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Meter is a reccuring pattern of stressed and unstressed syllables in lines of a set length in poetry. Metre, although often equated with rhythm, is perhaps more accurately described as one method of organizing a poem’s rhythm. Unlike rhythm, metre is not a requisite of poetry; it is, rather, an abstract organization of elements of stress, duration, or number of syllables per line into a specific formal pattern. The interaction of a given metrical pattern with any other aspect of sound in a poem produces a tension, or counterpoint, that creates the rhythm of metrically based poetry
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Pattern of rhythm and rhyme in poetry
Rhythm
Rhythm is a recurring stress pattern in poetry. It is the pattern of the different types of meter in a line. But rhythm is the general term, applying to all speech, in every language, as well as sounds in general, provided the sounds are continuous or repetitive , and show some pattern in their continuity or repetition .
Meter is a reccuring pattern of stressed and unstressed syllables in lines of a set length in poetry. Metre, although often equated with rhythm, is perhaps more accurately described as one method of organizing a poem’s rhythm. Unlike rhythm, metre is not a requisite of poetry; it is, rather, an abstract organization of elements of stress, duration, or number of syllables per line into a specific formal pattern. The interaction of a given metrical pattern with any other aspect of sound in a poem produces a tension, or counterpoint, that creates the rhythm of metrically based poetry
A foot is a combination of one stressed and some unstressed syllables.
Rhythm and Meter in English Poetry
English poetry employs five basic rhythms of varying stressed (/) and unstressed (x) syllables. The meters are iambs, trochees, spondees, anapests and dactyls. In this document the stressed syllables are marked in boldface type rather than the tradition al "/" and "x." Each unit of rhythm is called a "foot" of poetry.
The meters with two-syllable feet are
IAMBIC (x /) : That time of year thou mayst in me behold
TROCHAIC (/ x): Tell me not in mournful numbers
SPONDAIC (/ /): Break, break, break/ On thy cold gray stones, O Sea!
Meters with three-syllable feet are
ANAPESTIC (x x /): And the sound of a voice that is still
DACTYLIC (/ x x): This is the forest primeval, the murmuring pines and the hemlock (a trochee replaces the final dactyl)
Each line of a poem contains a certain number of feet of iambs, trochees, spondees, dactyls or anapests. A line of one foot is a monometer, 2 feet is a dimeter, and so on--trimeter (3), tetrameter (4), pentameter (5), hexameter (6), heptameter (7), and o ctameter (8). The number of syllables in a line varies therefore according to the meter.
Iamb
Each metric unit, or foot, in iambic meter is known as the iamb. An iambic foot is composed of an unstressed syllable followed by a stressed syllable.
Iambic feet can be strung along in a series. Four feet together is known as iambic tetrameter, as in the example "He works on writing Monday nights," which contains four stressed syllables: "works," "writ-," "Mon-" and "nights." The other four syllables are unstressed.
Iambic rhythms come relatively naturally in English. Iambic pentameter is the most common meter in English poetry; it is used in many of the major English poetic forms, including blank verse, the heroic couplet, and some of the traditional rhymed stanza forms. William Shakespeare used iambic pentameter in his plays and sonnets.
A trochee /ˈtroʊkiː/ or choree, choreus, is a metrical foot used in formal poetry consisting of a stressed syllable followed by an unstressed one. Trochee comes from the Greek τροχός, trokhós, wheel, and choree from χορός, khorós, dance; both convey the "rolling" rhythm of this metrical foot.
Spondee, metrical foot consisting of two long (as in classical verse) or stressed (as in English verse) syllables occurring together. The term was derived from a Greek word describing the two long musical notes that accompanied the pouring of a libation. Spondaic metre occurred occasionally in classical verse. It does not, however, form the basis for any English verse, as there are virtually no English words in which syllables receive equal stress. An approximation of a spondaic foot is sometimes achieved with such compounds as “heyday” or “childhood,” but even these words can be seen as examples of primary and secondary stress rather than equal stress. In English verse, the spondaic foot is usually composed of two monosyllables. Like the pyrrhic foot (marked here with ˘˘), the spondaic foot (′′) occurs as a substitution for another foot, rather than determining a metrical pattern.
An anapest is a term used in poetry to describe a word or series of words which features two short, unstressed syllables followed by one long, stressed syllable. These three syllables make up one of the feet that comprise the rhythm of any poem. One example of anapest is the English word "underneath," which contains two unstressed syllables followed by one stressed syllable. The poetic technique known as anapestic tetrameter strings together four consecutive anapests in a single line.
Many poets are extremely concerned with how the words they write on the page will convey their intended meanings to readers and listeners. For that reason, they use techniques like similes and metaphors to give their words more meaning than they would have if just taken literally. Poets can also use the sound of the words to create their desired effects. Rhythm is an important component of most poems, and poets often choose words just as much for their rhythmical qualities as for their meanings. An anapest is one such rhythmic construction that can be found in poems.
In poetry, an anapest is one of many possible combinations of long, stressed syllables and short, unstressed syllables. This particular rhythm is comprised of two short syllables followed by one long syllable. The syllables are considered to be long and short because they are meant to be spoken with their timing in mind. Long syllables should be spoken for about twice the length of time as short syllables.
A dactyl in poetry refers to a short sequence within a line in which one long, or stressed, syllable is followed by two short, or unstressed, syllables. One example of this type of rhythm can be found in the English word "harmony." The dactyl is the basis for the rhythmic poetic technique known as dactylic hexameter, which features poetic lines containing six consecutive dactyls and one form at the end of the line known as a trochee. This construction was used often in classical Greek and Latin poetry, but has fallen out of favor due to the awkwardness of using it in English.
Rhythm is one of the most effective ways that poets have to convey their desired meaning to both readers and listeners. Each poetic line can be chopped up into rhythmic sections known as feet. These feet generally consist of either two or three syllables and include some combination of long and short syllables. A foot may use just one word or several words to achieve the rhythm. The dactyl is one of these types of rhythmic constructions.
RHYME
Most traditional poems use rhyme as a basic device for holding the poem together. Rhyme is the agreement in sound between words or syllables. The best way to think of rhyme is not as a series of lock stepping sound effects but as a system of echoes. Poets use rhyme to recall earlier words, to emphasize certain points, and to make their language memorable. In fact, rhymes can be extremely effective in making language take hold in a reader’s mind. (from AN INVITATION TO POETRY)
RHYME PATTERN VARIATIONS
There are several different kinds of rhyme.
END RHYME or TERMINAL RHYME
The most common rhyme pattern used by poets is that called end rhyme. This simply means that the end words of lines rhyme. Two consecutive lines may rhyme, or alternate lines may rhyme, or even more distant lines.
E.g. lines from Alfred, Lord Tennyson’s CROSSING THE BAR
Sunset and evening star, a
And one clear call for me! b
And may there be no moaning of the bar, a
When I put out to sea. b
INTERNAL RHYME or MIDDLE RHYME
When the rhyme pattern involves rhyming a word half way through a single line of poetry with the end word of the same line, it is called internal rhyme. It is used fairly frequently in ballads and occasionally in other kinds of poetry.
E.g. lines from S.T. Coleridge’s THE RIME OF THE ANCIENT MARINER
And I had done a hellish thing
And it would work’em woe:
For all averred, I had killed the bird
That made the breeze to blow. Ah wretch! said they, the bird to slay,
That made the breeze to blow.
Internal rhyme is an effect that adds particular emphasis and also quickens the pace of the rhythm.
E.g. lines from S.T. Coleridge’s THE RIME OF THE ANCIENT MARINER
The fair breeze blew, the white foam flew,
The furrows followed free;
We were the first that ever burst
Into that silent sea
FULL RHYME or ORDINARY RHYME
Full rhyme consists of two words or final syllables of words that sound exactly alike except for the initial consonant sound.
E.g. sing ring king
indestructible ineluctable
IMPERFECT RHYME or HALF RHYME or NEAR RHYME
Sometimes called SLANT RHYME or OFF RHYME. Half Rhyme involves the use of words that suggest rhyme but, for some reason, fail to satisfy the criteria of true rhyme. Sometimes the final consonant varies, so that the half rhyme is really assonance. More commonly, the final consonant is identical, but the vowel sound varies slightly (hall/hell). The effect of half rhyme is to create a sense of rhyme, with a slightly discordant feel.
Pararhyme or half rhyme or PARTIAL RHYME is where the first and last consonants are the same but the intervening vowel is different.
flip/flop leaves/lives grained/groined
There is a particular kind of near rhyme that can be described with precision. This is called CONSONANTAL RHYME or PARARHYME and was used a great deal by Wilfred Owen in his poetry of the First World War. In Pararhyme the consonant sounds of the two related words are identical but the vowel sound must differ:
lap/lip drift/draught mystery/mastery
The dissonance or slightly harsh, off key effect of pararhyme seemed especially suitable for the brutal subject matter of much of Owen’s poetry.
E.g. EXPOSURE, where pararhyme is used at the end of the first four lines, rhyming ABBA.
Our brains ache, in the merciless iced east winds that knife us A
Wearied we keep awake because the night is silent B
Low, drooping flares confuse our memory of the salient … B
Worried by silence, sentries whisper, curious, nervous,
But nothing happens.
VISUAL RHYME or SIGHT RHYME or EYE RHYME or COURTESY RHYME
Words look alike but do not sound the same. Words spelt alike but not actually rhyming.
E.g. one/bone key/prey/ low/how
love/move/drove cough/bough/rough
MASCULINE or STRONG RHYME
Rhymes that occur on stressed syllables are masculine. All monosyllabic rhymes of course, must be masculine. Rhyming words of two or more syllables are masculine if the final syllable is stressed.
E.g. desire/conspire concentrate/felicitate
When the final syllable of the rhyme is a stressed syllable such as defeat/repeat request/invest. Such rhyming tends to produce a pronounced or emphatic effect. Single syllable rhyming tends to have a pointed and telling impact as in the opening of Auden’s poem
Earth, receive an honoured guest,
William Yeats is laid to rest.
FEMININE or WEAK RHYME or DOUBLE RHYME
This refers to a rhyme in which the final syllable is unstressed as in morrow/sorrow finger/linger. Because the final syllable is unstressed, such rhyming tends to produce a falling away effect, as in Hopkins’ INVERSNAID: Of a pool so pitchblack, fell-frowning, It rounds and rounds Despair to drowning.
POLYSYLLABIC RHYME
In polysyllabic rhymes only the final syllable, or syllables, need correspond: elation/sensation intersection/affection
Polysyllabic rhyme is when several syllables are part of the rhyme. Such elaborate rhyming will call attention to itself and is often used to comic or humorous effect, as in Byron’s intellectual/hen-pecked you all rhyme. Such rhyming is heavily emphasized as it arrests the rhythm and flow of a poem quite dramatically.
TRIPLE RHYME
Triple rhyme is rhyme on a stressed syllable followed by two unstressed syllables.
laborious/victorious sufficiency/deficiency
Another form of rhyme which again does not constitute true rhyme, but which may be used for a certain effect is the exact repetition of the same sound in words that carry different meanings.
right/write sought/sort sight/site
According to the variants of stress:
According to the position of the lines:
She acts nice and sweet while shes on the stage -a
When she gets a break shes on a rampage-a
Shes very kind in front of the camera-b
But in real life shes full of drama-b
That age is best which is the first,-a
When youth and blood are warmer;-b
But being spent, the worse, and worst-a
Times still succeed the former.-b
Not to the clouds, not to the cliff, he flew;
But when a storm, on sea or mountain bred,
Came and delivered him, alone he sped
Into the castle-dungeon's darkest mew.
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