|This article needs additional citations for verification. (December 2009)|
|˘ ˘||pyrrhus, dibrach|
|¯ ˘||trochee, choree|
|˘ ˘ ˘||tribrach|
|¯ ˘ ˘||dactyl|
|˘ ¯ ˘||amphibrach|
|˘ ˘ ¯||anapaest, antidactylus|
|˘ ¯ ¯||bacchius|
|¯ ¯ ˘||antibacchius|
|¯ ˘ ¯||cretic, amphimacer|
|¯ ¯ ¯||molossus|
|See main article for tetrasyllables.|
In English poetry, syllables are usually categorized as being either stressed or unstressed, rather than long or short, and the unambiguous molossus rarely appears, as it is too easily interpreted as two feet (and thus a metrical fault) or as having at least one destressed syllable.
The title of Tennyson's poem "Break, Break, Break" is sometimes cited as a molossus, but in context it can only be three separate feet:
- Break, / break, / break,
- At the foot / of thy crags, / O sea;
- But the ten- / -der grace / of the day / that is dead
- Will never / come back / to me.
- As a dare-gale / skylark / scanted in a / dull cage
- Man's mounting / spirit in his / bone-house, / mean house, dwells
If both lines are scanned as four feet, without extra stress on "dwells", then the words in boldface become a molossus. Another example that has been given is wild-goose-chase, but this requires that there be no stress on "chase", seeing that in Thomas Clarke's "Erotophuseos" (1840), we have
- And led / me im- / -percept- /-ibly,
- A wild- / goose chase, / far far / away,
where clearly there is no molossus.
- A dictionary of literary terms and literary theory. By John Anthony Cuddon, Claire Preston. Wiley-Blackwell, 1998.
- The Psychology of Art. By Robert Morris Ogden. C. Scribner's Sons, 1938. Page 107.
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