The Poetic Feet in Classical Meter
Below are listed the names given to the poetic feet by classical metrics. The feet are classified first by the number of syllables in the foot (disyllables have two, trisyllables three, and tetrasyllables four) and secondarily by the pattern of vowel lengths (in classical languages) or syllable stresses (in English poetry) which they comprise.
The following lists describe the feet in terms of vowel length (as in classical languages). Translated into syllable stresses (as in English poetry), 'long' becomes 'stressed' ('accented'), and 'short' becomes 'unstressed' ('unaccented'). For example, an iamb, which is short-long in classical meter, becomes unstressed-stressed, as in the English word "betray".
Read more about this topic: Foot (prosody)
Famous quotes containing the words poetic, feet, classical and/or meter:
“To anybody who can hold the Present at its worth without being inappreciative of the Past, it may be forgiven, if to such an one the solitary old hulk at Portsmouth, Nelsons Victory, seems to float there, not alone as the decaying monument of a fame incorruptible, but also as a poetic approach, softened by its picturesqueness, to the Monitors and yet mightier hulls of the European ironclads.”
—Herman Melville (18191891)
“In the eighth, Hermanski smashed a drive to the scoreboard. Henrich backed against the board and leaped either four or fourteen feet into the air. He stayed aloft so long he looked like an empty uniform hanging in its locker. When he came down he had the ball.”
—Walter Wellesley (Red)
“The basic difference between classical music and jazz is that in the former the music is always greater than its performanceBeethovens Violin Concerto, for instance, is always greater than its performancewhereas the way jazz is performed is always more important than what is being performed.”
—André Previn (b. 1929)
“His meter was bitter, and ironic and spectacular and inviting: so was life. There wasnt much other life during those times than to what his pen paid the tribute of poetic tragic glamour and offered the reconciliation of the familiarities of tragedy.”
—Zelda Fitzgerald (19001948)