The other part of Zimmer's success, though, comes from metrical lessons he learned from his two alliterative "masters." Even though he stopped producing poetry, Zimmer's prose nonetheless incorporates such techniques as alliteration, poetic compounds, paratactic compression, the clearing of "extraneous" grammatical matter, and metrical patterns that include a high proportion of spondees
and trochees (in imitation of Old English A-type verses).
These lines are rich in spondees
which call attention to some key phrases.
It is also speeded up by the dactylic rhythm which gives the line two unstressed beats on 'thee with' and '-mine and', and then halted or drawn back by a concluding spondee
on 'fine drouth'.
Metrically, this sonnet predominantly features regular iambic pentameter, but the initial trochee in line 4 ("Peeps in") effectively reverses the rhythm and approximates the sudden entry of the starlight described there, and the spondee
"twin-angel" in line 12 provides apt emphasis as well.
A longer, 25-item version of the scale was found to correlate with objective measures of hearing (p < .01) including pure-tone average (r = 0.61), spondee
threshold (r = 0.59) and speech recognition (r = 0.42).
The length of the stem vowels of the Greek form [TEXT NOT REPRODUCIBLE IN ASCII] "Sidon," is assured by their filling the second spondee
of Odyssey 15.425: [TEXT NOT REPRODUCIBLE IN ASCII] "on the one hand from Sidon." The length of the first vowel of the gentilic shows up in its occurrence in the first and second dectyls, respectively, of Iliad 6.290 and 291: [TEXT NOT REPRODUCIBLE IN ASCII] "(of the women)/the Sidonian ones, whom godlike Alexander (= Paris) himself/led from the Sidonian [territory]." The short vowel of the second syllable of the Greek gentilic may mirror the constant defective writing in Hebrew s[i.sup.y]don[i.sup.y] or may have been shortened for metrical reasons.
Prosodic manipulation emphasizes the merging of the three subjects in the crucial thirteenth line, which echoes the title: "Christ in his unknown heart." The line bends the iambic pattern of the rest of the poem, its three feet composed of a trochee, an iamb, and a spondee
. Those last three accented syllables, "unknown heart" dictate a slowed, deliberate reading, directing the reader back to the paradox of ignorance and recognition encapsulated in the title.
"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.
Other 9-letter words PONCA CITY (near Wichita) RONCADORS SPONDEIOS (Anc Grk, whence spondee
) TRIDAKNOS (Anc Greek, whence tridacna) TRONADORS (sing.
"[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
, amphibrach, sponde e.
This test consisted of bisyllabic spondee
words, for example, railroad, buckwheat, iceberg, woodchuck and horseshoe.
This covers the traditional notions anapest, dactyl, iamb, and spondee
. Second, we group these moraic trochees by twos into hierarchical structures until we arrive at a single tree for each line and see which meters are binary, which are not, and to what degree.