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In poetry, metre (Commonwealth spelling) or meter (American spelling; see spelling differences) is the basic rhythmic structure of a verse or lines in verse.Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.
Old English metre is the conventional name given to the poetic metre in which English language poetry was composed in the Anglo-Saxon period. The best-known example of poetry composed in this verse form is Beowulf, but the vast majority of Old English poetry belongs to the same tradition.
Poetic rhythm is the flow of words within each meter and stanza to produce a rhythmic effect while emphasising specific parts of the poem. Repetition– Repetition often uses word associations to express ideas and emotions indirectly, emphasizing a point, confirming an idea, or describing a notion.
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.
Stichic: a poem composed of lines of the same approximate meter and length, not broken into stanzas. Syllabic: a poem whose meter is determined by the total number of syllables per line, rather than the number of stresses. Tanka: a Japanese form of five lines with 5, 7, 5, 7, and 7 syllables—31 in all.
Dactylic hexameter (also known as heroic hexameter and the meter of epic) is a form of meter or rhythmic scheme frequently used in Ancient Greek and Latin poetry. The scheme of the hexameter is usually as follows (writing – for a long syllable, u for a short, and u u for a position that may be a long or two shorts):
The englyn is found in the work of the earliest attested Welsh poets (the cynfeirdd), where the main types are the three-line englyn milwr and englyn penfyr. [1] It is the only set stanzaic metre found in the early Welsh poetic corpus, and explanations for its origins have tended to focus on stanzaic Latin poetry and hymns; however, it is as likely to be a development within the Brittonic ...
Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominance. [1]