ellauri001.html on line 2353: Syllables 5-7 of the second pāda must be a ja-gaṇa ("υ – υ") This enforces an iambic cadence.
ellauri078.html on line 97: Ballad Meter is a variant of Hymn Meter. Less formal and more conversational in tone than Common Meter, Ballad Meter isn’t as metrically strict, meaning that not all of its feet may be iambic. Also notice the rhyme scheme. Only the second & fourth line rhyme. Common Meter requires a strict ABAB rhyme scheme. The tone, the rhyme scheme, and the varied meter distinguish Ballad Meter from Common Meter.
ellauri097.html on line 697: “A Tuft of Flowers” is written in heroic couplets, with some variation from a strict iambic foot. All rhymes are masculine; the majority of lines are end-stopped. This, in part, gives the poem its marching, old-fashioned sound.
ellauri109.html on line 753: A heroic couplet is a traditional form for English poetry, commonly used in epic and narrative poetry, and consisting of a rhyming pair of lines in iambic pentameter. Use of the heroic couplet was pioneered by Geoffrey Chaucer in the Legend of Good Women and the Canterbury Tales, and generally considered to have been perfected by John Dryden and Alexander Pope in the Restoration Age and early 18th century respectively. A frequently-cited example illustrating the use of heroic couplets is this passage from Cooper's Hill by John Denham, part of his description of the Thames:
ellauri197.html on line 86: ‘Down By the Salley Gardens’ by William Butler Yeats is a two stanza ballad. Unlike many ballads, this one does not maintain its metrical pattern all the way through. The majority of the lines are written in iambic trimeter. This means that they contain three sets of two beats, the first of which is unstressed and the second stressed. Line two of the first stanza is a great example.
xxx/ellauri127.html on line 717: The poem begins with the line "A thing of beauty is a joy for ever". Endymion is written in rhyming couplets in iambic pentameter (also known as heroic couplets). Keats based the poem on the Greek myth of Endymion, the shepherd beloved of the moon goddess Selene. The poem elaborates on the original story and renames Selene "Cynthia" (an alternative name for Artemis). It starts by painting the typical rustic scene of trees, rivers, shepherds, and sheep. The shepherds gather around an altar and pray to Pan, god of shepherd pies and cocks. As the youths sing and dance, the elder men sit by the rivers of Babylon and bleat about what life would be like in the shades of Elysium.
xxx/ellauri170.html on line 107: The missing text at the beginning of line two is generally attributed to a printing error, since in the earliest version of the sonnet the second line begins with a repetition of the last three words of the previous lines, commonly called an eye-skip error, which breaks the iambic pentameter. Shakespeare's intention for the line is a subject of debate among scholars, with most modern scholars accepting the emendation, "feeding", based on internal evidence. Other guesses include "Thrall to", "Fool'd by", "Hemm'd by", "Foil'd by", "Fenced by", "Flatt'ring", "Spoiled by", "Lord of", and "Pressed by". Unfortunately, none of the "guesses" seem to work. "Feeding," for example, tends to "explain the joke," and does not let the poem build to the implication that the soul itself is culpable in man's struggle for spirit over the corporal self. Perhaps a better foot would be "disrobe." Musta paras on Lord of.
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