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  • noun

Synonyms for anapest

a metrical unit with unstressed-unstressed-stressed syllables

References in periodicals archive ?
(Best practice, in this case, would make feet 3 and 4 a pyrrhic and an anapest, respectively; alas, the coding behind 4B4V won't permit both that and the safer anapest-iamb combo for those feet, so grit your teeth and scan the middle foot as 3 slacks, a super-pyrrhic).
It seems, rather, that the line is composed of four anapests, the final one implied by a catalexis.
"Iamb, anapest, trochee, dactyl, spondee," he recited, "da dee, da da dee, dee da, dee da da, dee dee." My school bus driver from Boise knew his poetic meter better than I did.
"[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.
That unreal vista of castles and valleys is a prelude to the reality-check of the second stanza whose final line repeats "breaks" three times in a self-conscious echo of Tennyson's seaside elegy "Break, Break, Break." When Johnson uses the iamb (almost always in opening feet, in lines 1, 3, 5, 6 and 7), she employs it as a rhythm that thrusts forward but immediately loses its momentum as it falls into lax and sagging anapests. 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.(1) We are not the first to argue that meter need not be rhythmic.
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')." Pinsky eventually discards his idiosyncratic terms in favor of iambs and anapests; only the conventional terminology will allow us to hear Frost's relationship to "a great body of traditional poetry in English." But while Pinsky appears to introduce thunkettas and thunk-pa-thunks merely to abandon them, his lengthy elaboration of this homemade vocabulary reveals a fondness for it.
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.
anapest or anapaestGreek anapaistos, literally, struck back (i.e., the reverse of a dactyl)
Anapest: three syllables, accent on the last--for a while
The four most common feet in English verse are the jamb, trochee, anapest, and dactyl; occasional variations, such as the spondee and pyrrhic, occur.
Each line in Dunbar's heptameter consists of an anapest followed by six iambs:
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." Reines constantly refutes what she's just said, but the contradiction always sounds perfectly inevitable; "Of course it can be secular to be alive on a Thursday," she insists later in the poem, "And as a matter of fact / It cannot." When she slips back into metrical order, she sounds terribly measured and assured: "This universe is moral."
Here is an attempt: the materiality within language is brought to the fore by repetition and citation, what the medieval schoolmen called suppositio materialis, that is, the use of a word to indicate itself: not "Budapest is the capital of Hungary," "Budapest is full of mathematical geniuses," etc., but "Budapest is an eight-letter word" or "Budapest is no anapest." As William of Ockham defined it, suppositio materialis is what happens when a term does not refer in terms of its meaning, but refers to what is spoken or written (67).