Disyllables | |
---|---|
◡ ◡ | pyrrhic, dibrach |
◡ – | iamb |
– ◡ | trochee, choree |
– – | spondee |
Trisyllables | |
◡ ◡ ◡ | tribrach |
– ◡ ◡ | dactyl |
◡ – ◡ | amphibrach |
◡ ◡ – | anapaest, antidactylus |
◡ – – | bacchius |
– ◡ – | cretic, amphimacer |
– – ◡ | antibacchius |
– – – | molossus |
See main article for tetrasyllables. | |
A dactyl (/ˈdæktɪl/; Greek: δάκτυλος, dáktylos, “finger”) is a foot in poetic meter.[1] In quantitative verse, often used in Greek or Latin, a dactyl is a long syllable followed by two short syllables, as determined by syllable weight. The best-known use of dactylic verse is in the epics attributed to the Greek poet Homer, the Iliad and the Odyssey. In accentual verse, often used in English, a dactyl is a stressed syllable followed by two unstressed syllables—the opposite is the anapaest (two unstressed followed by a stressed syllable).[2]
An example of dactylic meter is the first line of Henry Wadsworth Longfellow's epic poem Evangeline (1847), which is in dactylic hexameter:
The first five feet of the line are dactyls; the sixth a trochee.
Stephen Fry quotes Robert Browning's poem "The Lost Leader" as an example of the use of dactylic metre to great effect, creating verse with "great rhythmic dash and drive":[3]
The first three feet in both lines are dactyls.
Another example is the opening lines of Walt Whitman's poem "Out of the Cradle Endlessly Rocking" (1859), a poem about the birth of the author's poetic voice:
The dactyl "out of the..." becomes a pulse that rides through the entire poem, often generating the beginning of each new line, even though the poem as a whole, as is typical for Whitman, is extremely varied and "free" in its use of metrical feet.
Dactyls are the metrical foot of Greek and Latin elegiac poetry, which followed a line of dactylic hexameter with dactylic pentameter.
In the opening chapter of James Joyce's novel Ulysses (1922), a character quips that his name is "absurd": "Malachi Mulligan, two dactyls" (Mal-i-chi Mull-i-gan).