A language's poetry will reflect the natural sounds that have developed for its speakers, as can be witnessed in the meandering inter-locking softness of Italian ottava rima or the percussive trochaic tetrameter of Finland's The Kalevala.
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Trochaic octameter is a poetic meter that has eight trochaic metrical feet per line. Each foot has one stressed syllable followed by an unstressed syllable. Trochaic octameter is a rarely used meter.
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London: Methuen, 1963, p.23. In classical grammatical terminology it can be described as a trochaic dimeter catalectic, i.e. a combination of two groups of two trochees each (—u—x), with the second of these groups lacking its final syllable; or as a trochaic hepthemimer, i.e. a trochaic sequence of seven half-feet.
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This poem has 45 lines broken up into 15, 3 line stanzas. This poem is heterometric, with some lines written in iambic pentameter, Iambic tetrameter, Iambic dimeter, trochaic pentameter, and trochaic tetrameter.
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Trochaic tetrameter is a meter in poetry. It refers to a line of four trochaic feet. The word "tetrameter" simply means that the poem has four trochees. A trochee is a long syllable, or stressed syllable, followed by a short, or unstressed, one.
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The poem consists of 8,799 unrhymed trochaic octasyllables and is divided into 24 rhapsodies and 142 chapters.
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Common metrical patterns in both poetry and music are iambic, trochaic, dactylic, amphibrachic, anapaestic, spondaic, and tribrachic.
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The lines gradually increase from a trochaic monometer catalectic to a complicated decamter of spondees, anapaests, paeons, and dactyls.
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The alteration of normal and broken tetrameters is a characteristic difference between the Kalevala meter and other forms of trochaic tetrameter.
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Although the text is printed as prose, the author was clearly trying to give the effect of the metres of Plautus.Cavallin (1951), 143-6. Sentences and phrases regularly end with the line endings of a trochaic septenarius or iambic senarius; and there is a tendency to trochaic sequences at the start of the next unit. In the middle however the metrical form of a Plautine verse is only occasionally preserved.
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Trochaic octameter is popular in PolishWiktor J. Darasz, Mały przewodnik po wierszu polskim, Kraków 2003, p. 73 (in Polish). and Czech literatures.Josef Durdík, Poetika jakožto aesthetika umení básnického, pp.
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International Journal of American Linguistics. Megan Crowhurst. 2016. Iambic-Trochaic law effects among native speakers of Spanish and English. Laboratory Phonology: Journal of the Association for Laboratory Phonology, 7(1), 12.
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The main hero is the Wandering Jew, Ahasver. He is a man weary of life, who longs for death. The hero is probably symbol of everyone's endeavour and suffering. The poem is written in trochaic pentameter.
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The principal theorist of rhythmic genera was Aristides Quintilianus, who considered there to be three: equal (dactylic or anapestic), sesquialteran (paeonic), and duple (iambic and trochaic), though he also admitted that some authorities added a fourth genus, sesquitertian .
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Franz Anton Schiefner's translation of the Kalevala was one inspiration for Longfellow's 1855 poem The Song of Hiawatha, which is written in a similar trochaic tetrameter.Calhoun, Charles C. Longfellow: A Rediscovered Life. Boston: Beacon Press, 2004: 108. .Irmscher, Christoph.
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The play is written in trochaic tetrameter. In 1824, she wrote Stille Größe (Quiet Greatness). In addition to her written work, Artner has also been cited as an accomplished pastel portrait artist. Artner died in Agram, Croatia in 1829.
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Two of the best- known examples are Henry Wadsworth Longfellow's The Song of Hiawatha and the Finnish Kalevala. This can be demonstrated in the following famous excerpt from "Hiawatha's Childhood", where the accented syllables of each trochee have been bolded: The Kalevala also follows a loose trochaic tetrameter, although it also has some slight variations to the normal pattern, which cause some people to term it the "Kalevala Metre". Another clear example is Philip Larkin's "The Explosion". Trochaic tetrameter is also employed by Shakespeare in several instances to contrast with his usual blank verse (which is in iambic pentameter).
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In English poetry substitution, also known as inversion, is the use of an alien metric foot in a line of otherwise regular metrical pattern. For instance in an iambic line of "da DUM", a trochaic substitution would introduce a foot of "DUM da".
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The language of the poem is essentially the everyday Munster Irish of the time, the vernacular of County Clare during the 18th century. The meter is the rarely used Dactylic Trimeter followed by a single Trochaic foot. The end rhymes are all feminine.
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Stormy Petrel, painted by John James Audubon "The Song of the Stormy Petrel" (, ) is a short piece of revolutionary literature written by the Russian writer Maxim Gorky in 1901. The poem is written in a variation of unrhymed trochaic tetrameter with occasional Pyrrhic substitutions.
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The poem consists of twenty- one stanzas made up of five lines each. The first four lines are metered in trochaic trimeter, the fifth in iambic hexameter, also called Alexandrine. The rhyme scheme of each stanza is ABABB.There are total 105 lines in this poem.
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The words of Amazing Grace can therefore be set to any tune that has the 8.6.8.6 metre, for example The House of the Rising Sun. Conventionally most hymns in this 86.86 pattern are iambic (weak- strong syllable pairs). By contrast most hymns in an 87.87 pattern are trochaic, with strong-weak syllable pairs: :Love divine, all loves excelling, :joy of heav'n to earth come down,... In practice many hymns conform to one of a relatively small number of metres (syllable patterns), and within the most commonly used ones there is a general convention as to whether its stress pattern is iambic or trochaic (or perhaps dactylic).
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The first foot has a freer structure, allowing strong syllables in a falling position and weak syllables in a rising position: It is also possible for the first foot to contain three or even four syllables. There are two main types of line: a normal trochaic tetrameter and a broken trochaic tetrameter. In a normal tetrameter, word-stresses and foot-stresses match, and there is a caesura between the second and third feet: A broken tetrameter (Finnish murrelmasäe) has at least one stressed syllable in a falling position. There is usually no caesura: Traditional poetry in the Kalevala meter uses both types with approximately the same frequency.
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Ponting is also the author of a verse in trochaic tetrameter, "The Sleeping Bag" (1911). The poem, elaborating on a motif also found in the anonymously-authored Longfellow parody "The Modern Hiawatha" (ca. 1904), is recited for humorous effect in the film Scott of the Antarctic.
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He points out that every creative work demands much toil and courage. After Edison's death in 1931 Nezval wrote Signál času (Signal of time) which is an elegy. Both poems are written in the same measure, trochaic hexameter. Nezval uses long enumerations, building sophisticated poetical imagery.
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The series are always four, followed by three, always beginning and ending on a stressed syllable. The meter changes to iambic in the lines with repeated "bells," bringing the reader into their rhythm. Most of the poem is a more hurried trochaic tetrameter.Analysis: Form and Meter.
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Balto-Finnic (e.g. Estonian, Finnish, Karelian) folk poetry uses a form of trochaic tetrameter that has been called the Kalevala meter. The Finnish and Estonian national epics, Kalevala and Kalevipoeg, are both written in this meter. The meter is thought to have originated during the Proto-Finnic period.
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Generally, every alternate syllable before and after the primary stress will receive relative stress, as far secondary stress placements allow: Wá.gə.nì.ngən. Relative stress preferably does not fall on so syllables containing may disrupt the trochaic rhythm. To restore the pattern, vowels are often syncopated in speech: kín.də.rən > , há.ri.
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He was not the first American poet to use the trochaic (or tetrameter) in writing Indian romances. Schoolcraft had written a romantic poem, Alhalla, or the Lord of Talladega (1843) in trochaic tetrameter, about which he commented in his preface: > The meter is thought to be not ill adapted to the Indian mode of > enunciation. Nothing is more characteristic of their harangues and public > speeches, than the vehement yet broken and continued strain of utterance, > which would be subject to the charge of monotony, were it not varied by the > extraordinary compass in the stress of voice, broken by the repetition of > high and low accent, and often terminated with an exclamatory vigor, which > is sometimes startling.
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Barzelletta (lit. "jest") was a popular verse form used by frottola composers in Italy in the fifteenth and sixteenth centuries. It is generally trochaic, with eight syllables per line. The barzelletta consists of two sections: a reprisa which is four rhyming lines (abba or abab), a stanza, and a volta.
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The Song of Hiawatha was written in trochaic tetrameter, the same meter as Kalevala, the Finnish epic compiled by Elias Lönnrot from fragments of folk poetry. Longfellow had learned some of the Finnish language while spending a summer in Sweden in 1835. It is likely that, 20 years later, Longfellow had forgotten most of what he had learned of that language, and he referred to a German translation of the Kalevala by Franz Anton Schiefner. Trochee is a rhythm natural to the Finnish language-- inasmuch as all Finnish words are normally accented on the first syllable--to the same extent that iamb is natural to English. Longfellow’s use of trochaic tetrameter for his poem has an artificiality that the Kalevala does not have in its own language.
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Uncle Styopa in the 1939 Soviet animated film directed by Vladimir Suteev. Uncle Styopa (), also known as Dyadya Stepa, is a series of poems written by Russian children's poet Sergey Mikhalkov. They were written in trochaic tetrameter. The poems featured a brave and noble militsioner (a policeman) who was unusual due to his extreme height.
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The earliest in order of composition were probably those numbered from xxvi. to xxix., which were written in the trochaic and iambic metres that had been employed by Ennius and Pacuvius in their Saturae. In these he made those criticisms on the older tragic and epic poets of which Horace and other ancient writers speak.
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Through mountains, through valleys, With snow and with the sun beating down. To the beat of the bugle, Of bombs, of cannons, Whose thunderous report Makes your ears ring. Cherubino, to victory: To glory in battle! The meter of the verse is anapestic trimeter for the first two stanzas, trochaic tetrameter for the remainder.
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In standard Bengali, stress is predominantly initial. Bengali words are virtually all trochaic; the primary stress falls on the initial syllable of the word, while secondary stress often falls on all odd-numbered syllables thereafter, giving strings such as in shô-hô-jo-gi-ta "cooperation", where the boldface represents primary and secondary stress.
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As a metric, his first works are clearly based on the Albanian folkloric octosyllable verse style. He mostly used trochaic verses with a very few iambic. He also used 6,7,10,12,16 syllable verses, where 6 and 7 mostly in the iambs, and 6,8,10 dominate the trochees, sometimes even mixed metrics. Siliqi finished his high school studies while in Cetinje.
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Some compounds formed from two words are stressed on the second element: stadhuis , rijksdaalder . In some cases the secondary stress in a compound shifts to preserve a trochaic pattern: eiland , but schatei _land_ . Compounds formed from two compound words tend to observe these same rules. But in compounds formed from more than two words the stress is irregular.
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The poem is written in four quatrains. The poem is sometimes formatted without stanza breaks or em-dashes, though it has both in Dickinson's original manuscript. The poem's metrical pattern resembles ballad meter, however, only the final stanza fully follows the meter of a trochaic ballad. The other stanzas are more irregular in observance of ballad meter.
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The strophic structure of the play is consistent throughout. The two principal metres are fifteen-syllable lines (for the Latin), with antecedents in classical trochaic septenarii, and ten- syllable lines (used for both Latin and Occitan), with predecessors in late antique and Merovingian hymns. The late antique hymn Apparebit repentina dies magna domini may have been an inspiration.Dronke, p. 10.
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The technique is seen in Old English poetry, and in lines of iambic pentameter, the technique applies a variation on the typical pentameter line causing it to appear at first glance as trochaic. The O! in the opening of "The Star-Spangled Banner" ("Oh, _say_ , can you _see_ , by the _dawn's_ early _light_...") is an anacrusis in the anapestic tetrameter of the lyrics.
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The editors also include works by poets less known for writing sonnets, including George Meredith, William Morris and Rupert Brooke. The section ends with Brooke's "The Soldier": "If I should die, think only this of me, That there's some corner of a foreign field That is for ever England". ;The trochaic metre The editors introduce this section by admitting that "the trochaic metre has not by itself played an important part in our literature ... Tennyson wrote 'Locksley Hall' in trochaics because Mr Hallam told him that the English people liked the metre, but it is very doubtful if he was right." There are fewer poems in this section by the best-known names in English poetry, but Alington and Lyttelton include William Blake's "The Tiger" and Rudyard Kipling's "A Smuggler's Song": "Five and twenty ponies, Trotting through the dark".
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"Soliloquy of the Spanish Cloister" is a soliloquy written by Robert Browning, first published in his collection Dramatic Lyrics (1842). It is written in the voice of an unnamed Spanish monk. The poem consists of nine eight-line stanzas and is written in trochaic tetrameter. The plot of the poem centers around the speaker's hatred for "Brother Lawrence", a fellow monk in the cloister.
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The trochaic metre is the most popular, with around 95% of dainas being in it. Characteristic of this metre is that an unstressed syllable follows a stressed syllable, with two syllables forming one foot. Two feet form a dipody and after every dipody there is a caesura, which cannot be in the middle of a word. The dainas traditionally are written down so that every line contains two dipodies.
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With a few exceptions, stress is not only predictable, but shifts when suffixes are added to a word. It falls on the penultimate vowel, or on the penultimate mora if a moraic analysis is adopted. That is, a final heavy syllable (double vowel) receives stress ( "house"); otherwise, stress falls on the penultimate syllable ( "his child"). Additional stress falls in a trochaic pattern: Every other light syllable (single vowel) also receives stress.
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Many Norwegian folk ballads follow a four-stanza structure known as stev. Stev alternate a trochaic tetrameter with a trimeter, and lines typically rhyme following an ABCB scheme, though stev are not standardized. Finnish folk music tends to be based on Karelian traditions and the meter and thematic material found in the Kalevala. These themes include magic, mysticism, shamanism, Viking sea voyages, Christian legends, and ballads and dance songs.
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38 According to PlutarchPlutarch Solon 3.1–4 s:Lives (Dryden translation)/Solon#3 however, Solon originally wrote poetry for amusement, discussing pleasure in a popular rather than philosophical way. Solon's elegiac style is said to have been influenced by the example of Tyrtaeus.Oxford Classical Dictionary (1964) Solon He also wrote iambic and trochaic verses which, according to one modern scholar,David. A. Campbell, Greek Lyric Poetry, Bristol Classical Press 1982, Intro.
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Surprising effects are achieved by an endless variety of plots. Russians love jokes on topics found everywhere in the world, be it politics, spouse relations, or mothers-in-law. Chastushka, a type of traditional Russian poetry, is a single quatrain in trochaic tetrameter with an "abab" or "abcb" rhyme scheme. Usually humorous, satirical, or ironic in nature, chastushkas are often put to music as well, usually with balalaika or accordion accompaniment.
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The poem is heterometric in nature; its lines switch between iambic and trochaic trimeter, tetrameter, and dimeter. It is divided into nine distinct stanzas, each stanza as a quatrain with four lines. There are a total of thirty-six lines in the entire poem. There are five distinct sections to the poem, each turn is given through the use of a period at the end of the section.
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Longfellow circa 1850s Much of Longfellow's work is categorized as lyric poetry, but he experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads, and sonnets. Typically, he would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melodious musicality.
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Stresses on a syllable are detected by simply noting which syllable one puts stress on when saying the word. In many cases, this is the syllable which is pronounced loudest in the word, for example, the word 'purity' will take a stress on the first syllable and an unstress on the others. Because English tradition is so strongly iambic, some feel that trochaic meters have an awkward or unnatural feel to the ear.
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The poem relies on a trochaic beat. It consists of four stanzas and begins with an emphasis on the first person. The first person perspective changes with the use of the word "And" after the first stanza, while the emphasis on "I" is replaced The original draft has a line drawn beneath the first stanza, which could denote that Blake originally intended the poem as concluding at the 4th line.Glen 1983 p.
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Following a Latin model, the Poema employs a septenary line, "a seven-foot line usually in trochaic rhythm"; according to R.D. Fulk and others this is possibly the first example of that line in English. According to Joseph Malof, this Latin-derived meter in subsequent instances is transformed into the looser seven-stress line (proving the dominance in English of stress over syllable) that became the English common metre, the standard line used in ballads.
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The sonnets are also all metered, but their meters vary more greatly between poems; dactylic and trochaic are the most common feet, with line length varying greatly, sometimes even within a particular sonnet. Due to the frequent use of enjambment Rilke even breaks through the verse structure. Difficulties in understanding the text arise from pronouns lacking clear reference. So begins, for example, the third sonnet of the first part: > Ein Gott vermags.
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Historically, the stress accent has reduced most vowels in unstressed syllables to , as in most other Germanic languages. This process is still somewhat productive, and it is common to reduce vowels to in syllables carrying neither primary nor secondary stress, particularly in syllables that are relatively weakly stressed due to the trochaic rhythm. Weakly stressed long vowels may also be shortened without any significant reduction in vowel quality. For example, politie (phonemically ) may be pronounced , or even .
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The entire lyrical content of the album is written in trochaic octameter, a rare poetic meter most famously used in Edgar Allen Poe's poem The Raven. A central motif of the album is the organ riff from "Double Shot (Of My Baby's Love)" by 1960s frat rock band The Swingin' Medallions. A companion soundtrack album, featuring most of the instrumental backing tracks, was also released. God in Three Persons received a 5-star rating from AllMusic.
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Further emphasizing and elevating the artistry of the language of the plays of Plautus is the use of meter, which simply put is the rhythm of the play. There seems to be great debate over whether Plautus found favor in strong word accent or verse ictus, stress. Plautus did not follow the meter of the Greek originals that he adapted for the Roman audience. Plautus used a great number of meters, but most frequently he used the trochaic septenarius.
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"Clancy of the Overflow" is a poem by Banjo Paterson, first published in The Bulletin, an Australian news magazine, on 21 December 1889. The poem is typical of Paterson, offering a romantic view of rural life, and is one of his best-known works. The poem is written in eight stanzas of four lines, lines one and three in a two-feet anapaest with a feminine internal rhyme, and lines two and four in trochaic octameter with masculine rhymes: AA–B–CC–B.
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"Oh My Darling, Clementine" is an American western folk ballad in trochaic meter usually credited to Percy Montrose (1884), although it is sometimes credited to Barker Bradford. The song is believed to have been based on another song called "Down by the River Liv'd a Maiden" by H. S. Thompson (1863). It is commonly performed in the key of F Major. Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.
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For the ancient Greeks, lyric poetry had a precise technical meaning: verse that was accompanied by a lyre, cithara, or barbitos. Because such works were typically sung, it was also known as melic poetry. The lyric or melic poet was distinguished from the writer of plays (although Athenian drama included choral odes, in lyric form), the writer of trochaic and iambic verses (which were recited), the writer of elegies (accompanied by the flute, rather than the lyre) and the writer of epic.Bowra, Cecil.
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" 'Bracketing' mismatches occur when the two patterns of W and S agree but the brackets to each pattern are out of sync — as with trochaic words in an iambic line."Brogan 1993, p 452. (These only render the line more complex.) The most essential test of metricality is "that the more closely an S-syllable in W-position is bound (in the Liberman-Prince tree-notation) to the syllable that precedes it, the more metrically disruptive it is."Groves 1998, p 91.
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The rhyme as illustrated by Dorothy M. Wheeler Recent versions tend to take the following form: The rhyme is a single stanza in trochaic metre, which is common in nursery rhymes and relatively easy for younger children to master. The Roud Folk Song Index, which catalogues folk songs and their variations by number, classifies the song as 4439 and variations have been collected across Great Britain and North America."Searchable database" , English Folk Song and Dance Society, retrieved 28 March 2012.
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In standard Bengali, stress is predominantly initial. Bengali words are virtually all trochaic; the primary stress falls on the initial syllable of the word, while secondary stress often falls on all odd-numbered syllables thereafter, giving strings such as shôhojogita ('cooperation'). The first syllable carries the greatest stress, with the third carrying a somewhat weaker stress, and all following odd-numbered syllables carrying very weak stress. However, in words borrowed from Sanskrit, the root syllable has stress, out of harmony with the situation with native Bengali words.
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Associated with this increase in resolutions was an increasing vocabulary, often involving prefixes to refine meanings, allowing the language to assume a more natural rhythm, while also becoming ever more capable of psychological and philosophical subtlety.B. Knox,'Euripides' in The Cambridge History of Classical Literature I: Greek Literature, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 337 The trochaic tetrameter catalecticfour pairs of trochees per line, with the final syllable omittedwas identified by Aristotle as the original meter of tragic dialogue (Poetics 1449a21).
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It has both a regular meter – frequently trochaic – and an intricate rhyme scheme, both of which are qualities that most academics date back to the 12th century. Palestrina's Stabat Mater appears to have been written for Pope Gregory XIV, who was Pope from 1590 until his death in 1591. Therefore, the work may have been composed during this time– a period which was within the final years of Palestrina's life. Since then, the work was initially guarded closely by the choir for which it was written.
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Dionysus surrounded by satyrs Aristotle writes in the Poetics that, in the beginning, tragedy was an improvisation "by those who led off the dithyramb", which was a hymn in honor of Dionysus. This was brief and burlesque in tone because it contained elements of the satyr play. Gradually, the language became more serious and the meter changed from trochaic tetrameter to the more prosaic iambic trimeter. In Herodotus Histories and later sources, the lyric poet Arion of Methymna is said to be the inventor of the dithyramb.
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The 26th song in the collection, it is introduced, speaking of the soul: "Sie will das Jesulein als den wahren Morgenstern in dem Himmel ihres Herzens haben" (She wants to have the little Jesus as the true morning star in the heaven of her soul). The poem is in six stanzas of five lines each. It is written as trochaic, rhyming AABB. The third and fourth lines are half the length of the others, giving extra weight to the fifth line, which is used as a summary.
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There are two major traditions of folk music in Finland, namely, music of the Kalevala form, and Nordic folk music or pelimanni music (North Germanic spelman, "player of music"). The former is considered the older one. Its most important form is called runonlaulanta ("poem singing", or chanting) which is traditionally performed in a trochaic tetrametre using only the first five notes on a scale. Making use of alliteration, this type of singing was used to tell stories about heroes like Väinämöinen, Lemminkäinen, and Kullervo.
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The rhyme is constructed of quatrains in trochaic tetrameter catalectic,A. L. Lazarus, A. MacLeish, and H. W. Smith, Modern English: a Glossary of Literature and Language (London: Grosset & Dunlap, 1971), , p. 194 (each line made up of four metrical feet of two syllables, with the stress falling on the first syllable in a pair; the last foot in the line missing the unstressed syllable), which is common in nursery rhymes.L. Turco, The Book of Forms: a Handbook of Poetics (Lebanon, NH: University Press of New England, 3rd edn.
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In them too he speaks of the Numantine War as recently finished, and of Scipio as still living. Book i., on the other hand, in which the philosopher Carneades, who died in 128, is spoken of as dead, must have been written after the death of Scipio. Most of the satires of Lucilius were written in hexameters, but, so far as an opinion can be formed from a number of unconnected fragments, he seems to have written the trochaic tetrameter with a smoothness, clearness and simplicity which he never attained in handling the hexameter.
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The Cabinet of Folksongs, a collection of almost 218,000 Latvian folksongs texts at the National Library of Latvia A daina or tautas dziesma is a traditional form of music or poetry from Latvia. Lithuanian dainos share common traits with them, but have been more influenced by European folk song traditions. Latvian dainas often feature drone vocal styles and pre-Christian themes and legends, and can be accompanied by musical instruments such as Baltic psalteries (e.g. kokles). Dainas tend to be very short (usually four- liners) and are usually in a trochaic or a dactylic metre.
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In an early scene a sign is glimpsed for an inn named "The Elephant". This is the name of an inn recommended in Twelfth Night. The three Carrionites allude to the Weird Sisters from Macbeth (which was written several years after the setting of this episode); like them, the Carrionites use trochaic tetrameter and rhyming couplets to cast spells. When regressing the architect in Bedlam, The Doctor uses the phrase "A Winter's Tale", whilst the architect himself uses the phrase "poor Tom" in the same way as the 'mad' Edgar in King Lear.
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Kokota uses trochaic stress patterns (stressed-unstressed in sequence, counting from the left edge of a word). Stress in the language varies widely among speakers, but there are patterns to the variation. Three main factors contribute to this variability: the limited morphology of Kokota, the fact some words are irregular by nature, and finally because of the present transition in stress assignment. The language is currently in a period of transition as it moves from relying on stress assignment based on moras and moves to stress assignment by syllable.
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Among these, the song of Caliope, in the last book of the Galatea, stands out. In the same manner as Gil Polo in his Diana, he makes the river Turia pronounce the praises of the celebrated Valencians. The poetic fancy of Cervantes summons the muse Calliope before the shepherds and shepherdesses, to render solemn homage to those contemporaries whom he esteems worthy of distinction as poets. The most beautiful poems in the Galatea are a few in the cancion style, some of which are iambics, and some in trochaic or Old Spanish verse.
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At 7.5 months English- learning infants have been shown to be able to segment words from speech that show a strong-weak (i.e., trochaic) stress pattern, which is the most common stress pattern in the English language, but they were not able to segment out words that follow a weak-strong pattern. In the sequence ‘guitar is’ these infants thus heard ‘taris’ as the word-unit because it follows a strong-weak pattern. The process that allows infants to use prosodic cues in speech input to learn about language structure has been termed “prosodic bootstrapping”.
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The symbol ":" is used as punctuation. The second and third lines are in dactylic hexameter. The form of the first line is less certain: it has been read as prose, iambic trimeter, catalectic trochaic trimeter, or a lyric meter. The interpretation of the inscription depends on a lacuna in the first line: depending on how it is restored, the inscription may be contrasting the cup from Pithekoussai with the legendary cup of Nestor described in the Iliad (Iliad 11.632 ff.), or identifying the cup as one owned by Nestor.
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The poem, written in an ABAB pattern, is meant to inspire its readers to live actively, and neither to lament the past nor to take the future for granted. The didactic message is underscored by a vigorous trochaic meter and frequent exclamation. Answering a reader's question about the poem in 1879, Longfellow himself summarized that the poem was "a transcript of my thoughts and feelings at the time I wrote, and of the conviction therein expressed, that Life is something more than an idle dream."Hilen, Andrew (editor).
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The dividing of verse into long and short syllables and analysis of the metrical family or pattern is called 'scanning' or 'scansion.' The names of the metrical families come from the names of the cola or feet in use, such as iambic, trochaic, dactylic and anapaestic meters. Sometimes meter is named after the subject matter (as in epic or heroic meter), sometimes after the musical instrument that accompanied the poetry (such as lyric meter, accompanied by the lyre), and sometimes according to the verse form (such as Sapphic, Alcaic and elegiac meter).
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The first stanza, although it is in ballad meter (4-3-4-3), seems stilted when following the four downbeats of trochaic ballad; it is read most naturally with anapests at the start of line 1 and at the beginning and end of line 3. Stanzas two and three appear to shorten the beginning of each line (3-3-4-3), creating an abrupt effect. End-rhyme follows a scheme of abcb defe ghih jklk, a typical ballad pattern. There is alliteration, consonance, and assonance scattered throughout the poem.
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His lines are usually end-stopped rather than run-on, enjambments which further add to the sense of dynamism. Howard himself was critical of his own poetry and understanding of prosody, writing in a 1931 letter to H. P. Lovecraft: "I know nothing of the mechanics of poetry—I couldn't tell you if a line was anapestic or trochaic to save my neck. I write the stuff by ear, so to speak, and my musical ear is very full of flaws." Nevertheless, the rhythm, stress, and intonation are present in his works, regardless of his knowledge of the correct nomenclature.
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Hyfrydol has a metre of 8.7.8.7.D (alternating lines of eight and seven syllables, usually in trochaic feet, other examples of which include Blaenwern and Abbots Leigh). The best-known arrangement is probably that by Ralph Vaughan Williams, which he originally produced for his revision of the English Hymnal; Vaughan Williams also composed some variations on this theme and it plays an important role as the third of his Prelude on Three Welsh Hymn Tunes (1955) for brass band. In addition to its use as a hymn tune, Hyfrydol has been arranged for brass bands and other instrumental groups.
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It is a gruesome fate-tragedy in the trochaic measure of the Spanish drama, already made popular by Müllner's Schuld. The ghost of a lady who was killed by her husband for infidelity is doomed to walk the earth until her family line dies out, and this happens in the play amid scenes of violence and horror. Its general character is similar to that of Werner's dramas; it only differs from them in containing individual passages of much force and beauty. It reveals an instinct for dramatic as opposed to merely theatrical effect, which distinguishes it from other fate-dramas of the day.
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Locksley Hall (illustrated) "Locksley Hall" is a dramatic monologue written as a set of 97 rhyming couplets. Each line follows a modified version of trochaic octameter in which the last unstressed syllable has been eliminated; moreover, there is generally a caesura, whether explicit or implicit, after the first four trochees in the line. Each couplet is separated as its own stanza. The University of Toronto library identifies this form as "the old 'fifteener' line," quoting Tennyson, who claimed it was written in trochaics because the father of his friend Arthur Hallam suggested that the English liked the meter.
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Hiawatha and Minnehaha sculpture in bronze by Jacob Fjelde (1912) near Minnehaha Falls in Minneapolis, Minnesota The Song of Hiawatha is an 1855 epic poem in trochaic tetrameter by Henry Wadsworth Longfellow which features Native American characters. The epic relates the fictional adventures of an Ojibwe warrior named Hiawatha and the tragedy of his love for Minnehaha, a Dakota woman. Events in the story are set in the Pictured Rocks area of Michigan on the south shore of Lake Superior. Longfellow's poem is based on oral traditions surrounding the figure of Manabozho, but it also contains his own innovations.
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After Poe's death, Chivers accused Poe of plagiarizing both "The Raven" and "Ulalume" from his own workMoss, 101 though other critics suggested Chivers's Eonchs of Ruby were a "mediocre restatement" of Poe's poems.Lombard, 17 The first poem of the collection, "The Vigil of Aiden", was an homage to Poe, using names like "Lenore" and the refrain "forever more!"Lombard, 62–63 On July 30, 1854, Chivers published an essay called "Origin of Poe's Raven" under the pseudonym Fiat Justitia, claiming that he inspired Poe to use trochaic octameter and the word "nevermore" in "The Raven".Parks, 182.
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Following their declared wish to awaken boys' metrical sense, the editors grouped their selections into seven sections, the heroic couplet, the octosyllabic couplet, the sonnet, the trochaic metre, the dactylic or anapaestic metre, classical metres, and miscellaneous.Alington and Lyttelton, p. xv The sections, and the poems within them, are introduced with brief background notes, putting them in context. ;The heroic couplet This section begins with excerpts from Chaucer's The Canterbury Tales and continues with works or parts of works from the sixteenth to the twentieth centuries, ending with two anonymous parodies, possibly written by one or both of the editors.
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32, No. 2, pp. 281-297. Catalectic endings are particularly common where the rhythm of the verse is dactylic ( – u u ), trochaic ( – u ), or anapestic ( u u – ); they tend to be associated with the end of a strophe or period, so much so that it can almost be said that acatalectic forms cannot end a period. In classical verse, the final syllable of a line always counted as long, so that if a dactyl ( – u u ) is made catalectic, it becomes a spondee ( – – ). Ancient poetry was often performed to music, and the question arises of what music accompanied a catalectic ending.
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Aleksandr Pushkin (1799–1837) The plot of the opera generally follows that of Pushkin's fairy- tale poem, with the addition of some characters, some expansion (particularly for Act 1), and some compression (mostly by reducing Gvidon's three separate trips to one). The libretto by Belsky borrows many lines from and largely emulates the style of Pushkin's poem, which is written in couplets of trochaic tetrameter. The music is composed in the manner of Rimsky-Korsakov's operas after Snowmaiden, i.e., having a more or less continuous musical texture throughout a tableau system, broken up here and there by song-like passages.
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The editors may marry a text "X" to a tune they feel is best, with which it appears on the hymnal page, and they may also suggest singing text "X" to an alternative tune that appears elsewhere in the hymnal (sometimes with a different text). If one refers to the hymnal's metrical index, more possible tunes may be found, of the same meter, which might be used for singing text "X". In The Anatomy of Hymnody, Austin C. Lovelace explores the relevance of the meter to a text. A meter of few syllables, perhaps with a trochaic stress pattern, fits best an exhortive or forceful declamation of ideas.
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The lengthy hymn has an intricate meter and rhyme scheme (alternate acatalectic and catalectic trochaic dimeter with internal rhyme in the first and third verses (aa/b, cc/b)) and was most likely written by Bernard of Cluny. One of the first miracles attributed to Casimir was his appearance before the Lithuanian army during the Siege of Polotsk in 1518. Casimir showed where Lithuanian troops could safely cross the Daugava River and relieve the city, besieged by the army of the Grand Duchy of Moscow. Ferreri's hagiography of 1521 mentions many miracles of Casimir are known but describes only one – a Lithuanian victory against the Russians.
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Bate accepted this view and stated that he was "99% certain" that it was by Shakespeare. However, other scholars disagree. In 2009 Michael Hattaway argued that poem is more likely to be by Ben Jonson, stating that, > The trochaic tetrameters used by Jonson, for example, in the songs from Lord > Haddington's wedding masque, performed at court on Shrove Tuesday in 1608, > and the satyr songs in his 1611 Masque of Oberon are very close in style to > the dial poem and have roughly the same proportion of feminine > endings.Michael Hattaway, Dating As You Like It, Epilogues and Prayers, and > the Problems of "As the Dial Hand Tells O'er", Shakespeare Quarterly, Volume > 60, Number 2, Summer 2009, pp. 159–160.
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In vóórkomen and other verbs with a stressed prefix, the prefix is separable and separates as kom voor in the first-person singular present, with the past participle vóórgekomen. On the other hand, verbs with an unstressed prefix are not separable: voorkómen becomes voorkóm in the first-person singular present, and voorkómen in the past participle, without the past participle prefix ge-. Dutch has a strong stress accent like other Germanic languages, and it uses stress timing because of its relatively complex syllable structure. It has a preference for trochaic rhythm, with relatively stronger and weaker stress alternating between syllables in such a way that syllables with stronger stress are produced at a more or less constant pace.
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A rímur verse is made up of trochaic lines which use literary techniques such as rhyme and alliteration. There are between two and four lines with a pattern of syllabic stress and alliteration. Music author Hreinn Steingrímsson describes rímur this way: > The four-line metres are a combination of two couplets with four stressed > syllables in the first line of each, and two such syllables (first and > third, second and third, or third and fourth) alliterate with the first > stressed syllable of the second line. The earliest known text of a rímur dates to the 14th century; for the subsequent six hundred years, the rímur texts were the most prolifically produced form of Icelandic literature.
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J. R. R. Tolkien (1892–1973), a scholar of Old and Middle English, used alliterative verse extensively in both translations and original poetry. Most of his alliterative verse is in modern English, in a variety of styles, but he also composed Old English alliterative verses. Tolkien also wrote alliterative verse based on other traditions, such as the Völsungasaga and Atlakviða, in The Legend of Sigurd and Gudrun (2009), and The Homecoming of Beorhtnoth Beorhthelm's Son describing the aftermath of the Battle of Maldon (1953). His Gothic Bagme Bloma ("Flower of the Trees") uses a trochaic metre, with irregular end-rhymes and irregular alliteration in each line; it was published in Songs for the Philologists (1936).
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In one day the weather can change from springtime sunshine to winter sleet and snow. The track of these depressions can often be across Ireland and Scotland bringing bands of rain followed by heavy showers (often of hail or snow) and strong blustery winds. The proverb "March winds and April showers bring forth May flowers", first recorded in 1886, and the shorter, trochaic version "April showers bring May flowers" (originally "Sweet April showers/Do spring May flowers", part of a poem recorded in 1610Northall, G. F. English Folk-Rhymes: A collection of traditional verses relating to places and persons, customs, superstitions, etc. 1892. p. 430) are common expressions in English speaking countries.
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Technically speaking an iambic tune, for instance, cannot be used with words of, say, trochaic metre. The meter is often denoted by a row of figures besides the name of the tune, such as "87.87.87", which would inform the reader that each verse has six lines, and that the first line has eight syllables, the second has seven, the third line eight, etc. The meter can also be described by initials; L.M. indicates long meter, which is 88.88 (four lines, each eight syllables long); S.M. is short meter (66.86); C.M. is common metre (86.86), while D.L.M., D.S.M. and D.C.M. (the "D" stands for double) are similar to their respective single meters except that they have eight lines in a verse instead of four.
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"Fee-fi-fo-fum" is the first line of a historical quatrain (or sometimes couplet) famous for its use in the classic English fairy tale "Jack and the Beanstalk". The poem, as given in Joseph Jacobs' 1890 rendition, is as follows: Illustration by Arthur Rackham in English Fairy Tales by Flora Annie Steel, 1918 > Fee-fi-fo-fum, I smell the blood of an Englishman, Be he alive, or be he > dead I'll grind his bones to make my bread. Though the rhyme is tetrametric, it follows no consistent metrical foot; however, the lines correspond roughly to a monosyllabic tetrameter, a dactylic tetrameter, a trochaic tetrameter, and an iambic tetrameter respectively. The poem has historically made use of assonant half rhyme.
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Midway through the second act of the play, after the principals Curly and Laurey are married, Curly begins to sing the song and is soon joined by the entire cast as a chorus. The lyric, which briefly depicts the Midwestern twang phonetically, describes the landscape and prairie weather in positive language. It further emphasizes the wholesome aspects of rural life, and the steadfast dedication of the region's inhabitants, against the overtly stated formal backdrop of the territory's impending admission to the Union in 1907. Hammerstein's lyric is also notable and memorable for its trochaic re-iteration of its title as a chant, and the final iambic eight-letter spelling of the title as a play on the colloquial English word "Okay".
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Hadrian The introduction to a dialogue called Virgilius orator an poeta is extant, in which the author (whose name is given as Publius Annius Florus) states that he was born in Africa, and at an early age took part in the literary contests on the Capitol instituted by Domitian. Having been refused a prize owing to the prejudice against African provincials, he left Rome in disgust, and after travelling for some time, set up at Tarraco as a teacher of rhetoric. Here he was persuaded by an acquaintance to return to Rome, for it is generally agreed that he is the Florus who wrote the well-known lines quoted together with Hadrian's answer by Aelius Spartianus (Hadrian I 6). Twenty-six trochaic tetrameters, De qualitate vitae, and five graceful hexameters, De rosis, are also attributed to him.
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Several other similar laws or tendencies, such as (a) Knox's Iamb Bridge (stating that an iambic word, i.e. a word of shape u –, tends to be avoided in positions 9 and 10 in the iambic trimeter), (b) Wilamowitz's Bridge (stating that a spondaic word, of shape – –, is avoided in the same position), (c) Knox's Trochee Bridge (stating that a trochaic word, of shape – u, tends to be avoided in positions 8 and 9), and (d) the law of tetrasyllables (stating that words of the rhythm – – u x are avoided at the end or beginning of a line), have been discovered since Porson's time. These laws apply to different styles or periods of iambic-trimeter writing (neither of the first two bridges mentioned above apply in tragedy, for example). Details of these and other constraints on the trimeter are given in a 1981 article by A.M. Devine and L.D. Stephens.
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His name was rediscovered in the course of excavations on the site of the temple of Asclepius at Epidaurus. An inscription was found engraved on stone, consisting of 72 lines of verse (trochaic tetrameters, hexameters, ionics), mainly in the Doric Greek dialect. It is preceded by two lines of prose stating that the author was Isvllus, an Epidaurian, and that it was dedicated to Asclepius and Apollo of Malea. It contains a few political remarks, showing general sympathy with an aristocratic form of government; a self-congratulatory notice of the resolution, passed at the poets instigation, to arrange a solemn procession in honor of the two gods; a paean (no doubt for use in the procession), chiefly occupied with the genealogical relations of Apollo and Asclepius; a poem of thanks for the assistance rendered to Sparta by Asclepius against "Philip", when he led an army against Sparta to put down the monarchy.
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14-28; p. 15. (Here "x" stands for an anceps syllable.) :(a) When a line with a pendant ending such as trochaic (– u – x) is made catalectic, the result is a line with a blunt (or "masculine") ending (– u –). :(b) When a line with a blunt ending such as iambic (x – u –) is made catalectic, the result is a line with a pendant ending (u – x). An example of a blunt line becoming pendant in catalexis is Goethe's poem Heidenröslein, or, in the same metre, the English carol Good King Wenceslas: :Good King Wenceslas looked out, (4 beats, blunt) : On the Feast of Stephen, (3 beats, pendant) :When the snow lay round about, (4 beats, blunt) : Deep and crisp and even; (3 beats, pendant) Another example is the children's song Here We Go Round the Mulberry Bush, of which the first stanza ends as follows: :Here we go round the mulberry bush (4 beats, blunt) : On a cold and frosty morning (3 beats, pendant) In all of these songs, when they are set to music, there is a lengthening of the penultimate syllable in order to equalise the two lines.
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