Poetry delights not only the mind and heart but also the ear. Just as an eye doctor tests lenses to find the best vision, listening to a poem’s rhythm can unlock its intended sound and meaning. This rhythmic pattern in poetry is known as meter. Understanding What Is A Meter Poetry and how it works helps readers appreciate the poet’s craft and connect more deeply with the verses.
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Think about spoken English. Words naturally have stressed and unstressed syllables. For instance, in the word “po-E-try,” the emphasis falls on the second syllable. Poets arrange these stressed and unstressed syllables into repeating units to create a distinct rhythm, much like music has a beat. These repeating units are called “feet.” The combination and pattern of these feet throughout a line or poem constitute its meter. Mastering the nuances of meter allows for a richer appreciation of a poem’s soundscape and its overall impact.
The Building Blocks: Stress, Syllables, and Poetic Feet
At the heart of poetic meter are syllables and their stress patterns. In English words, some syllables are pronounced with more emphasis (stressed) than others (unstressed). Poets harness this natural rhythm of language and organize syllables into recurring patterns within a line. These patterns form the basic unit of meter, known as a foot.
A poetic foot typically consists of two or three syllables, arranged in a specific order of stress. The meter of a line is then described by the type of foot used and the number of times that foot appears in the line. For example, if a line is composed of five feet of a particular type, its meter might be described as “pentameter” (penta- meaning five).
Understanding poetic feet is fundamental to identifying and analyzing meter. Let’s explore some of the most common types of feet found in English poetry.
Common Types of Poetic Feet and Meter
Different combinations of stressed and unstressed syllables give rise to various types of poetic feet. Recognizing these feet and how they repeat is key to scanning (analyzing) a poem’s meter. Here are four common types you’ll encounter:
Iamb and Iambic Meter
The iamb is arguably the most common foot in English poetry. It consists of two syllables: an unstressed syllable followed by a stressed syllable (da DUM). This rhythm mimics the natural cadence of many English words and phrases, making it feel familiar and often conversational.
When a line is composed of five iambs, the meter is called iambic pentameter. This meter is famously associated with Shakespeare. Consider the opening line of his Sonnet 18:
“Shall I / comPARE / thee TO / a SUM / mer’s DAY?”
Here, the line naturally falls into five groups of unstressed followed by stressed syllables, creating the classic iambic pentameter rhythm. Many classic poems, including those seeking to show me poems about love, employ this versatile meter.
Illustration of the iambic pentameter pattern with da DUM rhythm shown
Trochee and Trochaic Meter
The trochee is the opposite of the iamb. It consists of two syllables: a stressed syllable followed by an unstressed syllable (DA dum). This foot often creates a feeling of emphasis or urgency at the beginning of a line.
Edgar Allan Poe frequently used trochaic meter, as seen in the opening line of “The Raven”:
“ONCE up / ON a / MIDnight / DREAry, / WHILE i / PONdered / WEAK and / WEAry”
This line uses eight trochees, resulting in trochaic octameter (octa- meaning eight). The strong, falling rhythm of the trochee sets a somber and insistent tone for the poem.
Illustration of the trochaic meter pattern with DA dum rhythm shown
Anapest and Anapestic Meter
Anapests are three-syllable feet with the stress falling on the final syllable (da da DUM). This foot often creates a feeling of lightness, speed, or forward momentum.
A well-known example of anapestic meter is found in Clement Clarke Moore’s “A Visit from St. Nicholas”:
“Twas the / night be / fore Christ / mas, when / all through / the house”
This line contains four anapests, making it anapestic tetrameter (tetra- meaning four). The galloping rhythm suits the narrative tone of the poem.
Illustration of the anapestic meter pattern with da da DUM rhythm shown
Dactyl and Dactylic Meter
The dactyl is a three-syllable foot opposite to the anapest: a stressed syllable followed by two unstressed syllables (DA dum dum). This foot is common in classical Greek and Latin epic poetry (like Homer’s Iliad and Odyssey) and is often used in English to evoke that epic tradition.
Henry Wadsworth Longfellow used dactylic hexameter (six dactyls) in his epic poem “Evangeline”:
“THIS is the / FORest pri / MEval, the / MURmuring / PINES and the / HEMlocks.”
The weighty beginning of the foot followed by two lighter syllables gives a distinct, perhaps even slightly formal, feel. Interestingly, modern artists, including rap artists, have incorporated this triplet rhythm effectively, showing the timeless appeal of certain metrical patterns. Exploring different meters can reveal surprising connections between classical and contemporary forms, much like finding unexpected rhymes in a forgiveness rhyme.
Illustration of the dactylic meter pattern with DA dum dum rhythm shown, using a line from Longfellow's Evangeline
Illustration of the dactylic meter pattern in a modern rap context, showing its versatility
Iamb, trochee, anapest, dactyl – recognizing these four primary feet provides a strong foundation for understanding poetic meter and how to read poems aloud with their intended rhythm.
Why Does Meter Matter in Poetry?
Understanding meter is more than just a technical exercise; it’s a powerful tool for both reading and interpreting poetry.
First, knowing the meter helps you read a poem more naturally. When you identify the intended rhythm, the lines flow better and sound more musical, allowing you to hear the poem as the poet might have intended. This can be especially helpful when reading works by poets like byron love poems or others where the sound is integral to the meaning.
Second, meter is a crucial element of a poem’s form and can contribute significantly to its meaning and emotional impact. Poets often use meter to create certain effects – a rapid meter might suggest excitement, a slow meter solemnity.
Furthermore, poets sometimes intentionally deviate from the established meter of a poem. These “meter breaks” or variations are often significant moments. When the expected rhythm is disrupted, it draws attention to the words or phrases where the break occurs. Analyzing why a poet might break the meter at a specific point can offer valuable insights into the poem’s themes, emotions, or central ideas.
Consider the opening lines of John Milton’s epic poem “Paradise Lost.” Although written primarily in blank verse (unrhymed iambic pentameter), listen for a potential break:
“Of Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal tast
Brought Death into the World, and all our woe”
Opening lines of John Milton's Paradise Lost
By listening closely, you might notice where the expected iambic rhythm falters. This deliberate disruption can mirror the poem’s subject matter – the disruption of perfect order in the Garden of Eden caused by disobedience. Paying attention to these moments of sonic dissonance can profoundly enrich your interpretation.
Conclusion
Poetic meter is the underlying rhythm and pulse of a poem, created by the patterned arrangement of stressed and unstressed syllables into feet. From the familiar da DUM of the iamb to the rolling DA dum dum of the dactyl, these patterns shape how a poem sounds and feels. Learning to identify common meters like iambic pentameter or trochaic octameter not only improves your ability to read poetry aloud beautifully but also provides a valuable key to deeper interpretation. By listening for the rhythm and noting where it holds or breaks, you can uncover layers of meaning and appreciate the artistry woven into the very sound of the words. Engaging with meter is one way to truly appreciate how words bloom into poetry. It adds another dimension to reading, whether you’re seeking poems about wanting to be loved or exploring classic epics.