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)
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“The most important quality of art and its aim is illusion; emotion, which is often obtained by certain sacrifices of poetic detail, is something else entirely and of an inferior order.”
—Gustave Flaubert (1821–1880)
“These six things doth the Lord hate: yea, seven are an abomination unto him: A proud look, a lying tongue, and hands that shed innocent blood, an heart that deviseth wicked imaginations, feet that be swift in running to mischief, a false witness that speaketh lies, and he that soweth discord among brethren.”
—Bible: Hebrew Proverbs 6:16-19.
“The basic difference between classical music and jazz is that in the former the music is always greater than its performance—Beethoven’s Violin Concerto, for instance, is always greater than its performance—whereas 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 wasn’t 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 (1900–1948)