Foot (prosody) - The Poetic Feet in Classical Meter

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:

    “His mind was strong and clear, his will was unwavering, his convictions were uncompromising, his imagination was powerful enough to invest all plans of national policy with a poetic charm.”
    —Woodrow Wilson (1856–1924)

    “This world has many rings, like Saturn, and we live now on the outmost of them all. None can say deliberately that he inhabits the same sphere, or is contemporary, with the flower which his hands have plucked, and though his feet may seem to crush it, inconceivable spaces and ages separate them, and perchance there is no danger that he will hurt it.”
    —Henry David Thoreau (1817–1862)

    “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)

    “Much poetry seems to be aware of its situation in time and of its relation to the metronome, the clock, and the calendar. ... The season or month is there to be felt; the day is there to be seized. Poems beginning “When” are much more numerous than those beginning “Where” of “If.” As the meter is running, the recurrent message tapped out by the passing of measured time is mortality.”
    —William Harmon (b. 1938)