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



(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 ?
As compared to the random trochee, the index of the first duration in Kreutzwald's verse is lower in all odd positions, while the index of the third duration is higher.
Foot-final lengthening occurs when the constraint TROCHEE, which requires stress to fall on the foot-initial syllable, and the constraint Iamb, which requires the foot-final mora to be strong, are both satisfied.
Warner of Rouen), it is also possible that the line is deliberately non-metrical, part of a lost game of metrics, perhaps, between Warner and Moriuht (who is cited in Warner's satire on Moriuht as making metrical errors, including putting a spondee rather than a trochee at the end of a hexameter).
The trochee is too much akin to wild dancing: we can see this in tetrameter verse, which is one of the trochaic rhythms.
It is thus unclear whether secondary stress might vary in its location depending on vowel length as potentially predicted by the moraic trochee analysis proposed by P.
He adds to the common Spondee, Iambus, and Trochee rarer rhythms with their patterns--"Tell me, divinest / Annabella, tell me"--; and after playing with a particularly gnarled meter notes that "in English & German we form our harmony from tone not quantity--or perhaps as our quantity depends on the Intonation / & as this system of Intonation is almost always in utter discord with the position of the Latin Quantities--So no Englishman or German can read this measure in the original so as at once to let a hearer perceive the sense & the harmony" (CN 1.
Jargon can't publish any jazz with imprimaturs from the Establishment so you'll have to do something unpleasant, like tossing a lighted trochee down Wm Meredith's Victorian chug/chug.
which cracks and crazes around the middle line of each stanza, that steady, constant B rhyme, buried firmly there in the (all too short) lease; and more specifically, the reversed initial foot in line 7, that sudden trochee troubling the 'here' where the speaker and--blessedly, temporarily--we readers are.
The second contrast is prosodic, and distinguishes nominals whose genitive singular form ends in a light trochee from nominals whose genitive singular exhibits a non-trochaic pattern.
Thus, after three regular iambic lines, he resorts to a trochee at the beginning and at the end of the line, "balanced by her own weight, not did the ocean," which gives it an unexpected lift; the word "ocean" itself seems to crest at the rim of the verse before spilling over into "extend her arms to the margins of the land," with its ripple of assonance in "arms" and "margins.
Jargon can't publish any jazz with imprimaturs from the Establishment, so you'll have to do something unpleasant, like tossing a lighted trochee down Wm Meredith's Victorian chug/chug .
Caesura, breath, drama, intent; can trochee, anapest, tongue,