When you go to the eye doctor to check your
vision, they sit you down in front of what’s
called a phoropter and flip through a series
of lenses to determine the best one for your
eyes.
“Is this better, or is this better?”
When you get the wrong lens combination, the
world blurs and you have trouble reading letters.
When you get the right combination, those
letters sharpen and you can read.
Reading a poem’s meter aloud is a similar
way to test your ears.
Consider this line of poetry—the opening
to William Shakepeare’s famous sonnet 18.
Which of the following readings sounds better?
This one: “shall I comPARE thee TO a SUMmer’s
DAY?” or This one: “SHALL i COMpare THEE
to A sumMER’s day?”
The first one, right?
What about this this opening line to Edgar
Allan Poe’s poem “The Raven”?
This one: “ONCE upON a MIDnight DREARy,
WHILE i PONdered WEAK and WEARy”?
Or this one: “once UPon A midNIGHT drear-Y,
while I ponDERED weak AND wear-Y”?
The first one, right?
In both cases, the reason that the first example
works is because my pronunciation matches
the poetic meter of the words in each line.
The other readings I’ve read in the opposite
meter, and they sound funny and unnatural.
So how do we describe this difference?
The most common way to do so in English is
to follow the stresses in each phrase of the
line.
As you probably know, words in the English
languages are composed of a set of stressed
and unstressed syllables.
In poetry, these syllables are often arranged
to create repeating, sonic units—what literary
critics call “feet”--that compose the
meter of a given poem.
Shakespeare’s sonnet, “Shall I compare
thee to a summer’s day?” has the following
metrical pattern (da DUM, da DUM, da DUM,
da DUM, da DUM).
The repeating unit here is one unstressed
syllable and one stressed syllable.
This type of metrical foot is called an iamb
and there are five of them here.
Since “penta” is the prefix for five,
we call this metrical form “iambic pentameter,”
the most common meter in English poetry.
In Poe’s line, “Once upon a midnight dreary,
while I pondered weak and weary,” you’ll
notice the opposite pattern (DA dum, DA dum,
DA dum, DA dum, DA dum DA dum Da dum DA dum.”
The repeating unit in this pattern is one
stressed and one unstressed syllable.
This metrical foot is called a trochee and
there are 8 of them in this line.
Since “octo” or “octa” are the prefixes
for 8, we call Poe’s metrical form “trochaic
octameter.”
Iambs and trochees are two of the most common
types of poetic feet, so you’ll definitely
want to look for them when reading poetry.
But poems can also use metrical units of three
syllables.
Consider the following opening lines from
Clement Clarke Moore’s “A Visit from St.
Nicholas”: “Twas the night before Christmas
when all through the house, not a creature
was stirring, not even a mouse.”
Here, the meter pattern is: unstressed unstressed
stressed, unstressed unstressed stressed.”
(“Twas the NIGHT before CHRISTmas.”)
This unit is called an anapest, and there
are 4 of them in each line here.
The prefix for 4 is “tetra”, so the meter
is anapestic tetrameter.
The final common metrical foot is the opposite
of an anapest: a dactyl, which is a 3-syllable
unit that starts with a stress and ends with
two unstressed syllables.
The Greek poet Homer adopts this form in his
great epic poems The Iliad and The Odyssey,
and poems in English that adopt the dactylic
form often allude to this legacy.
For example, Henry Wadsworth Longfellow uses
dactylic hexameter in his epic poem “Evangeline,”
which begins: “This is the forest primeval,
the murmuring pines and the hemlocks.”
Dactyls may seem rare, but rap artists have
recently adopted this triplet form to great
effect.
Consider the following lyrics from Migos’
song “Versace”:
Drownin' in compliments, pool in the backyard
that look like Metropolis
I think I'm sellin' a million first week,
man, I guess I'm an optimist
Born in Toronto, but sometimes I feel like
Atlanta adopted us
Though the subject is obviously very different,
the meter here is identical to Longfellow’s
(and, by extension, Homer’s) epic poetry.
Because there are six dactyls in each line,
the meter of this song is also dactylic hexameter.
Iamb, trochee, anapest, dactyl.
If you can recognize these four kinds of metrical
feet, you’ll be well on your way to reading
poetry in a clearer and more natural sounding
way.
The next step, of course, is to determine
why that matters—how meter can be used not
only to read a poem or song but also to interpret
it.
While there are many ways to answer this question,
let me give you one simple suggestion that
I have found useful in my teaching.
Once you have identified the dominant metrical
form in a given poem, look for moments where
the meter breaks from that form.
These moments are often good places to build
out an interpretation, because when we spot
them, we can ask WHY the meter breaks at that
place and what that sonic dissonance might
be conveying.
Consider the start of John Milton’s epic
poem “Paradise Lost,” which tells the
story of Adam and Eve’s exile from the garden
of Eden.
While the poem is written in iambic pentameter,
see if you can spot the moment where the meter
breaks in these opening lines:
“Of Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal tast
Brought Death into the World, and all our
woe”
If you can spot the metrical problem, you
can now ask WHY Milton might have chosen to
break the meter at that specific moment.
If you have any ideas, I hope you’ll share
them with me in the comments section below.
In the meantime, good luck, stay healthy,
and happy reading.
