again arc over the syllables in the line). Here is a couplet from Edgar Allen Poe that illustrates trochaic verse: (bold letters represent stressed syllables)
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Now we consider the two kinds of feet that that have three syllables. They have two syllables with light stresses and one syllable with a heavy stress. These two feet are called anapest (two light stresses followed by one heavy one), and dactyl (one heavy stress followed by two light ones). Here then are the six types of poetic feet: iamb; trochee; spondee; dactyl; anapest; and pyrrhic. A spondee is a two syllable foot where both syllables are stressed. Certain words conform to this – football – backboard – downfall, Key West, shortcake. A pyrrhic foot presumably has no stress at all. (although it is disputed whether English has a pyrrhic foot)
Iambs and Anapests
Iambs and anapests might be the most natural feet in the English language. Many poets use them interchangeably in a line of poetry still keeping to a strict count of feet. This is seen in nearly all form poetry – sonnets, villanelles, etc. When a line ends on a heavily stressed syllable as it does in the Poe example above, the ending is said to be masculine; (ending on a lightly stressed syllable, it is said to be feminine).
Let’s take the word impossible. It is a four syllable word and is usually broken thus: im/poss/i/ble. The dictionary ( the dictionary is useful to tell us the standard place for stresses) puts the stresses in this word on the second and fourth syllables. Therefore, this one word is two feet of iambic. Or we could say that by itself it is an iambic dimeter line.
Pete Marshall has given me the permission to use one of his poems as an example of the meter we are using today. Here are lines from Pete’s poem, The Pier written in iambic tetrameter.
I walked| a long | these wood|en planks
as wind |would lash |and tear |my face
the seas |would crash |be neath |my feet
and rain |would strike |my in| ner faith
The bars separate the feet here. Four lines of four feet with the stresses falling on the second syllable You see here that how you put words together affects where the stresses are placed. You may have to check with a dictionary to see if the first syllable of a given word is lightly or heavily stressed because as they jamb together the stresses will be different than they are as a single word. This is easy to see in the two feet “these wooden planks”. Wooden by itself is a trochee (a two syllable foot with the first syllable heavily stressed) but with these before it and planks after it, the two feet are both now iambs.
Here are two lines from Shelley’s poem The Cloud as example of anapests:
Here is the full text: http://www.poetryfoundation.org/archive/poem.html?id=174384
Like a child| from the womb,| like a ghost| from the tomb,| = tetrameter (four feet)
I arise| and un build| it a gain.| = trimeter (3 feet)
Here he mixes his line length alternating tetrameter and trimeter. as is common in some ballad forms. All the feet in the example are anapestic and have THREE syllables, and as you see the first two are unstressed and the last syllable is stressed.
Here for your information are the names of the lines when they are made up of the various number of feet:
one foot = monometer
two feet = dimeter
three feet = trimeter
four feet = tetrameter
five feet = pentameter
six feet = hexameter
seven feet = heptameter
eight feet = octameter
There can be longer lines, of course, but these are the usual lengths.
Trochees and Dactyls.
Both of these kinds of feet begin with a heavy stress. The trochee a foot of two syllables (the first heavily stressed and the second with the lighter stress) and the dactyl a foot of three syllables (the first syllable again heavily stressed and the next two having a lighter stress).
Trochaics are not well sustained in English as the rhythm becomes tedious and easily parodied. But the very thing that makes them unappealing in modern poetry makes them memorable and well suited to children’s poetry. The most famous poem that is written in sustained trochees (while making use of spondees and dactyls every so often) is Longfellow’s Hiawatha. Notice the ends of the lines are softly stressed making them feminine.
- By the shores of Gitchee-Gumee
By the shining Big-Sea-Water,
Stood the wigwam of Nokomis,
Daughter of the Moon, Nokomis.
Dark behind it rose the forest,
Rose the black and gloomy pine-trees,
Rose the firs with cones upon them;
Bright before it beat the water,
Beat the clear and sunny water,
Beat the shining Big-Sea-Water.
Shakespeare used it occasionally to accent his usual meter of iambic pentameter as in Macbeth:
Double, double, toil and trouble;
Fire burn and cauldron bubble.
Jump rope rhymes are nearly always in Trochee rhythms. Shel Silverstein and Lewis Carroll both employed them although they usually gave them an extra stressed syllable at the end making the ending masculine.
Now we take up Dactyls. I borrowed the following paragraph from the blog of Jack Hart an excellent page on prosody which can be found here: http://meadhall.homestead.com/PoeticMeter.html
“Dactylic as a meter hardly exists in English aside from one form, dactylic hexameter. English does not normally accommodate such a long line, and no English poet would have ever thought of it without the example of the ancient Greek and Roman poets. The form has a high prestige from its use in the Iliad, the Odyssey, the Aeneid, Ovid’s Metmorphosis, and lesser ancient works. Experiments with it never seemed to go well, however, and translations of the ancient poems usually ended up being translated into iambic pentameter, often as rhymed couplets–an awkward fit, since one iambic pentameter line is short to represent one of the original lines, and a couplet is too long. The best known examples of the form in English are by Longfellow in such poems as Evangeline and The Courtship of Miles Standish. The line usually quoted in textbooks on meter is this one from Evangeline:
“This is the forest primeval, the murmuring pines and the hemlocks.”
The metrical pattern is, | / x x| / x x| / x x| / x x| / x x | / / . Notice that though this is called dactylic hexameter, there are only five dactyls. The last metrical foot is a spondee. Longfellow has managed five dactyls in a row–why does he break down on the last one?”
Many poets have combined different kinds of feet to form their own kinds of poems experimenting with them for metrical effect and uniqueness. Some have utilized trochees ending with spondees which is not unusual in order to begin with a hard beat and end with a hard masculine ending instead of the softer feminine ending
Once in a while a poet may want to fill a “beat” with silence. This can be done with a space or a punctuation mark. A comma, semicolon, or period can make up a pause. As in music this is called a rest or more usually in poetry, a caesura.
It is unlikely you will write an entire poem in these first heavy stress meters, but it is useful to realize that when you begin a foot with a stressed syllable you may be breaking your iambic or anapestic rhythm. However, you may certainly want to experiment with these kind of feet interspersing them with other kind of feet in a regular way to create your own music and your own voice. As in music when you start fiddling with the time signature of music, one has to be careful that it is musical unless you are seeking a lack of harmony and then banging a dactyl with an iamb or a trochee up against an anapest may give you the harsh cacophonous sounds you want to make.
For this week, I believe you might take a few lines of free verse that you have already written and re-write them in iambic feet (perhaps mixed with some anapests) of whatever line length you like. If you put them in lines of five feet, they would be written in blank verse if they don’t rhyme. I will leave it up to you if you want to add rhyme to this exercise. For now all that’s necessary is understanding stress and length of line. Link with Mr. Linky below and have some fun working through the puzzle of creating them with different feet and length of lines. Share with one another as usual.
Gay Reiser Cannon said:
Welcome everyone. My name is Gay Cannon and I’ll be behind the bar today serving up savory bits of poetry and talking about those technical bits that help to define what poetry has historically been. Cold drinks are on tap as it’s unusually warm here today, and there
are strawberries and cream with iced coffee for those who prefer it.
Hope you enjoy your stay.
Björn Rudberg (brudberg) said:
Just back from being unplugged… this was fun to try… but a real challenge to find any poetry of my own with no iambic rhythm in it :-)… But I found an old piece that I had never shown on any prompts…. hope I managed to write it with trochees all the way through also.
Glenn Buttkus said:
After reading and re-reading all those marvelous technical terms defined as “Prosody”, and fighting with the notion that I could never understand the definitions of what we do when we write poetry, separating it from speech, prose, & technical writing–I just took a deep breath and realized that most of us already write poetics that contain feet, meter, stressed syllables, types of stanzas–all things that, as you pointed out we probably are already doing, we just never understood the full schematic components. So I wrote something, that I believe contain several kinds of prosody, couplets, tercets, quatrains, rhyme schemes, lists, and on & on to the final stanza, the final gasp. Also, I agree that a many of us as possible should record our poems, and allow others to hear them in our actual voices, with the emphasis we want, the pauses, the speed. Over the last year of so, I have narrated over 380 of my poems, as adjunct, as prelude to open mic performances.
claudia said:
hi and hello from berlin.. on a short holiday here with hubs, so i can’t play but will try to read a few… and wooohooo… so good to see you back behind the bar gay!! smiles.. we’re just sitting at the bundestag and waiting for an open air multimedia show about german history to start.. may post a pic on twitter later.. smiles
Gay Reiser Cannon said:
Looking forward to it. Wish I were there with you. I am still planning that trip to Germany. Maybe fall or maybe spring, but I really want to come. Have fun!!!
Victoria C. Slotto said:
Enjoy, Claudia
Susan L Daniels said:
okay, I linked something, but am fairly sure I screwed this one up.
Gay Reiser Cannon said:
That’s OK…it’s all about learning and not necessarily about the finished product here today. I have some bobbles on a couple of my lines and I know it, but I left them because I needed the construction for other reasons. I’ll be by shortly! Thanks Susan!!
Susan L Daniels said:
Thank you, Gay. Wonderful prompt–I have missed your prompts terribly and am glad you are back.
Maggie Grace said:
Lord only knows why reading all these poetry terms triggers me to where I couldn’t even read it all. I so admire those who can write this way. I’ll sit this one out. I have been trying some new forms but I get this way with too many numbers too. Yes, I’m freakish. Bjorn has a wonderful write. Good luck to all.
Gay Reiser Cannon said:
I completely understand. Sometimes it’s only because of mental blocks created along the way by “strict” English teachers. These ways of looking at lines are only devices and they’re really not scary. Of course people look at me sideways when I talk about musical notation, too; especially if they’re adept at “playing by ear”. We all function in different ways. I just wanted this to be on the site as a reference point. There may come a day when you want to look it up and hopefully the article will be here waiting for you. Thanks for reading and for your comment!
aprille said:
Stresses, light or heavy, interspersed with unstressed sounds, have always caused me difficulty. When I want to get away from the relentless iambs that my mind produces automatically, I have to go back to a clear dactyl shaped poem, preferably the double dactyl. Strangely enough, doing this once, is not enough. The iamb is so engrained that I have to do the dactyl dance periodically. Once I have loosened up like that, I can venture into one of the other feet available. It is obvious that I am not musical, don’t play an instrument and have no predilection for any style of music.
My dactyl treatment probably doesn’t suit the many more flexible poets around, but I put it up as my post this evening in case it is of interest to somebody else who feels daunted by feet and stresses.
Gay Reiser Cannon said:
Looking forward to reading it, Aprille. I think everyone is a little daunted by them. And I “think” I know the reason why – something Glenn hit on, we can’t quite get the “beat” if we can’t hear the song and each song (read poem) is unique to its author.
I am not here to be hypercritical merely to introduce the poetic device – and I will have a few more articles on prosody down the line as well because sometimes when we really want to write a villanelle, a sonnet, a rhyme royal, etc. we need to be able to slip into the required rhythm. See you in a little bit.
brian miller said:
Gay! its great to have you back…i am working on this….it may be tomorrow…ha…just getting out of classes and about to drive to another so i will be around later and probably read some to get my own groove on….
Gay Reiser Cannon said:
Take care Brian. We always love to read your work whenever and wherever. Just bought the new anthology. So happy to see all my friends in print! Woot! Woot!
Mary said:
Hi Gay, thanks for the prompt and all the good information. For some reason this seems daunting to me….but I will continue to work on it as a challenge to myself!! Glad to see you here in the bar!!
Gay Reiser Cannon said:
Thanks Mary. Great to be here and see you as well! I’m at last able to exhale.
Victoria C. Slotto said:
Great, detailed explanation, Gay. I can almost hear The Teaching Company prof who did a series on Poetry reading Longfellow aloud, strongly emphasizing every foot. Mine will be up soon.
Gay Reiser Cannon said:
Everyone should stop by your place – both lovely! Thanks for the comment. Just wanted the prosody articles up here for my own reasons anyway. It kind of completes the set.
Victoria C. Slotto said:
I see this as an article to bookmark–I turn to form when I’m stuck.
Gay Reiser Cannon said:
Thank you!
Mary said:
Gay, I think I achieved iambic tetrameter. My poem is linked. If I did not succeed, please feel free to let me know. I gave it my best shot.
brian miller said:
nice…some more playing…i am working on mine…thinking by morning i might have something for you gay…smiles..until then, i am still reading…more to help me out than anything…ha…nah, it’s cause i love you all…and i seriously need to get this…smiles.
Gay Reiser Cannon said:
Thanks Brian. Looking forward to it. I never wrote in rhythms and rhymes you know until I got this job. All my early stuff was just free verse; however, I think in many ways writing in rhythm and rhyme forced me to focus, find the right word, pull in the subtext in a more concise way. Even if I don’t go that way in the end, it’s usually a good exercise for me.
Samuel Peralta / Semaphore said:
Poetry definitely is word music – that’s a wonderful way to put what I feel, as well. The beauty of learning what you’ve put down here is that, once you’ve composed poetry according to this framework, it becomes second nature, instinctive, intuitive. And when the poetry has an innate musicality – even one that is purposefully discordant – that’s when it is at its best.
Gay Reiser Cannon said:
Sam, I completely agree! It’s like learning those minor chords, those blues chords, working a walking bass which is so repetitive, so tedious, almost so heartbreaking, and then putting a treble of such great minor resolutions that the soul lifts to a kind of happiness that can only be borne out of deep, deep sorrow. And knowing how words fit together, is exactly the same – getting the pieces to fit.
Gay Reiser Cannon said:
Getting late – likely will get up kind of early. The earth movers will be behind the house. I’ll be ’round to check what’s happening at the pub. Enjoyed hangin’ out today, folks!
Susan said:
Thanks, Gay. I'[m in a weird mood and it turned prosody into a bit more of a satire than I had intended.
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himanirawatnayal said:
I am currently pursuing Masters in English, and trust me I am why too hung up on all of it, hope this helps ….thanks for the Insight. 🙂
ManicDdaily said:
Thanks, Gay, for your informative and comprehensive article! I have been working very hard at my job and other things so have not been up to challenges, but will see. I will keep the article bookmarked for sure–these are really helpful things to know about. I’ve heard of them all before, but don’t keep in mind what’s what at all, and so great to have the examples. k.
Gay Reiser Cannon said:
Thanks Karin – yes, I wrote two articles on this subject (and several others on other aspects of Prosody) which I combined here when we first began at OneStopPoetry. I took over doing Form after about 6 months, and we had already had several articles written by other members to write sonnets, villanelles and Rondels or some other French form which I’m not remembering right now. The point was that in those articles, one was instructed to write in pentameter, or tetrameter, usually iambic and many people who were writing poetry had had no background that gave them those definitions, or showed them how to accomplish them. While I realize, they could research them elsewhere on the internet, I believed (and still do) that as we are a poetry site, the information should be researchable through our own resources.
So those have for all real and practical reasons been lost on the internet, now that the archives of OneStop are lost. Therefore, I wanted to post the information again here for our dVerse poets and for anyone else shopping for information. I’m grateful that these readers think it’s a worthy article for those purposes.
ManicDdaily said:
I appreciate having a compendium of that kind. I confess to marking feet by instinct typically – I am pretty sure that I will be using pentameter, but I tend to base it on a syllabic count that varies between 9 and 11 syllables, and then I try to listen to whether it sounds more or less right – though of course I am super lazy sometimes. Most of the time. Anyway, thanks. Your poem had a wonderful rhythm. I don’t know if I commented. I have been very pressured lately and have not been able to read much. k.
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janice / poeticponderings said:
I’ve always felt that poetry is sort of like music in written form – and vice versa, that music is just poetry with notes. 😉 And that is why I love both!
Gay Reiser Cannon said:
Thanks Janice – me too!
Snakypoet (Rosemary Nissen-Wade) said:
In the end I didn’t exactly do as asked, but I did have fun!
Snakypoet (Rosemary Nissen-Wade) said:
PS My favourite reminder for metre is this:
Remember this verse:
Iambic feet are firm and flat – / – /
and come down heavily like that
Trochees dancing very lightly / – / –
Sparkle, froth and bubble brightly.
Dactylic daintiness lilting so prettily / – – / – –
Moves about fluttering rather than wittily
While for speed and for haste such a rhythm is best – – / – – /
As we find in the race of the quick Anapest.
(Source unknown)
Snakypoet (Rosemary Nissen-Wade) said:
Sorry, the formatting didn’t happen quite as intended.
Gay Reiser Cannon said:
Rosemary! Never knew this poem. Will copy it and keep it handy – just love it, love it! Hope everyone who reads does the same. Thank you so much for sharing it here. It really does take a community. Much appreciated again.
Snakypoet (Rosemary Nissen-Wade) said:
Please feel free to add it to the dVerse archives, and make it public whenever appropriate. The beauty of it is that you can learn it by heart. 🙂
Snakypoet (Rosemary Nissen-Wade) said:
My favourite example of anapest:
The AsSYRian came DOWN like a WOLF on the FOLD
And his COhorts were GLEAMing in PURple and GOLD …
(Byron: The Destruction of Senacherib)
Such a rush! (In all senses.) You can see and hear and feel them thundering down to surprise their victims.
Gay Reiser Cannon said:
I want to thank everyone who came by and read; I want to thank everyone who wrote and linked (I know it’s a challenge to write and link more than once a week and I’m honored you took the time and interest to do it); I want to thank all my fellow administrators on dVersePoets for the time and dedication they constantly give to a vocation/avocation that ties us together, and I want to especially thank everyone who read and commented on my work. It is always meaningful to me. So long until next time – Sam will host the next edition of FormForAll and I will be back two weeks after that. See you on the trail!
lolamouse said:
Computer keeps blipping out and in because of thunder storm. Will be back to comment!
Miriam E. said:
… such a great prompt, Gay!! unfortunately, I don’t have time to play as life is keeping me away from the keyboard a lot lately, but i will surely bookmark this page for future experiments – thanks a ton for the excursion.
hopefully, i’ll have the time to juggle a few words later today… happy weekend, everyone!
p.s.: The dVerse Anthology arrived today – the mailman must have thought i was so creepy with that big smile on my face… took a few peeks – wonderful, wonderful work! can’t wait to dive in…
Gay Reiser Cannon said:
Mine was quicker! I bought the kindle edition. Now it’s everywhere I have a screen! Yep, exciting isn’t it? Congrats again to everyone included.
tigerbrite said:
Thanks for your wonderful post. REALLY well researched. I did write something and then decided it wasn’t up to the mark so did not post yesterday. The poem got quite a few likes and two lovely comments so I have posted it to share with you. I really don’t know whether it fits:)