At every hour, he was a limner of limericks, a form that first seized hold of him at midcentury and refused to relinquish its anapestic grip until the end of his life.
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Click here to view original GIFKaptain Kristian's latest explainer video is a fun one: he explains how the anapestic tetrameter rhyming style of Dr. Seuss helped us better understand language as kids, all while rhyming in the video himself.
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In like manner we have anapestic lines of all lengths from monometer to hexameter.
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This is one of the few Seuss works in verse that is not anapestic tetrameter.
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In an anapestic pair, each word is an anapest and has the first and second syllables unstressed and the third syllable stressed. At this time, no anapestic pairs have been found. The pair "uneclipsed, unellipsed" is disqualified because uneclipsed also rhymes with ellipsed, and because unellipsed also rhymes with eclipsed.
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An anapestic or dactylic trimetrical line will have nine syllables, and a trisyllabic tetrametrical line will have twelve syllables.
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Anapestic tetrameter is a poetic meter that has four anapestic metrical feet per line. Each foot has two unstressed syllables followed by a stressed syllable. It is sometimes referred to as a "reverse dactyl", and shares the rapid, driving pace of the dactyl.The Oxford Companion to Shakespeare (2001) Ed. Michael Dobson and Stanley Wells, Oxford University Press.
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Anapestic tetrameter is a rhythm for comic verse, and prominent examples include Clement Clarke Moore's "A Visit from St. Nicholas" and the majority of Dr. Seuss's poems. When used in comic form, anapestic tetrameter is often highly regular, as the regularity emphasizes the breezy, melodic feel of the meter, though the initial unstressed beat of a line may often be omitted.
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At the "high end" of closed forms are the sestina and villanelle. At the "low end" are forms such as the limerick, which follows a metrical pattern of two lines of anapestic trimeter (three anapests per line), followed by two lines of anapestic dimeter (two anapests per line), followed by one line of anapestic trimeter. (The beginning of the metrical foot does not have to coincide with the beginning of the line.) Any poem following this metrical pattern would generally be considered a limerick, however most also follow an AABBA rhyme scheme. Most limericks are humorous, and many are ribald, or outright obscene (possible rhymes that could follow an opening like "There once was a man from Nantucket" are left as an exercise for the reader).
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An 1813 poem by Lord Byron, The Destruction of Sennacherib, commemorates Sennacherib's campaign in Judea from the Hebrew point of view. Written in anapestic tetrameter, the poem was popular in school recitations.
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If I Ran the Zoo is a children's book written by Dr. Seuss in 1950. The book is written in anapestic tetrameter, Seuss's usual verse type, and illustrated in Seuss's pen-and-ink style.
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Nay! nay! mistress. (1–7)Full text at Bartleby.com Percy Bysshe Shelley in his poem On an Icicle that Clung to the Grass of a Grave used anapestic tetrameterEdward Morton Payson, English versification, Modern Language Notes, Vol.
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The principal theorist of rhythmic genera was Aristides Quintilianus, who considered there to be three: equal (dactylic or anapestic), sesquialteran (paeonic), and duple (iambic and trochaic), though he also admitted that some authorities added a fourth genus, sesquitertian .
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Poet Daniel Hoffman analyzed the fluctuating meter and determined that Part I begins as octosyllabic couplets then shifts to pentameter couplets with occasional interludes of alternately rhymed trimeter-dimeters. Part II generally uses pentameter couplets with an interlude of anapestic dimeters.
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The poem's meter is a fairly regular anapestic trimeter with some use of iambs and the final line of each stanza containing only two feet. It uses an eight line stanza with the rhyme scheme ABABCDCD and regularly uses feminine rhyme for the A and C rhymes, often rhyming the name "Dolores". A considerable quantity of catalexis is present, but this is fairly regular in its application. The poem, like a number of others by Swinburne, is notable for its use of anapestic verse to create a serious and somber mood rather than the comic effect for which anapests are more commonly encountered in English, as in the limerick.
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The famous opening line of the book "Last night I dreamt I went to Manderley again." is an iambic hexameter. The last line of the book "And the ashes blew towards us with the salt wind from the sea" is also in metrical form; almost but not quite an anapestic tetrameter.
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"Poor Susan" is a lyric poem by William Wordsworth composed at Alfoxden in 1797. It was first published in the collection Lyrical Ballads in 1798. It is written in anapestic tetrameter. The poem records the memories awakening in a country girl in London on hearing a thrush sing in the early morning.
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Karl Budde's view, that :"a foot which is lacking in one-half of a verse may find a substitute in the more ample thought of this shorter line"., p. 47. Furthermore, the verse of the Old Testament poetry is naturally iambic or anapestic, as the words are accented on one of the final syllables.
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Through mountains, through valleys, With snow and with the sun beating down. To the beat of the bugle, Of bombs, of cannons, Whose thunderous report Makes your ears ring. Cherubino, to victory: To glory in battle! The meter of the verse is anapestic trimeter for the first two stanzas, trochaic tetrameter for the remainder.
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As Mulberry Street is Geisel's first children's book, Donald Pease calls it "the scene of origin for all of Dr. Seuss's children's books".Pease (2010), p. 85 After several books in prose, Geisel returned to verse for 1940's Horton Hatches the Egg, using the same "galloping, rollicking, anapestic tetrameter rhyme scheme"Fensch (2001), pp. 82–83 he had used for Mulberry Street.
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The technique is seen in Old English poetry, and in lines of iambic pentameter, the technique applies a variation on the typical pentameter line causing it to appear at first glance as trochaic. The O! in the opening of "The Star-Spangled Banner" ("Oh, _say_ , can you _see_ , by the _dawn's_ early _light_...") is an anacrusis in the anapestic tetrameter of the lyrics.
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The instruction manual contains a popular Engrish recognized by many gamers: "As is Chester Cheetah way, is one-person play." The Engrish spawned due to bad translations and an attempt to rhyme in anapestic tetrameter like Dr. Seuss. No actual mention of the Cheetos snack food is made in the game, but Chester's health points are represented as Cheetos Paws. Electronic Games gave the SNES version 82%.
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Zorgamazoo (2008) is Canadian children's author Robert Paul Weston's first novel. The work is a fantasy adventure, written entirely in rhyming anapestic tetrameter. The story follows a young girl named Katrina Katrell, who runs away from home when her guardian threatens her with a lobotomy. Seeking shelter beneath the street, she meets Mortimer Yorgle, who belongs to a subterranean race of creatures called zorgles.
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180 The poem is based on the biblical account of the historical Assyrian siege of Jerusalem in 701 BC by Assyrian king Sennacherib, as described in the Bible (2 Kings 18–19, Isaiah 36–37). . The rhythm of the poem has a feel of the beat of a galloping horse's hooves (an anapestic tetrameter) as the Assyrian rides into battle.Paul Fussell (1979), Poetic Meter and Poetic Form.
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Within and Without: A Dramatic Poem is an 1855 poetic play, the first published work of Scottish author George MacDonald. It is written mostly in unrhymed iambic pentameter, although portions are written in rhymed iambic pentameter, mixed iambic and anapestic tetrameter, and other forms. In its original printing, the piece is 183 pages long. It is prefaced with a dedicatory poem entitled "To Louisa Powell MacDonald" (MacDonald's wife).
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Longfellow circa 1850s Much of Longfellow's work is categorized as lyric poetry, but he experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads, and sonnets. Typically, he would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melodious musicality.
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Bartholomew and the Oobleck is a 1949 book by Dr. Seuss (Theodor Geisel). It follows the adventures of a young boy named Bartholomew Cubbins, who must rescue his kingdom from a sticky green substance called "oobleck." The book is a sequel of sorts to The 500 Hats of Bartholomew Cubbins. Unlike most of Geisel's books, which are written in anapestic tetrameter, Bartholomew and the Oobleck is a prose work, like its predecessor.
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Nel notes that Geisel makes heavy use of anapestic tetrameter in Mulberry Street and many of his later books, citing the rhythm and draw of the books' language as a main reason for their appeal. Thomas Fensch also notes the rollicking rhythm of the verse in Mulberry Street and Geisel's other books, writing, "Children can read the lines; they can sing the lines; they can SHOUT! the lines; they can dance to the lines."Fensch (2001), p.
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This episode, like many routine Christmas specials, has an anapestic rhyming narration akin to a storybook. It begins in the forest, where Stan discovers a group of talking animals building a Christmas tree. They convince a surprised but apathetic Stan to help make a star for it, after which he goes home. That night, they wake him in his room and explain that one of the animals, a porcupine named Porcupiney, is pregnant with the creatures' savior.
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Lesser hendecasyllables often have an accent on the seventh syllable ("fàtta di giòco in figùra d'amóre"). Such a line is called dactylic (dattilico) and its less pronounced rhythm is considered particularly appropriate for representing dialogue. Another kind of greater hendecasyllable has an accent on the third syllable ("Se Mercé fosse amìca a' miei disìri") and is known as anapestic (anapestico). This sort of line has a crescendo effect and gives the poem a sense of speed and fluidity.
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The first line is set in regular iambic pentameter, but the flow of the syllables in line two can be called “accentual or anapestic”. Critics noted Whitman’s form of triangular-shaped stanzas beginning with a short line followed by longer lines. Some have understood that by starting the poem off with a short line, it the reader expect “regular” poetry which is relatable and understandable than Whitman's more experimental form. Whitman’s third and final phase of Leaves of Grass was also known as the “inscriptions” section.
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The work is an anapestic iambic septenary poem, a poetic meter unique in Blake's poetry to this poem, that describes the events surrounding the French Revolution. Blake was an early supporter of the American Revolution and believed that it would bring about liberty to the rest of mankind. The French, according to Blake, were stuck in a problematic feudal system that was represented by the Bastille, a prison that kept enemies of the state. As the work continues, he demands that the Bastille be removed and he explains how the American Revolution provoked the French Revolution.
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His lines are usually end-stopped rather than run-on, enjambments which further add to the sense of dynamism. Howard himself was critical of his own poetry and understanding of prosody, writing in a 1931 letter to H. P. Lovecraft: "I know nothing of the mechanics of poetry—I couldn't tell you if a line was anapestic or trochaic to save my neck. I write the stuff by ear, so to speak, and my musical ear is very full of flaws." Nevertheless, the rhythm, stress, and intonation are present in his works, regardless of his knowledge of the correct nomenclature.
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32, No. 2, pp. 281-297. Catalectic endings are particularly common where the rhythm of the verse is dactylic ( – u u ), trochaic ( – u ), or anapestic ( u u – ); they tend to be associated with the end of a strophe or period, so much so that it can almost be said that acatalectic forms cannot end a period. In classical verse, the final syllable of a line always counted as long, so that if a dactyl ( – u u ) is made catalectic, it becomes a spondee ( – – ). Ancient poetry was often performed to music, and the question arises of what music accompanied a catalectic ending.
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This poem has a pleasurable and appropriate rhythm, and that rhythm has a name: this poem is written in anapestic tetrameter. (This process of analyzing a poem's rhythms is called scansion.) The poem also rhymes (not all poems do), and the rhymes follow a pattern (they do not have to). In this case, the rhymes come right next to each other, which emphasizes them, and therefore emphasizes the sound, the physical nature, of the language. The effect of the poem's language derives in part from Byron's choice of an appropriate pattern of rhyme (or rhyme scheme): these adjacent, rhyming lines are called couplets.
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The first is mostly in prose (except that Rudolph speaks in anapestic tetrameter), written in 1947 but only published posthumously as Rudolph's Second Christmas (1992), and subsequently with the title Rudolph to the Rescue (2006). The second sequel is entirely in anapaestic tetrameter like the original: Rudolph Shines Again (1954). May also published four other children's books: Benny the Bunny Liked Beans (1940), Winking Willie (1948), The Fighting Tenderfoot (1954), and Sam the Scared-est Scarecrow (1972). May told his story of the writing of "Rudolph, the Red-Nosed Reindeer" in his article "Robert May Tells how Rudolph, The Red Nosed Reindeer Came into Being" from the Gettysburg Times published on December 22, 1975.
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This claim appears to originate from a 1980 article by Dr John Diamond entitled Human Stress Provoked by Digitalized Recordings. The core of the claim that PCM (the only digital recording technique available at the time) recordings created a stress reaction rested on "tests" carried out using the pseudoscientific technique of applied kinesiology, for example by Dr Diamond at an AES 66th Convention (1980) presentation with the same title. Diamond had previously used a similar technique to demonstrate that rock music (as opposed to classical) was bad for your health due to the presence of the "stopped anapestic beat". Dr Diamond's claims regarding digital audio were taken up by Mark Levinson, who asserted that while PCM recordings resulted in a stress reaction, DSD recordings did not.
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