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→‎Metrum: - WIU
Regel 20:
In westersk dichtbruuk wordt metrums gewoonlik by mekander söcht an de hande van nen karakteristiken [[voot (prosody)|metrisken voot]] en et antal vöte per regel. Üm dat antal te beskryven gebruket wy [[grekenland|greekske]] termen: [[tetrameter]] vöär veer vöte en [[hexameter]] vöär ses vöte, by vöärbeald. Nen "[[jambisken pentameter]]" is een metrum wat besteyt uut vyv vöte de regel, wårin de belangrykste vootsoorte de [[jambe]] is. Dit metriske stelsel kümt uut de greekske dichterye en wör vöäle bruked döär dichters as [[Pindar]] en [[Sappho]] en groute [[tragedy]]skryvers van [[Atene]]. Nen "[[daktylisken hexameter]] hevt ses vöte de lyne, med as oaverhearskenden voot de "[[[daktyl (dichtkünst)|daktyl]]". Daktyl-hexameter was et traditionäle metrum in greekske [[episke dichterye]], med as bekendste vöärbealden de warken van [[Homer]] en [[Hesiod]].<ref>[http://aoidoi.org/articles/meter/intro.pdf (PDF) Annis, William S. Aoidoi. "Introduction to Greek Meter". January 2006. p 1–15.]</ref> Nen jambisken pentameter en daktylheksameter wörden later bruked döär byvöärbeald [[William Shakespeare]] en [[Henry Wadsworth Longfellow]].
[[File:Homer British Museum.jpg|thumb|upright=0.45|[[Homer]]: romeinsk börstbeald, kopieerd van et oorsprungelike.]]
* [[jambe (dichtkunst)|jambe]] – eyn unbeklemtoundeunbeklemtounden lettergreypelettergreyp vöär ne beklemtounde (a.v. be-'''stån''', be-'''kend''')
* [[trochee]] - eyn beklemtounde lettergreypelettergreyp vöär ne unbeklemtounde (a.v. '''war'''-ken, '''bea'''-ter)
* [[daktyl (dichtkunst)|daktyl]] – eyneeynen beklemtoundebeklemtounden lettergreypelettergreyp vöär twey unbeklemtounden (a.v. '''an'''-no-tate, '''sim'''-i-lar)
* [[anapest]] - twey unbeklemtounden vöär eynen beklemtounden lettergreyp (e.g. com-pre-'''hend''')
* [[spondee]] - Twey beklemtounde lettergreypen nöäst mekander (e.g. '''hand'''-'''breyd''', '''an'''-'''kyken''')
* [[pyrrhisk]] - twey unbeklemtounde lettergreypen by mekander (kümt håste nit vöär, meystal deyl van de daktylheksameter)
 
Der sint noch heyl wat andere namen vöär vöte, so as de [[choriambe]], nen metrisken voor van veer lettergreypen, med nen benådrükkeden lettergreyp an et begin en eande med twey unbeklemtounden der tüsken. Dissen kümt uut olde greekske literatuur en latynske dichtkünst. Språken dee vöär de metrik verskil maket in klinkerlängde of tounhöygde in steade van of in anvülling up syllabiske aksenten, so as ottomaansk türksk of [[vedisk]] hebbet vake vergelykbåre koncepten as de jambe en daktyl üm vake vöärkummende kombinatys van lange en körte gelüden an te geaven.<ref>Kiparsky, Paul. Language. "Stress, Syntax, and Meter". September 1975. vol 51, is 3. DOI 10.2307/412889. JSTOR 412889. p 576–616.</ref>
There are a wide range of names for other types of feet, right up to a [[choriamb]], a four syllable metric foot with a stressed syllable followed by two unstressed syllables and closing with a stressed syllable. The choriamb is derived from some ancient [[Greek literature|Greek]] and [[Latin poetry]].<ref name=greek/> Languages which utilize [[vowel length]] or [[Intonation (linguistics)|intonation]] rather than or in addition to syllabic accents in determining meter, such as [[Metre (poetry)#Ottoman Turkish|Ottoman Turkish]] or [[Vedic meter|Vedic]], often have concepts similar to the iamb and dactyl to describe common combinations of long and short sounds.<ref>{{cite journal|author=Kiparsky, Paul|journal=Language|pages=576–616|title=Stress, Syntax, and Meter|date=September 1975|volume=51|issue=3|doi=10.2307/412889|jstor=412889}}</ref>
 
Al disse vootsoorten wekket ne ård 'kadans', of se nu up sikselv ståt of in samengang med anderen. De jambe, by vöärbeald, is de meyst natuurlike förm van ritme in et neadersassisk en andere germaanske språken. Et sörget vöär een subtil mär stabil versritme.
Each of these types of feet has a certain "feel," whether alone or in combination with other feet. The iamb, for example, is the most natural form of rhythm in the English language, and generally produces a subtle but stable verse.<ref>{{cite book|author=Thompson, John|title=The Founding of English Meter|publisher=Columbia University Press|year=1961|page=36}}</ref> Scanning meter can often show the basic or fundamental pattern underlying a verse, but does not show the varying degrees of [[stress (linguistics)|stress]], as well as the differing pitches and [[vowel length|lengths]] of syllables.<ref>{{Harvnb|Pinsky|1998|pp=11–24}}</ref>▼
 
▲Each of these types of feet has a certain "feel," whether alone or in combination with other feet. The iamb, for example, is the most natural form of rhythm in the English language, and generally produces a subtle but stable verse.<ref>{{cite book|author=Thompson, John|title=The Founding of English Meter|publisher=Columbia University Press|year=1961|page=36}}</ref> Scanning meter can often show the basic or fundamental pattern underlying a verse, but does not show the varying degrees of [[stress (linguistics)|stress]], as well as the differing pitches and [[vowel length|lengths]] of syllables.<ref>{{Harvnb|Pinsky|1998|pp=11–24}}</ref>
 
There is debate over how useful a multiplicity of different "feet" is in describing meter. For example, [[Robert Pinsky]] has argued that while dactyls are important in classical verse, English dactylic verse uses dactyls very irregularly and can be better described based on patterns of iambs and anapests, feet which he considers natural to the language.<ref>{{Harvnb|Pinsky|1998|p=66}}</ref> Actual rhythm is significantly more complex than the basic scanned meter described above, and many scholars have sought to develop systems that would scan such complexity. [[Vladimir Nabokov]] noted that overlaid on top of the regular pattern of stressed and unstressed syllables in a line of verse was a separate pattern of accents resulting from the natural pitch of the spoken words, and suggested that the term "scud" be used to distinguish an unaccented stress from an accented stress.<ref>{{cite book|author=Nabokov, Vladimir|title=Notes on Prosody|publisher=Bollingen Foundation|year=1964|isbn=978-0-691-01760-0|pages=[https://archive.org/details/notesonprosodyon0000nabo/page/9 9–13]|url=https://archive.org/details/notesonprosodyon0000nabo/page/9}}</ref>
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