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Iambic pentameter (/ aɪ ˌ æ m b ɪ k p ɛ n ˈ t æ m ɪ t ər / eye-AM-bik pen-TAM-it-ər) is a type of metric line used in traditional English poetry and verse drama.The term describes the rhythm, or meter, established by the words in each line.
As far as is known, iambic senarii were spoken without music; trochaic septenarii (and also iambic septenarii and trochaic and iambic octonarii) [1] were chanted or recited (or possibly sung) to the sound of a pair of pipes known as tībiae (the equivalent of the Greek aulos), played by a tībīcen ("piper"); and other metres were sung ...
Iambic meter: any meter based on the iamb as its primary rhythmic unit. Alexandrine (iambic hexameter): a 12-syllable iambic line adapted from French heroic verse . Example: the last line of each stanza in “ The Convergence of the Twain ” by Thomas Hardy .
A line in which accents fall consistently on even-numbered syllables ("Al còr gentìl rempàira sèmpre amóre") is called iambic (giambico) and may be a greater or lesser hendecasyllable. This line is the simplest, commonest and most musical but may become repetitive, especially in longer works.
The Iambic trimeter, in classical Greek and Latin poetry, is a meter of poetry consisting of three iambic metra (each of two feet) per line. In English poetry, it refers to a meter with three iambic feet. In ancient Greek poetry and Latin poetry, an iambic trimeter is a quantitative meter, in which a line consists of three iambic metra.
Elegiac couplet, consisting of a line of dactylic hexameter and one of dactylic pentameter, employed by Ovid for all his extant works except the Metamorphoses; Iambic trimeter, the most common meter in the dialogue portions of tragedy and comedy (also known in Latin as Iambic senarius)
The chief metrical ictus of the line, in other words the syllables at which the baton of a conductor keeping time would fall, were in an Iambic Trimeter the 2nd, 4th, and 6th Arses [34] (in a Trochaic Tetrameter the 1st, 3rd, 5th, and 7th). Hence the necessity of exhibiting the metre in its pure form at these parts of the line (Bassus ap. Rufin ...
[6] In fact, however, the lines he quotes are not trochaic or iambic septenarii but the very similar iambic octonarii. The term septenarius is also used twice by the grammarian Diomedes (4th century AD), referring once to the trochaic and once to the iambic septenarius. [ 7 ]