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  • noun

Synonyms for anapaest

a metrical unit with unstressed-unstressed-stressed syllables

References in periodicals archive ?
After her chanted anapaests (1562-76), Clytemnestra
Some readers may not find them entirely enjoyable; still, it would take a pedant with a heart of flint to resist such touches as the description of anapaests in narrative verse showing 'all the unwelcome energy and boisterousness of hyperactive children' (121).
In the beginning of The Persians, the meter increases in tempo and intricacy within the first choral song from marching anapaests, a kind of deliberate and slow-paced recitative, ("of the Persians who've gone" v v - v v -),(17) through more melodic ionic meters, ("Persian city now is destroyed" v v - -v v - -)), to faster-moving trochaics ("blackened robe of mine" - v -v -).
(6) The so-called Kongruenz-Gesetz in anapaests is based on the ancient metricians; cf e.g.
(32.) Oceanus' entry is accompanied by 14 lines of anapaests (284-97) to which Prometheus responds with an initial exclamation of surprise.
It is therefore strange that the rare occurrences of triple time have been bowdlerized into dactyls and anapaests, following the theories of Michael Collins.
(19) He finds weak only the metrics of the poem, which he called "false and inadmissible" anapaests in 1845 and "false dactyls" in September 1846.
In point of fact, this is the only extant Euripidean play to conclude in lyric meter rather than in one of three meters reserved in Greek tragedy for dialogue or recitative (iambic trimeter, trochaic tetrameter, and "marching" anapaests).
After the trochaic beginning, line four consists of three anapaests, strongly linked by rhyme to line two.
The answer that it was O metaphysical tobacco' from Michael East's Second Set of Madrigals (1606) is debatable; can it really `be seen that it conforms in every respect to the "rules" of the limerick'?(1) Compared with `There was a young lady of Wilts' it seems seriously short on anapaests. The answer depends not only on more research but also on better theory.
Aristophanes may, that is, be playing with the notion that Dicaeopolis speaks as a comic poet, but that while the name points to Eupolis (and, as Bowle points out, the conjunction of eu and dikaion at end of the anapaests of the parabasis - |the good and the just will be allies with me' (661) - seems to strengthen the connection), knowledge that Aristophanes too had attacked, and been attacked by, Cleon, linked hero and the current poet as well.
Hopkins's alliteration sees the "h" of "heart" dragged through a train of physical buffetings ("hurl," "Hard," "horror," "height") as the momentum of the anapaests careers into the bunched emphasis of "trod / Hard down." But what "really beats" in the writing is not so much a desire to see the "fallible" heart put in its place as an awed sense of its resilience and spiritual rightness:
Alas, much of the verse is derivative and melodramatic, in monotonous ballad metre with occasional ventures into anapaests:
Without pause, we are caught up in the momentum of events, swept along by the swinging iambs and anapaests, from the effeminate Carrier (traitor to republican virtu), to the Loire, to the kangaroo court where, before we can catch our breath, we have met "One rough with labour and red with fight, / And a lady noble by name and face," whom "the judge bade strip and ship them, and bind / Bosom to bosom, to drown and die" (ll.
= ibyc.; 4 = 1: the choriamb is a very frequent outcome of anaclasis in the first metron of hemiambic Anacreontea, while the anapaest in the beginning of the second iambic metron (line 3 = 7) is a quite possible replacement in iambic verses, although not very common).