The most common form of meter in English verse since the 14th century is accentual-syllabic meter, in which the basic unit is the foot.A foot is a combination of two or three stressed and/or unstressed syllables.Perhaps the best way to begin scanning a line is to mark the natural stresses on the polysyllabic words.
The most common form of meter in English verse since the 14th century is accentual-syllabic meter, in which the basic unit is the foot.A foot is a combination of two or three stressed and/or unstressed syllables.
Rhythm refers particularly to the way a line is voiced, i.e., how one speaks the line.
Often, when a reader reads a line of verse, choices of stress and unstress may need to be made.
The student’s explication continues with a topic sentence that directs the discussion of the first five lines: However, the poem begins with several oddities that suggest the speaker is saying more than what he seems to say initially.
For example, the poem is an Italian sonnet and follows the abbaabbacdcdcd rhyme scheme.
The following are the four most common metrical feet in English poetry: Any number above six (hexameter) is heard as a combination of smaller parts; for example, what we might call heptameter (seven feet in a line) is indistinguishable (aurally) from successive lines of tetrameter and trimeter (4-3).
To scan a line is to determine its metrical pattern.For example, the first line of Keats’ “Ode on Melancholy” presents the reader with a problem: If we determine the regular pattern of beats (the meter) of this line, we will most likely identify the line as iambic pentameter.If we read the line this way, the statement takes on a musing, somewhat disinterested tone.A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem.Writing an explication is an effective way for a reader to connect a poem’s plot and conflicts with its structural features.The speaker notes that the city is silent, and he points to several specific objects, naming them only in general terms: “Ships, towers, domes, theatres, and temples” (6).After describing the “glittering” aspect of these objects, he asserts that these city places are just as beautiful in the morning as country places like “valley, rock, or hill” (8,10).In this example, Milton forges such a tension to present immediately the essential conflicts that lead to the fall of Adam and Eve.The explication should follow the same format as the preparation: begin with the large issues and basic design of the poem and work through each line to the more specific details and patterns.Again, this line is predominantly iambic, but a problem occurs with the word “Disobedience.” If we read strictly by the meter, then we must fuse the last two syllables of the word.However, if we read the word normally, we have a breakage in the line’s metrical structure.