Iambic pentameter

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Iambic pentameter is a meter in poetry. It refers to a line consisting of five iambic feet. The word "pentameter" simply means that there are five feet in the line; iambic pentameter is a line comprising five iambs. The term originally applied to the quantitative meter of Classical Greek poetry, in which an iamb consisted of a short syllable followed by a long syllable. The term was adopted to describe the equivalent meter in English accentual-syllabic verse, where an iamb refers to an unstressed syllable followed by a stressed syllable. Iambic rhythms come relatively naturally in English. Iambic pentameter is among the most common metrical forms in English poetry: it is used in many of the major English poetic forms, including blank verse, the heroic couplet, and some of the traditional rhymed stanza forms. Iambic pentameter is commonly used in love poetry, due to its daDUM pattern resembling the beat of the human heart, the organ of love.

1 Simple example
2 Rhythmic variation
3 History in English
4 Criticism
5 Notes
6 References

[edit] Simple example

An iambic foot is an unstressed syllable followed by a stressed syllable. We could write the rhythm like this:

DUM

A line of iambic pentameter is five of these in a row:

DUM

We can notate this with a 'x' mark representing an unstressed syllable and a '/' mark representing a stressed syllable^[1]. In this notation a line of iambic pentameter would look like this:

The following line from John Keats' ode To Autumn is a straightforward example:^[2]

To swell the gourd, and plump the hazel shells

We can notate the scansion of this as follows:

x	/	x	/	x	/	x	/	x	/
To	swell	the	gourd,	and	plump	the	ha-	zel	shells

We can mark the divisions between feet with a |, and the caesura (a pause) with a double vertical bar ||.

swell

the

gourd,

and

plump

the

ha-

zel

shells

[edit] Rhythmic variation

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. There are some conventions to these variations, however. Iambic pentameter must always contain only five feet, and the second foot is almost always an iamb. The first foot, on the other hand, is the most likely to change by the use of inversion, which reverses the order of unstress and stress in the foot. For example the first line of Richard III begins with an inversion:

Now

the

win-

ter

our

dis-

con-

tent

Another common departure from standard iambic pentameter is the addition of a final unstressed syllable, which creates a weak or feminine ending. One of Shakespeare's most famous lines of iambic pentameter has a weak ending:^[3]

not

be,

that

the

ques-

tion

The symbol \ here has been used to indicate a secondary or subordinate stress.

Note that this line also has an inversion of the fourth foot, following the caesura. In general a caesura acts in many ways like a line-end: inversions are common after it, and the extra unstressed syllable of the feminine ending may appear before it. Shakespeare and John Milton (in his work before Paradise Lost) at times employed feminine endings before a caesura^[4]

Here is the first quatrain of a sonnet by John Donne, which demonstrates how he uses a number of metrical variations strategically:

Bat-

ter

heart

three-

per-

soned

God,

for

you

yet

but

knock,

breathe,

shine

and

seek

mend.

That

may

rise

and

stand

o'er

throw

and

bend

Your

force

break,

blow,

burn

and

make

new.

Donne uses an inversion (DUM da instead of da DUM) in the first foot of the first line to stress the key verb, "batter", and then sets up a clear iambic pattern with the rest of the line (da DUM da DUM da DUM da DUM). In lines 2 and 4 he uses spondees in the third foot to slow down the rhythm as he lists monosyllabic verbs. The parallel rhythm and grammar of these lines highlights the comparison Donne sets up between what God does to him "as yet" (knock, breathe, shine and seek to mend"), and what he asks God to do ("break, blow, burn and make me new"). Donne also uses enjambment between lines 3 and 4 to speed up the flow as he builds to his desire to be made new. To further the quickening effect of the enjambment, Donne puts an extra syllable in the final foot of the line (this can be read as an anapest (dada DUM) or as an elision).

As the examples show, iambic pentameter need not consist entirely of iambs, nor need it have ten syllables. Most poets who have a great facility for iambic pentameter frequently vary the rhythm of their poetry as Donne and Shakespeare do in the examples, both to create a more interesting overall rhythm and to highlight important thematic elements. In fact, the skillful variation of iambic pentameter, rather than the consistent use of it, may well be what distinguishes the rhythmic artistry of poets like Donne, Shakespeare, Milton, and the 20th century sonneteer Edna St. Vincent Millay.

Linguists Morris Halle and Samuel Jay Keyser discovered a set of rules (English Stress: Its Forms, Its Growth, and Its Role in Verse, Harper and Row, 1971) which correspond with what variations are permissible in English iambic pentameter. Essentially, the Halle-Keyser rules state that only "stress maximum" syllables are important in determining the meter. A stress maximum syllable is a stressed syllable surrounded on both sides by weak syllables in the same syntactic phrase and in the same verse line. In order to be a permissible line of iambic pentameter, no stress maxima can fall on a syllable that is designated as a weak syllable in the standard, unvaried iambic pentameter pattern. Rewriting the Donne quatrain showing the stress maxima (denoted with an 'M') results in the following:

Bat-

ter

heart

three-

per-

soned

God,

for

you

yet

but

knock,

breathe,

shine

and

seek

mend.

That

may

rise

and

stand

o'er

throw

and

bend

Your

force

break,

blow,

burn

and

make

new.

[edit] History in English

William Shakespeare, like many of his contemporaries, wrote poetry and drama in iambic pentameter. Here is an example from his Sonnet XVIII:

Shall I compare thee to a summer's day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of may.

And summer's lease hath all too short a date:

There is some debate over whether works such as Shakespeare's were originally performed with the rhythm prominent, or whether it was embedded in the patterns of normal speech as is common today. In either case, when read aloud, such verse naturally follows a beat.

John Clare is another example of a writer who uses the iambic pentameter; his poem 'Badger' is consistent with it throughout:

The badger grunting on his woodland track

With shaggy hide and sharp nose scrowed with black

[edit] Criticism

Some scholars deny that this verse, at least in its most common and literal definition, applies to Elizabethan poets; these include, other than Robert Bridges (mentioned above), Leonardo Malcovati.

[edit] Notes

^ for a more detailed discussion see the article on systems of scansion
^ This line (line 7 of 'To Autumn') is used by Timothy Steele as an example of an unvaried line of iambic pentameter, see page 5 of All the fun's in how you say a thing, Ohio University Press, 1999. ISBN 0-8214-1260-4.
^ This line is used as an example by Majorie Boulton in The Anatomy of Poetry (revised edition), Routledge and Kegan Paul, 1953, revised 1982. ISBN 0-7100-9087-0, page 28, although she marks the third foot as carrying no stress.
^ see Robert Bridges, Milton's Prosody.

[edit] References

Derek Attridge, Poetic Rhythm: An Introduction
David Baker (editor), Meter in English, A Critical Engagement
Robert Bridges, Milton's Prosody, with a chapter on Accentual Verse and Notes
Alfred Corn, The Poem's Heartbeat
Paul Fussell, Poetic Meter and Poetic Form, McGraw Hill, 1965, revised 1979. ISBN 0-07-553606-4.
Harvey Gross and Robert McDowell, Sound and Form in Modern Poetry
Philip Hobsbaum, Metre, Rhythm and Verse Form
Leonardo Malcovati, Prosody in England and Elsewhere
Timothy Steele, All the fun's in how you say a thing
Lewis Turco, The New Book of Forms: A Handbook of Poetics
Miller Williams, Patterns of Poetry