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:
1418:
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.
3140:
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
1417:
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
2725:
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
2698:
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
2185:
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
3384:
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
3051:
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
1376:
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
4536:
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
3625:
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
2828:
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
3248:
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.
1811:
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
3070:
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.
1723:
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.
3290:
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.
2047:
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
292:
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
4694:
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
1377:
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
2760:
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:
1522:
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
155:
4532:
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/
4540:
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
5257:
3143:
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
3213:
3170:
Dieresis. The opposite of syneresis. A syllable break is inserted between two vowels which usually make a diphthong, thus eliminating it:
3314:
consists of only four syllables ("Gli an" "ni e i" "gior" "ni"). Even-syllabic verses have a fixed stress pattern. Because of the mostly
1707:
in the classical languages were based on the length of time taken to pronounce each syllable, which were categorized according to their
1453:
5286:
4544:
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
1897:
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 "
4595:
Williams tried to form poetry whose subject matter was centered on the lives of common people. He came up with the concept of the
1739:
sometimes prevent a grammatical syllable from making a full syllable, and certain other lengthening and shortening rules (such as
5021:
2892:
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:
1912:
and solemn verse in the Greek and Latin world, as well as love poetry that was sometimes light and cheerful. An example from
5063:
4947:
4723:
2820:
2729:
About 30 different metres are commonly used in Persian. 70% of lyric poems are written in one of the following seven metres:
1338:
Poems with a well-defined overall metric pattern often have a few lines that violate that pattern. A common variation is the
59:
5076:
102:
74:
4537:
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:
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 (
2192:
In the 20th and the 21st centuries, numerous scholars have endeavored to supplement al-Kʰalīl's contribution.
88:
2829:
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:
48:
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
3319:
309:
also had more strictly defined rules, such as thematic parallelism or tonal antithesis between lines.
5185:
4923:
4355:
4319:
4263:
4243:
3151:
Syneresis. A diphthong is made from two consecutive vowels in a word which do not normally form one:
2973:
2857:
1816:
of the verse. The fifth foot is a dactyl, as is nearly always the case. The final foot is a spondee.
1230:
2938:
was different from that of modern English, and related more to the verse forms of most of the older
5594:
5570:
5173:
4596:
4327:
4299:
3499:
1887:
1667:
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:
4968:
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
5303:
4915:
4748:
4641:
4482:
4425:
4393:
4267:
4120:
3572:
3358:
3262:
2898:
2846:
1945:
1941:
1527:
1507:
685:
198:
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:
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
4257:
3292:
2842:
2029:
1825:
1740:
1656:
1355:
1354:
verse, which lacks the first syllable of the first foot. A third variation is
1302:
1187:
1175:
1169:
595:
296:
171:
17:
4583:
however: when dragged into prominence by half poets, the result is not poetry
4455:
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
4791:
4461:
was metrical without exception, spanning traditions as diverse as European
2798:
2711:
2523:
4801:
2845:
tended towards the variable line-length forms of the folk ballads and the
2694:
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:
dum diddy | dum diddy | dum diddy | dum diddy | dum diddy | dum dum
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:
Armă vĭ | rumquĕ că | nō, Troi | ae quī | prīmŭs ăb | ōrīs
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:
Vergĭlĭ | um vī | dī tan | tum, nĕc ă | māră Tĭ | bullō
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
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:
18:Stress pattern
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:
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393:
389:
385:
381:
380:Ancient Greek
373:
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364:
360:
356:
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350:
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115:
112:February 2009
104:
101:
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90:
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83:
80:
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73: –
72:
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67:Find sources:
61:
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45:This article
43:
39:
34:
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5436:
5417:
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5381:
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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:
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118:
109:
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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:. The
1383:anapest
1348:trochee
1226:caesura
1220:Caesura
1203:dactyls
1158:dimeter
958:diiamb
772:primus
521:spondee
499:trochee
335:English
325:Western
275:Persian
267:spondee
184:prosody
176:prosody
96:scholar
5578:Dactyl
5443:
5424:
5407:
5388:
5287:"Líra"
5062:
4954:
4870:
4838:
4808:
4761:
4731:
4510:Milton
4422:Hesiod
4414:Avesta
4350:, and
4344:Horace
4340:Aeneid
4338:, the
4334:, the
4326:, and
4290:, the
4288:Alcaic
4264:stress
4153:sáfico
4090:Neşâtî
4033:Fuzûlî
3479:, and
3184:cie-lo
3180:rui-do
3153:poe-ta
3056:French
3049:type A
2995:te þe
2860:, and
2787:Nezami
2720:ruba'i
2712:ruba'i
2704:Anceps
2611:المجتث
2530:الخفيف
2524:Khafīf
2476:السريع
2368:الوافر
2341:الكامل
2314:البسيط
2287:المديد
2260:الطويل
2174:Verse:
2141:ʾaǧzāʾ
2092:Arabic
2088:Al-Ard
2069:Arabic
2058:العروض
2054:Arabic
1962:stanza
1958:Sappho
1910:tragic
1797:Aeneid
1760:finger
1752:dactyl
1709:weight
1520:rhymes
1518:; the
1497:Dryden
1468:) and
879:major
663:cretic
574:dactyl
503:choree
396:Sappho
394:, and
392:Hesiod
388:Pindar
263:dactyl
154:; see
136:poetry
98:
91:
84:
77:
69:
5655:Wāfir
5650:Tawīl
5645:Rajaz
5640:Madīd
5630:Kāmil
5625:Hazaj
5620:Basīṭ
5494:Meter
5337:s.v.
4453:Tamil
4451:era.
4418:Homer
4332:Iliad
4272:rhyme
4224:Welsh
3976:Nedîm
3705:– – .
3695:. – –
3685:– . –
3670:. . –
3646:fe ul
3520:vowel
3512:light
3504:moras
3481:wāfir
3477:kāmil
3473:basīt
3469:tawīl
3465:vezin
3445:durak
3335:Travi
3192:cïelo
3188:rüido
3041:mægen
3016:mægen
2986:heard
2915:lüshi
2905:gushi
2850:yuefu
2839:Chuci
2470:Sarī`
2449:الرمل
2443:Ramal
2422:الرجز
2416:Rajaz
2395:الهزج
2389:Hazaj
2362:Wāfir
2335:Kāmil
2308:Basīṭ
2281:Madīd
2254:Ṭawīl
2152:F-ʿ-L
2130:-akr-
2096:العرض
1942:lyric
1869:pines
1788:ictus
1661:morae
1653:morae
1648:morae
881:ionic
774:paeon
384:Homer
359:iambs
343:Greek
339:Latin
188:prose
164:verse
162:of a
148:meter
146:) or
140:metre
103:JSTOR
89:books
5556:Iamb
5441:ISBN
5422:ISBN
5405:ASIN
5386:ISBN
5333:The
5093:2022
5060:ISBN
4995:2016
4952:ISBN
4926:", "
4914:The
4868:ISBN
4836:ISBN
4806:ISBN
4759:ISBN
4729:ISBN
4528:and
4508:and
4477:and
4420:and
4348:Ovid
4270:and
4250:awdl
3866:Bâkî
3610:kürk
3575:");
3573:Adam
3301:bile
3039:and
3037:hige
2993:heor
2982:Hige
2237:Name
2232:Name
2145:baḥr
2126:-āk-
2050:Arūḍ
1914:Ovid
1853:This
1729:mora
1715:and
1703:The
1665:mora
1595:and
1501:Pope
1499:and
1485:, a
1409:and
1379:iamb
1344:iamb
481:iamb
405:and
341:and
330:feet
313:Feet
303:tone
281:and
259:feet
253:and
230:and
75:news
4798:doi
4469:or
4408:).
4400:or
4167:or
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3060:In
3021:lað
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2997:cēn
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2000:by
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166:or
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