Kerek, Andrew (1971) Hungarian metrics: some linguistic aspects of iambic verse
Fortunately, however, the technical prowess of his experiment suggested possibilities for the manipulation of iambic verse
within other genres, and in particular non-satiric narrative and lyric poetry.
Assuming this reading of Archilochus is correct, Palladas may be associating his epigrammatic verse with the iambic verse of Archilochus.
The epigram is cast in the form of a narrative, with dialogue, elements that have been identified with iambic verse.
Even limiting themselves to these three time-sanctioned substitutions, "skillful poets" Steele argues, "can flexibly handle, in regular iambic verse, pretty much any and all the verbal and syntactical resources of English.
Serious readers and writers of iambic verse know that one of its neatest tricks is to have a syllable that is normally stressed in a line of prose or spoken English be unaccented, and to have a normally unaccented syllable be accented.
It was necessary to create a new iambic verse
line and to use it to write a rather large text.
As such, the voice that emerges at the very inception of the poem (both prosodically and thematically) is subject not to the regulating influence of iambic verse
(except at certain important points in the poem), but to the more excitable, even impulsive, rhythms of strong and ungoverned accentualism, generally emphasizing those words and images that capture the diseased passions of the character.
and the relationship with iambic verse
appears tenuous until we realize that, even in this language of reduced accentual prominences, relatively heavy and relatively light stresses alternate regularly as the verse design demands.
Influenced by, but not part of, the generative linguistic school, David Attridge's system copes with spondees in iambic verse
by means of two strategies outlined in The Rhythms of English Poetry: "demotion" and "implied offbeats.
The stressed syllable might simply be said more sharply or louder, but it might last no longer than the unstressed one, and, in fact, as iambic verse
came more and more to be written in the mid-sixteenth century, the tune it generated was typically a tripping one in which it was easy to hear a succession of lesser and greater points of stress.