Metre (poetry) - Knowledge (XXG)

2189:“I am aware of no branch of Arabic studies which embodies as many terms as does prosody, few and distinct as the meters are: al-Kʰalīl’s disciples employed a large number of infrequent items, assigning to those items certain technical denotations which—invariably—require definition and explanation. …. As to the rules of metric variation, they are numerous to the extent that they defy memory and impose a taxing course of study. …. In learning them, a student faces severe hardship which obscures all connection with an artistic genre—indeed, the most artistic of all—namely, poetry. ………. It is in this fashion that authors dealt with the subject under discussion over a period of eleven centuries: none of them attempted to introduce a new approach or to simplify the rules. ………. Is it not time for a new, simple presentation which avoids contrivance, displays close affinity to poetry, and perhaps renders the science of prosody palatable as well as manageable?” 3232:, uses eight poetic syllables. Given that all words at the end of each line have their phonetic accent on the second to last syllables, no syllables in the final count are added or subtracted. Still, in the second and third verse the grammatical count of syllables is nine. Poetic licenses permit the union of two vowels that are next to each other but in different syllables and count them as one. "Fue en..." has actually two syllables, but applying this license both vowels unite and form only one, giving the final count of eight syllables. "Sendero entre..." has five grammatical syllables, but uniting the "o" from "sendero" and the first "e" from "entre", gives only four syllables, permitting it to have eight syllables in the verse as well. 2186:

gather, classify, and categorize the primary data—a first step which, though insufficient, represents no mean accomplishment. Therefore, al-Kʰalīl has left a formulation of utmost complexity and difficulty which requires immense effort to master; even the accomplished scholar cannot utilize and apply it with ease and total confidence. Dr. ˀIbrāhīm ˀAnīs, one of the most distinguished and celebrated pillars of Arabic literature and the Arabic language in the 20th century, states the issue clearly in his book Mūsīqā al-Sʰiˁr:

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in the number of stresses do occur. Accentual verse focuses on the number of stresses in a line, while ignoring the number of offbeats and syllables; accentual-syllabic verse focuses on regulating both the number of stresses and the total number of syllables in a line; syllabic verse only counts the number of syllables in a line; quantitative verse regulates the patterns of long and short syllables (this sort of verse is often considered alien to English). The use of foreign metres in English is all but exceptional.

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count of syllables in the said line, thus having a higher number of poetic syllables than the number of grammatical syllables. If the accent lies on the second to last syllable of the last word in the verse, then the final count of poetic syllables will be the same as the grammatical number of syllables. Furthermore, if the accent lies on the third to last syllable, then one syllable is subtracted from the actual count, having then less poetic syllables than grammatical syllables.

4607:. He claimed most poetry was written in this older rhythmic structure inherited from the Norman side of the English literary heritage, based on repeating groups of two or three syllables, with the stressed syllable falling in the same place on each repetition. Sprung rhythm is structured around feet with a variable number of syllables, generally between one and four syllables per foot, with the stress always falling on the first syllable in a foot. 2969:. Each half-line had to follow one of five or so patterns, each of which defined a sequence of stressed and unstressed syllables, typically with two stressed syllables per half line. Unlike typical Western poetry, however, the number of unstressed syllables could vary somewhat. For example, the common pattern "DUM-da-DUM-da" could allow between one and five unstressed syllables between the two stresses. 1890:. This was a line of verse, made up of two equal parts, each of which contains two dactyls followed by a long syllable, which counts as a half foot. In this way, the number of feet amounts to five in total. Spondees can take the place of the dactyls in the first half, but never in the second. The long syllable at the close of the first half of the verse always ends a word, giving rise to a 38: 2030: 269:(long-long): a "long syllable" was literally one that took longer to pronounce than a short syllable: specifically, a syllable consisting of a long vowel or diphthong or followed by two consonants. The stress pattern of the words made no difference to the metre. A number of other ancient languages also used quantitative metre, such as 3139:

the metre is determined by the number of syllables the verse has. Still it is the phonetic accent in the last word of the verse that decides the final count of the line. If the accent of the final word is at the last syllable, then the poetic rule states that one syllable shall be added to the actual

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found in Old English, Middle English, and some modern English poems can be added to this list, as it operates on somewhat different principles than accentual verse. Alliterative verse pairs two phrases (half-lines) joined by alliteration; while there are usually two stresses per half-line, variations

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A particular feature of classical Persian prosody, not found in Latin, Greek or Arabic, is that instead of two lengths of syllables (long and short), there are three lengths (short, long, and overlong). Overlong syllables can be used anywhere in the line in place of a long + a short, or in the final

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is the same as that of Classical Arabic, even though these are quite different in both origin and structure. This has led to serious confusion among prosodists, both ancient and modern, as to the true source and nature of the Persian metres, the most obvious error being the assumption that they were

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Al-Kʰalīl b. ˀAḫmad al-Farāhīdī's contribution to the study of Arabic prosody is undeniably significant: he was the first scholar to subject Arabic poetry to a meticulous, painstaking metrical analysis. Unfortunately, he fell short of producing a coherent theory; instead, he was content to merely

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Apart from Ottoman poetry, which was heavily influenced by Persian traditions and created a unique Ottoman style, traditional Turkish poetry features a system in which the number of syllables in each verse must be the same, most frequently 7, 8, 11, 14 syllables. These verses are then divided into

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pattern "DUM-da-(da-)DUM-da", while the last one has the type C pattern "da-(da-da-)DUM-DUM-da", with parentheses indicating optional unstressed syllables that have been inserted. Note also the pervasive pattern of alliteration, where the first and/or second stressed syllables alliterate with the

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Most English metre is classified according to the same system as Classical metre with an important difference. English is an accentual language, and therefore beats and offbeats (stressed and unstressed syllables) take the place of the long and short syllables of classical systems. In most English

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echoes Jeffers' sentiments: "What if someone actually said to you that all music was composed of just 2 notes? Or if someone claimed that there were just 2 colors in creation? Now, ponder if such a thing were true. Imagine the clunkiness & mechanicality of such music. Think of the visual arts

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In writing out a poem's poetic metre, open syllables are symbolized by "." and closed syllables are symbolized by "–". From the different syllable types, a total of sixteen different types of poetic foot—the majority of which are either three or four syllables in length—are constructed, which are

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poetic metric may be divided into fixed and variable length line types, although the actual scansion of the metre is complicated by various factors, including linguistic changes and variations encountered in dealing with a tradition extending over a geographically extensive regional area for a

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There are many types of licenses, used either to add or subtract syllables, that may be applied when needed after taking in consideration the poetic rules of the last word. Yet all have in common that they only manipulate vowels that are close to each other and not interrupted by consonants.

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In this example, the first and second feet are dactyls; their first syllables, "Ar" and "rum" respectively, contain short vowels, but count as long because the vowels are both followed by two consonants. The third and fourth feet are spondees, the first of which is divided by the main

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counts as a consonant). At the end of a line, the "e" remains unelided but is hypermetrical (outside the count of syllables, like a feminine ending in English verse), in that case, the rhyme is also called "feminine", whereas it is called "masculine" in the other cases.

2718:, the two halves of each couplet rhyme, with a scheme AA BB CC. In lyric poetry, the same rhyme is used throughout the poem at the end of each couplet, but except in the opening couplet, the two halves of each couplet do not rhyme; hence the scheme is AA BA CA DA. A 4103:

Portuguese poetry uses a syllabic metre in which the verse is classified according to the last stressed syllable. The Portuguese system is quite similar to those of Spanish and Italian, as they are closely related languages. The most commonly used verses are:

2124:. These are the only syllable types possible in Classical Arabic phonology which, by and large, does not allow a syllable to end in more than one consonant or a consonant to occur in the same syllable after a long vowel. In other words, syllables of the type 3385:

syllable groups depending on the number of total syllables in a verse: 4+3 for 7 syllables, 4+4 or 5+3 for 8, 4+4+3 or 6+5 for 11 syllables. The end of each group in a verse is called a "durak" (stop), and must coincide with the last syllable of a word.

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and the long and short syllables to whole notes and half notes. In English poetry, feet are determined by emphasis rather than length, with stressed and unstressed syllables serving the same function as long and short syllables in classical metre.

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In Italian poetry, metre is determined solely by the position of the last accent in a line, the position of the other accents being however important for verse equilibrium. Syllables are enumerated with respect to a verse which ends with a

5161: 3361:: A line whose last accent falls on the seventh syllable. More often than not, the secondary accents fall on the first, third and fifth syllable, especially in nursery rhymes for which this metre is particularly well-suited. 3813:

These individual poetic feet are then combined in a number of different ways, most often with four feet per line, so as to give the poetic metre for a line of verse. Some of the most commonly used metres are the following:

2714:(quatrain), where either of two very similar metres may be used, the same metre is used for every line in the poem. Rhyme is always used, sometimes with double rhyme or internal rhymes in addition. In some poems, known as 3467:) were imitated from Persian poetry. About twelve of the most common Persian metres were used for writing Turkish poetry. As was the case with Persian, no use at all was made of the commonest metres of Arabic poetry (the 3281:: A line consisting of fourteen syllables, commonly separated into two hemistichs of seven syllables each (In most languages, this term denotes a line of twelve or sometimes thirteen syllables, but not in Spanish). 2706:

positions in the line, however, that is places where either a long or short syllable can be used (marked "x" in the schemes below), are not found in Persian verse except in some metres at the beginning of a line.

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The metrical system of Classical Arabic poetry, like those of classical Greek and Latin, is based on the weight of syllables classified as either "long" or "short". The basic principles of Arabic poetic metre

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Finally, non-stressed languages that have little or no differentiation of syllable length, such as French or Chinese, base their verses on the number of syllables only. The most common form in French is the

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metre is determined by the type of foot and the number of feet in a line. Thus, a line with three iambic feet is known as iambic trimeter. A line with six dactylic feet is known as dactylic hexameter.

1683:. The most exhaustive compilations, such as the modern ones by Patwardhan and Velankar contain over 600 metres. This is a substantially larger repertoire than in any other metrical tradition. 1611:) metres depend on the number of syllables in a verse, with relative freedom in the distribution of light and heavy syllables. This style is derived from older Vedic forms. An example is the 1307:

By contrast with caesura, enjambment is incomplete syntax at the end of a line; the meaning runs over from one poetic line to the next, without terminal punctuation. Also from Shakespeare's

2950:, a metrical pattern involving varied numbers of syllables but a fixed number (usually four) of strong stresses in each line. The unstressed syllables were relatively unimportant, but the 4599:. Williams spurned traditional metre in most of his poems, preferring what he called "colloquial idioms." Another poet who turned his back on traditional concepts of metre was Britain's 3031:

In the quoted section, the stressed syllables have been underlined. (Normally, the stressed syllable must be long if followed by another syllable in a word. However, by a rule known as

3367:: A line whose last accent falls on the tenth syllable. It therefore usually consists of eleven syllables; there are various kinds of possible accentuations. It is used in sonnets, in 2116:, contains three short vowels and is made up of three short syllables. A long syllable contains either a long vowel or a short vowel followed by a consonant as is the case in the word 375:˘ / ˘ / ˘ / ˘ / ˘ / So long as men can breathe, or eyes can see, ˘ / ˘ / ˘ / ˘ / ˘ / So long lives this, and this gives life to thee. 2726:

position in a line or half line. When a metre has a pair of short syllables (⏑ ⏑), it is common for a long syllable to be substituted, especially at the end of a line or half-line.

1960:, who wrote many of her poems in the form. A hendecasyllabic is a line with a never-varying structure: two trochees, followed by a dactyl, then two more trochees. In the Sapphic 174:

prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as

301:, with twelve syllables a verse, and in classical Chinese five characters, and thus five syllables. But since each Chinese character is pronounced using one syllable in a certain 206:

The metre of most poetry of the Western world and elsewhere is based on patterns of syllables of particular types. The familiar type of metre in English-language poetry is called

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verse, the metre can be considered as a sort of back beat, against which natural speech rhythms vary expressively. The most common characteristic feet of English verse are the

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poems (that is, long poems in rhyming couplets) are always written in one of the shorter 11 or 10-syllable metres (traditionally seven in number) such as the following:

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usually fall on the lines of trimeter, although in many instances the tetrameter also rhymes. This is the metre of most of the Border and Scots or English ballads. In

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believed that metre was an artificial construct imposed upon poetry rather than being innate to poetry. In an essay titled "Robinson Jeffers, & The Metric Fallacy"

1358:, where the end of a line is shortened by a foot, or two or part thereof – an example of this is at the end of each verse in Keats' "La Belle Dame sans Merci": 2864:

tend towards a poetic metre based on fixed-length lines of five, seven, (or, more rarely six) characters/verbal units tended to predominate, generally in couplet/

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Moore went further than Jeffers, openly declaring her poetry was written in syllabic form, and wholly denying metre. These syllabic lines from her famous poem

3064:, metre is determined solely by the number of syllables in a line. A silent 'e' counts as a syllable before a consonant, but is elided before a vowel (where 5354: 3275:: A line with eleven poetic syllables. This metre plays a similar role to pentameter in English verse. It is commonly used in sonnets, among other things. 2206:

Classical Arabic has sixteen established metres. Though each of them allows for a certain amount of variation, their basic patterns are as follows, using:

1992:("He seems to me to be like a god; if it is permitted, he seems above the gods, who sitting across from you gazes at you and hears you again and again.") 1430:, in which the metrical norm is five iambic feet per line, though metrical substitution is common and rhythmic variations are practically inexhaustible. 3295:, so that a Septenary (having seven syllables) is defined as a verse whose last accent falls on the sixth syllable: it may so contain eight syllables ( 1719:

below). These are also called "heavy" and "light" syllables, respectively, to distinguish from long and short vowels. The foot is often compared to a

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Spanish poetry uses poetic licenses, unique to Romance languages, to change the number of syllables by manipulating mainly the vowels in the line.

3035:, two short syllables in a single word are considered equal to a single long syllable. Hence, sometimes two syllables have been underlined, as in 5476: 3048: 401:

However some metres have an overall rhythmic pattern to the line that cannot easily be described using feet. This occurs in Sanskrit poetry; see

3310:). Moreover, when a word ends with a vowel and the next one starts with a vowel, they are considered to be in the same syllable (synalepha): so 3186:('sky' or 'heaven'). This is sometimes marked by placing a dieresis sign over the vowel which would otherwise be the weak one in the diphthong: 2702:

Persian poetry is quantitative, and the metrical patterns are made of long and short syllables, much as in Classical Greek, Latin and Arabic.

5425: 4809: 1731:, which is defined as a single short syllable. A long syllable is equivalent to two morae. A long syllable contains either a long vowel, a 218:

use a scheme that is somewhat similar but where the position of only one particular stressed syllable (e.g. the last) needs to be fixed. The

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Dieresis. The opposite of syneresis. A syllable break is inserted between two vowels which usually make a diphthong, thus eliminating it:

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consists of only four syllables ("Gli an" "ni e i" "gior" "ni"). Even-syllabic verses have a fixed stress pattern. Because of the mostly

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in the classical languages were based on the length of time taken to pronounce each syllable, which were categorized according to their

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illustrate her contempt for metre and other poetic tools. Even the syllabic pattern of this poem does not remain perfectly consistent:

4500:. Renaissance and Early Modern poetry in Europe is characterized by a return to templates of Classical Antiquity, a tradition begun by 5444: 5389: 4955: 4871: 4839: 4762: 4732: 3047:(died 1932) identified five different patterns of half-line in Anglo-Saxon alliterative poetry. The first three half-lines have the 121: 2150:

The traditional Arabic practice for writing out a poem's metre is to use a concatenation of various derivations of the verbal root

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Dactylic pentameter is never used in isolation. Rather, a line of dactylic pentameter follows a line of dactylic hexameter in the

5358:: Quantitative poetic metric analysis and pursuit of reasoning on aesthetics of linguistics and poetry in Indo-European languages. 4918:

commonality among a wide range of song lyrics allow words and music to be interchanged seamlessly between various songs, such as "

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Williams tried to form poetry whose subject matter was centered on the lives of common people. He came up with the concept of the

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sometimes prevent a grammatical syllable from making a full syllable, and certain other lengthening and shortening rules (such as

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forms, similarly fixed-rhythm forms based on now obscure or perhaps completely lost original examples (or, ur-types). Not that

1444:, and much else besides in English are written in iambic pentameter. Lines of unrhymed iambic pentameter are commonly known as 55: 4376:. The earliest known unambiguously metrical texts, and at the same time the only metrical texts with a claim of dating to the 3235:

Hiatus. It is the opposite phenomenon to synalepha. Two neighboring vowels in different words are kept in separate syllables:

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and solemn verse in the Greek and Latin world, as well as love poetry that was sometimes light and cheerful. An example from

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About 30 different metres are commonly used in Persian. 70% of lyric poems are written in one of the following seven metres:

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Poems with a well-defined overall metric pattern often have a few lines that violate that pattern. A common variation is the

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devoid of not just color, but sepia tones, & even shades of gray." Jeffers called his technique "rolling stresses".

4239: 3495: 1464: 3558:) consist of either a long vowel alone, a consonant followed by a long vowel, or a short vowel followed by a consonant 3146:

Regarding these poetic licenses one must consider three kinds of phenomena: (1) syneresis, (2) dieresis and (3) hiatus

5469: 4980: 2086:(718 - 786 CE) who did so after noticing that poems consisted of repeated syllables in each verse. In his first book, 4830: 3375:, in particular, is composed entirely of hendecasyllables, whose main stress pattern is on the 4th and 10th syllable. 5258:"Magyarul Bábelben - irodalmi antológia :: Horatius Flaccus, Quintus: Ars poetica (Ars poetica Magyar nyelven)" 333:, each foot being a specific sequence of syllable types – such as relatively unstressed/stressed (the norm for 81: 3389: 3127:

that goes beyond how words merely sound. These are usually taken into account when describing the metre of a poem.

2001: 1964:, three hendecasyllabics are followed by an "Adonic" line, made up of a dactyl and a trochee. This is the form of 1820: 4753: 1633: 48: 5203: 2710:

Persian poetry is written in couplets, with each half-line (hemistich) being 10-14 syllables long. Except in the

4636: 4388:(Sumerian, Egyptian or Semitic) should not exhibit metre is surprising, and may be partly due to the nature of 3456: 2893: 1402: 306: 4711: 3329:

Sexenary: A line whose last stressed syllable is on the fifth, with a fixed stress on the second one as well (

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In the 20th and the 21st centuries, numerous scholars have endeavored to supplement al-Kʰalīl's contribution.

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continuous time period of over some two-and-a-half millennia. Beginning with the earlier recorded forms: the

2803:(quatrains), which are only used for this, are the following, of which the second is a variant of the first: 190:, whether formal or informal, that vary from language to language, and sometimes between poetic traditions.) 4927: 4525: 4373: 3318:

nature of the Italian language, verses with an even number of syllables are far easier to compose, and the

5675: 5462: 4533: 4302:'s poetry has been rendered into English faithfully to his original metre in some translations, namely by 3229: 3206:). The final vowel of a word and the initial one of the next are pronounced in one syllable. For example: 2878:, using variable line lengths which follow the specific pattern of a certain musical song's lyrics, thus 1489:

which was used so often in the 18th century that it is now used mostly for humorous effect (although see

70: 5334: 4987: 4859: 4825: 4706: 4600: 2926:. The use of caesura is important in regard to the metrical analysis of Classical Chinese poetry forms. 2715: 1949: 183: 5058:

Hardison, O.B. (1999). Prosody and purpose in the English renaissance. Johns Hopkins University Press.

3352: 3256: 186:" is used in a more general sense that includes not only poetic metre but also the rhythmic aspects of 5106: 4520:

Not all poets accept the idea that metre is a fundamental part of poetry. 20th-century American poets

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also had more strictly defined rules, such as thematic parallelism or tonal antithesis between lines.

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Syneresis. A diphthong is made from two consecutive vowels in a word which do not normally form one:

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of the verse. The fifth foot is a dactyl, as is nearly always the case. The final foot is a spondee.

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was different from that of modern English, and related more to the verse forms of most of the older

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foot there can be two long syllables, four short syllables, or one long and two short in any order.

1486: 1449: 1235: 432: 278: 4315: 5680: 5599: 5582: 5186:"Babel Web Anthology :: The page of Berzsenyi Dániel, Hungarian Works translated to English" 4983: 4718: 4626: 4440: 4389: 4307: 4291: 4283: 3503: 3075: 2962: 2955: 2947: 2935: 2923: 1747: 1728: 1647: 1469: 1414: 1410: 1264: 1224:

Sometimes a natural pause occurs in the middle of a line rather than at a line-break. This is a

1206: 1197:. For example, if the feet are iambs, and if there are five feet to a line, then it is called an 302: 246: 219: 4716:

asserts that there is only one metre in English: Accentual-Syllabic. The essay is reprinted in

4496: 4401: 4392:. There were, in fact, attempts to reconstruct metrical qualities of the poetic portions of the 1623:, which has exactly eight syllables in each line, of which only some are specified as to length. 2631: 2604: 1612: 5565: 5560: 5440: 5421: 5404: 5385: 5350: 5059: 4951: 4932: 4867: 4835: 4805: 4758: 4728: 4616: 4385: 4367: 3601: 3372: 2939: 2853: 2830: 2825: 2577: 2496: 1511: 1427: 1198: 707: 551: 348: 270: 215: 211: 2550: 1632:) metres depend on syllable count, but the light-heavy patterns are fixed. An example is the 5639: 4797: 4529: 4323: 4311: 3488: 2790: 2280: 2108:

A short syllable contains a short vowel with no following consonants. For example, the word

1997: 1592: 334: 282: 274: 151: 2469: 2388: 2334: 1510:, also called the "ballad metre", which is a four-line stanza, with two pairs of a line of 1260:

In Latin and Greek poetry, a caesura is a break within a foot caused by the end of a word.

5644: 5577: 5315:"Metrices biblicae regulae exemplis illustratae", 1879, "Carmina Vet. Test. metrice", 1882 4489: 4478: 4458: 4405: 4377: 4135: 3511: 3364: 3272: 2909: 2415: 2091: 2068: 2053: 1905: 1763: 1708: 1698: 1692: 1559: 1515: 1398: 1213: 773: 573: 410: 318: 286: 262: 254: 250: 242: 223: 143: 95: 4089: 3483:). However, the terminology used to describe the metres was indirectly borrowed from the 1762:, since there is one long part followed by two short stretches. The first four feet are 1397:

The number of metrical systems in English is not agreed upon. The four major types are:

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Dactyl is one long two short syllables from dactyl, meaning "finger" (Greek: daktylos).

4621: 4521: 4485: 4474: 4452: 4444: 4409: 4397: 4295: 4235: 4176: 4148: 3136: 3044: 2914: 2904: 2786: 2695: 2689: 2201: 2042: 1953: 1500: 1482: 1458: 1406: 406: 342: 338: 329: 258: 163: 5084: 1778:). The fifth foot is almost always a dactyl. The sixth foot is either a spondee or a 1743:) can create long or short syllables in contexts where one would expect the opposite. 423:(where "—" = long, "∪" = short, and "x x" can be realized as "— ∪" or "— —" or "∪ —") 5669: 5629: 5611: 5555: 5547: 4919: 4646: 4631: 4604: 4541: 4470: 4303: 4287: 4128: 3484: 3447:="stop") after the sixth syllable of every line, as well as at the end of each line. 3061: 1936:("Virgil I merely saw, and the harsh Fates gave Tibullus no time for my friendship.") 1532: 1436: 1386: 1343: 1268: 379: 324: 167: 5619: 4063: 4006: 3949: 3896: 3839: 3628: 2307: 1944:

metres, which were typically used for shorter poems than elegiacs or hexameter. In

1448:. Blank verse in the English language is most famously represented in the plays of 327:

classical poetic traditions, the metre of a verse can be described as a sequence of

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An assortment of features can be identified when classifying poetry and its metre.

5634: 4032: 3600:) count as one closed plus one open syllable and consist of a vowel followed by a 2658: 17: 4682: 4282:

Metre has been applied in Hungarian since 1541 up to the 20th century, partly in

5624: 4509: 4505: 4492: 4466: 4229: 4186: 3278: 3111: 3092: 3066: 2888: 2883: 2874: 2869: 2861: 2772: 2083: 1720: 1616: 1596: 1496: 1474: 1445: 1431: 1378: 880: 480: 402: 353: 231: 179: 37: 5245: 4354:, have been translated into Hungarian in their original metre, most notably by 1750:, the metre of Homer and Virgil. This form uses verses of six feet. The word 5531: 5521: 5516: 4576:

school-books": all these phenomena are important. One must make a distinction

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verse, which lacks the first syllable of the first foot. A third variation is

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however: when dragged into prominence by half poets, the result is not poetry

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poetry of the early centuries AD may be the earliest known non-Indo-European

3865: 2105:), he described 15 types of verse. Al-Akhfash described one extra, the 16th. 5536: 5526: 5501: 4462: 4429: 4214: 4194: 3523: 3197: 3079: 2943: 2765: 1969: 1732: 1491: 1193: 1181: 1151: 227: 5111:

Proceedings of International Conference on Frontiers in Comparative Metrics

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was metrical without exception, spanning traditions as diverse as European

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tended towards the variable line-length forms of the folk ballads and the

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The terminology for metrical system used in classical and classical-style

2099: 2076: 2061: 5654: 5511: 4651: 4501: 4448: 4351: 3975: 3392:(died 1973), one of the most devoted users of traditional Turkish metre: 3202: 2865: 2841:

follows this to some extent, but moves toward variations in line length.

2834: 2755: 2361: 2222:"S" for a position that can contain 1 long, 2 shorts, or 1 long + 1 short 1965: 1908:, a form of verse that was used for the composition of elegies and other 1735:, or a short vowel followed by two or more consonants. Various rules of 1620: 1163: 983: 640: 617: 414: 366: 365:

with "˘" above the syllable) followed by a relatively stressed one (here

362: 3853:

Oh beloved, since the origin we have been the slaves of the shah of love

3074:

The most frequently encountered metre in Classical French poetry is the

1495:

for a non-trivial case). The most famous writers of heroic couplets are

237:

Some classical languages, in contrast, used a different scheme known as

5589: 5506: 5408: 4381: 4335: 3963:

At the gathering of desire you made me a wine-cup with your sugar smile

3315: 2951: 2779: 1918: 1909: 1901: 1891: 1813: 1791: 1779: 1771: 1736: 1526:

it is called the "common metre", as it is the most common of the named

1382: 1347: 1225: 1157: 520: 498: 463: 266: 3965:

Oh saki, give me only half a cup of wine, you've made me drunk enough

4421: 4413: 4343: 4339: 4238:

that can be traced back to at least the sixth century. At the annual

4131: 3498:, also known as Dîvân poetry, was generally written in quantitative, 3265:: A line with eight poetic syllables. This metre is commonly used in 2902:

forms, with their metrical patterns found in the "old style poetry" (

1961: 1957: 1952:, a line of eleven syllables. This metre was used most often in the 1837:

Bearded with moss, and in garments green, indistinct in the twilight,

1796: 1441: 662: 502: 395: 391: 387: 159: 135: 1807:("I sing of arms and the man, who first from the shores of Troy...") 5274: 5220: 3443:

In this poem the 6+5 metre is used, so that there is a word-break (

3269:, narrative poems similar to English ballads, and in most proverbs. 1882:

1645:) metres depend on duration, where each line has a fixed number of 351:, a common metre in English poetry, is based on a sequence of five 5649: 4417: 4331: 4271: 3519: 3124: 2849: 2838: 2442: 2253: 2143:) and a certain combination of possible feet constitutes a metre ( 2028: 1898: 1834:

This is the forest primeval. The murmuring pines and the hemlocks,

1519: 383: 378:

This approach to analyzing and classifying metres originates from

187: 5232: 2976:, a poem written shortly after the date of that battle (AD 991): 2922:). The regulated verse forms also prescribed patterns based upon 1267:

is divided into two half-lines by a caesura. This can be seen in

234:

was radically different, but was still based on stress patterns.

5454: 4347: 4249: 1913: 1523: 5458: 5077:"Welcome to nginx eaa1a9e1db47ffcca16305566a6efba4!185.15.56.1" 4079:

We are blood hidden in the crimson heart of the unbloomed rose

4077:

We are desire hidden in the love-crazed call of the nightingale

2837:

of four-character lines, grouped in rhymed quatrains; and, the

1843:

Stand like harpers hoar, with beards that rest on their bosoms.

210:, with stressed syllables coming at regular intervals (e.g. in 4234:

There is a continuing tradition of strict metre poetry in the

1711:

as either "long" syllables or "short" syllables (indicated as

1601:

Versification in Classical Sanskrit poetry is of three kinds.

1426:

The most frequently encountered metre of English verse is the

31: 3106:

Waterloo ! Waterloo ! Waterloo ! Morne plaine!

1794:

after the ictus of the third foot. The opening line of the

361:, each consisting of a relatively unstressed syllable (here 1659:, in which each verse has four lines of 12, 18, 12, and 15 1389:

for a complete list of the metrical feet and their names.)

3855:

Oh beloved, we are the famed sultan of the heart's domain

2166:

That is, Romanized and with traditional Western scansion:

2135:

Each verse consists of a certain number of metrical feet (

1804:

1291:

And wonnen that thise wastours / with glotonye destruyeth.

1636:, in which each line has 17 syllables in a fixed pattern. 4864:

Prosody in England and Elsewhere: A Comparative Approach

3239:, with six poetic syllables, instead of the more common 1926:

1840:

Stand like Druids of old, with voices sad and prophetic,

5376:, 5th edition (Revised), Posed online with free access. 4022:

I know my love knows the whole of my sickness of heart

3355:: A line whose last stressed syllable is the sixth one. 2954:(breaks between the half-lines) played a major role in 4171:: stresses on the fourth, seventh and tenth syllables. 4155:): stresses on the fourth, eighth and tenth syllables. 3912:

The fault lies in those languid eyes and not my words

2219:"o" for a position that can contain 1 long or 2 shorts 1786:). The initial syllable of either foot is called the 1678: 1672: 1640: 1627: 1606: 1249:

That will be damn'd for't; / would I knew the villain,

5306:(Literary translations of ancient/antique literature) 4020:

What use in revealing my sickness of heart to my love

2216:"x" for a position that can contain 1 long or 1 short 1790:, the basic "beat" of the verse. There is usually a 1530:

used to pair many hymn lyrics with melodies, such as

409:. It also occurs in some Western metres, such as the 27:

Basic rhythmic structure of a verse or lines in verse

3506:, or syllables, are divided into three basic types: 5610: 5545: 5492: 5324:"Leitfaden der Metrik der hebräischen Poesie", 1887 5157: 5155: 4834:, Northwestern University Press, 1980, p. 34, 4197:, the sixth and the twelfth syllables are stressed. 4161:: stresses on the third, sixth and tenth syllables. 3910:

Though I may fail to please with my matchless verse

3082:of six syllables each. Two famous alexandrines are 2882:are sometimes referred to as "fixed-rhythm" forms. 2244: 2241: 1481:A rhymed pair of lines of iambic pentameter make a 1285:

Somme putten hem to the plough / pleiden ful selde,

62:. Unsourced material may be challenged and removed. 5109:. In Maria-Kristina Lotman and Mihhail Lotman ed. 3123:Classical French poetry also had a complex set of 2868:-based forms, of various total verse lengths. The 1819:The dactylic hexameter was imitated in English by 1671:Standard traditional works on metre are Pingala's 3322:is usually regarded as the most difficult verse. 3027:spirit must be the more, as our might lessens.") 1929:Tempŭs ă | mīcĭtĭ | ae || fātă dĕ | dērĕ mĕ | ae. 1212:In classical Greek and Latin, however, the name " 5113:, Estonia, pp. 147–173. (See p. 156 of the pdf). 5107:"Poetries in Contact: Arabic, Persian, and Urdu" 4358:, as well as by other 20th-century translators. 1886:Also important in Greek and Latin poetry is the 1562:is famous for her frequent use of ballad metre: 1279:Of alle manere of men / the meene and the riche, 4603:. Hopkins' major innovation was what he called 4559:to discriminate against "business documents and 3394: 3207: 1727:The basic unit in Greek and Latin prosody is a 1276:A fair feeld ful of folk / fond I ther bitwene— 4254:, a long poem that follows the conventions of 4213:): composed of 16 syllables, divided into two 3957:Bir şeker ḥand ile bezm-i şevķa cām ettiñ beni 3120:(Waterloo! Waterloo! Waterloo! Gloomy plain!) 3025:("Will must be the harder, courage the bolder, 2972:The following is a famous example, taken from 1282:Werchynge and wandrynge / as the world asketh. 1255:I have three daughters; / the eldest is eleven 1252:I would land-damn him. / Be she honour-flaw'd, 1149:If the line has only one foot, it is called a 214:, usually every even-numbered syllable). Many 5470: 4504:'s generation and continued into the time of 4145:): stresses on the sixth and tenth syllables. 4014:Men ne ḥācet ki ḳılam derd-i dilüm yāra ‘ayān 3397: 3210: 3101:(the daughter of Minos and of Pasiphaë), and 2722:(quatrain) also usually has the rhyme AA BA. 2016:Saw the hair unbound and the feet unsandalled 1325:That honourable grief lodged here which burns 8: 4127:): composed of 10 syllables. Mostly used in 3849:Maḥabbet mülkinüñ sulţān-ı ‘ālī-şānıyüz cānā 3847:Ezelden şāh-ı ‘aşḳuñ bende-i fermānıyüz cānā 2673: 2663: 2646: 2636: 2619: 2609: 2592: 2582: 2565: 2555: 2538: 2528: 2511: 2501: 2484: 2474: 2457: 2447: 2430: 2420: 2403: 2393: 2376: 2366: 2349: 2339: 2322: 2312: 2295: 2285: 2268: 2258: 1940:The Greeks and Romans also used a number of 1288:In settynge and sowynge / swonken ful harde, 1243:It is for you we speak, / not for ourselves: 337:poetry) or long/short (as in most classical 294: 4676: 4674: 4672: 4372:Metrical texts are first attested in early 4255: 4247: 2019:Shine as fire of sunset on western waters; 1322:Perchance shall dry your pities; but I have 5477: 5463: 5455: 4683:"metre in Poetry and Verse: A Study Guide" 3604:, or a long vowel followed by a consonant 3459:, the structures of the poetic foot (تفعل 2886:metres continued this practice with their 2225: 1746:The most important Classical metre is the 1506:Another important metre in English is the 1205:and there are six to a line, then it is a 5046: 5022:"The rhythmic structure of Persian verse" 4902: 4890: 4846:continue to resist importation in English 4777: 4310:, and others. 20th-century poets such as 4286:, and partly in other forms, such as the 3904:Ḥaţā’ o nerkis-i şehlādadır sözümde degil 3325:Some common metres in Italian verse are: 3252:Some common metres in Spanish verse are: 1800:is a typical line of dactylic hexameter: 1216:" refers to a line with six iambic feet. 122:Learn how and when to remove this message 5437:Rhyme's Reason: A Guide to English Verse 4412:metrical poetry is found in the Iranian 4071:Şevḳuz ki dem-i bülbül-i şeydāda nihānuz 3906:Egerçi her süḥanim bī-bedel beġendiremem 1363:And on thy cheeks a fading rose (4 feet) 1319:Commonly are; the want of which vain dew 719: 532: 449: 417:and Martial, which can be described as: 5146: 5134: 5122: 4724:Meter in English, A Critical Engagement 4668: 4016:Ḳamu derd-i dilümi yār bilübdür bilübem 3959:Nīm ṣun peymāneyi sāḳī tamām ettiñ beni 2764:⏑ – – ⏑ – – ⏑ – – ⏑ – (e.g. Ferdowsi's 2182:fa`ūlun mafā`īlun fa`ūlun mafā`ilun 2177:Qifā nabki min ḏikrā ḥabībin wa-manzili 2172:⏑ – – ⏑ – – – ⏑ – – ⏑ – ⏑ – 5374:Towards a New Theory of Arabic Prosody 4404:, but they remained inconclusive (see 4073:Ḥūnuz ki dil-i ġonçe-i ḥamrāda nihānuz 3596:Lengthened, or superheavy, syllables ( 3228:This stanza from Valle de Collores by 2872:is specially known for its use of the 2771:⏑ – – – ⏑ – – – ⏑ – – (e.g. Gorgani's 1452:and the great works of Milton, though 1246:You are abused / and by some putter-on 5105:Deo, Ashwini; Kiparsky, Paul (2011). 4416:and in the Greek works attributed to 4206:): composed of 13 or more syllables. 3835:. – – – / . – – – / . – – – / . – – – 3371:, and in many other types of poetry. 2154:(فعل). Thus, the following hemistich 1316:I am not prone to weeping, as our sex 1238:; the caesurae are indicated by '/': 202:Qualitative versus quantitative metre 7: 5174:From the Carpathian Basin to Chicago 4796:. University of Pennsylvania Press. 3259:: A line with seven poetic syllables 1948:, one important line was called the 1615:metre found in the great epics, the 1350:("DUM-da"). A second variation is a 369:with "/" above the syllable) – 60:adding citations to reliable sources 4002:. . – – / . . – – / . . – – / . . – 3945:– . – – / – . – – / – . – – / – . – 3892:. – . – / . . – – / . – . – / . . – 2778:– ⏑ – – – ⏑ – – – ⏑ – (e.g. Rumi's 2674: 2664: 2647: 2637: 2620: 2610: 2593: 2583: 2566: 2556: 2539: 2529: 2512: 2502: 2485: 2475: 2458: 2448: 2431: 2421: 2404: 2394: 2377: 2367: 2350: 2340: 2323: 2313: 2296: 2286: 2269: 2259: 2160:Would be traditionally scanned as: 2132:are not found in classical Arabic. 2095: 2072: 2057: 2013:Saw the white implacable Aphrodite, 1996:The Sapphic stanza was imitated in 1549:I once was lost, but now am found; 1541:Amazing Grace! how sweet the sound 5382:Ottoman Lyric Poetry: An Anthology 5339:Hebrew Poetry of the Old Testament 5275:Metamorphoses by Ovid in Hungarian 4793:The English Alliterative Tradition 4134:. It is equivalent to the Italian 1263:Each line of traditional Germanic 25: 5162:A klasszikus időmértékes verselés 4059:– – . / . – – . / . – – . / – – . 1982:quī sĕdēns adversŭs ĭdentĭdem tē 1979:illĕ, sī fās est, sŭpĕrārĕ dīvōs, 1651:, grouped in feet with usually 4 1573:Here was no notice — no dissent — 1567:Great streets of silence led away 4727:, University of Arkansas Press, 3087:La fille de Minos et de Pasiphaë 3052:third, but not with the fourth. 1655:in each foot. An example is the 261:making up the line was either a 36: 5204:"[JÓZSEF ATTILA] FLÓRA" 4831:Free Verse: An Essay on Prosody 4067: 4010: 3953: 3900: 3843: 3767: 3722: 3677: 3632: 2748:⏑ – – – ⏑ – – – ⏑ – – – ⏑ – – – 1478:) also make notable use of it. 1228:(cut). A good example is from 257:, for example, each of the six 241:, where patterns were based on 47:needs additional citations for 3626:named and scanned as follows: 2821:Classical Chinese poetry forms 1: 5384:, University of Texas Press, 5372:Abdel-Malek, Zaki N. (2019), 4946:Boyd, Barbara Weiden (2008). 4681:Cummings, Michael J. (2006). 4433: 4342:and epic and lyric poetry by 4183:): composed of 12 syllables. 3554:Closed, or heavy, syllables ( 2742:x ⏑ – – ⏑ ⏑ – – ⏑ ⏑ – – ⏑ ⏑ – 2739:– ⏑ – – – ⏑ – – – ⏑ – – – ⏑ – 2733:⏑ – ⏑ – ⏑ ⏑ – – ⏑ – ⏑ – ⏑ ⏑ – 2157:قفا نبك من ذكرى حبيبٍ ومنزلِ 1976:Illĕ mī pār essĕ dĕō vĭdētur; 1956:, named after the Greek poet 382:tragedians and poets such as 4790:Cable, Thomas (1991-12-31). 4754:Poetic metre and Poetic Form 4240:National Eisteddfod of Wales 3518:) consist of either a short 3388:The following example is by 1544:That saved a wretch like me; 1366:Fast withereth too (2 feet) 1201:. If the feet are primarily 447:= unstressed/short syllable 5235:. Interpopulart Könyvkiadó. 4330:wrote poetry in metre. The 3526:followed by a short vowel. 3463:) and of poetic metre (وزن 3220:por un sendero entre mayas, 2965:divided each line into two 2785:– – ⏑ ⏑ – ⏑ – ⏑ – – (e.g. 2751:– – ⏑ ⏑ – – ⏑ ⏑ – – ⏑ ⏑ – – 2736:– – ⏑ – ⏑ – ⏑ ⏑ – – ⏑ – ⏑ – 2319:x – ⏑ – x ⏑ – x – ⏑ – ⏑ ⏑ – 2265:⏑ – x ⏑ – x – ⏑ – x ⏑ – ⏑ – 2163:فعولن مفاعيلن فعولن مفاعلن 2100: 2077: 2062: 2004:in a poem he simply called 1848:Notice how the first line: 1679: 1673: 1641: 1628: 1607: 1570:To neighborhoods of pause — 743:tetrabrach, proceleusmatic 245:rather than stress. In the 5697: 5380:Andrews, Walter G (1997), 4365: 4298:. Early 19th-century poet 4227: 4117:: composed of 7 syllables. 4111:: composed of 5 syllables. 3487:through the medium of the 3043:.) The German philologist 2818: 2687: 2324:مستفعلن فاعلن مستفعلن فعلن 2270:فعولن مفاعيلن فعولن مفاعلن 2199: 2040: 2002:Algernon Charles Swinburne 1821:Henry Wadsworth Longfellow 1754:comes from the Greek word 1696: 1690: 1590: 1342:of a foot, which turns an 1300: 316: 5439:, Yale University Press, 5416:Deutsch, Babette (1957), 5355:La Metrique Diatemporelle 5341:calls them 'Procrustean'. 3222:arropás de cundiamores... 2896:ever lost the use of the 2810:– – ⏑ ⏑ – ⏑ – ⏑ – – ⏑ ⏑ – 2807:– – ⏑ ⏑ – – ⏑ ⏑ – – ⏑ ⏑ – 1552:Was blind, but now I see. 1381:in two syllables and the 1118: 1014: 908:minor ionic, double iamb 854: 747: 5435:Hollander, John (1981), 5262:www.magyarulbabelben.net 4712:Meter in English (essay) 4637:List of classical metres 4384:. That the texts of the 4380:, are the hymns of the 3457:Ottoman Turkish language 3218:fue en una jaquita baya, 3159:instead of the standard 2961:In place of using feet, 2894:Classical Chinese poetry 2797:The two metres used for 2213:"⏑" for 1 short syllable 1968:51 (itself an homage to 1663:respectively. In each 4- 1403:accentual-syllabic verse 441:= stressed/long syllable 307:classical Chinese poetry 265:(long-short-short) or a 5246:The Aeneid in Hungarian 5208:magyar-irodalom.elte.hu 5164:(Classic metric poetry) 4928:House of the Rising Sun 4685:. Cummings Study Guides 4526:William Carlos Williams 4374:Indo-European languages 4246:is awarded to the best 3921:—Şeyh Gâlib (1757–1799) 3485:Arabic poetic tradition 3241:ca-be-llo - de ͜ án-gel 3237:ca-be-llo - de - án-gel 2648:فاعلن فاعلن فاعلن فاعلن 2540:فاعلاتن مستفعلن فاعلاتن 2535:x ⏑ – x – – ⏑ – x ⏑ – x 2513:مستفعلن فاعلاتُ مستفعلن 2508:x – ⏑ – – x – ⏑ – ⏑ ⏑ – 2432:مستفعلن مستفعلن مستفعلن 2427:x – ⏑ – x – ⏑ – x – ⏑ – 2351:متفاعلن متفاعلن متفاعلن 2346:o – ⏑ – o – ⏑ – o – ⏑ – 2210:"–" for 1 long syllable 2082:), were put forward by 1328:Worse than tears drown. 5291:gepeskonyv.btk.elte.hu 5221:The Iliad in Hungarian 5024:Edebiyat 4:193-242, p. 4878:little of it is native 4256: 4248: 3441: 3398: 3227: 3211: 2675:فعولن فعولن فعولن فعول 2033: 2027: 1878:Follows this pattern: 1846: 1626:Syllabo-quantitative ( 1579: 1576:No universe — no laws. 1557: 1514:followed by a line of 1422:Frequently used metres 1369: 1331: 1294: 1258: 483:(or iambus or jambus) 420:x x — ∪ ∪ — ∪ — ∪ — — 295: 5401:How Does a Poem Mean? 5399:Ciardi, John (1959), 5335:Catholic Encyclopedia 5304:Az antik műfordítások 5081:global.britannica.com 5033:Elwell-Sutton (1976) 4988:Encyclopaedia Iranica 4950:. Bolchazy-Carducci. 4802:10.9783/9781512803853 4601:Gerard Manley Hopkins 4437: 2nd century BC 4366:Further information: 2934:The metric system of 2745:x ⏑ – – ⏑ – ⏑ – ⏑ ⏑ – 2688:Further information: 2670:⏑ – x ⏑ – x ⏑ – x ⏑ – 2486:مستفعلن مستفعلن فاعلن 2481:x x ⏑ – x x ⏑ – – ⏑ – 2459:فاعلاتن فاعلاتن فاعلن 2454:x ⏑ – – x ⏑ – – x ⏑ – 2378:مفاعلتن مفاعلتن فعولن 2373:⏑ – o – ⏑ – o – ⏑ – – 2297:فاعلاتن فاعلن فاعلاتن 2292:x ⏑ – – x ⏑ – x ⏑ – – 2120:which syllabifies as 2112:which syllabifies as 2067:) Science of Poetry ( 2032: 2010: 1831: 1697:Further information: 1564: 1538: 1360: 1313: 1273: 1240: 317:Further information: 226:of languages such as 144:Commonwealth spelling 5403:, Houghton Mifflin, 5233:"Homérosz Odüsszeia" 5020:Hayes, Bruce (1979) 5007:Elwell-Sutton, L.P. 4981:Elwell-Sutton, L. P. 4217:of 8 syllables each. 4193:): divided into two 3390:Faruk Nafiz Çamlıbel 2974:The Battle of Maldon 2858:Six Dynasties poetry 2699:copied from Arabic. 2022:Saw the reluctant... 170:. Many traditional 156:spelling differences 56:improve this article 5595:Trochaic tetrameter 5190:www.babelmatrix.org 4860:Malcovati, Leonardo 4826:Hartman, Charles O. 3312:Gli anni e i giorni 3305:la terra al nunzio 3230:Luis Lloréns Torres 3033:syllable resolution 2924:linguistic tonality 2862:Tang Dynasty poetry 1888:dactylic pentameter 1450:William Shakespeare 1236:William Shakespeare 279:Old Church Slavonic 247:dactylic hexameters 71:"Metre" poetry 5600:Trochaic octameter 5583:Dactylic hexameter 5087:on 8 December 2015 5035:The Persian Metres 5009:The Persian Metres 4930:", theme from the 4922:", the "Ballad of 4627:Generative metrics 4428:survives from the 4390:Bronze Age writing 3078:, composed of two 2963:alliterative verse 2956:Old English poetry 2948:alliterative verse 2940:Germanic languages 2936:Old English poetry 2843:Han Dynasty poetry 2034: 1748:dactylic hexameter 1415:alliterative verse 1411:quantitative verse 1346:("da-DUM") into a 1265:alliterative verse 1207:dactylic hexameter 239:quantitative metre 220:alliterative metre 212:iambic pentameters 160:rhythmic structure 18:Quantitative meter 5663: 5662: 5571:Iambic heptameter 5566:Iambic pentameter 5561:Iambic tetrameter 5427:978-0-06-463548-6 5351:Fereydoon Motamed 4948:"Vergil's Aeneid" 4933:Mickey Mouse Club 4811:978-1-5128-0385-3 4617:Anisometric verse 4386:Ancient Near East 4368:History of poetry 4083: 4082: 4026: 4025: 3969: 3968: 3916: 3915: 3859: 3858: 3811: 3810: 3602:consonant cluster 3373:The Divine Comedy 3297:Ei fu. Siccome im 3178:for the standard 2831:Classic of Poetry 2826:Classical Chinese 2815:Classical Chinese 2780:Masnavi-e Ma'navi 2684:Classical Persian 2681: 2680: 2196:The Arabic metres 1634:Mandākrāntā metre 1512:iambic tetrameter 1428:iambic pentameter 1334:Metric variations 1309:The Winter's Tale 1231:The Winter's Tale 1199:iambic pentameter 1147: 1146: 883:, double trochee 713: 712: 526: 525: 349:Iambic pentameter 216:Romance languages 208:qualitative metre 152:American spelling 132: 131: 124: 106: 16:(Redirected from 5688: 5590:Trochee/Trochaic 5479: 5472: 5465: 5456: 5449: 5430: 5411: 5394: 5359: 5348: 5342: 5331: 5325: 5322: 5316: 5313: 5307: 5301: 5295: 5294: 5283: 5277: 5272: 5266: 5265: 5254: 5248: 5243: 5237: 5236: 5229: 5223: 5218: 5212: 5211: 5200: 5194: 5193: 5182: 5176: 5171: 5165: 5159: 5150: 5144: 5138: 5132: 5126: 5120: 5114: 5103: 5097: 5096: 5094: 5092: 5083:. Archived from 5073: 5067: 5056: 5050: 5044: 5038: 5031: 5025: 5018: 5012: 5005: 4999: 4998: 4996: 4994: 4977: 4971: 4970: 4965: 4964: 4943: 4937: 4912: 4906: 4900: 4894: 4888: 4882: 4880: 4856: 4850: 4848: 4822: 4816: 4815: 4787: 4781: 4775: 4769: 4767: 4745: 4739: 4737: 4715: 4703: 4697: 4696: 4691: 4690: 4678: 4554:nor is it valid 4530:Robinson Jeffers 4438: 4435: 4328:Ágnes Nemes Nagy 4300:Dániel Berzsenyi 4261: 4253: 4115:Redondilha maior 4109:Redondilha menor 4064: 4007: 3950: 3897: 3840: 3629: 3585:("non-Muslim"); 3549:("summit, peak") 3489:Persian language 3438: 3224: 3125:rules for rhymes 2677: 2676: 2667: 2666: 2650: 2649: 2640: 2639: 2623: 2622: 2613: 2612: 2596: 2595: 2586: 2585: 2569: 2568: 2559: 2558: 2542: 2541: 2532: 2531: 2515: 2514: 2505: 2504: 2488: 2487: 2478: 2477: 2461: 2460: 2451: 2450: 2434: 2433: 2424: 2423: 2407: 2406: 2397: 2396: 2380: 2379: 2370: 2369: 2353: 2352: 2343: 2342: 2326: 2325: 2316: 2315: 2299: 2298: 2289: 2288: 2272: 2271: 2262: 2261: 2226: 2103: 2097: 2080: 2074: 2065: 2059: 2037:Classical Arabic 1985:spectăt ĕt audit 1682: 1676: 1644: 1631: 1610: 1593:Sanskrit prosody 1393:Metrical systems 1385:in three. (See 1140: 1135: 1130: 1125: 1114:fourth epitrite 1111: 1106: 1101: 1096: 1086: 1081: 1076: 1071: 1064:second epitrite 1061: 1056: 1051: 1046: 1036: 1031: 1026: 1021: 1007: 1002: 997: 992: 980: 975: 970: 965: 955: 950: 945: 940: 930: 925: 920: 915: 905: 900: 895: 890: 876: 871: 866: 861: 847: 842: 837: 832: 822: 817: 812: 807: 797: 792: 787: 782: 769: 764: 759: 754: 740: 735: 730: 725: 720: 704: 699: 694: 682: 677: 672: 659: 654: 649: 637: 632: 627: 614: 609: 604: 592: 587: 582: 570: 565: 560: 548: 543: 538: 533: 517: 512: 495: 490: 477: 472: 464:pyrrhus, dibrach 460: 455: 450: 446: 442: 440: 433:Macron and breve 372: 300: 283:Classical Arabic 127: 120: 116: 113: 107: 105: 64: 40: 32: 21: 5696: 5695: 5691: 5690: 5689: 5687: 5686: 5685: 5666: 5665: 5664: 5659: 5606: 5541: 5488: 5483: 5453: 5447: 5434: 5428: 5418:Poetry Handbook 5415: 5398: 5392: 5379: 5368: 5363: 5362: 5349: 5345: 5332: 5328: 5323: 5319: 5314: 5310: 5302: 5298: 5285: 5284: 5280: 5273: 5269: 5256: 5255: 5251: 5244: 5240: 5231: 5230: 5226: 5219: 5215: 5202: 5201: 5197: 5184: 5183: 5179: 5172: 5168: 5160: 5153: 5145: 5141: 5133: 5129: 5121: 5117: 5104: 5100: 5090: 5088: 5075: 5074: 5070: 5057: 5053: 5045: 5041: 5032: 5028: 5019: 5015: 5006: 5002: 4992: 4990: 4979: 4978: 4974: 4962: 4960: 4958: 4945: 4944: 4940: 4924:Gilligan's Isle 4913: 4909: 4901: 4897: 4889: 4885: 4874: 4866:, Gival Press, 4858: 4857: 4853: 4842: 4824: 4823: 4819: 4812: 4789: 4788: 4784: 4776: 4772: 4765: 4757:, McGraw Hill, 4747: 4746: 4742: 4735: 4717: 4707:Wallace, Robert 4705: 4704: 4700: 4688: 4686: 4680: 4679: 4670: 4665: 4660: 4613: 4518: 4479:Sanskrit poetry 4459:Medieval poetry 4441:Saturnian metre 4436: 4406:Biblical poetry 4378:Late Bronze Age 4370: 4364: 4356:Gábor Devecseri 4280: 4232: 4226: 4136:hendecasyllable 4101: 4078: 4072: 4057: 4021: 4015: 4000: 3964: 3958: 3943: 3911: 3905: 3890: 3854: 3848: 3833: 3453: 3451:Ottoman Turkish 3440: 3429:Ne söyler şu da 3428: 3418: 3408: 3382: 3365:Hendecasyllable 3303:) or just six ( 3288: 3273:Hendecasyllable 3246: 3226: 3221: 3219: 3217: 3212:Cuando salí de 3133: 3058: 3029: 3026: 3024: 3023: 3001: 2932: 2910:regulated verse 2823: 2817: 2692: 2686: 2621:مستفعلن فاعلاتن 2616:x – ⏑ – x ⏑ – – 2589:x ⏑ – ⏑ – ⏑ ⏑ – 2562:⏑ – x x – ⏑ – – 2405:مفاعيلن مفاعيلن 2400:⏑ – – x ⏑ – – x 2238: 2233: 2204: 2198: 2183: 2045: 2039: 1950:hendecasyllabic 1906:elegiac couplet 1721:musical measure 1705:metrical "feet" 1701: 1699:Prosody (Greek) 1695: 1693:Prosody (Latin) 1689: 1687:Greek and Latin 1599: 1591:Main articles: 1589: 1584: 1582:Other languages 1560:Emily Dickinson 1516:iambic trimeter 1424: 1399:accentual verse 1395: 1374: 1336: 1305: 1299: 1222: 1214:iambic trimeter 1138: 1133: 1128: 1123: 1109: 1104: 1099: 1094: 1089:third epitrite 1084: 1079: 1074: 1069: 1059: 1054: 1049: 1044: 1039:first epitrite 1034: 1029: 1024: 1019: 1005: 1000: 995: 990: 978: 973: 968: 963: 953: 948: 943: 938: 928: 923: 918: 913: 903: 898: 893: 888: 874: 869: 864: 859: 845: 840: 835: 830: 820: 815: 810: 805: 800:secundus paeon 795: 790: 785: 780: 767: 762: 757: 752: 738: 733: 728: 723: 718: 702: 697: 692: 680: 675: 670: 657: 652: 647: 635: 630: 625: 620:, antidactylus 612: 607: 602: 590: 585: 580: 568: 563: 558: 546: 541: 536: 531: 515: 510: 493: 488: 475: 470: 458: 453: 444: 438: 437: 429: 411:hendecasyllable 376: 371:"da-DUM"="˘ /": 370: 321: 319:Metron (poetry) 315: 287:Biblical Hebrew 255:Classical Greek 251:Classical Latin 243:syllable weight 224:Germanic poetry 204: 196: 194:Characteristics 158:) is the basic 128: 117: 111: 108: 65: 63: 53: 41: 28: 23: 22: 15: 12: 11: 5: 5694: 5692: 5684: 5683: 5678: 5668: 5667: 5661: 5660: 5658: 5657: 5652: 5647: 5642: 5637: 5632: 5627: 5622: 5616: 5614: 5608: 5607: 5605: 5604: 5603: 5602: 5597: 5587: 5586: 5585: 5575: 5574: 5573: 5568: 5563: 5552: 5550: 5543: 5542: 5540: 5539: 5534: 5529: 5524: 5519: 5514: 5509: 5504: 5498: 5496: 5490: 5489: 5484: 5482: 5481: 5474: 5467: 5459: 5452: 5451: 5445: 5432: 5426: 5413: 5396: 5390: 5377: 5369: 5367: 5364: 5361: 5360: 5343: 5326: 5317: 5308: 5296: 5278: 5267: 5249: 5238: 5224: 5213: 5195: 5177: 5166: 5151: 5149:, p. 131. 5139: 5137:, p. 134. 5127: 5115: 5098: 5068: 5051: 5047:Hollander 1981 5039: 5026: 5013: 5000: 4972: 4956: 4938: 4907: 4903:Hollander 1981 4895: 4891:Hollander 1981 4883: 4872: 4851: 4840: 4817: 4810: 4782: 4778:Hollander 1981 4770: 4763: 4740: 4733: 4721:, ed. (1996), 4698: 4667: 4666: 4664: 4661: 4659: 4656: 4655: 4654: 4649: 4644: 4639: 4634: 4629: 4624: 4622:Foot (prosody) 4619: 4612: 4609: 4593: 4592: 4591: 4590: 4589: 4588: 4587: 4586: 4585: 4584: 4571: 4570: 4569: 4568: 4567: 4566: 4565: 4564: 4563: 4562: 4561: 4560: 4522:Marianne Moore 4517: 4514: 4486:Chinese poetry 4447:arises in the 4445:Persian poetry 4410:Early Iron Age 4398:Gustav Bickell 4363: 4360: 4320:Miklós Radnóti 4296:Sapphic stanza 4279: 4276: 4236:Welsh language 4228:Main article: 4225: 4222: 4221: 4220: 4219: 4218: 4200: 4199: 4198: 4177:Dodecasyllable 4174: 4173: 4172: 4162: 4156: 4146: 4118: 4112: 4100: 4097: 4096: 4095: 4094: 4093: 4081: 4080: 4075: 4068: 4062: 4061: 4039: 4038: 4037: 4036: 4024: 4023: 4018: 4011: 4005: 4004: 3982: 3981: 3980: 3979: 3967: 3966: 3961: 3954: 3948: 3947: 3925: 3924: 3923: 3922: 3914: 3913: 3908: 3901: 3895: 3894: 3872: 3871: 3870: 3869: 3857: 3856: 3851: 3844: 3838: 3837: 3809: 3808: 3801:mü te fâ i lün 3798: 3788: 3778: 3768: 3764: 3763: 3753: 3743: 3733: 3723: 3719: 3718: 3708: 3698: 3688: 3678: 3674: 3673: 3663: 3653: 3643: 3633: 3623: 3622: 3621: 3620: 3594: 3593: 3592: 3552: 3551: 3550: 3496:Ottoman poetry 3452: 3449: 3419:Ey suyun sesin 3395: 3381: 3378: 3377: 3376: 3362: 3356: 3350: 3287: 3284: 3283: 3282: 3276: 3270: 3260: 3245: 3244: 3233: 3208: 3195: 3168: 3148: 3137:Spanish poetry 3132: 3129: 3118: 3117: 3116: 3115: 3099: 3098: 3097: 3096: 3057: 3054: 3045:Eduard Sievers 2978: 2931: 2928: 2854:Jian'an poetry 2819:Main article: 2816: 2813: 2812: 2811: 2808: 2795: 2794: 2791:Leyli o Majnun 2783: 2776: 2769: 2753: 2752: 2749: 2746: 2743: 2740: 2737: 2734: 2696:Persian poetry 2690:Persian metres 2685: 2682: 2679: 2678: 2671: 2668: 2661: 2656: 2652: 2651: 2644: 2641: 2634: 2629: 2625: 2624: 2617: 2614: 2607: 2602: 2598: 2597: 2594:فاعلاتُ مفتعلن 2590: 2587: 2580: 2575: 2571: 2570: 2567:مفاعلن فاعلاتن 2563: 2560: 2553: 2548: 2544: 2543: 2536: 2533: 2526: 2521: 2517: 2516: 2509: 2506: 2499: 2494: 2490: 2489: 2482: 2479: 2472: 2467: 2463: 2462: 2455: 2452: 2445: 2440: 2436: 2435: 2428: 2425: 2418: 2413: 2409: 2408: 2401: 2398: 2391: 2386: 2382: 2381: 2374: 2371: 2364: 2359: 2355: 2354: 2347: 2344: 2337: 2332: 2328: 2327: 2320: 2317: 2310: 2305: 2301: 2300: 2293: 2290: 2283: 2278: 2274: 2273: 2266: 2263: 2256: 2251: 2247: 2246: 2243: 2240: 2235: 2230: 2224: 2223: 2220: 2217: 2214: 2211: 2202:Arabic prosody 2200:Main article: 2197: 2194: 2168: 2043:Arabic prosody 2038: 2035: 2026: 2025: 2024: 2023: 2017: 2014: 1994: 1993: 1989: 1988: 1987: 1986: 1980: 1977: 1954:Sapphic stanza 1938: 1937: 1933: 1932: 1931: 1930: 1884: 1883: 1876: 1875: 1845: 1844: 1841: 1838: 1835: 1809: 1808: 1805: 1770:), but can be 1691:Main article: 1688: 1685: 1680:Vṛttaratnākara 1669: 1668: 1639:Quantitative ( 1637: 1624: 1588: 1585: 1583: 1580: 1578: 1577: 1574: 1571: 1568: 1556: 1555: 1554: 1553: 1547: 1546: 1545: 1483:heroic couplet 1423: 1420: 1407:syllabic verse 1394: 1391: 1373: 1372:Modern English 1370: 1368: 1367: 1364: 1335: 1332: 1330: 1329: 1326: 1323: 1320: 1317: 1301:Main article: 1298: 1295: 1293: 1292: 1289: 1286: 1283: 1280: 1277: 1257: 1256: 1253: 1250: 1247: 1244: 1221: 1218: 1145: 1144: 1141: 1136: 1131: 1126: 1120: 1119: 1116: 1115: 1112: 1107: 1102: 1097: 1091: 1090: 1087: 1082: 1077: 1072: 1066: 1065: 1062: 1057: 1052: 1047: 1041: 1040: 1037: 1032: 1027: 1022: 1016: 1015: 1012: 1011: 1008: 1003: 998: 993: 987: 986: 981: 976: 971: 966: 960: 959: 956: 951: 946: 941: 935: 934: 931: 926: 921: 916: 910: 909: 906: 901: 896: 891: 885: 884: 877: 872: 867: 862: 856: 855: 852: 851: 850:quartus paeon 848: 843: 838: 833: 827: 826: 825:tertius paeon 823: 818: 813: 808: 802: 801: 798: 793: 788: 783: 777: 776: 770: 765: 760: 755: 749: 748: 745: 744: 741: 736: 731: 726: 717: 716:Tetrasyllables 714: 711: 710: 705: 700: 695: 689: 688: 683: 678: 673: 667: 666: 660: 655: 650: 644: 643: 638: 633: 628: 622: 621: 615: 610: 605: 599: 598: 593: 588: 583: 577: 576: 571: 566: 561: 555: 554: 549: 544: 539: 530: 527: 524: 523: 518: 513: 507: 506: 496: 491: 485: 484: 478: 473: 467: 466: 461: 456: 428: 425: 407:Sanskrit metre 374: 314: 311: 203: 200: 195: 192: 168:lines in verse 130: 129: 44: 42: 35: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5693: 5682: 5679: 5677: 5676:Poetic rhythm 5674: 5673: 5671: 5656: 5653: 5651: 5648: 5646: 5643: 5641: 5638: 5636: 5633: 5631: 5628: 5626: 5623: 5621: 5618: 5617: 5615: 5613: 5612:Arabic poetry 5609: 5601: 5598: 5596: 5593: 5592: 5591: 5588: 5584: 5581: 5580: 5579: 5576: 5572: 5569: 5567: 5564: 5562: 5559: 5558: 5557: 5554: 5553: 5551: 5549: 5548:metrical feet 5544: 5538: 5535: 5533: 5530: 5528: 5525: 5523: 5520: 5518: 5515: 5513: 5510: 5508: 5505: 5503: 5500: 5499: 5497: 5495: 5491: 5487: 5486:Poetic meters 5480: 5475: 5473: 5468: 5466: 5461: 5460: 5457: 5448: 5446:0-300-02740-0 5442: 5438: 5433: 5429: 5423: 5419: 5414: 5410: 5406: 5402: 5397: 5393: 5391:0-292-70472-0 5387: 5383: 5378: 5375: 5371: 5370: 5365: 5357: 5356: 5352: 5347: 5344: 5340: 5336: 5330: 5327: 5321: 5318: 5312: 5309: 5305: 5300: 5297: 5292: 5288: 5282: 5279: 5276: 5271: 5268: 5263: 5259: 5253: 5250: 5247: 5242: 5239: 5234: 5228: 5225: 5222: 5217: 5214: 5209: 5205: 5199: 5196: 5191: 5187: 5181: 5178: 5175: 5170: 5167: 5163: 5158: 5156: 5152: 5148: 5143: 5140: 5136: 5131: 5128: 5125:, p. 93. 5124: 5119: 5116: 5112: 5108: 5102: 5099: 5086: 5082: 5078: 5072: 5069: 5065: 5061: 5055: 5052: 5049:, p. 22. 5048: 5043: 5040: 5036: 5030: 5027: 5023: 5017: 5014: 5010: 5004: 5001: 4989: 4985: 4982: 4976: 4973: 4969: 4959: 4957:9780865165847 4953: 4949: 4942: 4939: 4936:, and others. 4935: 4934: 4929: 4925: 4921: 4920:Amazing Grace 4917: 4911: 4908: 4905:, p. 15. 4904: 4899: 4896: 4893:, p. 12. 4892: 4887: 4884: 4879: 4875: 4873:1-928589-26-X 4869: 4865: 4861: 4855: 4852: 4847: 4843: 4841:0-8101-1316-3 4837: 4833: 4832: 4827: 4821: 4818: 4813: 4807: 4803: 4799: 4795: 4794: 4786: 4783: 4779: 4774: 4771: 4766: 4764:0-07-553606-4 4760: 4756: 4755: 4750: 4749:Fussell, Paul 4744: 4741: 4736: 4734:1-55728-444-X 4730: 4726: 4725: 4720: 4714: 4713: 4708: 4702: 4699: 4695: 4684: 4677: 4675: 4673: 4669: 4662: 4657: 4653: 4650: 4648: 4647:Metre (music) 4645: 4643: 4640: 4638: 4635: 4633: 4632:Line (poetry) 4630: 4628: 4625: 4623: 4620: 4618: 4615: 4614: 4610: 4608: 4606: 4605:sprung rhythm 4602: 4598: 4597:variable foot 4582: 4581: 4580: 4579: 4578: 4577: 4575: 4574: 4573: 4572: 4558: 4557: 4556: 4555: 4553: 4552: 4551: 4550: 4549: 4548: 4547: 4546: 4545: 4543: 4538: 4535: 4534:Dan Schneider 4531: 4527: 4523: 4515: 4513: 4511: 4507: 4503: 4499: 4498: 4494: 4491: 4487: 4484: 4480: 4476: 4472: 4471:Bardic poetry 4468: 4464: 4460: 4456: 4454: 4450: 4446: 4442: 4431: 4427: 4423: 4419: 4415: 4411: 4407: 4403: 4399: 4395: 4391: 4387: 4383: 4379: 4375: 4369: 4361: 4359: 4357: 4353: 4349: 4345: 4341: 4337: 4333: 4329: 4325: 4324:Attila József 4321: 4317: 4313: 4312:Mihály Babits 4309: 4305: 4304:Peter Zollman 4301: 4297: 4293: 4289: 4285: 4277: 4275: 4273: 4269: 4265: 4260: 4259: 4252: 4251: 4245: 4241: 4237: 4231: 4223: 4216: 4212: 4208: 4207: 4205: 4201: 4196: 4192: 4188: 4185: 4184: 4182: 4181:dodecassílabo 4178: 4175: 4170: 4166: 4163: 4160: 4157: 4154: 4150: 4147: 4144: 4140: 4139: 4137: 4133: 4130: 4126: 4122: 4119: 4116: 4113: 4110: 4107: 4106: 4105: 4098: 4091: 4087: 4086: 4085: 4084: 4076: 4074: 4069: 4066: 4065: 4060: 4056: 4052: 4048: 4044: 4041: 4040: 4034: 4030: 4029: 4028: 4027: 4019: 4017: 4012: 4009: 4008: 4003: 3999: 3995: 3991: 3987: 3984: 3983: 3977: 3973: 3972: 3971: 3970: 3962: 3960: 3955: 3952: 3951: 3946: 3942: 3938: 3934: 3930: 3927: 3926: 3920: 3919: 3918: 3917: 3909: 3907: 3902: 3899: 3898: 3893: 3889: 3885: 3881: 3877: 3874: 3873: 3867: 3863: 3862: 3861: 3860: 3852: 3850: 3845: 3842: 3841: 3836: 3832: 3828: 3824: 3820: 3817: 3816: 3815: 3806: 3802: 3799: 3796: 3792: 3791:müs tef i lün 3789: 3786: 3782: 3779: 3776: 3772: 3769: 3766: 3765: 3761: 3757: 3754: 3751: 3747: 3744: 3741: 3737: 3734: 3731: 3727: 3724: 3721: 3720: 3716: 3712: 3709: 3706: 3702: 3699: 3696: 3692: 3689: 3686: 3682: 3679: 3676: 3675: 3671: 3667: 3664: 3661: 3657: 3654: 3651: 3647: 3644: 3641: 3637: 3634: 3631: 3630: 3627: 3618: 3617: 3612: 3611: 3606: 3605: 3603: 3599: 3595: 3590: 3589: 3584: 3580: 3579: 3574: 3570: 3566: 3565: 3560: 3559: 3557: 3553: 3548: 3547: 3542: 3538: 3534: 3533: 3528: 3527: 3525: 3521: 3517: 3514:, syllables ( 3513: 3509: 3508: 3507: 3505: 3501: 3497: 3494:As a result, 3492: 3490: 3486: 3482: 3478: 3474: 3470: 3466: 3462: 3458: 3450: 3448: 3446: 3439: 3437: 3436: 3432: 3426: 3422: 3416: 3412: 3406: 3402: 3399:Derinden deri 3393: 3391: 3386: 3379: 3374: 3370: 3366: 3363: 3360: 3357: 3354: 3351: 3348: 3346: 3342: 3338: 3334: 3328: 3327: 3326: 3323: 3321: 3317: 3313: 3309: 3308: 3302: 3300: 3294: 3285: 3280: 3277: 3274: 3271: 3268: 3264: 3261: 3258: 3255: 3254: 3253: 3250: 3242: 3238: 3234: 3231: 3225: 3223: 3215: 3205: 3204: 3199: 3196: 3193: 3189: 3185: 3181: 3177: 3173: 3169: 3166: 3162: 3158: 3154: 3150: 3149: 3147: 3144: 3141: 3138: 3130: 3128: 3126: 3121: 3113: 3109: 3108: 3107: 3104: 3103: 3102: 3094: 3090: 3089: 3088: 3085: 3084: 3083: 3081: 3077: 3072: 3069: 3068: 3063: 3062:French poetry 3055: 3053: 3050: 3046: 3042: 3038: 3034: 3028: 3022: 3020: 3017: 3011: 3009: 3005: 3000: 2998: 2994: 2989: 2987: 2983: 2977: 2975: 2970: 2968: 2964: 2959: 2957: 2953: 2949: 2945: 2941: 2937: 2929: 2927: 2925: 2921: 2917: 2916: 2911: 2907: 2906: 2901: 2900: 2895: 2891: 2890: 2885: 2881: 2877: 2876: 2871: 2867: 2863: 2859: 2855: 2851: 2848: 2844: 2840: 2836: 2833:tends toward 2832: 2827: 2822: 2814: 2809: 2806: 2805: 2804: 2802: 2801: 2792: 2788: 2784: 2781: 2777: 2774: 2770: 2767: 2763: 2762: 2761: 2759: 2758: 2750: 2747: 2744: 2741: 2738: 2735: 2732: 2731: 2730: 2727: 2723: 2721: 2717: 2713: 2708: 2705: 2700: 2697: 2691: 2683: 2672: 2669: 2662: 2660: 2657: 2654: 2653: 2645: 2642: 2635: 2633: 2630: 2627: 2626: 2618: 2615: 2608: 2606: 2603: 2600: 2599: 2591: 2588: 2581: 2579: 2576: 2573: 2572: 2564: 2561: 2554: 2552: 2549: 2546: 2545: 2537: 2534: 2527: 2525: 2522: 2519: 2518: 2510: 2507: 2500: 2498: 2495: 2492: 2491: 2483: 2480: 2473: 2471: 2468: 2465: 2464: 2456: 2453: 2446: 2444: 2441: 2438: 2437: 2429: 2426: 2419: 2417: 2414: 2411: 2410: 2402: 2399: 2392: 2390: 2387: 2384: 2383: 2375: 2372: 2365: 2363: 2360: 2357: 2356: 2348: 2345: 2338: 2336: 2333: 2330: 2329: 2321: 2318: 2311: 2309: 2306: 2303: 2302: 2294: 2291: 2284: 2282: 2279: 2276: 2275: 2267: 2264: 2257: 2255: 2252: 2249: 2248: 2236: 2231: 2228: 2227: 2221: 2218: 2215: 2212: 2209: 2208: 2207: 2203: 2195: 2193: 2190: 2187: 2181: 2178: 2175: 2171: 2167: 2164: 2161: 2158: 2155: 2153: 2148: 2146: 2142: 2138: 2133: 2131: 2127: 2123: 2119: 2115: 2111: 2106: 2104: 2102: 2093: 2089: 2085: 2081: 2079: 2070: 2066: 2064: 2055: 2051: 2044: 2036: 2031: 2021: 2020: 2018: 2015: 2012: 2011: 2009: 2007: 2003: 1999: 1991: 1990: 1984: 1983: 1981: 1978: 1975: 1974: 1973: 1971: 1967: 1963: 1959: 1955: 1951: 1947: 1943: 1935: 1934: 1928: 1927: 1925: 1924: 1923: 1921: 1920: 1915: 1911: 1907: 1903: 1900: 1895: 1893: 1889: 1881: 1880: 1879: 1874: 1870: 1866: 1863:-val. The | 1862: 1858: 1854: 1851: 1850: 1849: 1842: 1839: 1836: 1833: 1832: 1830: 1828: 1827: 1822: 1817: 1815: 1806: 1803: 1802: 1801: 1799: 1798: 1793: 1789: 1785: 1781: 1777: 1773: 1769: 1765: 1761: 1757: 1753: 1749: 1744: 1742: 1738: 1734: 1730: 1725: 1722: 1718: 1714: 1710: 1706: 1700: 1694: 1686: 1684: 1681: 1677:and Kedāra's 1675: 1674:Chandaḥśāstra 1666: 1662: 1658: 1654: 1650: 1649: 1643: 1638: 1635: 1630: 1625: 1622: 1618: 1614: 1609: 1604: 1603: 1602: 1598: 1594: 1586: 1581: 1575: 1572: 1569: 1566: 1565: 1563: 1561: 1551: 1550: 1548: 1543: 1542: 1540: 1539: 1537: 1535: 1534: 1533:Amazing Grace 1529: 1525: 1521: 1517: 1513: 1509: 1504: 1502: 1498: 1494: 1493: 1488: 1484: 1479: 1477: 1476: 1471: 1467: 1466: 1461: 1460: 1455: 1451: 1447: 1443: 1439: 1438: 1437:Paradise Lost 1433: 1429: 1421: 1419: 1416: 1412: 1408: 1404: 1400: 1392: 1390: 1388: 1387:Metrical foot 1384: 1380: 1371: 1365: 1362: 1361: 1359: 1357: 1353: 1349: 1345: 1341: 1333: 1327: 1324: 1321: 1318: 1315: 1314: 1312: 1310: 1304: 1296: 1290: 1287: 1284: 1281: 1278: 1275: 1274: 1272: 1270: 1269:Piers Plowman 1266: 1261: 1254: 1251: 1248: 1245: 1242: 1241: 1239: 1237: 1233: 1232: 1227: 1219: 1217: 1215: 1210: 1208: 1204: 1200: 1196: 1195: 1191:and eight is 1190: 1189: 1184: 1183: 1178: 1177: 1172: 1171: 1166: 1165: 1160: 1159: 1154: 1153: 1142: 1137: 1132: 1127: 1122: 1121: 1117: 1113: 1108: 1103: 1098: 1093: 1092: 1088: 1083: 1078: 1073: 1068: 1067: 1063: 1058: 1053: 1048: 1043: 1042: 1038: 1033: 1028: 1023: 1018: 1017: 1013: 1009: 1004: 999: 994: 989: 988: 985: 982: 977: 972: 967: 962: 961: 957: 952: 947: 942: 937: 936: 932: 927: 922: 917: 912: 911: 907: 902: 897: 892: 887: 886: 882: 878: 873: 868: 863: 858: 857: 853: 849: 844: 839: 834: 829: 828: 824: 819: 814: 809: 804: 803: 799: 794: 789: 784: 779: 778: 775: 771: 766: 761: 756: 751: 750: 746: 742: 737: 732: 727: 722: 721: 715: 709: 706: 701: 696: 691: 690: 687: 684: 679: 674: 669: 668: 665:, amphimacer 664: 661: 656: 651: 646: 645: 642: 639: 634: 629: 624: 623: 619: 616: 611: 606: 601: 600: 597: 594: 589: 584: 579: 578: 575: 572: 567: 562: 557: 556: 553: 550: 545: 540: 535: 534: 528: 522: 519: 514: 509: 508: 505:(or choreus) 504: 500: 497: 492: 487: 486: 482: 479: 474: 469: 468: 465: 462: 457: 452: 451: 448: 436: 434: 426: 424: 421: 418: 416: 412: 408: 404: 399: 397: 393: 389: 385: 381: 380:Ancient Greek 373: 368: 364: 360: 356: 355: 350: 346: 344: 340: 336: 332: 331: 326: 320: 312: 310: 308: 304: 299: 298: 290: 288: 284: 280: 276: 272: 268: 264: 260: 256: 252: 248: 244: 240: 235: 233: 229: 225: 221: 217: 213: 209: 201: 199: 193: 191: 189: 185: 181: 177: 173: 169: 165: 161: 157: 153: 149: 145: 141: 137: 126: 123: 115: 112:February 2009 104: 101: 97: 94: 90: 87: 83: 80: 76: 73: – 72: 68: 67:Find sources: 61: 57: 51: 50: 45:This article 43: 39: 34: 33: 30: 19: 5493: 5485: 5436: 5417: 5400: 5381: 5373: 5353: 5346: 5338: 5329: 5320: 5311: 5299: 5290: 5281: 5270: 5261: 5252: 5241: 5227: 5216: 5207: 5198: 5189: 5180: 5169: 5147:Andrews 1997 5142: 5135:Andrews 1997 5130: 5123:Andrews 1997 5118: 5110: 5101: 5089:. Retrieved 5085:the original 5080: 5071: 5054: 5042: 5034: 5029: 5016: 5008: 5003: 4991:. Retrieved 4975: 4967: 4961:. Retrieved 4941: 4931: 4916:ballad metre 4910: 4898: 4886: 4877: 4863: 4854: 4845: 4829: 4820: 4792: 4785: 4780:, p. 5. 4773: 4752: 4743: 4722: 4719:Baker, David 4710: 4701: 4693: 4687:. Retrieved 4642:Metre (hymn) 4594: 4539: 4519: 4495: 4483:Tang dynasty 4473:, Classical 4457: 4394:Hebrew Bible 4371: 4281: 4268:alliteration 4244:bardic chair 4233: 4210: 4203: 4190: 4180: 4168: 4165:Gaita galega 4164: 4158: 4152: 4142: 4124: 4121:Decasyllable 4114: 4108: 4102: 4070: 4058: 4054: 4050: 4046: 4042: 4035:(1483?–1556) 4013: 4001: 3997: 3993: 3989: 3985: 3978:(1681?–1730) 3956: 3944: 3940: 3936: 3932: 3928: 3903: 3891: 3887: 3883: 3879: 3875: 3846: 3834: 3831:me fâ’ î lün 3830: 3827:me fâ’ î lün 3826: 3823:me fâ’ î lün 3822: 3819:me fâ’ î lün 3818: 3812: 3804: 3800: 3794: 3790: 3784: 3781:müf te i lün 3780: 3774: 3770: 3759: 3756:me fâ’ î lün 3755: 3749: 3745: 3739: 3735: 3729: 3725: 3714: 3710: 3704: 3700: 3694: 3690: 3684: 3680: 3669: 3665: 3659: 3655: 3649: 3645: 3639: 3635: 3624: 3615: 3614: 3609: 3608: 3597: 3587: 3586: 3582: 3577: 3576: 3568: 3563: 3562: 3555: 3545: 3544: 3540: 3536: 3531: 3530: 3522:alone, or a 3515: 3493: 3480: 3476: 3472: 3468: 3464: 3460: 3454: 3444: 3442: 3434: 3430: 3424: 3420: 3414: 3410: 3404: 3400: 3396: 3387: 3383: 3368: 3359:Octosyllable 3344: 3340: 3336: 3332: 3330: 3324: 3311: 3306: 3304: 3298: 3296: 3289: 3266: 3263:Octosyllable 3251: 3247: 3243:, with five. 3240: 3236: 3209: 3201: 3191: 3187: 3183: 3179: 3175: 3171: 3167:('loyalty'). 3164: 3160: 3156: 3152: 3145: 3142: 3134: 3122: 3119: 3105: 3100: 3086: 3073: 3065: 3059: 3040: 3036: 3032: 3030: 3018: 3015: 3013: 3007: 3003: 3002: 2996: 2992: 2991: 2985: 2981: 2980: 2979: 2971: 2966: 2960: 2933: 2919: 2913: 2903: 2897: 2887: 2879: 2873: 2847:Music Bureau 2824: 2799: 2796: 2756: 2754: 2728: 2724: 2719: 2709: 2703: 2701: 2693: 2234:(Romanized) 2205: 2191: 2188: 2184: 2179: 2176: 2173: 2169: 2165: 2162: 2159: 2156: 2151: 2149: 2144: 2140: 2136: 2134: 2129: 2125: 2121: 2117: 2113: 2109: 2107: 2098: 2087: 2078:ʿilm aš-šiʿr 2075: 2060: 2049: 2046: 2005: 1995: 1946:Aeolic verse 1939: 1917: 1896: 1885: 1877: 1872: 1868: 1864: 1860: 1856: 1852: 1847: 1824: 1823:in his poem 1818: 1810: 1795: 1787: 1783: 1775: 1767: 1759: 1755: 1751: 1745: 1726: 1716: 1712: 1704: 1702: 1670: 1664: 1660: 1652: 1646: 1600: 1558: 1531: 1508:common metre 1505: 1490: 1480: 1473: 1465:The Princess 1463: 1457: 1435: 1425: 1396: 1375: 1351: 1339: 1337: 1308: 1306: 1262: 1259: 1229: 1223: 1211: 1202: 1192: 1186: 1180: 1174: 1168: 1162: 1156: 1155:; two feet, 1150: 1148: 686:antibacchius 529:Trisyllables 431: 430: 422: 419: 413:favoured by 400: 377: 358: 352: 347: 328: 322: 291: 238: 236: 207: 205: 197: 175: 147: 139: 133: 118: 109: 99: 92: 85: 78: 66: 54:Please help 49:verification 46: 29: 4506:Shakespeare 4493:Nara period 4426:Latin verse 4308:Adam Makkai 4292:Asclepiadic 4230:Cerdd dafod 4215:hemistiches 4202:Barbarian ( 4195:hemistiches 4191:alexandrino 4187:Alexandrine 4125:decassílabo 3994:fe i lâ tün 3990:fe i lâ tün 3986:fe i lâ tün 3937:fâ i lâ tün 3933:fâ i lâ tün 3929:fâ i lâ tün 3884:me fâ i lün 3880:fe i lâ tün 3876:me fâ i lün 3868:(1526–1600) 3746:me fâ i lün 3726:fâ i lâ tün 3711:fe i lâ tün 3598:meddli hece 3556:kapalı hece 3502:metre. The 3433:çoban çeşme 3423:anlayan bağ 3413:çoban çeşme 3409:Uzaktan uza 3403:ırmaklar ağ 3369:ottava rima 3279:Alexandrine 3182:('noise'), 3112:Victor Hugo 3093:Jean Racine 3080:hemistiches 3076:alexandrine 2930:Old English 2884:Yuan poetry 2870:Song poetry 2773:Vis o Ramin 2643:S – S – S – 2084:Al-Farahidi 1859:-est pri | 1768:daa-duh-duh 1617:Mahabharata 1608:akṣaravṛtta 1597:Vedic metre 1528:hymn metres 1475:The Prelude 1446:blank verse 1432:John Milton 1185:, seven is 1161:; three is 427:Disyllables 403:Vedic metre 367:represented 363:represented 354:iambic feet 232:Old English 222:of the old 180:linguistics 172:verse forms 5670:Categories 5546:Meters by 5532:Heptameter 5522:Pentameter 5517:Tetrameter 5409:B002CCGG8O 5091:2 February 5064:0801837227 4963:2010-12-07 4689:2010-12-07 4658:References 4439:), in the 4402:Julius Ley 4396:, e.g. by 4316:Árpád Tóth 4294:, and the 4262:regarding 4258:cynghanedd 4209:Lucasian ( 4129:Parnassian 4099:Portuguese 4051:me fâ î lü 4047:me fâ î lü 3771:me fâ î lü 3736:fâ i lâ tü 3607:Examples: 3561:Examples: 3529:Examples: 3500:mora-timed 3293:paroxytone 3163:('poet'), 2967:half-lines 2946:. It used 2912:forms of ( 2908:) and the 2122:mak-tū-bun 2041:See also: 1871:and the | 1867:-muring | 1826:Evangeline 1741:correption 1657:Arya metre 1642:mātrāvṛtta 1629:varṇavṛtta 1605:Syllabic ( 1487:verse form 1470:Wordsworth 1303:Enjambment 1297:Enjambment 1188:heptameter 1176:pentameter 1173:; five is 1170:tetrameter 1167:; four is 1143:dispondee 1010:antispast 933:ditrochee 596:amphibrach 435:notation: 297:Alexandrin 178:. (Within 82:newspapers 5681:Phonology 5635:Mutaqārib 5537:Octameter 5527:Hexameter 5502:Monometer 5037:, p. 162. 4751:(1979) , 4663:Citations 4497:Man'yōshū 4463:Minnesang 4430:Old Latin 4284:hexameter 4278:Hungarian 4211:lucasiano 4169:moinheira 4043:mef’ û lü 3805:. . – . – 3701:mef’ û lü 3619:("water") 3613:("fur"); 3591:("horse") 3539:("man"); 3524:consonant 3516:açık hece 3510:Open, or 3353:Septenary 3349:, Giusti) 3257:Septenary 3200:(Spanish 3198:Synalepha 3165:le-al-tad 3006:sceal þe 2984:sceal þe 2944:Old Norse 2800:ruba'iyat 2766:Shahnameh 2659:Mutaqārib 2632:Mutadārik 2605:Mujtathth 2245:Mnemonic 2242:Scansion 2239:(Arabic) 2180:Mnemonic: 2073:علم الشعر 2052:or Arud ( 1970:Sappho 31 1873:hem-locks 1855:is the | 1733:diphthong 1492:Pale Fire 1356:catalexis 1340:inversion 1194:octameter 1182:hexameter 1179:; six is 1152:monometer 345:poetry). 285:(but not 228:Old Norse 5512:Trimeter 4862:(2006), 4828:(1996), 4709:(1993), 4652:Scansion 4611:See also 4542:"Poetry" 4502:Petrarca 4490:Japanese 4467:Trouvère 4449:Sassanid 4432:period ( 4352:Catullus 4141:Heroic ( 4092:(?–1674) 4055:fâ û lün 3998:fe i lün 3941:fâ i lün 3888:fe i lün 3691:fe û lün 3681:fâ i lün 3666:fe i lün 3343:to ai ra 3339:lo / Pio 3320:Novenary 3316:trochaic 3267:romances 3214:Collores 3203:sinalefa 3157:leal-tad 3067:h aspiré 3014:swā ūre 2952:caesurae 2942:such as 2920:jintishi 2866:quatrain 2835:couplets 2665:المتقارب 2638:المتدارك 2578:Muqtaḍab 2497:Munsariħ 2170:Western: 2118:maktūbun 2114:ka-ta-ba 2063:al-ʿarūḍ 2006:Sapphics 1966:Catullus 1772:spondees 1758:meaning 1756:daktylos 1621:Ramayana 1619:and the 1613:Anuṣṭubh 1587:Sanskrit 1454:Tennyson 1352:headless 1164:trimeter 984:choriamb 708:molossus 641:bacchius 618:anapaest 552:tribrach 415:Catullus 323:In many 271:Sanskrit 5507:Dimeter 5366:Sources 5011:(1976). 4993:9 March 4984:"ʿARŪŻ" 4516:Dissent 4488:or the 4475:Persian 4382:Rigveda 4362:History 4336:Odyssey 4204:bárbaro 4159:Martelo 4149:Sapphic 4143:heróico 4132:sonnets 3795:– – . – 3785:– . . – 3775:. – – . 3760:. – – – 3750:. – . – 3740:– . – . 3730:– . – – 3715:. . – – 3656:fa‘ lün 3461:tef'ile 3455:In the 3380:Turkish 3286:Italian 3176:ci-e-lo 3172:ru-i-do 3161:po-e-ta 3131:Spanish 2757:Masnavi 2716:masnavi 2584:المقتضب 2557:المضارع 2551:Muḍāri` 2503:المنسرح 2229:Circle 2137:tafāʿīl 2110:kataba, 2101:al-ʿarḍ 1998:English 1919:Tristia 1902:distich 1899:elegiac 1892:caesura 1814:caesura 1792:caesura 1784:daa-duh 1780:trochee 1776:daa-daa 1764:dactyls 1737:elision 1524:hymnody 1459:Ulysses 1442:sonnets 1440:, most 1413:. 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