Poetic Meters

[Phyx]

Poetic meters, outline your very essence of a poem. They are your flow, words, imagery and sound. Meters are what construct the very basic principles of your writing, and can sometimes evoke more imagery in the simple phrasing of syllables than the word can on itself. This is your dependant usage; the poetic format is completely hopeless without your use of meters, what is a meter? Well, I was just getting to that…

As we often write in no particularly scheme with the English Language, it’s easy to forget about your rhythmical value of sound, which is a cataclysmic mistake. A meter is the division of your lines into feet which proportionate your poetic skill. So, a meter basically holds everything into one poem that you can congregate, therefore you hold your syllables, feet, rhythm, and word skills (hyperbole, onomatopoeia, etc) within this meter -and without it, you have not a chance of becoming a successful poet.

As we write in English, we are not restricted to writing in classic format and having to flow the words in a set basic, for we can flood one into another, while in French and other languages, due to the creation of structurisation within the grammar, using meters in French is played by a completely different set of rules.

Syllable Meters

Binary Feet – Two Syllables

Iambs – Perhaps the most famous form throughout English, it is where the tension or exaggeration is stressed upon the second syllable, an example is the word ‘trapeze’.

Trochee – This is the exact difference between an Iamb, the effect is stressed upon the first syllable, an example is the word ‘stories’.

Spondee – Spondees are the rarest form of binaries, and consist of two syllables stressed identically. And example is the word ‘subdue’.

Ternary Feet – Three Syllables

Dactyl – Like a trochee, but with a third addition of a non-stressed; so the rhythm is stressed, non-stressed, non-stressed. An example is the word ‘poetry’.

Amphibrach – This is a semi-joint. Mostly used in three words, the pattern is unstressed, stressed, unstressed. An example is the word ‘remember’.

Amphimacer – Also known as a Cretic, this is only used in one word for maximum effect, but can be separated. It has three unstressed syllables. An example is the word ‘defining’. This is extremely rare, although one of the most useful techniques if used correctly.

Molossus – This is similar to the spondee, but much much rarer. It contains three stressed syllables for dramatic emphasis. An example is the word ‘piety’.

Feet Comparative

Once you have the basics of ternaries and iambics settled, you will want to know how many feet you want to apply to a line. Iambic Pentameter is possibly the most used, but you have hexameter, octameter…etc. It’s simple once you get the hang of it, just experiment before attempting anything of serious matter. Just read it with rhythm, and watch the flow weave, if nothing is spun, then try again.

Schemes

Consistent Metrical Scheme - If your piece lacks connection you may want to dictate the course of keeping everything basic and consistent. For example, decide that the centrical movement of your piece will be an iambic pentameter, and play by that. There are hundreds (it’s feasible for even thousands) of pieces that dominate this, since poetry didn’t advance much in the last few centuries.

Declarations with Trochees – Trochees are ultimate use of empathizing a point, so repetitive announcements of vague distinctions through your work are great. Particularly if you manage to blur your reader’s mind into thinking about what you’re portraying, like in horror, make it feel as if there’s an essence.

Exciting Ternary Feet – These are used to convey emotions of velocity (passion, terror, etc) that may result in a fiery burst from your piece. You must implore an adrenaline rush/emotional speed with it, as to make sure to ‘excite’ your reader into the point of the poem. Complex, but even simpler annotations can suffice from it’s power.

Lyrical Ternary Feet – These are music through poetic imagery, almost lyrics but still remaining the basic thesis of poetic format/vocabulary. The movement with this style must be perpetually perfect, without a grimace of flow, otherwise there’s absolutely no point in considering it ‘good’.

Fragmented Rhythm with Emphasis – If you are unable to split your poem into a basic scheme (Consistent Metrical) then toy with this card, and be sure to ploy iambs upon certain dramatic moments within your piece. This is a definite narrative poetry technique, and is usually frowned upon if used otherwise – but has been proved to work differently.

Rhythmical Actions – Using rhythm to create an aura of your actions is much easier than it sounds, all that’s needed is the understanding of metaphorical outputs. So, to describe a jump, you’d use the celestial force of gravity on the moon or something. Cliché that it may be, it often builds your poem into greatness.

Word Effects – Metrical Bonuses

Although meters on their own often produce enough of a poem, sometimes they need that extra bit of a gamble to really push the game along. An extensive amount is used from word sounds, as follows:
Rhyme – Rhythmical schemes are exceptionally hard to achieve, especially since you need a highly/moderately developed vocabulary to skim the borders of adequate. But, rhyming some of the finest words in the dictionary can be one of your most epic effects.

Assonance – Repetition of vowel beginning/endings/sounds, so, use words that sound similar and flow along with the vowels. An example is ‘Enigmatic entity...etc’

Alliteration – The same as assonance, but with consonants instead.

Juxtaposition – This is the use of two words which are the direct opposite, e.g. good and bad, to compare with a solid block of idea that your plot has demanded. Make sure the two words flow, and not to pop out some of the stupidest words in the dictionary that seem to contradict each other.

Letter Power – A key grip is needed to pull something off here, this is for consonants only, as using vowels has the opposite effect of what you intended. Letters can malform your scheme and words, so when describing a particular image, it’s imperative that use some words (that do not necessarily make sense) that correspond with your subject matter. An ‘s’ can be used for describing soft/symbolic things; water, quiet, texture and so on. Consult the sounding of the letter itself, before shadowing your subject matter.

Onomatopoeia – Words that connote their meanings, such as bang and slither. Use these words where unexpected, for the more points.

With meters, you will learn to mold terms correctly without the sickening act of double-joining your poetry into a pathetic flow that turns over upon itself. It’s all about sound, mostly, so just keep in mind about your phonology.

[appleofmyeye]

Thank you so much :). I don't actually write poetry but I am studying it right now, so it was helpful ^^.

[Carraka]

Also studying poetry right now -- you wrote a good guide. My book didn't contain as much on ternary feet, and I was disappointed when I learned we weren't going to get too much into scansion anyway. So I was left trying to discover the actual effects of meter on my own -- which failed -- so now I will just stare at your guide instead.

Two questions. "Definining?" What's that supposed to mean?

And "juxtapositioning": I'm not quite sure that's a word. To juxtapose is the verb, so you could say juxtaposing, but what's the point, when you could just use the perfectly lovely noun, juxtaposition?

[Phyx]

Both typos, which I shall immediately rectify.

[Carraka]

Hooray!

Oh, I forgot to thank you for the guide ...