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Poetry

Poetry collection, study notes, and tools.

Poetry Study

A collection of recommended books on poetry introduction and how to write English poems.


Poetry Notes

Basic concepts

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Poetic Meter vs Phonetic Stress & Intonation 📚

Stress vs Intonation 🧠

Stress (Phonetics):

Intonation (Prosody):

intonation /ˌin(t)əˈnāSH(ə)n/: noun.〖腔调,发声法〗

  1. the rise and fall of the voice in speaking;
  2. accuracy of pitch in playing or singing, or on a stringed instrument such as a guitar.
  3. the opening phrase of a plainsong melody.

prominence /ˈprämən(ə)ns/: noun.〖突出,显著性〗

  1. the state of being important or famous.
  2. the fact or condition of standing out from something by physically projecting or being particularly noticeable.

Stress works at the syllable level; intonation flows across phrases. They can overlap—but they’re not the same force. 🔎

Case Study: “behold” 🗣

Natural Speech:

Pitch Behavior:

In Poetic Reading:

Additional Examples 🔍

Word IPA Metrical Foot Natural Intonation Poetic Reading
begin /bɪˈɡɪn/ iamb ↓ on “gin” ↑ to “gin”
delight /dɪˈlaɪt/ iamb ↓ on “light” ↑ to “light”
resist /rɪˈzɪst/ iamb ↓ on “zist” ↑ to “zist”

In poetry, rhythmic clarity often trumps natural cadence—hence the rise.

Why the Contrast? 🧩

中文学习笔记

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Sample Words of Metric Feet

Foot Rhythm Examples
Iamb ○ ● again, allow, behold, begin, belong, delay, destroy, delight, escape, forget, ideal, insist, involve, mistake, obey, perchance, prefer, regret, reply, report, resolve, retain, reveal, suppose, survive, today; a man, a rose, to sleep, in love, …
Trochee ● ○ apple, better, candle, caring, danger, evening, fragile, fruitful, garden, happy, hunter, injure, jargon, jumping, kitchen, looking, lover, lovely, mother, noble, numbers, open, panther, pretty, quickly, running, sudden, trouble, winter, morning, summer, always, river, thunder, zestful, …
Dactyl ●○○ beautiful, carefully, criminal, critical, dangerous, desolate, elephant, family, happening, honestly, honestly, multiple, mystery, openly, poetical, poetry, rapidly, silently, suddenly, syllable, terrible, typical, visitor, wonderful, yesterday; buffalo wings, chocolate cake, holiday song, open the door, …
Anapest ○●● acquiesce, comprehend, contradict, disappear, disapprove, engineer, entertain, guarantee, incomplete, interrupt, intervene, marquis, misinformed, overcome, recommend, souvenir, understand, volunteer; by the sea, in a dream, in a rush, in the dark, in the east, in the night, on the run, what is this, …
Spondee ● ● aircraft, blackboard, breakdown, bookstore, checklist, childhood, cowboy, deadbolt, deadlock, football, footstep, greenhouse, heartbeat, kickstart, landslide, rainstorm, schoolyard, standpoint, sunshine, undone; hard-earned, man-made, world-class; black night, cold fire, last call, no pain, storm front, true love, …
Pyrrhic ○ ○ in a, of a, to a, and a, on a, in the, to the, of the, for the, by the, with a, at a, from a, and the, or a, as a, in my, of my, in our, in her, is a, has a, was a, will a, were a, in me, …
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Complete List of Metric Feet

Foot Rhythm # Rarity
Iamb, Iambus ○ ● 2 Popular
Trochee, Choree, Choreus ● ○ 2 Common
Pyrrhic, Pyrrhus, Dibrach ○ ○ 2 Common
Spondee, Dimacer ● ● 2 Common
Anapest, Anapaest, Antidactylus ○ ○ ● 3 Common
Dactyl ● ○ ○ 3 Common
Bob ● or ○ 1 Rare name
Brach ○ 1 Rare name
Macer ● 1 Rare name
Amphibrach ○ ● ○ 3 Uncommon
Amphimacer, Cretic, Paeon Diagyios ● ○ ● 3 Uncommon
Antispast ○ ● ● ○ 4 Rare
Choriamb, Choriambus ● ○ ○ ● 4 Uncommon
Diamb, Diiamb ○ ● ○ ● 4 Rare
Dichoree, Dichoreus, Ditrochee ● ○ ● ○ 4 Rare
Double Trochee ● ● ○ ○ 4 Rare
Dispondee ● ● ● ● 4 Rare
Double Iamb ○ ● ○ ● 4 Uncommon
Major Ionic ● ● ○ ○ 4 Uncommon
Minor Ionic ○ ○ ● ● 4 Uncommon
Secundus Paeon ○ ● ○ ○ 4 Uncommon
Tertius Paeon ○ ○ ● ○ 4 Uncommon
First Epitrite ○ ● ● ● 4 Uncommon
Second Epitrite ● ○ ● ● 4 Uncommon
Third Epitrite ● ● ○ ● 4 Uncommon
Fourth Epitrite ● ● ● ○ 4 Uncommon
Alexandrine
or six-iamb-feet		 ○● ○● ○● ○● ○● ○● 12 Uncommon
Antibacchus ● ● ○ 3 Rare
Bacchius ○ ● ● 3 Rare
Molossus ● ● ● 3 Rare
Tribrach ○ ○ ○ 3 Rare
Tetrabrach ○ ○ ○ ○ 4 Rare
Proceleusmaticus ○ ○ ○ ○ 4 Rare
Primus Paeon ● ○ ○ ○ 4 Rare
Quartus Paeon ○ ○ ○ ● 4 Rare
Dochmius ○ ● ● ○ ● 5 Rare
Asclepiad ●● ●○○● ●○○● ○●○   Very Rare
Hemiepes ●○○ ●○○ ● or
●○○ ●○○ ●●		   Very Rare
Sapphic ●○●○●○○●○●○ or
●○●●●○○●○●○		   Very Rare
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Demonstration of Metric Meters

   ○   ○   ●    ○   ○   ●    ○     ○    ●     ○    ○    ●
'Twas the night before Christmas, when all through the house
  ○  ○  ●    ○   ○   ●    ○   ○   ● ○  ○  ●
 Not a creature was stirring, not even a mouse
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Poetry Scansion

Stress Shift Examples in Poetry Scansion

Sentence Stress: Meaning-driven emphasis overrides natural stress

Category Natural Stress Example Line & Poet Scansion in Context Explanation
blessed BLESS–ed (adj.) “BLESS–ed are the meek” (Bible) BLESS–ed (trochee) Adjective: natural trochee.
  bless–ÉD (v.) “God bless–ÉD the child” (Blake) bless–ÉD (iamb) Verb shifts stress to suffix for emphasis.
compact COM–pact (n.) “A COM–pact of trust” (Milton) COM–pact (trochee) Noun: stress on first syllable.
  com–PACT (adj.) “Things com–PACT and dense” (Donne) com–PACT (iamb) Adjective: stress shifts to second syllable.
content con–TENT (adj.) “Are you con–TENT?” (Neutral) con–TENT (iamb) Adjective: natural iamb preserved.
  CON–tent (n.) “The CON–tent of his rage” (Shakespeare) CON–tent (trochee) Noun form demands initial stress.
rebel RE–bel (n.) “The RE–bel stands alone” (Byron) RE–bel (trochee) Noun: initial stress.
  re–BEL (v.) “Why re–BEL against the king?” (Yeats) re–BEL (iamb) Verb: stress shifts to second syllable.

Metrical Demand: Meter forces stress shift to fit pattern ⇑

Category Natural Stress Example Line & Poet Scansion in Context Explanation
above a–BOVE (iamb) “The sky a–BOVE” (Shelley) a–BOVE (iamb) Natural iamb preserved.
  A–bove (forced) “A–bove the storm” (Tennyson) A–bove (trochee) Line-start trochaic substitution in iambic verse.
divine di–VINE (iamb) “A thing di–VINE” (Shakespeare) di–VINE (iamb) Natural iamb.
  DI–vine (forced) “DI–vine Com–e–dy” (Dante trans.) DI–vine (trochee) Trochaic inversion to fit epic meter.
winter WIN–ter (trochee) “WIN–ter winds” (Coleridge) WIN–ter (trochee) Fits trochaic line naturally.
  win–TER (forced) “When win–TER’s chill descends” (Keats) win–TER’s (iamb) Iambic pentameter forces stress to second syllable.
July Ju–LY (iamb) “In Ju–LY’s heat” (Wordsworth) Ju–LY’s (iamb) Natural iamb fits iambic meter.
  JU–ly (forced) “JU–ly comes with thunder” (Frost) JU–ly (trochee) Trochaic substitution at line start for emphasis.

Adjacent Words: Strong neighbors demote/promote syllables ⇑

Category Natural Stress Example Line & Poet Scansion in Context Explanation
forgotten for–GOT–ten (anapest) “The for–GOT–ten child” (Rossetti) for–GOT–ten (anapest) Natural anapest.
forgot for–GOT (iamb) “She LONG for–GOT LOST dreams” (Auden) for–GOT (iamb) Sandwiched between stressed syllables (LONG, LOST), “for-“ becomes unstressed.
heaven HEAV–en (trochee) “HEAV–en’s gate” (Milton) HEAV–en’s (trochee) Natural trochee.
  heav–EN (iamb) “And heav–EN SHINES” (Herbert) heav–EN (iamb) Stressed “SHINES” forces stress shift to “-en”.
over O–ver (trochee) “O–ver the hill” (Blake) O–ver (trochee) Natural trochee.
  o–ver (iamb) “The bridge o–VER THERE” (Stevens) o–VER (iamb) Stressed “THERE” demotes “o-“ to unstressed.

Elision/Liaison: Syllables merge or vanish ⇑

Category Natural Stress Example Line & Poet Scansion in Context Explanation
ever EV–er (trochee) “E’er since that hour” (Burns) E’er (1 syll. /) Elided to 1 syllable to fit iambic foot: “E’er” = stressed.
the ocean the O–cean (3 syll.) “Th’O–cean’s roar” (Pope) Th’O–cean’s (2 syll.: /– –/) “The” + “ocean” → 2 syllables: “th’O-“ (stressed), “-cean’s” (unstressed).
over O–ver (trochee) “O’er the hills” (Scott) O’er (1 syll. /) Elision → 1 stressed syllable.

Function Words: Typically unstressed, but stressed for meter ⇑

Category Natural Stress Example Line & Poet Scansion in Context Explanation
and Unstressed “The sea and sky” (Byron) and (–) Naturally unstressed.
  Stressed “AND the STARS!” (Whitman) AND (/) Starts a line; emphasized for dramatic trochee.
the Unstressed “The moon ascends” (Wordsworth) the (–) Normally unstressed.
  Stressed “THE KING is dead!” (Tennyson) THE (/) Capitalization/metrical stress for emphasis.
to Unstressed “To be or not” (Shakespeare) to (–) Unstressed in iambic foot.
  Stressed “TO DIE, to sleep” (Shakespeare) TO (/) Stressed for spondaic substitution (TO DIE).
that Unstressed “I know that sound” (Eliot) that (–) Unstressed.
  Stressed “THAT TIME of year” (Shakespeare) THAT (/) Trochaic inversion at line start.
of Unstressed “Sonnet of the Moon” (Marlowe) of (–) Typically weak.
  Stressed “OF MAN’S dis–o–bed–i–ence” (Milton) OF (/) Stressed for spondaic effect (OF MAN’S).

Key Insights: ⇑

Fluidity is Fundamental:

Elision Alters Reality:

Ambiguity is Intentional:

Function Words Bend:


⇑

Stress Shift Examples (by Claude AI)

Sentence Stress (Syntactic Position)

Word Natural Stress Example 1 (Original) Foot Example 2 (Changed) Foot
abstract AB-stract (noun) “The AB-stract was complex” Trochee “We must ab-STRACT the essence” Iamb
address AD-dress (noun) “What’s your AD-dress?” Trochee “Please ad-DRESS the crowd” Iamb
compact COM-pact (adj) “A COM-pact little car” Trochee “Let’s com-PACT the soil” Iamb
contest CON-test (noun) “She won the CON-test” Trochee “I con-TEST your claim” Iamb
contract CON-tract (noun) “Sign the CON-tract here” Trochee “Muscles con-TRACT with cold” Iamb
defect DE-fect (noun) “Found a DE-fect in design” Trochee “Many de-FECT to our side” Iamb
desert DES-ert (noun) “Cross the DES-ert sands” Trochee “Don’t de-SERT your post” Iamb
export EX-port (noun) “Coffee is our main EX-port” Trochee “We ex-PORT goods worldwide” Iamb
import IM-port (noun) “The IM-port taxes rose” Trochee “We im-PORT from China” Iamb
increase IN-crease (noun) “An IN-crease in prices” Trochee “Prices in-CREASE each year” Iamb
object OB-ject (noun) “What’s that OB-ject there?” Trochee “I ob-JECT to this plan” Iamb
perfect PER-fect (adj) “A PER-fect summer day” Trochee “We must per-FECT our skills” Iamb
permit PER-mit (noun) “Show me your PER-mit” Trochee “I per-MIT you to enter” Iamb
produce PRO-duce (noun) “Fresh PRO-duce for sale” Trochee “Farms pro-DUCE good crops” Iamb
progress PRO-gress (noun) “We’re making PRO-gress now” Trochee “Let’s pro-GRESS to step two” Iamb
project PRO-ject (noun) “Finish the PRO-ject today” Trochee “We pro-JECT sales will rise” Iamb
rebel REB-el (noun) “The REB-el was captured” Trochee “Youth re-BEL against rules” Iamb
refuse REF-use (noun) “Remove the REF-use pile” Trochee “I re-FUSE to comply” Iamb
subject SUB-ject (noun) “Math is my favorite SUB-ject” Trochee “Don’t sub-JECT me to this” Iamb
suspect SUS-pect (noun) “The SUS-pect was arrested” Trochee “I sus-PECT you’re lying” Iamb

Metrical Context (Fitting Dominant Pattern) ⇑

Word Natural Stress Natural Example Foot Forced Context Foot
about a-BOUT “Think a-BOUT it twice” Iamb “AB-out the meadow green” Trochee
above a-BOVE “Look a-BOVE the clouds” Iamb “AB-ove the treetops high” Trochee
across a-CROSS “Walk a-CROSS the bridge” Iamb “ACR-oss the valley wide” Trochee
and unstressed “bread and butter” Unstressed “AND the mountains echoed” Stressed
around a-ROUND “Turn a-ROUND and look” Iamb “AR-ound the ancient oak” Trochee
because be-CAUSE “She left be-CAUSE of him” Iamb “BEC-ause the time has come” Trochee
before be-FORE “Come be-FORE the dawn” Iamb “BEF-ore the world was made” Trochee
behind be-HIND “Look be-HIND the door” Iamb “BEH-ind the garden wall” Trochee
between be-TWEEN “Stand be-TWEEN the trees” Iamb “BET-ween the earth and sky” Trochee
beyond be-YOND “See be-YOND the hills” Iamb “BEY-ond the setting sun” Trochee
eighteen eigh-TEEN “She turned eigh-TEEN today” Iamb “EIGH-teen miles to go” Trochee
fifteen fif-TEEN “Count to fif-TEEN slowly” Iamb “FIF-teen soldiers marched” Trochee
fourteen four-TEEN “She’s four-TEEN years old” Iamb “FOUR-teen days of rain” Trochee
into in-TO “Walk in-TO the light” Iamb “IN-to darkness falling” Trochee
nineteen nine-TEEN “The year nine-TEEN-fifty” Iamb “NINE-teen steps to climb” Trochee
sixteen six-TEEN “Sweet six-TEEN birthday” Iamb “SIX-teen candles burning” Trochee
thirteen thir-TEEN “I bought thir-TEEN apples” Iamb “THIR-teen years have passed” Trochee
upon u-PON “Sat u-PON the throne” Iamb “UP-on the mountain peak” Trochee
within with-IN “Search with-IN your heart” Iamb “WITH-in the sacred grove” Trochee
without with-OUT “Live with-OUT regret” Iamb “WITH-out a single care” Trochee

Adjacent Words (Stress Clash Avoidance) ⇑

Word Normal Stress Normal Example Foot Clash Avoidance Foot
across a-CROSS “Walk a-CROSS the field” Iamb “ACR-oss DARK waters” Trochee
around a-ROUND “Turn a-ROUND quickly” Iamb “AR-ound BRIGHT fires” Trochee
between be-TWEEN “Stand be-TWEEN the posts” Iamb “BET-ween TALL mountains” Trochee
complete com-PLETE “The work’s com-PLETE at last” Iamb “COM-plete CHAOS reigned” Trochee
eighteen eigh-TEEN “She’s eigh-TEEN today” Iamb “EIGH-teen TALL trees” Trochee
fifteen fif-TEEN “Wait fif-TEEN minutes” Iamb “FIF-teen FAST horses” Trochee
fourteen four-TEEN “Count four-TEEN sheep” Iamb “FOUR-teen FIERCE storms” Trochee
go GO (stressed) “I must GO now” Stressed “go FORTH and conquer” Unstressed
here HERE (stressed) “Come HERE to me” Stressed “here LIES the problem” Unstressed
how HOW (stressed) “HOW are you today?” Stressed “how LONG will this take?” Unstressed
let LET (stressed) “LET me help you” Stressed “let FREEDOM ring out” Unstressed
nineteen nine-TEEN “The year nine-TEEN-forty” Iamb “NINE-teen DARK nights” Trochee
sixteen six-TEEN “She’s six-TEEN years old” Iamb “SIX-teen BOLD knights” Trochee
thirteen thir-TEEN “Buy thir-TEEN red roses” Iamb “THIR-teen STRONG warriors” Trochee
what WHAT (stressed) “WHAT did you say?” Stressed “what MATTERS most is love” Unstressed
when WHEN (stressed) “WHEN will you arrive?” Stressed “when MORNING comes at last” Unstressed
where WHERE (stressed) “WHERE did you go?” Stressed “where ANGELS fear to tread” Unstressed
will WILL (stressed) “I WILL be there” Stressed “will NEVER be forgotten” Unstressed

Line Breaks and Enjambment ⇑

Word Normal Stress Normal Position Foot Enjambed Position Foot
about a-BOUT “Think a-BOUT it twice” Iamb “…think / AB-out it more” Trochee
above a-BOVE “Look a-BOVE the trees” Iamb “…soar / AB-ove the clouds” Trochee
across a-CROSS “Walk a-CROSS the street” Iamb “…travel / ACR-oss the land” Trochee
around a-ROUND “Turn a-ROUND and see” Iamb “…spin / AR-ound in circles” Trochee
because be-CAUSE “She left be-CAUSE of him” Iamb “…left / BEC-ause of pride” Trochee
before be-FORE “Come be-FORE the storm” Iamb “…arrive / BEF-ore the dawn” Trochee
behind be-HIND “Look be-HIND the door” Iamb “…hide / BEH-ind the wall” Trochee
between be-TWEEN “Stand be-TWEEN the lines” Iamb “…caught / BET-ween two worlds” Trochee
beyond be-YOND “See be-YOND the hill” Iamb “…reach / BEY-ond the stars” Trochee
forget for-GET “I can’t for-GET your face” Iamb “I cannot FOR- / get your face” Trochee
however how-EV-er “This, how-EV-er, is wrong” Anapest “…strange / HOW-ev-er it seems” Dactyl
remember re-MEM-ber “I re-MEM-ber well” Amphibrach “…never / RE-mem-ber again” Dactyl
thirteen thir-TEEN “Count thir-TEEN slowly” Iamb “…exactly / THIR-teen steps” Trochee
together to-GETH-er “We’ll work to-GETH-er” Anapest “…stay close / TO-geth-er now” Dactyl
understand un-der-STAND “I don’t un-der-STAND this” Anapest “…hard to / UN-der-stand this” Dactyl
whatever what-EV-er “Take what-EV-er you need” Anapest “…keep / WHAT-ev-er you find” Dactyl
whenever when-EV-er “Come when-EV-er you can” Anapest “…arrive / WHEN-ev-er you wish” Dactyl
wherever where-EV-er “Go where-EV-er you want” Anapest “…follow / WHERE-ev-er leads” Dactyl

Semantic Emphasis (Meaning-Driven Stress) ⇑

Word Neutral Stress Neutral Example Foot Emphasized Context Foot
almost AL-most “AL-most finished now” Trochee “We al-MOST made it” Iamb
always AL-ways “She’s AL-ways punctual” Trochee “I’ll al-WAYS love you” Iamb
any AN-y “AN-y time is fine” Trochee “I don’t want an-Y” Iamb
anyone AN-y-one “AN-y-one can try” Dactyl “I’ll choose an-y-ONE” Anapest
anywhere AN-y-where “AN-y-where you go” Dactyl “I’ll follow an-y-WHERE” Anapest
every EV-ery “EV-ery day I wait” Trochee “I love ev-ery-THING” Iamb
everyone EV-ery-one “EV-ery-one is here” Dactyl “I love ev-ery-ONE” Anapest
everything EV-ery-thing “EV-ery-thing is fine” Dactyl “I’d give ev-ery-THING” Anapest
fifteen fif-TEEN “She’s fif-TEEN years old” Iamb “At FIF-teen, so young” Trochee
many MAN-y “MAN-y people came” Trochee “Too man-Y to count” Iamb
maybe MAY-be “MAY-be we should go” Trochee “We may-BE should stay” Iamb
never NEV-er “I NEV-er saw him” Trochee “I’ll nev-ER give up” Iamb
nobody NO-bod-y “NO-bod-y knows” Dactyl “I need no-BOD-y else” Anapest
nothing NOTH-ing “NOTH-ing can stop us” Trochee “It means noth-ING to me” Iamb
only ON-ly “ON-ly you can help” Trochee “I on-LY want truth” Iamb
really REAL-ly “REAL-ly, it’s true” Trochee “I real-LY mean it” Iamb
someone SOME-one “SOME-one is calling” Trochee “I need some-ONE special” Iamb
something SOME-thing “SOME-thing is wrong” Trochee “I want some-THING more” Iamb
somewhere SOME-where “SOME-where over rainbow” Trochee “I’ll find you some-WHERE” Iamb
tonight to-NIGHT “We’ll meet to-NIGHT” Iamb “TO-night! Strike now!” Trochee

Punctuation and Phrasing ⇑

Word Normal Stress Normal Context Foot Punctuated Context Foot
afternoon af-ter-NOON “This af-ter-NOON we’ll go” Anapest “Lazy AF-ter-noon, warm” Dactyl
basketball bas-ket-BALL “Play bas-ket-BALL today” Anapest “Orange BAS-ket-ball, round” Dactyl
birthday birth-DAY “Her birth-DAY party” Iamb “Happy BIRTH-day, dear” Trochee
blackbird black-BIRD “A black-BIRD sang” Iamb “The BLACK-bird, not robin” Trochee
butterfly but-ter-FLY “A but-ter-FLY landed” Anapest “Bright BUT-ter-fly, orange” Dactyl
christmas christ-MAS “Merry christ-MAS to all” Iamb “White CHRIST-mas, peaceful” Trochee
earthquake earth-QUAKE “The earth-QUAKE shook” Iamb “Massive EARTH-quake, destructive” Trochee
halloween hal-low-EEN “Spooky hal-low-EEN night” Anapest “Dark HAL-low-een, scary” Dactyl
mankind man-KIND “Save man-KIND itself” Iamb “All MAN-kind must unite” Trochee
moonlight moon-LIGHT “Soft moon-LIGHT glowed” Iamb “Silver MOON-light, pale” Trochee
nightmare night-MARE “A night-MARE haunted” Iamb “Terrible NIGHT-mare, dark” Trochee
rainbow rain-BOW “A rain-BOW appeared” Iamb “Bright RAIN-bow, colorful” Trochee
seventeen sev-en-TEEN “She’s sev-en-TEEN today” Anapest “Sweet SEV-en-teen, young” Dactyl
snowfall snow-FALL “Heavy snow-FALL came” Iamb “Gentle SNOW-fall, white” Trochee
sunshine sun-SHINE “Bright sun-SHINE today” Iamb “Golden SUN-shine, warm” Trochee
telephone tel-e-PHONE “The tel-e-PHONE rang” Anapest “Old TEL-e-phone, black” Dactyl
thunderstorm thun-der-STORM “A thun-der-STORM approaches” Anapest “Wild THUN-der-storm, fierce” Dactyl
understand un-der-STAND “I un-der-STAND now” Anapest “Hard to UN-der-stand, complex” Dactyl
valentine val-en-TINE “Sweet val-en-TINE card” Anapest “Red VAL-en-tine, loving” Dactyl
waterfall wa-ter-FALL “The wa-ter-FALL roared” Anapest “Tall WAT-er-fall, misty” Dactyl


⇑

Stress Shift Examples (by Copilot)

Sentence Stress Manipulation Words normally spoken with one stress pattern may shift due to intonation, emphasis, or inversion in syntax—especially at the start of a sentence or phrase.

Word Natural Stress Altered Foot Example Phrase Altered Contextual Foot
and × / And then it fell—like glass! Strong beat, spondee
go × / Go now, before the sky can burn! Command tone → stress
here × / Here she comes! Adverb = heavy stress
how × / How did you not know? Interrogative punch
let × / Let him run! Let him run! Repetition = emphasis
today × / / × Today, we rise Trochee (for emphasis)
what × / What will you do? Emphatic use
when × / When? Tell me when! Stressed monosyllable
where × / Where have you been? Question word stress
will × / Will you not speak? Spondee or trochee start

Metrical Context / Structure Accommodation ⇑ A word adjusts stress to conform with surrounding metrical requirements, especially in strict meters like iambic pentameter or anapestic trimeter.

Word Natural Stress Altered Foot Example Phase Intended Meter Context
again × / / × Again and again, he spoke the vow Trochaic kickoff
allow × / / × Allow the stars to catch your breath Emphasis alters foot
awaken × × / × / × Awakened, she saw day’s first light Suppress initial syll.
before × / / × Before the river fell asleep Trochee intro
behold × / / × Behold the fire inside the hill! Dramatic stress shift
beneath × / / × Beneath the stone, a memory clings Metrical inversion
complete × / / × Complete your task before the dawn Trochee substitution
perhaps × / / × Perhaps you thought it would begin Rhetorical shift
repeat × / / × Repeat this once: “I shall not yield.” Trochee preference
return × / / × Return, my love! Inversion at line start

Adjacent Word Effect ⇑ Stress pattern shifts due to how neighboring words distribute emphasis, particularly in densely packed syntactic constructions.

Word Natural Stress Altered Foot Example Phrase Contextual Shift
distance / × × / A distance none could comprehend Stress shift after determiner
enter / × × / To enter in that world of flame Syntax delays stress
follow / × × / To follow dreams we dared to name Complement attraction
honest / × × / An honest voice within the storm Modifier weakens stress
interest / × × / An interest he forgot to claim Leading article delays stress
nothing / × × / Of nothing shall you hear again Meter absorbs emphasis
offer / × × / I offer silence, not regret Syntactic inversion
reason / × × / The reason falls away with dust Unstressed lead balances
warning / × × / No warning slipped into her dream First beat absorbs stress
winter / × × / In winter’s fog, she watched the flame “In” deflects stress

Ambiguity & Performance-Driven Variations ⇑ Words with soft or dual stress may morph based on reader interpretation, rhythm, or dramatic delivery.

Word Natural Stress Altered Foot Example Phrase Performance Context
always / × × / Always they run, but never stay Irony flips stress
colorful / × × × × / The colorful roar of light returns Delayed lift
even / × × / Even now, she wonders why Rhetorical pause
every / × × / Every time the clock would cry Meter dominance
heaven / × × / To heaven’s edge, we throw our doubt Rising cadence
holiday / × × × × / Holiday comes, but never stays Compressed foot structure
maybe / × × / Maybe it’s just another lie Mood modulation
never / × × / Never again, not now, not ever Triple meter flexibility
question / × × / A question you forgot to ask Pause intensifies lift
woman / × × / A woman’s voice behind the screen Dramatic compression


⇑

Stress Shift Examples (by ChatGPT)

Sentence Stress / Grammatical Emphasis

Word Na tural Stress Context Example Metrical Role Notes
again a-GAIN “A-gain, I dream of fire” Trochee Can be flipped at line start
become be-COME “BE-come the thing you seek” Trochee Metrical reweighting
begin be-GIN “BE-gin to burn, O flame” Trochee Strong imperative changes stress
complete com-PLETE “COM-plete your sacred vow” Trochee Often used in commands
decide de-CIDE “DE-cide before the moon is gone” Trochee Forced stress shift in line-initial use
forgive for-GIVE “FOR-give them not” Trochee Stress shift due to moral tone
permit per-MIT “PER-mit no more delay” Trochee Used in imperative
return re-TURN “RE-turn to me again” Trochee Unusual but workable in poetic rhythm
suppose sup-POSE “SU-ppose I fall again” Trochee Context can override normal flow
today to-DAY (iamb) “TO-day, I leave this place” Trochee Emphasis placed early

Metrical Context ⇑

Word Natural Stress Example Phase Metrical Role Foot Type Used Notes
intent in-TENT “Her IN-tent guides the flame” Trochee Fits meter despite normal stress  
divine di-VINE “A DI-vine wind we ride” Trochee Poetically inverted for rhythm  
restore re-STORE “RE-store what once was mine” Trochee Substitution to fit iambic meter  
reward re-WARD “RE-ward shall come by dawn” Trochee Early syllable stress added  
direct di-RECT “DI-rect thy sword on high” Trochee Trochaic substitution  
protest pro-TEST “PRO-test not, yield your blade” Trochee Meter demands emphasis  
conceal con-CEAL “CON-ceal the stolen flame” Trochee Context adjusts rhythm  
arise a-RISE “A-rise, O sleeping world!” Trochee Enforced iamb reversal  
awake a-WAKE “A-wake, ye children fair” Trochee Line-initial substitution  
oppose op-POSE “OP-pose what fate decides” Trochee Emphasis shifted for drama  

Adjacent Words / Elision ⇑

Phrase Normal Stress Example Line Metrical Role Notes
and I ᴗ ́ “AND I recall her voice” Iamb Weakly stressed “and” gets absorbed
and you ᴗ ́ “AND YOU shall see” Iamb “and” loses emphasis
come in ́ ᴗ “COME IN and rest awhile” Trochee Line start allows emphasis
for a time ᴗ ᴗ ́ “FOR a time, I knew her smile” Pyrrhic Minor words compressed
go on ́ ᴗ “GO ON, don’t stop!” Trochee Re-weighted by urgency
how long ́ ᴗ “HOW LONG must I endure?” Trochee Frequently used as emphatic unit
in a dream ᴗ ᴗ ́ “IN a dream I died” Pyrrhic Compressed to match meter
the hour ᴗ ́ (iamb) “Th’OUR is late, no bell has rung” Spondee Elision of “the”
with us ᴗ ́ “WITH US they walked the shore” Iamb Function words scanned together
to be ᴗ ́ “TO BE or not to be” Iamb Classic elided iamb

Enjambment / Line Break Effects ⇑

Word Natural Stress Example (Break-Induced) Metrical Role Foot Type Used Notes
and unstressed “She wept, / And none could help” Promoted Spondee/iamb Conjunction gains poetic weight
here stressed “They stood— / Here, not in vain” Strong Stressed monosyllable Poetic placement makes “here” peak
how stressed “She smiled— / How strange it was” Emphatic Trochee or start foot Reflective mood intensifies it
let stressed “The bell tolled— / Let all be still” Command stress Stressed Heightened by dramatic pause
still stressed “They spoke— / Still, I stayed” Command-style Monosyllabic stress Temporal/emotional role
there stressed “I looked— / There, and saw the sky” Stressed Spondee/iamb Meaning deepened by line break
what stressed “I asked— / What did he mean?” Strong Stressed monosyllable Line break increases emphasis
when stressed “He left— / When none could know” Strong Iamb or spondee Contrast sharpened by break
where stressed “They died— / Where no one came” Stressed Monosyllabic foot Visual isolation adds stress
will stressed/unstressed “I know— / Will you return?” Strong Re-weighted Question form promotes stress
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Exercises of Meters

Poetic feet of words

Sample word Feet Name
accented / - trochee
antidisestablishmentarianism / - - (repeated) dactyl
daffodil / - - dactyl
en·cy·clo·pe·di·a - / - / - - ?
enormous   ?
hendeca·syllabic / - - / - - dactyl
impossible - / - - amphibrach ?
poetical / - - dactyl
potato   ?
raccoon - / iamb
Sabrina - - / anapest
scansion / - trochee
stressed    
Thomas / - trochee
unaccented / - - dactyl
unstressed / - trochee
unusual - / - amphibrach ?
usually / - - dactyl
window /- trochee
yacht    

Identify poetic rhythm and meters

  ●     ○     ●   ○  ○   ●   ○    ●   ○    ●  (?)
  Don't count syllables; do count stressed beats!

Exercies on verses

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Excerpt

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Books List

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Poem Examples

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Poetic Wording Examples

General Poetic wording
don’t regret regret nothing
possible solution find an alternative approach to achieving a satisfactory outcome for all concerned, ideally avoiding, if at all possible,
ver important a matter of no small importance
useful to be of use
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AGI Poetry Guide

The Poetry’s Play, by ChatGPT ⇑

  A verse begins not just with words,
  But syllables like songs of birds.
  A vowel gives it breath and tone,
  A consonant makes bone from stone.

  Some beats are accented, strong and proud,
  While others whisper, soft—— not loud.
  The accentuation makes them glide,
  With stresses rising like a tide.

  This line’s an iamb: soft then strong——
  It’s heartbeat-paced, it hums along.
  But flip it round: a trochee starts
  With thunder drums & dancing hearts.

  A dactyl gallops—— DUM-da-da,
  Like “elephant” or “Canada”.
  While anapest goes light-light-BOOM,
  It sneaks up fast and fills the room.
  Spondees stomp like boots on stone:
  DUM-DUM, with weight, a granite tone.
  Pyrrhics whisper—— soft and slight,
  Two unstressed steps in fading light.

  Then comes amphibrach, da-DUM-da, a mid-rise blend,
  Like deCISive or reLIable friend.
  A cretic (or amphimacer): DUM-da-DUM,
  Like bold and true or love shall live.
  While molossus, DUM-DUM-DUM, roars all through——
  Like Bang! Bang! Bang!—— it's coming for you!
  A four-beat shape? Try paeon next,
  With one strong stress, the rest unflexed.

  We count our feet: this math is meter.
  Scansion marks the pulse, makes it neater.
  The lines are built in meter’s name:
  Trimeter's three feet in a frame.
  With four, it’s tetrameter’s cheer;
  And pentameter—— Shakespeare’s dear.
  Six feet? Then hexameter makes its play——
  Like Homer’s Greek epics far away.

  We shape these lines in stanza’s form,
  Some square and tight, some loose and warm.
  A refrain returns like memory’s tune——
  The echoing cry beneath the moon.

  Couplets rhyme in pairs so tight,
  Like day is done / the fading light.
  A tercet gives us three in line,
  A quatrain four—— it feels just fine.

  A quintet, sestet, septet, grow,
  And octave brings the formal show.
  The sonnet holds its fourteen frame,
  Shakespearean or Petrarchan name.

  Let’s add some music—— rhyme in pairs:
  “Moon” and “tune” like dancing flares.
  A masculine rhyme hits strong and neat:
  “Sky” with “fly” makes the close complete.
  But feminine rhyme, with an extra fall,
  Like “falling” and “calling”, softens all.

  There’s alliteration—— sound repeat:
  Softly sighs the summer heat.
  Alliteration brings sound alive:
  With consonants like “crickets cry”.
  While assonance lets vowels chime,
  In “high tide’s time”, it sings through rhyme.
  Consonance repeats in scattered place——
  Like “blank bank’s bark” in a quiet space.

  Onomatopoeia shouts or drips——
  Like bang!, whirr, or slish-slosh lips.
  Caesura, in two, breaks a line——
  Like "To err is human // to forgive, divine".
  Enjambment spills without a pause:
  The line moves on without a clause.

  Rhyme may be masculine (one strong beat):
  Confess / redress—— so bold, complete.
  Or feminine, two beats that fall:
  Ending / bending, soft and small.

  We scan the lines with scansion's lore,
  To mark the stress and check the score.
  The whole is called prosody, my dear——
  The music wrapped in what you hear.

  Scan it all with scansion’s grace,
  Mark feet and beats in every place.
  Feel the rhythm, fast or slow,
  It’s prosody that makes it flow.

  Some poems have a refrain to bind——
  “Nevermore”, the Raven’s mind.
  And prosody? The name for it all——
  The art of how the rhythms fall.

  Free verse plays loose—— no strict beat.
  Blank verse has meter, but no rhyme to meet.
  From limericks and odes to epic lines,
  Each form reveals poetic signs.

  So here’s a poem on poetry made——
  With terms and tunes in bright parade.
  From pitch and beat, just trust the sound,
  And let your language dance around.

A Poet’s Primer, in Poetic Time, by Copilot ⇑

  A poem begins where the silence breaks,
  With accented beats that the breathing makes.
  In verse we trust, each syllable weighed,
  Where vowel and consonant dances played.

  An iambus is light then strong in tone,
  Like “To be or not”—— you are not alone.
  Iambs arise like a heart that’s ticking,
  Spondees stomp with boots a-kicking.
  Anapest, bold with a runaway pace,
  Outruns the others in sprinting grace.
  Anapest scampers, da-da-DUM, it goes,
  While dactyl dives deep in tripping rows.

  Accentuation lifts the beat——
  A trochee trips with tumbling feet.
  A trochaic foot has a marching start,
  “Tyger Tyger” burns with fiery heart.
  Choree, its twin from another name,
  Still stamps out rhythm just the same.
  A pyrrhic sneaks in softly, slight,
  While dactyls gallop with airy delight.
  An amphibrach wraps with a hug so neat——
  da-DUM-da, like a whisper you just can’t repeat.
  Cretic punches in DUM-da-DUM style,
  Bold in its strut with a double-mile.
  Molossus booms with a triple stress——
  DUM-DUM-DUM sound in a heavy dress.

  Now enter paeon, the scholar's delight,
  With one strong beat where the others are light.
  So many feet make metrical stew——
  Dibrachs hide where the accents flew.

  Couplets rhyme in married pair,
  A kiss of words, light as air.
  Tercets, threes with a flowing grace,
  Quatrains square off in a balanced space.

  Quintets, sestets, keep the climb,
  Septets, octaves stretch to time.
  Each stanza, a room with its own set of rules,
  Where scansion uncovers the architect’s tools.

  With trimeter’s light and tetrameter’s sway,
  Pentameter rules what the greats often say.
  Hexameter, grand, in epics you'll see——
  A rhythmic line fit for Homer or sea.

  Scansion maps the rising tide,
  Where prosody and pitch collide.
  Rhythm throbs like a pulse in song,
  Pulling the stanza clean along.

  A refrain repeats what we wish to retain,
  A chorus returned, again and again.
  Masculine rhymes, they end quite bold,
  While feminine rhymes let the rhythm unfold.

  Assonance, vowels hum in tune,
  Like “low moan” or “blue noon moon”.
  Assonance hums with inner rhyme,
  "Light of the fire, dying in time."
  And consonance clicks in the echoing night,
  "Blank bark cracked by frostbite’s bite."
  Consonance clicks when the harsh sounds cling,
  As “black clocks” strike with icy ring.

  Alliteration starts a sound parade:
  "Flickering flames in forests fade."
  Masculine rhymes land firm at the tail,
  "Boom" and "doom" in their thunderous gale.
  Feminine rhymes like a dancer’s delight,
  "Falling" and "calling" float feather-light.

  So here's a poem, a toolkit in line,
  To show how mechanics and magic combine.
  Read it aloud—— let meter unroll,
  And find where the beats of a poem take hold.

  Let every refrain be a bell we can ring,
  A memory folded in poems we sing.
  Let every poet—— young, ancient, or new——
  Feel how the Muse threads her logic through you.

  Prosody’s canvas is pitch and pace,
  Rhythm the soul, and rhyme the lace.
  And there, where theory and magic conspire——
  A poem ignites with linguistic fire.

The Poet’s Codex: Learning Through Verse, by Claude.Ai ⇑

  1: The Building Blocks
  Consonant meets vowel in harmony sweet,
  Each syllable dancing to rhythm's beat.
  The verse unfolds with prosody's art,
  Where sound and sense play equal part.

  2: The Music of Language
  Alliteration loves to link and play——
  "Softly sighing summer's day."
  Assonance echoes through the night,
  "The light bright kite takes flight."
  Consonance binds the ending sounds,
  "The wind behind the blind man rounds."

  3: The Heartbeat of Poetry
  Iamb steps forward, weak then strong (ba-DUM),
  "Be-FORE the DAY is DONE."
  Trochee stomps with heavy start (DUM-ba),
  "TI-ger, TI-ger, burn-ing BRIGHT."
  Anapest gallops three by three (ba-ba-DUM),
  "In the NIGHT, by the LIGHT of the moon."

  4: More Rhythmic Feet
  Dactyl dances, strong then weak twice over (DUM-ba-ba),
  "HON-or-ing, GATH-er-ing, WHIS-per-ing."
  Spondee pounds with equal weight (DUM-DUM),
  "STOP! LOOK! NIGHT-MARE! HEART-BREAK!"
  Pyrrhic whispers soft and light (ba-ba),
  "In the shadow of the night."

  5: Measuring the Lines
  Trimeter counts its three-beat song,
  Tetrameter marches four beats strong,
  Pentameter walks with five in line,
  Hexameter flows with six divine.
  Scansion marks each foot's true place,
  Revealing rhythm's measured grace.

  6: The Art of Sound and Stress
  Masculine rhyme ends with power——
  "Tower" meets "shower" in the hour.
  Feminine endings dance with two——
  "Singing" pairs with "ringing" true.
  Accentuation shows us where
  The pitch rises in the air.

  7: The Binding Elements
  Rhyme connects both far and near,
  Making music for the ear.
  Refrain returns again, again,
  A chorus binding joy and pain.
  Like this line that will repeat:
  "Poetry makes language sweet."

  8: The Complete Art
  Now see how consonant and vowel combine,
  How syllables build each crafted line.
  Alliteration, assonance, consonance too,
  Prosody binds them all for you.
  From iamb to trochee, anapest to dactyl,
  Each foot makes rhythm more tactile.
  Trimeter, tetrameter, pentameter flow,
  While scansion reveals what poets know.
  In every stanza, every verse,
  These elements help us rehearse
  The ancient art of word and sound——
  Where poetry makes language sweet.
  (The refrain comes round!)

The Poet’s Grand Bazaar (An Encyclopedic Romp Through Versification) by deepseek ⇑

  Listen close now, budding bard, unlock the verse's gate,
  Where consonant and vowel meet, deciding word and fate.
  A syllable is each small beat, a pulse within the line,
  Some light, some heavy, quick or slow, a rhythmic, shifting sign.
  A verse begins not just with words,
  But syllables like songs of birds.
  A consonant makes bone from stone,
  A vowel gives it breath and tone.

  Accentuation stamps the beat——
  Which sound will rise? Which sound's discreet?
  Some beats are accented, strong and proud,
  While others whisper, soft—— not loud.
  In couplets first, two lines that rhyme:
  The accented beats keep perfect time.
  To map this pulse, we scansion make, with marks for stressed and weak,
  Revealing feet that march along, the rhythm that we seek.

  An iamb (da-DUM) steps gently forth, like "the sun sets low",
  A trochee (DUM-da) leads the charge, like "flowers start to grow".
  The spondee (DUM-DUM) STRONG STRESS commands, "TRUE BLUE", beyond compare!
  The pyrrhic (da-da) whispers soft, two light steps barely there.
  An anapest (da-da-DUM) rebounds, "to the beat of the drum";
  A dactyl (DUM-da-da) gallops free, "merrily we roam".

  Some feet get strange, beyond the norm,
  Like creatures weathering a storm:
  Amphibrach (da-DUM-da) delightful skip!
  "The Assyr*i*an came down..." on swift ships dip.
  The cretic (DUM-da-DUM) HEAR it thump?
  "BREAK, again, BREAK!" on cold grey stone's wet rump.
  The molossus (DUM-DUM-DUM) DEEP DARK DOOM!
  A triple accented crashing boom!
  The paeon (DUM-da-da-da) running free,
  Or (da-DUM-DUM-DUM) like "in *a* wild hurricane's spree".
  Choree (DUM-da) = trochee, swift and keen,
  Dibrach (da-da) two lights, barely seen.

  Next count the feet within the line, the meter finds its name:
  Trimeter has three bold beats, igniting passion's flame.
  Tetrameter brings four strong strides, a common, steady pace,
  Pentameter (five feet!) holds court in time and measured grace.
  Hexameter (six feet!) rolls long, like waves upon the sand ––
  The building blocks of music made by structure's careful hand.

  But sound's not just in stressed attack, it sings in other ways:
  Alliteration links first consonants through phrase on phrase
  ("Simple sounds seek sweetness", see the 's' begin to play?).
  Assonance repeats the vowel tones, holding sound at bay
  ("Hold the coal", the 'o' rings deep, a resonant display).
  Consonance finds kindred consonants, though vowels may decay
  ("Strike a strong string", 'str' echoes, pushing words astray).

  Then rhyme arrives, the chiming end, where matching sounds align:
  One stressed syllable: "light" meets "night,
  Masculine rhyme ("cat/hat") snaps tight;
  Stressed, then unstressed: "ending" with "pretending",
  Feminine rhyme ("drowning/frowning") takes flight.
  Enjambment flows where thoughts don't end –
  Like Milton's lines that break and bend.
  A refrain circles back again, its message never ending,
  A line repeated, like a bell, its constant tone ascending.

  Now build your house! A stanza forms:
  Couplets (two lines): where matching thought warms.
  "True wit is Nature to advantage dressed,
  What oft was thought, but ne'er so well expressed."
  Tercets (three lines): weave thoughts as one,
  Or quatrains (four): the work's half done!
  Quintets (five), sestets (six), septets (seven) grow,
  An octave (eight): a sonnet's starting glow.
  The accentuation shifts, the pitch can rise or fall,
  Prosody (the art of sound!) controls and masters all.

  So wield your lines with conscious craft, let every choice be known,
  These tools and etc.eras help the poet's seeds be sown.
  For rhythm, rhyme, and sound combined create the vital spark,
  The verse that moves, the music found within the poem's dark.
  From cretic's thump to paeon's race,
  Prosody is time and space!

The Poetic Tapestry (A Rhythmic Guide Unveiling), by Gemini ⇑

  In verses where our thoughts entwine,
  Let prosody's sweet art define
  The rhythm of each flowing line.
  A stanza forms, a thought complete,
  With measured scansion, oh so neat.
  Perhaps a couplet, paired and tight,
  Or tercet's three, a hopeful light.
  A quatrain strong, a classic form,
  Through changing moods, it weathers storm.
  A quintet dances, five in glee,
  While sestet holds complexities.
  A septet weaves a longer thread,
  An octave's fullness, finely spread.

  The vowel sings, a vibrant sound,
  While consonant surrounds it round.
  Each syllable, a beat, a sign,
  With varied pitch, a sweet design.
  And hear the accentuation strong,
  Where accented notes precisely throng.

  An iamb is soft, "da-DUM," it goes,
  Like morning's breath, a gentle rose.
  A trochee drops, "DUM-da," it falls,
  Responding to the muse's calls.
  The anapest, "da-da-DUM", a quickening pace,
  A joyful chase in time and space.
  Then dactyl, "DUM-da-da" strides free,
  A triple beat for you and me.
  A spondee, slow, "da-DUM" it stands,
  With emphasis in willing hands.
  While pyrrhic whispers, "da-da" light,
  Its presence subtle, soft, and slight.

  For iambus read 'iamb,' you see,
  And trochaic is 'trochee' for me.
  Choree's a trochee, in some old lore,
  And dibrach means two unstressed, no more,
  Like 'da-da,' light, as pyrrhic shows,
  The subtle currents, as verse flows.

  New feet appear, for varied strain:
  The amphibrach, "da-DUM-da," again,
  Like "to mar·ket to · mar·ket," light.
  The cretic, "DUM-da-DUM", a forceful bite,
  It sounds like "fire · light · bright."
  The molossus, three stresses in a row,
  Like "dark · night · storm," a heavy flow.
  The paeon, four, one stress so grand,
  A varied rhythm close at hand.

  When alliteration starts to play,
  Like "whispering winds" along the way,
  The same sound starts, a charming art,
  Engaging mind and eager heart.
  And assonance, a chiming sound,
  Like "light bright skies" on hallowed ground,
  Repeats the vowel, a gentle hum,
  Before the closing words do come.

  Then consonance begins to weave,
  Like "black specked track," you will believe,
  A repetition, soft and deep,
  Of consonant sounds, secrets to keep.
  The refrain, a line that comes again,
  A whispered echo, now and then,
  To emphasize, to make it clear,
  A thought or feeling held so dear.

  We speak of lines, how they combine:
  A trimeter has three lines, divine.
  A tetrameter, with four beats strong,
  Where melodies and thoughts belong.
  A pentameter, with five it flies,
  As Shakespeare's noble verse implies:
  "Shall I · compare · thee to · a sum·mer's day?"
  A perfect example, come what may.
  And hexameter, with six it gleams,
  Like epic tales and waking dreams.

  The rhyme concludes, a joyful chime,
  In perfect synchrony with time.
  A masculine one, strong and bold,
  Like "day" and "play," a story told.
  A feminine one, with gentle grace,
  Like "flowing" and "going," in its place,
  Two syllables, the second soft,
  A whispered echo, borne aloft.

  A limerick with wit and zest,
  Its "AABBA" rhyme, a playful test:
  There once · was a man · from Naga·saki,
  Whose poems · were not · very tack·y.
  He wrote · them with glee,
  For the world · to see,
  And his meter · was never · quite lack·y.

  So this verse, a lesson clear,
  Explains the art we hold so dear.
  From rhythm's pulse to rhyme's sweet end,
  A poem's magic, our true friend.
  A verse for learning, light and free,
  The grandest tapestry for thee!

The Bard’s Blueprint (A Verse Compendium), by Gemini ⇑

  In prosody's realm, where words alight,
  We weave a tapestry of sound and light.
  Each syllable, a tiny, measured beat,
  Guiding our rhythm, bittersweet.
  The vowel's open song, a flowing grace,
  While consonant defines its very space.
  Hear pitch ascend, a note held high or low,
  And accentuation makes the meaning glow.
  A word accented, bold and standing clear,
  Dispelling doubt, removing every fear.

  A stanza forms, a thought contained and neat,
  From couplet's pair to octave's full retreat.
  A tercet often three, a gentle chime,
  Then quatrain strong, conquering space and time.
  A quintet's five, a playful, lively bound,
  While sestet brings conclusions all around.
  A septet stretches, gathering the theme,
  Before the verse fulfills its waking dream.

  Now scansion calls, our guide through patterned ways,
  To mark the feet in poetry's vast maze.
  The iamb strolls, "da-DUM," a steady pace,
  (Or iambus called in time and place).
  The trochee falls, "DA-dum," a downward trend,
  (Trochaic's nature, to the very end).
  The choree too, another name you'll find,
  For trochee's sister, for the musing mind.
  The anapest skips, "da-da-DUM," so fleet,
  "Twas the night · before · Christmas," oh so sweet!
  The dactyl gallops, "DA-dum-dum," with might,
  "Hick-o-ry · dick-o-ry · dock," how it takes flight!
  The spondee lands, "DA-DUM," with solemn sound,
  Like "cold · stones" laid upon the hallowed ground.
  The pyrrhic flits, "da-da," a whispered grace,
  Two unstressed beats, lost in time and space.
  (Dibrach, by some, for this light step is known,
  Two "x" marks, where no strong stress is sown.)

  More feet arrive, to stretch the poetic art:
  The amphibrach, "x / x," a beating heart,
  "To mar·ket to · mar·ket," a subtle sway,
  A central stress upon its gentle way.
  The cretic strikes, "/ x /," a forceful blend,
  Like "true · love · true," until the very end.
  The molossus, "///," three stresses in a line,
  "Deep · dark · night," its power truly fine.
  The paeon, four, with just one stress held grand,
  A varied pulse across the poetic land.

  When alliteration starts to gleam,
  Like "slippery snakes," a shimmering stream,
  The same sound starts, a charming, whispered art,
  Engaging mind and eager, beating heart.
  And assonance, a chiming, inner grace,
  Like "mellow wedding bells" in time and space,
  Repeats the vowel, a sweet, recurring hum,
  Before the closing phrases gently come.

  Then consonance begins its subtle play,
  Like "pitter-patter," at the close of day,
  A repetition, soft and deep, unseen,
  Of consonant sounds, where shadows convene.
  The refrain, a line that comes again,
  A whispered echo, now and then,
  To emphasize, to make the meaning clear,
  A thought or feeling held profoundly dear.

  We speak of lines, how many beats they hold:
  A trimeter has three, a story told.
  A tetrameter, with four strong steps it strides,
  Where classic tales and easy rhythm glides.
  A pentameter, with five it grandly flies,
  As Shakespeare's noble verse often implies:
  "A rose · by an·y oth·er name · would smell · as sweet."
  A measured rhythm, wonderfully complete.
  And hexameter, with six it brightly gleams,
  Like epic voyages and waking dreams.

  The rhyme concludes, a joyful, perfect chime,
  Connecting lines, defying passing time.
  A masculine one, strong and bold and brief,
  Like "day" and "play," bringing quick relief.
  A feminine one, with gentle, soft embrace,
  Like "flowing" and "going," in its proper place,
  Two syllables, the second soft and light,
  A whispered echo in the fading night.

  So this long poem, a lesson clear and bright,
  Explains the art that fills the soul with light.
  From rhythm's pulse to rhyme's sweet, whispered end,
  Poetic magic, our forever friend.
  May this verse help, in every single way,
  To light your path through poetry's grand display!

The Song of Poetry, by Grok ⇑

  Poetry’s pulse, a verse of vibrant sound,
  Each syllable a step where dreams are found.
  Vowels sing clear, their pitch a soaring flight,
  Consonants clash, with accented delight.

  Iambus, soft, da-DUM, the heart’s own beat,
  “To be or not to be”, Hamlet’s repeat.
  In pentameter, five iambs gently glide,
  A couplet seals the rhyme, with love as guide.

  Trochee, or choree, DUM-da, bold and spry,
  “Tyger, Tyger, burning bright”, Blake’s cry.
  Trochaic tetrameter, four steps in stride,
  Masculine rhyme, like “night”, cuts sharp with pride.

  Anapest, da-da-DUM, leaps light and free,
  “And the sheen of their spears was like stars on the sea”,
  Byron’s quatrain, in rhythm wild and grand,
  Assonance hums, with “sheen” and “sea” at hand.

  Dactyl, DUM-da-da, sways in lilting fall,
  “Half a league, half a league”, Tennyson’s call.
  Hexameter rolls, a six-beat mighty wave,
  Consonance links, with “league” sounds that engrave.

  Spondee, DUM-DUM, stomps heavy, loud, and sure,
  “Out, out”, cries Macbeth, with grief’s allure.
  Pyrrhic, or dibrach, da-da, soft and fleet,
  In trimeter, it dances, light on feet.

  Amphibrach, da-DUM-da, swings with gentle grace,
  “The night was alive with a song in its place”.
  Cretic, DUM-da-DUM, bold in measured tone,
  Molossus, DUM-DUM-DUM, thunders on its own.

  Paeon, DUM-da-da-da, a playful, skipping air,
  In limerick form, it laughs without a care:
  “A poet from Stratford did write,
  With alliteration so bright,
  His verse sparkled fair!”

  Tercet, three lines, or quintet, five in song,
  Sestet, six, or septet, seven strong,
  Octave, eight, crafts a sonnet’s stately frame,
  Prosody weaves their rhythm, none the same.

  Refrain returns, a chant to bind the heart,
  “Do not go gentle”, Thomas’ fiery art.
  Scansion charts the feet, the stress, the flow,
  Accentuation lifts where words must grow.

  Feminine rhyme, like “dancing” and “prancing”,
  Softens the close, with extra syllables glancing.
  Stanza and rhyme, the poet’s joyful play,
  Sing poetry’s song through night and day.
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