An anapaest (ˈænəpiːst,_-pɛst; also spelled anapæst or anapest, also called antidactylus) is a metrical foot used in formal poetry. In classical quantitative meters it consists of two short syllables followed by a long one; in accentual stress meters it consists of two unstressed syllables followed by one stressed syllable. It may be seen as a reversed dactyl. This word comes from the Greek ἀνάπαιστος, anápaistos, literally "struck back" and in a poetic context "a dactyl reversed".
Because of its length and the fact that it ends with a stressed syllable and so allows for strong rhymes, anapaest can produce a very rolling verse, and allows for long lines with a great deal of internal complexity.
Apart from their independent role, anapaests are sometimes used as substitutions in iambic verse. In strict iambic pentameter, anapaests are rare, but they are found with some frequency in freer versions of the iambic line, such as the verse of Shakespeare's last plays, or the lyric poetry of the 19th century.
Here is an example from William Cowper's "Verses Supposed to be Written by Alexander Selkirk" (1782), composed in anapaestic trimeter:
I must finish my journey alone
An example of anapaestic tetrameter is the "A Visit from St. Nicholas" by Clement Clarke Moore (1823):
Twas the night before Christmas and all through the house
The following is from Byron's "The Destruction of Sennacherib":
The Assyrian came down like a wolf on the fold
And his cohorts were gleaming in purple and gold
And the sheen of their spears was like stars on the sea
When the blue wave rolls nightly on deep Galilee.
An even more complex example comes from Yeats's The Wanderings of Oisin (1889). He intersperses anapests and iambs, using six-foot lines (rather than four feet as above). Since the anapaest is already a long foot, this makes for very long lines.
Fled foam underneath us and 'round us, a wandering and milky smoke
As high as the saddle-girth, covering away from our glances the tide
And those that fled and that followed from the foam-pale distance broke.
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An iamb (ˈaɪæm ) or iambus is a metrical foot used in various types of poetry. Originally the term referred to one of the feet of the quantitative meter of classical Greek prosody: a short syllable followed by a long syllable (as in καλή () "beautiful (f.)"). This terminology was adopted in the description of accentual-syllabic verse in English, where it refers to a foot comprising an unstressed syllable followed by a stressed syllable (as in abóve).
The foot is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry, including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry. The unit is composed of syllables, and is usually two, three, or four syllables in length. The most common feet in English are the iamb, trochee, dactyl, and anapest. The foot might be compared to a bar, or a beat divided into pulse groups, in musical notation.
Scansion (ˈskæn.ʃən , rhymes with mansion; verb: to scan), or a system of scansion, is the method or practice of determining and (usually) graphically representing the metrical pattern of a line of verse. In classical poetry, these patterns are quantitative based on the different lengths of each syllable. In English poetry, they are based on the different levels of stress placed on each syllable. In both cases, the meter often has a regular foot. Over the years, many systems have been established to mark the scansion of a poem.