This article expands on the article "Discovering the Iamb and the Trochee".
The anapaest (‘an uh ,pest) and the dactyl (‘dact ul) are each a foot consisting of three syllables. The anapaest consists of two unaccented syllables followed by an accented syllable. In a way, it can be looked at as an extension of the iamb in that it uses one more unaccented syllable. The dactyl consists of an accented syllable followed by two unaccented syllables, and this can be looked at as an extension of the trochee for the same reason.
The anapaest and the dactyl occur naturally in poetry, but they can sometimes be very difficult to use intentionally, placing them in particular locations in compliance with metrical schemes. It is fairly rare that a line of three or more feet will be purely anapaestic (,an uh ‘pest ick) or dactlyic (dac ‘till ick). Generally, these feet are mixed in with iambs and trochees.
What I see the anapaest and the dactyl doing is creating variation in lines of poetry that would otherwise be overly iambic or trochaic. Purely iambic or trochaic lines of poetry can create powerful, stately presentations that are sonorous and rich in texture. Such lines of poetry can establish heavy and contemplative moods in the reader. Conversely, the iamb and trochee are also quite capable of conveying lightheartedness and whimsy. Naturally occurring in language, the anapaest and the dactyl tend to work with the iamb and trochee to accentuate mood and texturize ideas. For the poet who is interested in exploring the way these feet affect language, their effect can be used consciously to accentuate particular elements in a line and create certain textures.
Because such prosodic effects on the reader are largely subjective and subconscious, it becomes difficult to discuss exactly what combinations of feet will create which effects on a reader in relation to the language content. It is impossible to know or to generalize. However, the poet can explore the use of the anapaest and the dactyl and come to his or her own conclusions based on experimentation and practice.
As with the iamb and the trochee, information about the anapaest and the dactyl from a purely technical standpoint is abundant, yet there are not a lot of examples that demonstrate their use in diverse structures. Starting with the anapaest, I will exemplify them in detail so that they may be seen to work functionally. Classical prosody used a slash (/) and a "U" to indicate accented (/) and unaccented (U) syllables. I have developed my own notation, which I feel is more appropriate. I use the period (.) for unaccented syllables and the dash (-) for accented syllables.
Let's start looking at line structures. Following are five examples of anapaestic lines, starting from the shortest possible line containing an anapaest, a single anapaest, to a line containing five anapaestic feet. After each example line below, I provide its notation and a parenthesized division of the line’s anapaests followed by some notes.
I look west
. . -
(
I look west)
A line containing a single anapaest. If some emphasis is put on the first word, "I", this line will not be an anapaest. One of the challenges in working with meter is taking into consideration the different ways a line can be scanned. I chose this particular combination of words to exemplify an anapaest because the word "look" will generally suppress a potentially "accentuable" preceding syllable, and the word "west" will generally do the same. So, "look" should hopefully suppress the accentuation of "I" while "west" should in turn do the same with "look", making this an anapaest. Consider also that an existing metrical scheme will often influence the way a particular line reads one way or the other. As you continue looking at these examples, bear in mind that the first syllable of a line opening with an anapaest could potentially be accentuated, depending on variables.
So I look to the west
. . - . . -
(
So I look) (to the west)
A line containing two anapaestic feet. Two-foot lines are referred to as a "dimeter" (nounal) or "bimetric" (adjectival), so this is called anapaestic dimeter.
There I stood at the edge of the world
. . - . . - . . -
(
There I stood) (at the edge) (of the world)
A line containing three anapaestic feet. Three-foot lines are referred to as "trimeter" or "trimetric", so this is called anapaestic trimeter.
Here I stand by the edge of a lake in my dream
. . - . . - . . - . . -
(
Here I stand) (by the edge) (of a lake) (in my dream)
A line containing four anapaestic feet. Four-foot lines are referred to as "tetrameter" or "tetrametric", so this is called anapaestic tetrameter. By now you may be starting to see why purely anapaestic lines three feet or longer are fairly rare. Try reading this tetrameter out loud a couple of times. It is in the nature of the anapaest and the dactyl to speed up the flow of language. When you have three or more of them in a row it can begin to sound like another language altogether when spoken out loud because the verbal pace becomes so quickened. This is also why I am only providing examples up to five feet, because it is really not worth your time or mine to study lines beyond five feet that are purely anapaestic or dactylic.
Then I went to a place where the angels were dancing in pairs
. . - . . - . . - . . - . . -
(
Then I went) (to a place) (where the an)(gels were danc)(ing in pairs)
A line containing five anapaestic feet. Five-foot lines are referred to as "pentameter" or "pentametric", so this is called anapaestic pentameter. You may have heard people refer to a poem as having a bad case of the "iambic trots", but I am here to tell you that the iambic trots are far, far more preferable than the "anapestic gallops". This line is an example only. I think the average reader would be hard pressed to find an actual line of English poetry that is a pure anapaestic pentameter, and I doubt that four lines in a row, a quatrain, presently even exists that is written in pure anapaestic pentameter. Consider that a line of catalectic trochaic octameter (eight trochees with the final unaccented syllable omitted) will contain as many syllables as this example line, but will read more easily. So that you may compare such a line to the above, I’ll demonstrate the dramatic difference:
Angels dance in pairs on nimbus clouds to celebrate the dawn
- . - . - . - . - . - . - . -
(
Angels) (dance in) (pairs on) (nimbus) (clouds to) (cele)(brate the) (dawn)
I plan to dedicate another article to the identification of different types of lines in poetry.
The dactyl is of course the exact inverse of the anapaest, with the first syllable accented instead of the last. As with the anapaest, or any foot, the dactyl can be comprised of a single word, multiple words, or parts of words. In the illustrating examples above and below, you’ll notice that I split words between the parenthesized feet, and that more than a single word often comprises a foot.
Here are five examples of dactylic lines, starting again from the shortest possible line containing a dactyl, a single dactyl, to a line containing five dactylic feet.
Poisonous!
- . .
(
Poisonous)
A line containing a single dactyl. I chose a single word to illustrate a line that contains a single dactyl because it is easy to accentuate the last syllable of a dactyl when that last syllable is its own word. Compare the word "poisonous" to the phrase "listen now". This of course would change the way the line is scanned. Even with the word "poisonous" by itself, there is a slight accentuation of the final syllable, bordering on becoming a secondary accent. This will often happen when a dactyl occurs at the close of a line. Please bear this in mind as you continue to read the examples below.
Why are you questioning?
- . . - . .
(
Why are you) (questioning)
A line containing two dactylic feet. This is called dactylic dimeter.
Answers should hold to your questioning
- . . - . . - . .
(
Answers should) (hold to your) (questioning)
A line containing three dactylic feet. This is called dactylic trimeter.
Something is wrong with these cookie-cut bungalows
- . . - . . - . . - . .
(
Something is) (wrong with these) (cookie-cut) (bungalows)
A line containing four dactylic feet. This is called dactylic tetrameter. Note that the word "bungalow" generally has a secondary accent on its final syllable, which would normally be counted into the meter. However, because of the force of the preceding dactyls, that final accent seems to be suppressed considerably. This accentual interrelationship within and between lines of poetry is something really worth meditating upon when working with meter. As I’ve pointed out before, the lines surrounding a given line in a poem will have influence on that line’s meter. Many of the lines I use as examples will read differently when juxtaposed with other lines of varying meters.
Thousands of silver-back grunion now flip in prosperity
- . . - . . - . . - . . - . .
(
Thousands of) (silver-back) (grunion now) (flip in pro)(sperity)
A line containing five dactylic feet. This is called dactylic pentameter. Note again that that final syllable could be accented, and some will probably read it thus because the length of this particular pentameter will make it tempting.
As I mentioned before, anapaests and dactyls are generally mixed in with iambs and trochees. It is very rare that you’ll see an anapaestic or dactylic pentameter in your reading of poetry, especially since readers will often subconsciously shift some of the syllables in a long series of anapaests or dactyls in order to slow down the pace.
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