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Metrical feet and accents
Disyllables
◡ ◡pyrrhic, dibrach
◡ –iamb
– ◡trochee, choree
– –spondee
Trisyllables
◡ ◡ ◡tribrach
– ◡ ◡dactyl
◡ – ◡amphibrach
◡ ◡ –anapaest, antidactylus
◡ – –bacchius
– ◡ –cretic, amphimacer
– – ◡antibacchius
– – –molossus
See main article for tetrasyllables.

An anapaest (/ˈænəpiːst, -pɛst/; also spelled anapæst or anapest, also called antidactylus) is a metrical foot used in formal poetry. In classical quantitative meters it consists of two short syllables followed by a long one; in accentual stress meters it consists of two unstressed syllables followed by one stressed syllable. It may be seen as a reversed dactyl. This word comes from the Greek ἀνάπαιστος, anápaistos, literally "struck back" and in a poetic context "a dactyl reversed".[1][2][3][4]

Because of its length and the fact that it ends with a stressed syllable and so allows for strong rhymes, anapaest can produce a very rolling verse, and allows for long lines with a great deal of internal complexity.[5]

Apart from their independent role, anapaests are sometimes used as substitutions in iambic verse. In strict iambic pentameter, anapaests are rare, but they are found with some frequency in freer versions of the iambic line, such as the verse of Shakespeare's last plays, or the lyric poetry of the 19th century.

Examples

[edit]

Trimeter

[edit]

Here is an example from William Cowper's "Verses Supposed to be Written by Alexander Selkirk" (1782), composed in anapaestic trimeter:

I must finish my journey alone

Tetrameter

[edit]

An example of anapaestic tetrameter is the "A Visit from St. Nicholas" by Clement Clarke Moore (1823):

Twas the night before Christmas and all through the house

The following is from Byron's "The Destruction of Sennacherib":

The Assyrian came down like a wolf on the fold
And his cohorts were gleaming in purple and gold
And the sheen of their spears was like stars on the sea
When the blue wave rolls nightly on deep Galilee.

Hexameter

[edit]

An even more complex example comes from Yeats's The Wanderings of Oisin (1889). He intersperses anapests and iambs, using six-foot lines (rather than four feet as above). Since the anapaest is already a long foot, this makes for very long lines.

Fled foam underneath us and 'round us, a wandering and milky smoke
As high as the saddle-girth, covering away from our glances the tide
And those that fled and that followed from the foam-pale distance broke.
The immortal desire of immortals we saw in their faces and sighed.

The mixture of anapaests and iambs in this manner is most characteristic of late-19th-century verse, particularly that of Algernon Charles Swinburne in poems such as The Triumph of Time (1866) and the choruses from Atalanta in Calydon (1865). Swinburne also wrote several poems in more or less straight anapaests, with line-lengths varying from three feet ("Dolores") to eight feet ("March: An Ode").

Heptameter

[edit]

Neutral Milk Hotel's song "In the Aeroplane Over the Sea" can be described as mainly being written in anapaestic heptameter, or two dimetric lines followed by a trimetric one. At the end of the verses there is a cretic monometer and a line that is a variation of an iambic pentameter.

What a beautiful face
I have found in this place
That is circling all 'round the sun
What a beautiful dream
That could flash on the screen
In a blink of an eye and be gone from me
Soft and sweet
Let me hold it close and keep it here with me

Comic poetry

[edit]

The anapaest's most common role in English verse is as a comic metre: the foot of the limerick, of Lewis Carroll's poem The Hunting of the Snark (1876), Edward Lear's The Book of Nonsense (1846), Old Possum's Book of Practical Cats (1939) by T. S. Eliot, a number of Dr. Seuss books, among other examples.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Anapaest

View on Grokipedia
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An anapaest (also spelled anapest in ) is a in consisting of two short or unstressed s followed by one long or stressed syllable, represented in classical quantitative meter as ◡ ◡ − and in modern accentual-syllabic verse as u u /. This rhythmic unit creates a light, galloping effect often associated with lively or narrative verse. The term originates from the Greek anapaistos (ἀνάπαιστος), meaning "struck back" or "reversed," because it inverts the of the dactyl, which begins with a long followed by two short ones. In and , anapaests were prominent in choral lyrics, marching songs, and dramatic verse, such as the anapaestic tetrameter used in and for rapid or processional effects. The foot's adoption into dates to the , influenced by classical models, and it became a staple in forms requiring energetic rhythm. In English literature, anapaests are notably employed in limericks, where the typical pattern is an anapaestic trimeter in the first, second, and fifth lines, contributing to their humorous bounce. Famous examples include Byron's (1815), which opens with the anapaestic line "The Assyrian came down like the wolf on the fold," evoking the speed of battle, and Clement Clarke Moore's (1823), known as 'Twas the Night Before Christmas, where the meter mimics the patter of Santa's reindeer: "'Twas the night before Christmas, when all through the house / Not a creature was stirring, not even a mouse." Other poets, such as in How They Brought the Good News from to Aix (1845), used pure anapaestic to convey urgency and motion in ballads. While less common than iambs or trochees in serious epic or forms, the anapaest's upbeat cadence makes it ideal for light verse, , and songs.

Fundamentals

Definition

An anapaest (/ˈænəpiːst/; also spelled anapest) is a in consisting of two short s followed by one long in classical quantitative prosody. In accentual-syllabic verse, such as that used in , it comprises two unstressed s followed by one stressed . This foot plays a key role in establishing poetic rhythm through its repetitive pattern, often imparting a , galloping effect that conveys energy and momentum. In , the anapaest is typically represented as ∪ ∪ — (short-short-long) in classical terms or u u / (unstressed-unstressed-stressed) in modern accentual . Unlike the rising iamb (u /) or falling (/ u), the anapaest's delayed stress creates a buoyant contrast in rhythmic flow.

Structure and Notation

In classical quantitative prosody, the anapaest is a metrical foot comprising two short syllables (each equivalent to one mora) followed by one long syllable (equivalent to two morae), conventionally notated using the breve (∪) for short and macron (—) for long as ∪ ∪ —. In accentual prosody, as applied to English poetry, the anapaest features two unstressed syllables followed by one stressed syllable, producing the rhythmic pattern da-da-DUM and notated with the breve (u or ~) for unstressed and slash (/) for stressed as u u /. Anapaests may substitute for other metrical feet, such as iambs (u /), within a line to introduce rhythmic variation while maintaining the overall meter. In predominantly anapaestic lines, occurs when the final foot is incomplete, typically by omitting the initial unstressed (s) of the final foot to truncate the pattern (e.g., ending in u / or /), and acephaly involves dropping leading unstressed (s) from the first foot (e.g., starting with u / or /). A visual scansion of a single anapaestic foot appears as follows: Classical quantitative:

∪ ∪ — short short long

∪ ∪ — short short long

Accentual (English):

u u / unstressed unstressed stressed

u u / unstressed unstressed stressed

Historical Context

Etymology

The term anapaest originates from the anápaistos (ἀνάπαιστος), literally meaning "struck back" or "reversed," a designation that highlights the metrical foot's structure as the inversion of the dactyl (a long syllable followed by two short ones). This stems from the prefix aná- (ἀνά-, "back" or "again") combined with paíō (παίω, "to strike"), evoking the idea of a rhythmic reversal or rebound. In the context of , the name underscores the anapaest's pattern of two short s followed by a long one, contrasting the dactyl's arrangement. The earliest recorded use of the term appears in ancient Greek treatises on metrics and rhythm, dating to the BCE, with prominent discussion in the works of the philosopher and music theorist of Tarentum. , a pupil of , analyzed rhythmic feet including the anapaest in his Elements of Rhythm, treating it as a fundamental unit in poetic and . This early systematization by and contemporary prosodists established anápaistos as a standard term in Hellenistic scholarship on verse structure. The concept and terminology transitioned into during the Roman era, where it was rendered as anapaestus, retaining the Greek sense of reversal while adapting to Latin quantitative meter. This adoption facilitated its integration into Roman poetic theory, influencing metrics in works by authors like and . The term entered English in the late via humanists and scholars who revived classical learning, such as through translations and treatises on ancient poetry that popularized Greek and Latin prosodic terms. By the early , "anapaest" had become established in English to describe the in both classical and verse.

Ancient and Classical Usage

In ancient Greek drama, anapaests were widely employed in choral sections to convey a lively, marching rhythm that bridged spoken dialogue and sung lyrics. These metra, consisting of two short syllables followed by a long one (uu-), often appeared in dimeters or tetrameters during the chorus's entrance (parodos) or exit (exodos), as well as in transitional passages chanted by the chorus leader. This usage created an intermediary form between iambic trimeters for dialogue and more complex lyric meters, enhancing the dramatic flow with a sense of movement and energy. In the tragedies of , anapaests featured prominently in choral odes, such as the fragments from (lines 1087–91), where they underscored emotional intensity and rhythmic vitality in the chorus's commentary. Similarly, utilized anapaestic extensively in his comedies, particularly in the parabasis—a direct address to the — to inject humor and pace, as seen in plays like Acharnians. These applications highlighted the foot's versatility in quantitative meter, where syllable length rather than stress determined , allowing anapaests to substitute for iambs or trochees, especially in the initial positions of trimeters. Roman poets adapted Greek metrical practices, incorporating anapaests into dramatic and lyric verse to maintain the emphasis on vowel quantity. In Horace's Epodes, anapaests occasionally substituted for iambs in odd feet of iambic strophes, contributing to the genre's sharp, tone, though less dominantly than in pure anapaestic dimeters or tetrameters of earlier Greek models. This substitution preserved the rhythmic flexibility of quantitative systems while aligning with Latin's phonetic constraints.

Variations

Across Languages

In , the anapaest manifests primarily through mixed metrical feet rather than pure forms, often appearing in light or humorous verse where rhythmic patterns approximate two unstressed syllables followed by a stressed one. In , anapaestic rhythms are integrated into syllabic structures like the , contributing to a flowing cadence in works of or verse, though the language's even timing limits strict adherence to stress-based patterns. Similarly, in Italian poetry, early hendecasyllabic lines occasionally employed anapaestic substitutions for variety, but later conventions in forms like the a minore subtype restricted such rhythms to avoid disrupting the dominant iambic flow. troubadour , with its syllabic emphasis in courtly lyrics, echoes anapaestic-like patterns in lighter genres, where natural speech cadences create a comparable upbeat in strophic forms. In , particularly German, the anapaest functions as an accentual foot in Romantic-era , enhancing drive in ballads through its galloping rhythm. Johann Wolfgang von incorporated anapaestic elements in his ballads, such as in rhythmic sequences that build tension and momentum, aligning with the era's shift toward dynamic, stress-oriented versification in works like those from the period. This adaptation suits German's variable stress patterns, allowing the foot to underscore emotional intensity without rigid quantitative constraints. Among non-Indo-European languages, adaptations of the anapaest appear in quantitative systems like metrics, where the pattern of two short syllables followed by a long one (UU−) is recognized and used sparingly in early texts, akin to classical forms but integrated into complex chandas schemes. In quantitative under the al-ʿarūḍ system, anapaestic patterns emerge as recurring motifs in meters like the mutaqārib, featuring sequences of short-long alternations that evoke a similar ternary rhythm, often in epic or verse. These adaptations preserve the foot's energetic quality while conforming to rather than lexical stress. Challenges arise in tonal languages such as Chinese, where prosody relies on pitch contours and fixed syllable duration rather than stress, rendering direct anapaestic application problematic. Adaptations in modern Sino-Western hybrid poetry map the foot's rhythm to tonal sequences—treating rising or falling tones as proxies for unstressed-stressed shifts—but this often distorts the original quantitative intent, prioritizing phonetic approximation over native metrical logic. In classical Chinese forms like regulated verse, such imports highlight syllable timing differences, as even-toned lines resist the anapaest's asymmetrical pulse. The anapaest, originating in classical Greek as a quantitative unit of two shorts and a long, thus evolves variably across prosodic traditions, emphasizing rhythm over strict form. The anapaest, denoted as two unstressed followed by a stressed one (∪ ∪ /), stands in inversion to the dactyl, which features a stressed syllable followed by two unstressed ones (/ ∪ ∪); this reversal produces an upbeat, rising in the anapaest compared to the dactyl's , falling . In contrast to the iamb—a binary foot of one unstressed syllable followed by a stressed one (∪ /)—the anapaest's three-syllable structure introduces an additional initial unstressed syllable, fostering a light, tumbling or galloping effect that propels the line forward with accumulated momentum. The amphibrach, structured as unstressed-stressed-unstressed (∪ / ∪), differs from the anapaest by placing emphasis on the middle syllable rather than the end, resulting in a more balanced, symmetrical versus the anapaest's terminal stress that drives toward resolution. Anapaests frequently substitute for iambs in predominantly iambic meters, expanding intervals to three syllables and creating rhythmic variety, while they may interact with trochees (/ ∪)—the iamb's inversion—in mixed meters to alternate falling and rising patterns for dynamic tension.

Applications

In English Poetry

In English prosody, there was a notable shift from quantitative meter—rooted in classical Greek and Latin traditions emphasizing syllable length—to accentual meter, which prioritizes stress patterns, occurring prominently after the 16th century as Renaissance experiments in quantity failed to align with the language's natural rhythms. This transition reflected the Teutonic heritage of English verse, favoring accentual structures over strict quantitative measures, and solidified the dominance of stress-based feet like the anapaest in subsequent poetry. The anapaest gained adoption in English poetry during the Renaissance through efforts to adapt classical forms via translations and imitations. These innovations allowed poets to evoke classical grandeur while accommodating English's accentual tendencies, paving the way for broader use in later verse. Stylistically, the anapaest imparts a lively, flowing that conveys urgency or playfulness, making it suitable for ballads and songs where it propels and enhances emotional intensity. This effect arises from its rising stress pattern, which mirrors the galloping often associated with light or dramatic storytelling in English tradition. In English, the anapaest aligns well with natural speech patterns, where prepositions, articles, and auxiliary words frequently produce two unstressed syllables before a stressed one, leading to common line lengths such as trimeter, as in limericks, and , as in narrative ballads, to maintain fluency. Longer forms exist but are less common due to these linguistic constraints.

In Other Poetic Traditions

In , the anapaest contributes to rhythmic variety within the , a 12-syllable line divided by a medial , by introducing ternary patterns of two short syllables followed by a long one, often organized into four groups across the verse for a balanced, musical flow. This structure suits lyrical passages, providing a reposeful movement; in Jean Racine's tragedies, such as , anapestic alexandrins comprise 18-19% of the lines, enhancing expressive depth. Similarly, in Alphonse de Lamartine's works, they account for 21-22%, emphasizing emotional breadth in romantic verse. In Italian , anapests (two atonic syllables followed by a tonic one) appear in decasyllabic lines, creating ascending rhythms on positions 3, 6, and 9 to add dynamic variety, though less common in the dominant endecasyllabic structure of forms like . They alternate with iambic or dactylic feet to modulate pace in narrative stanzas, supporting the stanza's epic flow without dominating its 11-syllable schema. Russian poet employed the anapaest in narrative works for fluid progression, notably in the three- and four-foot anapests of his "Budrys and His Sons," where it conveys momentum in storytelling, and in Zemfira's from the poem "The Gypsies," heightening dramatic intensity. This usage marked an early adaptation of the foot to Russian syllabo-tonic verse, favoring its lively cadence in folk-inspired tales. In Welsh poetic traditions, anapaestoid meters—patterns approximating two short syllables followed by a long one, based on pitch accent rather than stress—underlie early forms, structuring nine- or twelve-syllable lines into trimeters with internal harmonies of and consonance. Texts like those in the Black Book of , such as "Ymddiddan Myrddin a Thaliesin," exhibit regular anapaestic trimeters ending in rhymed, accented syllables, integrating seamlessly with cynghanedd's sound correspondences for ritualistic or prophetic verse. Across global contexts, anapaest-like syllable patterns approximate fixed counts in adapted forms, such as English-language variations where ternary rhythms evoke the 5-7-5 mora structure for concise imagery, though traditional Japanese relies on unrhymed on rather than metrical feet. Culturally, the anapaest often energizes folk songs and satirical verse in these traditions, its galloping rhythm suiting martial marches in origins and light, mocking tones in , as seen in Spartan anapaestic songs and later European adaptations for humorous effect.

Examples

Trimeter and Tetrameter

An anapaestic trimeter consists of three anapaestic feet per line, where each foot comprises two unstressed syllables followed by one stressed syllable, resulting in a total of six unstressed and three stressed syllables. This structure creates a rhythmic pattern often represented in scansion as xx/ xx/ xx/xx/ \, xx/ \, xx/. A classic example appears in William Cowper's "Verses Supposed to Be Written by Alexander Selkirk" (1782), with the line "I am monarch of all I survey," scanned as xx/ xx/ xx/x x / \, x x / \, x x /, where the natural speech flow emphasizes the stressed beats at the end of each foot. Anapaestic tetrameter extends this to four feet per line, yielding eight unstressed and four stressed syllables, scanned as xx/ xx/ xx/ xx/xx/ \, xx/ \, xx/ \, xx/. This form allows for a more expansive while maintaining the characteristic galloping of the anapaest. It is exemplified in Clement Clarke Moore's "" (1823), opening with "'Twas the night before , when all through the house," scanned as xx/ xx/ xx/ xx/x x / \, x x / \, x x / \, x x /, where the steady buildup of unstressed syllables propels the forward. is particularly prevalent in hymns, such as those employing this meter to evoke communal and . The rhythmic effects of these forms differ in pace and tone: trimeter delivers a quick, compact propulsion suitable for concise expressions, while fosters a song-like, rolling quality that sustains longer lines with energetic flow. In trimeter, the brevity heightens urgency, as seen in its use for emphatic declarations; , by contrast, builds a lively momentum akin to a canter, enhancing drive in verse. Anapaestic trimeter and gained prominence in 19th-century , transitioning from lighter uses to serious works by poets like and Alfred Tennyson, who employed them for dramatic and lyrical effects. This popularity reflected a broader embrace of the meter's vivacity in Romantic and Victorian verse, moving beyond earlier associations with popular forms.

Longer Meters

Anapestic hexameter, comprising six anapestic feet per line, remains exceedingly rare in due to the form's length and the difficulty of sustaining a consistent uu– rhythm over 18 syllables without disrupting natural speech flow. This extended structure has occasionally surfaced in epic parodies, where the elongated lines amplify satirical or humorous effects by mimicking the grandeur of classical epics while introducing a lighter, more galloping . For instance, parodic works drawing on anapestic patterns exploit the form's to underscore absurdity in heroic narratives, though pure examples are scarce and often blended with substitutions for variety. Anapestic heptameter, featuring seven feet and typically 21 syllables, extends this rarity further but appears in select narrative poems to evoke a sweeping, relentless drive. A notable instance is Thomas Hardy's "The Lacking Sense" (1901), a meditative on nature's flaws, where the meter unfolds as follows in the opening line:

O Tìme, | whence cómes | the Mó- | ther's móo- | dy lóok | a-míd | her lá- | bours uu– | uu– | uu– | uu– | uu– | uu– | uu– | uu–

O Tìme, | whence cómes | the Mó- | ther's móo- | dy lóok | a-míd | her lá- | bours uu– | uu– | uu– | uu– | uu– | uu– | uu– | uu–

This highlights the foot-by-foot progression (uu–), with occasional iambic or trochaic intrusions to mirror the poem's contemplative tone. Sustaining pure anapestic in such long lines poses significant challenges, as the repetitive uu– pattern risks monotony and clashes with English's predominant iambic tendencies, prompting frequent substitutions like spondees (––) or pyrrhics (uu) to preserve and align with spoken . Poets employing these meters must balance fidelity to the base against natural variation, often isolating substitutions to avoid undermining the line's integrity. The effect of these longer anapestic forms is to generate propulsive momentum, ideal for depicting motion or inevitability, as the accumulating stresses evoke a forward surge akin to galloping hooves or unfolding events. In Hardy's heptameter, this drive underscores themes of inexorable natural processes, lending epic scope to philosophical without the weight of traditional heroic verse.

In Comic and Light Verse

The bouncy, galloping of the anapaest, consisting of two unstressed syllables followed by a stressed one, makes it particularly suitable for and light verse, as it mimics the natural cadence of playful speech and , creating a lighthearted, memorable flow that enhances humor. This rhythmic buoyancy is evident in forms like limericks and , where the anapaest's nimble quality amplifies whimsical or satirical effects without the solemnity of more measured feet. In English literature, Edward Lear's limericks exemplify this use, employing predominantly anapaestic trimeter to deliver absurd, humorous vignettes; for instance, in "There Was an Old Man with a Beard" (1846), the lines "There was an Old Man with a beard, / Who said, 'It is just as I feared!'" rely on three anapaests in the first, second, and fifth lines, and two in the third and fourth, fostering a jaunty tone that underscores the eccentricity of the subject. Similarly, Lewis Carroll harnessed anapaestic tetrameter in his nonsense epic The Hunting of the Snark (1876), where the meter propels the absurd quest narrative with a ballad-like bounce, as seen in opening lines like "Just the place for a Snark! the Bellman cried," contributing to the poem's satirical and comedic absurdity. During the , anapaests featured prominently in parody and light verse, often parodying serious poetic forms through exaggerated rhythms; Carroll's works, including parodic elements in his nonsense, drew on this for humorous inversion of expectations. This tradition extended to , where anapaestic patterns in lyrics supported lively, comedic performances, evoking the era's popular entertainment with their upbeat, singalong quality. Cross-culturally, anapaests appear in light verse beyond English, often mixed with other feet to achieve similar playful effects; in French humorous poetry, such as certain fabliaux-inspired verses, anapaestic substitutions add rhythmic levity to satirical tales, though French versification remains primarily syllabic. In German cabaret poetry of the early 20th century, anapaestic rhythms occasionally underpin witty, performative pieces, echoing the foot's comic versatility in spoken-word traditions.

References

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  10. A metrical foot consisting of two unaccented syllables followed by an accented syllable. The words “underfoot” and “overcome” are anapestic.
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