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METRE IN, CLASSICAL ENGLISO POETRY - Patterns of regularity: 1) The fair breeze blew, the white foaza flew, The furrow followed Íree; We were the first that ever burst Into that silent sea. (Colcridge: The Ancient Mariner) (imitation of ballad style) - Accentual-syllahic metre: minimal unit; foot, defined by two criteria: number of syltables (either two or three) and sequence of accented and unaccented syllables, that is, the pattern of accents (onty one syllable in each fnot carries a metrical accent). - Commonest types of foot: : a YN - ¡amb (iambic foot, iambic metre): unaccented, aceented.- away y - — trochee (trochaic foot, trochaic metre): accented, unacccntod.» da - — spondce (spondaic foot.- no spondaic metre, it only appears as a variation).- two aceunted syllables - anapapst (anapaostic foot, anapaestic mutre): unaccented, unaccented, acccnted.- intervene - — dactyl (dact lie fol, dactylic metre): accented, unaccented, unaccented.- kappily - —amphibrach geppppiomio fool, amphibraic metre).- umaccentod, accented, unaccented.- 1légal, -- The commonest kind of English motre is the iamb (unaccenicd plus accented syllable), followed by the other disyllabic metre, the trochee (accented, unaccented). The patterns ending in an accented syllable (iamb and anapaest) are said to have a rising rhythm, and those which end in an unaccented syllable (troches, dactyl and amphibrach) are said lo have a falling rhythm. - To scan a line of standard English verse is simple: it is lo assiga a metrical value, accented or unaccented, to vach syllable, and show how the syllables form the feet which give metrical structute to the line. So, the scansion of a poem should mark off the foot divisions and indicate the syllables that are accented and unaccented. - Aspects to bear in mind: 1) the structure of an individual word has no necessary relation to the foot. 2) One accented syllable in each foot (the exception is the spondee). 3) Take into account possible varialions of pronunciation, 4) Check (he natural stress of words in English. 5) Read the whole poem to find out the metrical pattern. Sometimes a line taken on its even may be capable of more than one metrical interpretation, but in the context the prevailing metrical pattern will impose ihe right solution, Coral is far more red thal her lips red. - Scan the following Jines: That time of year thou may'st in me behold Sparkle, froth and bubble lightly Moves about flnttering rather than wittly The Assyrian came down like a wolf on the fold. - The number of feet in a linc, or the number of accents, for each regular foot has only got one accenl, also decides the type of lino: monometer (rare), dimeter, trimeter, tetrameter, pentameter, hexameter (alexandrine), heptameter (rare, because the line serves as a unil of attention and then, lines composed of more than six feet tend to break up into smaller units. 'lhus, a heptameter line tends to break into a tetrameter and a trimeter line). Tambic pentameter is found in all the plays of Shakespeare (blank verse, unrhymed iambic pentameter), all heroic couplets, all sonnets, Paradise Lost, The Faerie Queene, Idylls of the King and in many other poems. - speceh stress / metrical accent, - The metrical accent cannot violate the speech stress of a word. That is, if the word “table", appears in a poem, it will never be accented in the second syllable, but words which have more than two syllablez and only a speech stress, may appear with two metrical acuenis if the poet wants to emphasize that word for whatever reason (example of "eternity"). - A good working guideline is that monosyllabic words which are unimportant (articlos, prepositions, auxiliarios) in a normal prose reading, are unaccented in metre (but not always), and key words (semantic load) are aceented. Although a working guidcline, this does not always happen. - Onco the metrical pattern is clear, il becomes a pattern of expectation. But (hese expectations are not always fulfilled, or else reading (hc poem would be vety 1] 
