Moved earth and heaven, that which we are, we are We are not now that strength which in old daysįinally, I assume your 11-syllable line is The long day wanes: the slow moon climbs: the deepĪ double iambic substitution, where two adjacent feet have been replaced by a pyrrhus and a spondee (two unstressed syllables followed by two stressed one) for example, which in óld dáys in the line: Spondaic substitutions: day wanes, moon climbs, moans round are all spondees in the lines: Trochaic substitutions are especially common in the first foot of a line, but are allowed in all the feet except the last one. Much have I seen and known cities of menĪnd manners, climates, councils, governments, Trochaic substitutions: much have and cities are trochee in the lines: Tennyson was indeed writing iambic pentameter.Ĭertain substitutions are traditionally allowed in iambic pentameter, namely, a foot can be replaced by a trochee or a spondee, and two adjacent feet can be replaced by a double iamb. But I'm guessing that's not the usual thought process going on? There's also a line at the end of the poem that has 11 syllables, but I guess he just thought "shit, this sounds so good I just have to leave it in" because it's the best line in the entire thing. What goes on in Tennyson's head when he creates such a weird structure? How does he decide to break the rules, and where? Also, is it correct to think in pairs when breaking down a poem like this? The first pair ( that loved) is an iambic foot, the second ( me, and) is what? A trochee? The third ( alone) is, finally, an iamb. What goes on in the fourth and sixth (last) lines, though? The line after that does the exact same thing ( Greatly). In the second line, there's a trochee ( Life to), but then it continues on normally. That loved me, and alone, on shore, and when Greatly, have suffer'd greatly, both with those Life to the lees: All times I have enjoy'd There are a few spondees and trochees thrown in for good measure, but I'm confused in some places, like here:
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