Trochaic octameter
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Trochaic octameter is a poetic meter that has eight trochaic metrical feet per line. Each foot has one stressed syllable followed by an unstressed syllable. Trochaic octameter is a rarely used meter.
Description and uses
The best known work in trochaic octameter is Edgar Allan Poe's "The Raven", which utilizes five lines of trochaic octameter followed by a "short" half line (in reality, 7 beats) that, by the end of the poem, takes on the qualities of a refrain.
Another well-known work is Banjo Paterson's "Clancy of the Overflow", which uses four lines of trochaic octameter for each verse throughout. Other axamples are Robert Browning's A Toccata of Galuppi's[1] and Alfred Tennyson's Locksley Hall.[2] Lines in these two poems are catalectic (' x ' x ' x ' x ' x ' x ' x ' ).
Because of the length of the line, trochaic octameter lends itself to the heavy use of internal rhyme and alliteration and is also extraordinarily difficult to use consistently. The Raven, for example, breaks into two half-lines of approximately 8 syllables, generally with a caesura between them.
Example
A trochee foot is a stressed syllable followed by an unstressed syllable. We could write the rhythm like this:
| DUM | da |
A line of trochaic octameter is eight of these in a row:
| DUM | da | DUM | da | DUM | da | DUM | da | DUM | da | DUM | da | DUM | da | DUM | da |
We can scan this with a 'x' mark representing an unstressed syllable and a '/' mark representing a stressed syllable. In this notation a line of trochaic octameter would look like this:
| / | x | / | x | / | x | / | x | / | x | / | x | / | x | / | x |
The following first verse from "The Raven" shows the use of trochaic octameter. Note the heavy use of dactyls in the second and fifth line, which help to emphasize the more regular lines, and the use of strong accents to end the second, fourth and fifth lines, reinforcing the rhyme:
We can notate the scansion of this as follows:
| Once | up- | on | a | mid- | night | drear- | y, | while | I | pon- | dered | weak | and | wear- | y | |
| O- | ver | man- | y | a | quaint | and | cur- | i- | ous | vol- | ume | of | for- | got- | ten | lore, |
| While | I | nod- | ded, | near- | ly | nap- | ping, | sud- | den | ly | there | came | a | tap- | ping, | |
| As | of | some- | one | gent- | ly | rap- | ping, | rap- | ping | at | my | cham- | ber | door. | ||
| "'Tis | some | vis- | i- | tor," | I | mut- | tered, | "tap- | ping | at | my | cham- | ber | door; | ||
| On- | ly | this, | and | noth- | ing | more |
In other literatures
Trochaic octameter is popular in Polish[3] and Czech literatures.[4] It is because in main stress in Polish falls regularly on the penultimate syllable and in Czech on the first sylable. So all Polish and Czech two-syllable words are trochaic.[5]
- Niedostępna ludzkim oczom, że nikt po niej się nie błąka,
- W swym bezpieczu szmaragdowym rozkwitała w bezmiar łąka
- (Bolesław Leśmian, Ballada bezludna)
- Stojím v šeru na skalině, o niž v pěnu, déšť a kouř
- duníc, ječíc rozbíjí se nesmírného vodstva bouř.
- (Svatopluk Čech, Písně otroka)
See also
References
- ^ Robert Browning, A Toccata of Galuppi's at Poetry Foundation.
- ^ Alfred Tennyson, Locksley Hall at Poetry Foundation.
- ^ Wiktor J. Darasz, Mały przewodnik po wierszu polskim, Kraków 2003, p. 73 (in Polish).
- ^ Josef Durdík, Poetika jakožto aesthetika umení básnického, pp. 374-375 (in Czech).
- ^ Josef Brukner, Jiří Filip, Poetický slovník, Mladá fronta, Praha 1997, pp. 339-342 (in Czech).
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