Synonymer & Anagram | Engelska ordet IAMB

Exempel på hur man kan använda IAMB i en mening

• But they may also be described using terms borrowed from the metrical feet of poetry: iamb (weak–strong), anapest (weak–weak–strong), trochee (strong–weak), dactyl (strong–weak–weak), and amphibrach (weak–strong–weak), which may overlap to explain ambiguity.
• A common variation in an amphibrachic line, in both Russian and English, is to end the line with an iamb, as Thomas Hardy does in "The Ruined Maid" (1901): "Oh did n't / you know I'd / been ru in'd / said she".
• Although strictly speaking, iambic pentameter refers to five iambs in a row (as above), in practice, poets vary their iambic pentameter a great deal, while maintaining the iamb as the most common foot.
• The meter is iambic tetrameter, with each line having four two-syllable feet, though in almost every line, in different positions, an iamb is replaced with an anapest.
• De mensurabili musica describes six rhythmic modes, corresponding to poetic feet: long–short (trochee), short–long (iamb), long–short–short (dactyl), short–short–long (anapest), long–long (spondee), and short–short (pyrrhic).
• In the prosody of English and other modern European languages, "choriamb" is sometimes used to describe four-syllable sequence of the pattern stressed-unstressed-unstressed-stressed (again, a trochee followed by an iamb): for example, "over the hill", "under the bridge", and "what a mistake!".
• In iambic and trochaic metres a tribrach can replace either an iamb (u –) or a trochee (– u) at any place except immediately before the end of the line or before the central dieresis.
• "x x" is known as the Aeolic base, which can be a spondeus "– –", a trochee "– u", or an iamb "u –".
• The double stress on "White Chief" comes from the substitution of a spondee in place of the iamb, mirroring previous substitutions in the poem, rather than a molossus.
• Metrically, the entire poem is written in using the four-foot iamb, one of Pushkin's preferred meters, a versatile form which is able to adapt to the changing mood of the poem.
• He then described the common metre (iamb, trochee, amphibrach, or mixed), melody (which is difficult to record), and rhythm (not an essential feature of Lithuanian songs).
• The shots in these rhythmic units mimic in their length pattern some of the known metrical feet of poetry such as iamb (short-long), anapest (short-short-long) and trochee (long-short).
• The paeon (particularly the first and fourth) was favored by ancient prose writers since, unlike the dactyl, spondee, trochee, and iamb, it was not associated with a particular poetic meter, such as the hexameter, tetrameter, or trimeter, and so produced a sound not overly poetical or familiar.
• The six rhythmic modes set out by the treatise are all in triple time and are made from combinations of the note values longa (long) and brevis (short) and are given the names trochee, iamb, dactyl, anapest, spondaic and tribrach, although trochee, dactyl and spondaic were much more common.
• It is written in iambic heptameter, as it is written in iambs and contains seven metrical feet per line, each of which can be considered a fourteener, as each iamb consists of two syllables.

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