trochee


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trochee

Prosody a metrical foot of two syllables, the first long and the second short (– ⌣)

Trochee

 

(1) In metric versification, a foot three moras in length, consisting of one long and one short syllable (¯ ˅).

(2) In Russian syllabotonic versification, a two-syllable foot stressed on the first syllable. In trochaic verse the weak syllables are unstressed and the strong syllables may be either unstressed or stressed; the last syllable in a line must be stressed. Examples are Górnye vershíny (“Mountain peaks,” M. Iu. Lermontov; trochaic trimeter), Búria mglóiu nébo króet (“The storm covers the sky with mist,” A. S. Pushkin; trochaic tetrameter), Vykhozhúodín ia na dorógu (“I go out on the road alone,” Lermontov; trochaic pentameter), and Nét na svéte múk sil’née múki slóva (“There are no torments on earth more intense than the torment of the word,” S. Ia. Nadson; trochaic hexameter).

In Russian poetry of the 18th and 19th centuries the most common trochaic meter was the tetrameter. Beginning in the mid-19th century the trochaic pentameter became more widespread; other trochaic meters were rarely used.

References in periodicals archive ?
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").
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.