As the play develops, players may make individual adjustments–a running back may cut inside, a wide receiver may break off his route, or a quarterback may scramble, for example–that’s rhythm. In football, the coach calls a play–that’s meter. Meter is the basic plan of the line rhythms are how the words actually flow, often with the meter, but sometimes varying from it. It’s easy to confuse rhythm and meter in poetry. Pauses - Poets manipulate rhythm with end-stopped lines–when the poems’s sentences end naturally at the end of lines run-on lines-when the sentence carries over into the next line and enjambments–when the sentence ends midway through the line.When you get to the point where you think nothing about rhythm and meter in poetry will amaze you, check out Theodore Roethke’s “My Papa’s Waltz," written in iambic trimeter, the same meter as a waltz (I told you you’d be amazed). Compare the rhythm in a Shakespearean sonnet, written in iambic pentameter, to that of Andrew Marvell’s “To His Coy Mistress." If this stuff really excites you, rewrite each poem in the other’s form and note the differences. Pentameter, five sets of two syllables following a stressed unstressed pattern (called an iamb), is the most common meter, followed by tetrameter, four sets of the aforementioned iambs. Meter and Line Length - Poets don’t have to vary line length to create a specific rhythm.For example, Matthew Arnold’s “Dover Beach” varies line lengths to enhance the mood of sadness. Line Length - Standard line lengths allow a poem to flow smoothly breaking up the flow with shorter lines or longer lines interrupts the flow and creates a rhythm of its own.Examples: Walt Whitman’s “O Captain! My Captain!"and “Beat! Beat! Drums!” are two examples of repetition creating rhythm in poems. Repetition - the repeating of words creates rhythm.Poets use the following to create rhythm: These two types of metre could be well used to reflect depression, sadness and loss.Rhythm in poems is best described as a pattern of recurrence, something that happens with regularity. (b) Trochaic metre gives a downward feeling and the spondaic represents two heavy stresses together. ![]() (b) This is the light-hearted amphibrachic metre which gives a fun feeling.Note the exclamation marksįollowing these iambs which are a sign of the voice rising. (a) Iambs always give an upward movement.(b) These are spondees which are reflecting the heaviness of heart the poet is.The metre here is reflecting the fleet passage of time. (a) In these lines anapestic metre is used (two shorts and a long).This kind of metric feet hints a movement and certainly gentleness. It demonstrates the use of one accented syllable followed by two unaccented syllables. (b) The extract from Thomas Hood's poem, "The Bridge of Sighs" is an example of dactyllic dimeter, with a couple of variations.Judith Wright's "Magpies" contains iambic tetrameter, four short/long feet while Housman's ballad, "Farewell to barn and tree" except for the third line commencing with "Terence", where there is a slight variation, is also made up of iambic tetrameter. Line and each foot contains an unaccented syllable followed by an accented (b) Grey's "Elegy" is written in iambic pentameter.Therefore, tetrameter indicates that the line of poetry in question contains four feet. ![]() (c) There are several kinds of metre but only six were discussed in this course. ![]() The poet has many means of producing a pleasing effect without resorting to metric pattens. Poetry, to be true poetry, does not have to be written in metre.
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