anapest


Also found in: Dictionary.
Graphic Thesaurus  🔍
Display ON
Animation ON
Legend
Synonym
Antonym
Related
  • noun

Synonyms for anapest

a metrical unit with unstressed-unstressed-stressed syllables

References in periodicals archive ?
The two opening lines' prosodic flirtation with technically licit outlawry is remarkable in itself: in line 68 an anapest in second position and a brazen trochee in fourth ("outlawed"); a frantic double anapest at the head of line 69.
It seems, rather, that the line is composed of four anapests, the final one implied by a catalexis.
And] there was no wind" becomes "and not a breath of wind any-where" (2:04): anapest and spondee become three dactyls and an amphimacer; "groping their way in" becomes "groping blindly in" (2:06): dactyl and trochee become three insistent trochees, the last catalectic; "took a ship's shape as she past within" becomes "took on the shape of a ship as she passed within" (2:14): trochee, spondee, anapest, and iamb become three rocking dactyls and an amphimacer; and "my view a live-sea" becomes "my view, a proper, live-sea" (3:15): spondee, pyrrhic syllable, spondee become spondee, amphibrach, sponde e.
The play between insistent iamb and sagging anapest imitates the resumption of the torpor of domestic life despite the speaker's exertion of energy.
We show that dactylic meter is marked by constant stress clash and that iambic meter is marked by constant stress lapse; these meters, then, are rhythmically marked, not rhythmically perfect like the anapest.
Listening to the first line of Robert Frost's "To Earthward" ("Love at the lips was touch"), he says that its sound could be described as "one thunketta (`Love at the') followed by a thunk-pa-thunk (`lips was touch')" as easily as it could be described as "an initial monosyllable (`Love') followed by an anapest (`at the lips') and an iamb (`was touch').
Strung along a main strand of tetrameter exposition, iamb mixes with dactyl and anapest, sonnet with song, song with ballad, ballad with dramatic dialogue, and dramatic dialogue with blank verse oratory.
The four most common feet in English verse are the jamb, trochee, anapest, and dactyl; occasional variations, such as the spondee and pyrrhic, occur.
This happens particularly forcefully in that first stanza break, in which the heartbeat iambs at the end of the line ("of god in universal night") slip into an anapest, effectively forcing us to stop and gulp the air to keep moving: "I don't care.
The verb that opens the third line--pushed "back" to the left margin, as it were, after the action in the preceding line--propels it forward, though only so much: a stressed syllable ("back") is followed by a dactyl ("pedaling"), which is followed by an anapest ("when it rolls"); the four enclosed unstressed syllables retard the line's motion.
but "Budapest is an eight-letter word" or "Budapest is no anapest.
Two sets of triple accents balance out the English lines--the first foot an anapest with the accent falling on "long" followed by two iambs with accents on "case" and "men," the second set falling on "grov-," "-on," and "earth"--while the syntax of the Latin (always artful and deliberate in Lucretius) has been cunningly rearranged.
the anapest, two unstressed syllables followed by a stressed syllable, as in:
Ciardi writes that the "first cause of the acceleration is obviously in the anapest of the second foot.
The second anapest is a bit of a long shot: "-ing, frayed by" is carried more by the rising metrical tendency than much else.