Understanding Meter
In English poetry, the metrical foot is the primary criterion by which poets establish the rhythms of their works. Whether they think
actively about the meter or whether they simply write “by ear,” poets generally rely heavily on meter.
Metrical feet are defined by the number of syllables in each word and the natural stresses on those syllables. For example, the word
telescope is composed of three syllables—tel ə skōp. By itself, telescope provides a good example of a metrical foot with three
syllables. When the word is spoken, the stress falls on the first syllable—TEL ə skōp. Poets sometimes vary the stresses on purpose
for artistic effect, but in general terms, the stresses on a word’s syllables follow natural speech patterns. You wouldn’t ordinarily
pronounce the word telescope as tel Ә skōp or tel ə SKŌP. Therefore, telescope is composed of a stressed syllable followed by two
unstressed syllables (it’s a dactylic metrical foot).
Metrical feet are given names depending on the number and sequence of stresses. As some of the following examples demonstrate, a
metrical foot can incorporate parts of more than one word. In short, when scanning a poem for meter, you should count the syllables
in each line of poetry, not the words.
Type of Metrical Foot Description Examples
iamb (iambic foot) One unstressed syllable followed by one stressed syllable. align / involve
trochee (trochaic foot) One stressed syllable followed by one unstressed syllable. pretty / modern
anapest (anapestic foot) Two unstressed syllables followed by one stressed syllable. in the heat / on the phone
dactyl (dactylic foot) One stressed syllable followed by two unstressed syllables. telescope / purple patch
spondee (spondaic foot) Two stressed syllables. No! Don’t! / Oh, yes!
pyrrhic (pyrrhic foot) Two unstressed syllables. onto / of the
amphibrach One unstressed syllable, one stressed syllable, and then whatever / garage sale
(amphibrachic foot) another unstressed syllable.
amphimacer One stressed syllable, one unstressed syllable, and then twenty-nine / so do you
(amphimacic foot) another stressed syllable.
Depending on the number of feet per line of poetry, the rhythm of a poem is described as meter.
Type of Meter Description Examples
monometer One metrical foot per line. Thus I
Passe by,
And die:
As one,
Unknown,
And gone.
— Robert Herrick, “Upon His Departure Hence”
dimeter Two metrical feet per line. Workers earn it.
Spendthrifts burn it.
— Richard Armour, “Money”
trimeter Three metrical feet per line. As I came to the edge of the woods.
— Robert Frost, “Come In”
tetrameter Four metrical feet per line. The grave’s a fine and quiet place,
But none I think do there embrace.
— Andrew Marvell, “To His Coy Mistress”
pentameter Five metrical feet per line. True wit is Nature to advantage dress’d,
What oft was thought, but ne’er so well express’d.
— Alexander Pope, Essay on Criticism
hexameter Six metrical feet per line. This is the forest primeval. The murmuring pines and the hemlocks.
(an “Alexandrine”) — Henry Wadsworth Longfellow, Evangeline
heptameter Seven metrical feet per line. ‘Tis but as ivy-leaves around the ruin’d turret wreathe,
(a “fourteener” if iambic) All green and wildly fresh without, but worn and gray beneath.
— Lord Byron, “Youth and Age”
octameter Eight metrical feet per line. Deep into the darkness peering, long I stood there wond’ring, fearing.
— Edgar Allan Poe, “The Raven”
Meter generally is described in terms of the kind and number of feet in each line. Hence, a line of poetry composed of four iambic
feet would be an example of iambic tetrameter; a line of poetry composed of three dactylic feet would be dactylic trimeter.