Try scanning the line yourself, and marking the stresses. “to be, or not to be, that is the question:” The line with the missing two feet looks like this: But Shakespeare was writing in iambic pentameter, so we are expecting two more feet (I left them off).
If the pattern holds across five iambic feet, then it is in iambic pentameter (penta for five, and meter for measure). Each grouping is called a foot (so these are iambic feet). A line that conforms to this general pattern is called iambic (the adjectival form of iamb). That paired grouping “-/”, with the pattern “tiDUM”, is called an iamb. If we move along the syllables, marking the stressed syllables, we arrive at a pattern like this: Say the syllables out loud and one should feel stronger: “be”, as it turns out.
Looking at just the first two syllables, one of them feels more stressed than the other. We’ll use a slash(/) for strong/stressed and a dash(-) for weak/unstressed.Ĭonsider the line: “To be, or not to be ”. To keep things simple, we’ll only distinguish between a “strong” and a “weak” syllable. To scan the accentual-syllabic rhythm of a line is called “ scansion“. This is called “ accentual-syllabic” rhythm, because the rhythm is a product of the distribution of accents among the syllables.ĭevelop knowledge and understanding of accentual-syllabic rhythm and iambic pentameter to understand various ways that accentual-syllabic rhythm can improve writing to understand the the use of rhythmic variation to achieve different effects to develop skill with accentual-syllabic rhythm and rhythmic variation, and to practice writing applications. One of them is by using the stresses that fall on different syllables.
There are lots of ways to create rhythm with words. Rhythm can make sentences come to life -more vivid imagery words we can feel. Rhythm can create poetic effects -sentences that feel a particular way, that convey an energy appropriate to the content. Rhythm gives your sentences momentum, carrying the reader along.
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