Just as an eye doctor uses different lenses to bring words into focus, understanding the meter of a poem can sharpen your perception of its sound and meaning. When you read poetry aloud, you are testing your ear for the inherent rhythm, a pattern created by the way syllables are stressed. Consider the difference in reading William Shakespeare’s famous line: “shall I comPARE thee TO a SUMmer’s DAY?” versus “SHALL i COMpare THEE to A sumMER’s day?” The first reading feels natural, while the second sounds awkward. This difference lies in matching your pronunciation to the poem’s intended meter. To understand what is the meter of a poem, we delve into the organized patterns of sound that give poetry its musicality.
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Decoding the Beat: Syllables, Stress, and Feet
The rhythm of poetry in English largely depends on the natural stress patterns of words. Every word is made up of one or more syllables, and in spoken English, some syllables are emphasized (stressed) more than others (unstressed). Poetry takes these stressed and unstressed syllables and arranges them into recurring units called “feet.” Think of feet as the basic building blocks of poetic rhythm. The consistent pattern of these feet throughout a line or poem is known as the meter. Analyzing this pattern, often by marking stressed (/) and unstressed (u) syllables, is called scansion.
Here’s an example illustrating the concept of feet and stress: In the phrase “understand,” the stress falls on the last syllable (un-der-STAND). In “poetry,” the stress is on the first (PO-e-try). Poetic meter systematically organizes these individual syllable stresses into repeating patterns within lines.
Diagram showing the iambic metrical foot pattern (unstressed-stressed)
Common Poetic Feet Explained
While there are several types of poetic feet, four are most common in English poetry. Recognizing these will significantly enhance your ability to understand the rhythm and potentially the meaning of a poem.
The Iamb (da DUM)
The iamb is perhaps the most prevalent foot in English poetry. It consists of one unstressed syllable followed by one stressed syllable (u /). When a line contains five iambs, it is called iambic pentameter (“penta” means five). Shakespeare’s plays and sonnets are famously written in this meter.
Let’s look at the opening line of Shakespeare’s Sonnet 18 again:
“Shall I | comPARE | thee TO | a SUM | mer’s DAY?”
(u / | u / | u / | u / | u /)
This line has five iambic feet, making it a classic example of iambic pentameter. Many poets choose the meter of poem to evoke natural speech patterns.
The Trochee (DA dum)
The opposite of the iamb, the trochee consists of one stressed syllable followed by one unstressed syllable (/ u). While less common as the dominant meter throughout an entire long poem, it creates a strong, falling rhythm often used in chants, rhymes, or to create a sense of urgency or intensity.
Edgar Allan Poe’s “The Raven” opens with a striking use of trochaic meter:
“ONCE up | ON a | MIDnight | DREARy, | WHILE i | PONdered | WEAK and | WEARy”
(/ u | / u | / u | / u | / u | / u | / u | / u)
This line contains eight trochaic feet (“octa” or “octo” means eight), putting it in trochaic octameter. This distinctive meters of poems helps create the poem’s memorable, almost hypnotic sound.
Visual representation of the trochaic metrical foot (stressed-unstressed)
The Anapest (da da DUM)
Moving to feet with three syllables, the anapest consists of two unstressed syllables followed by one stressed syllable (u u /). This foot often creates a lively, galloping rhythm.
Consider the start of Clement Clarke Moore’s “A Visit from St. Nicholas”:
“Twas the NIGHT | before CHRISTmas | when all through the HOUSE,”
(u u / | u u / | u u / | u u /)
These lines primarily use anapestic tetrameter (four feet per line). This meter of poem contributes to the poem’s light, narrative feel.
Illustration of the anapestic poetic foot rhythm (unstressed-unstressed-stressed)
The Dactyl (DUM da da)
The dactyl is another three-syllable foot, the reverse of the anapest: one stressed syllable followed by two unstressed syllables (/ u u). This foot is often associated with classical poetry, like the epics of Homer, and can create a sweeping, sometimes solemn effect.
Henry Wadsworth Longfellow used dactylic hexameter (six feet per line) in his epic poem “Evangeline”:
“THIS is the | FORest pri | MEval, the | MURmuring | PINES and the | HEMlocks.”
(/ u u | / u u | / u u | / u u | / u u | / u u)
Understanding how to find the meter of a poem like this allows you to appreciate the connection poets make across different eras and languages.
Chart explaining the dactylic meter pattern (stressed-unstressed-unstressed)
Interestingly, this triple-syllable pattern isn’t confined to classical or historical poetry. Modern rap artists have also effectively used variations of the dactyl, demonstrating the enduring power of these rhythmic structures across different genres.
Lyrics from Migos' 'Versace' illustrating dactylic hexameter in modern music
Why Meter Matters: Beyond Just Sound
Once you can identify the dominant metrical form—be it iambic pentameter or trochaic octameter—you’re ready to explore why it matters. Meter isn’t just a rigid rule; it’s a tool poets use to shape meaning and emotion. The consistent rhythm can lull the reader, create expectation, or emphasize certain words.
Even more revealing are moments where the meter breaks from the established pattern. These deviations are often deliberate choices by the poet to draw attention to a specific word, phrase, or idea. A sudden shift in rhythm can signal a change in tone, a moment of tension, or a disruption in the poem’s subject matter. Asking yourself what is the meter of this poem and where it changes is key to deeper interpretation.
Consider the opening lines of John Milton’s epic “Paradise Lost,” written primarily in blank verse (unrhymed iambic pentameter):
Opening lines of John Milton's Paradise Lost, an example of iambic pentameter where a metrical break can be found
“Of Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal tast
Brought Death into the World, and all our woe”
While mostly iambic, many readers find a metrical variation in the very first foot (“Of Mans”). Why might Milton choose to deviate from the expected rhythm right at the beginning of his monumental work about the fall of humanity? This kind of question opens up rich possibilities for understanding the poet’s craft and message.
Conclusion
Understanding what is the meter of a poem—the organized pattern of stressed and unstressed syllables forming feet—is a fundamental skill for any poetry enthusiast. Recognizing iambs, trochees, anapests, and dactyls allows you to hear the music within the lines. Beyond simple identification, paying attention to where the meter is consistent and where it intentionally breaks provides valuable insights into the poet’s choices and the poem’s deeper layers of meaning. So, next time you read a poem, listen closely to its beat; it has much to tell you.