Pushkin, an absolute and wise ruler in the iamb, looked at the
trochee as a neighboring region that did not always submit to him.
Concerning the very arrangement of accents in this poem, we arranged them according to the poetic size (iambic,
trochee, etc.).
In the 18th century, as a result of cultural reforms in Russia, iambs and
trochees appear also in Russian verse.
What has been said, allows us to draw two conclusions: first, there is a clear tendency in Estonian syllabic-accentual
trochee, according to which in even ('strong') positions heavy syllables are preferred, while in odd ('weak') positions the light ones.
Moraic
trochee ([[??].sub.[mu]][[sigma].sub.[mu]]) or ([[??].sub.[mu][mu]])
I gave up a good place." This is blank verse loosened by the substitution of a three-syllable foot for a two-syllable foot or an inversion of an iamb into a
trochee or an equalization of an iamb into a spondee in every line and sometimes in enjambment (the anapestic "But I / Hate").
Actaeo Aracyntho shows hiatus without correption which is a Greek metrical feature found in the Eclogues and mostly in Hellenistic contexts (60); while the line has four heterodyne feet along with the fifth and a main caesura after the third foot
trochee which is also a Greek feature [TEXT NOT REPRODUCIBLE IN ASCII]) (61) and the mythical exemplum (i.e.
Clare here uses to serious purpose the insights he facetiously develops in "Style," alternating regular iambic lines and those beginning with a dactyl or
trochee to mimic the soft then forceful breath of the wind and the inward melodies and outswelling raptures of the whitethroat's song.
Some of these factors may include prosodic aspects, such as words with different stress patterns (i.e., iambic,
trochee), words with different syllable structures (i.e., with or without onset or coda; words with medial coda vs.
Smith's remarks on metre, too, show an imperfect understanding of the topic: as only one example, Fowler's line 'Schip brokkin men whome stormye seas sore toss' begins with a heavy
trochee and ends with a heavy iamb, not with spondees (a term which should not be used of English verse at all (4)), and is well within the limits of permissible and indeed commonplace variation for a line in an iambic pentameter poem.
For instance, the battle between prose poetry and poetry that follows a
trochee, has been raging since the fifties, and has yet to abate.
Cleverly matching the German vowel with the English in "friend" he still cannot avoid giving stress on the downbeat "-less," thus altering the basic
trochee. In my solution, two monosyllables have the flexibility to let normal metrics take over.
