Definition of Meter

Meter is a literary device that works as a structural element in poetry.

Essentially, meter is the basic rhythmic structure of a line within
a poem or poetic work. Meter functions as a means of imposing a specific
number of syllables and emphasis when it comes to a line of poetry that
adds to its musicality. It consists of the number of syllables and the
pattern of emphasis on those syllables. In addition, meter governs
individual units within a line of poetry, called “feet.” A “foot” of a poetic
work features a specific number of syllables and pattern of emphasis.

Perhaps the most famous example of poetic meter is iambic pentameter. An iamb is a

metrical foot that consists of one short or unstressed syllable followed by a long or stressed
syllable. The structure of iambic pentameter features five iambs per line, or ten total
syllables per line. All the even-numbered syllables in this metric form are stressed.
Shakespeare is well-known for his use of this literary device, especially in his sonnets. Here
is an example from Sonnet 104:

To me, fair friend, you never can be old,

For as you were when first your eye I eyed,
Such seems your beauty still. Three winters cold
Have from the forests shook three summers’ pride,

Each line features five iambs that follow the pattern of unstressed/stressed syllables.

Common Examples of Metrical Feet

For English poetry, metrical feet generally feature two or three syllables. They are
categorized by a specific combination of stressed and unstressed syllables. The most
common examples of metrical feet include:

 Trochee: stressed syllable followed by unstressed syllable, as in “custom”

 Iamb: unstressed syllable followed by stressed syllable, as in “describe”
 Spondee: equal stress for both syllables, as in “cupcake”
 Dactyl: stressed syllable, followed by two unstressed syllables, as in “bicycle”
 Anapest: two unstressed syllables, followed by a stressed syllable, as in “understand”

The repetition of metrical feet in a line of poetry creates poetic meter, like beats in music.
The length of a poetic meter is labeled with Greek suffixes:

 one foot = monometer

 two feet = dimeter
 three feet = trimeter
 four feet = Iatetrameter
  five feet = pentameter
 six feet = hexameter
 seven feet = heptameter
 eight feet = octameter

Therefore, the term Iambic Pentameter signifies that a poetic line contains five repetitions
of iamb, or a unstressed syllable / stressed syllable pattern repeated five times, as illustrated
in the sonnet lines above.

Examples of Meter in Well-Known Words and Phrases

Meter is found in many well-known words and phrases. The English language lends itself
to accenting or stressing particular syllables as elements and patterns of speech. Here are
some examples of meter in well-known words and phrases:

Trochaic (stressed, unstressed)

 Gently down the stream

 Hold your horses
 Happy birthday
 Merry Christmas
 Nice to meet you

Iambic (unstressed, stressed)

 I pledge allegiance to the flag

 Your wish is my command
 It came upon a midnight clear
 No pain, no gain
 The buck stops here

Spondaic (stressed, stressed)

 Lay low
 Stay gold
 On point
 Step up
 Lights Out

Dactylic (stressed, unstressed, unstressed)

 Where do you think you are going?

 Easy come, easy go
 Go forth and conquer
 Let them eat cake
 Live long and prosper
Anapestic (unstressed, unstressed, stressed)

 In the blink of an eye

 Hit the nail on the head
 At the drop of a hat
 Costs an arm and a leg
 In the blink of an eye

Famous Examples of Meter

Meter is found in many famous examples of poetic works, including poems, drama,
and lyrics. Here are some famous examples of meter:

 Shall I compare thee to a summer’s day? (iambic pentameter)

 Once upon a midnight dreary, while I pondered, weak and weary, (trochaic octameter)
 Out, damned spot! Out, I say! (spondaic trimeter)
 The itsy, bitsy spider (iambic trimeter)
 Stop all the clocks, / Cut off the telephone (dactylic dimeter)
 I wandered, lonely as a cloud (iambic tetrameter)
 “Forward, the Light Brigade! / Charge for the guns!” he said. (dactylic dimeter)
 Fair is foul and foul is fair. (trochaic tetrameter)
 But, soft! What light through yonder window breaks? (iambic pentameter)
 ‘Twas the night before Christmas, and all through the house (anapestic tetrameter)

Difference Between Meter and Rhythm

Many people use the words meter and rhythm interchangeably due to their similarities.
However, as literary devices, they are different. Rhythm is a literary device that sets the
overall tempo or pace of a literary work. Rhythm can be applied to poetry, free verse,
or prose. Meter is a literary device that creates a measured beat, often in a work of poetry,
that is established by patterns of stressed and unstressed syllables.

Meter is considered a more formal writing tool, particularly as it applies to poetry. It can
enhance the rhythmic quality of poetic writing. However, its purpose is to set steady timing
in poetic lines with metrical feet, just as a time signature and metronome might set steady
timing in a musical work.

Unlike meter, rhythm is less about a steady and measured beat of syllables. Instead, the
purpose of rhythm is to create natural patterns and flow of words that enhance a poetic
work’s tone and content. This is especially true for poets that write free verse. In this case,
meter is not emphasized to give the verse poetic structure. Instead, poets of free verse focus
on natural rhythm and pacing.

Writing Meter
Overall, as a literary device, meter functions as a means of creating structure and musicality
in lines of poetry. This is effective for readers in that meter allows for specific patterns, or
beats, of stressed and unstressed syllables in poetry while simultaneously elevating artistic
language. Meter enhances the enjoyment and meaning of poetic works for readers.

It’s important that writers understand the distinction between qualitative and quantitative
meter:

 Qualitative meter features stressed syllables in regular intervals, such as five iambs in a
line of poetry. This type of meter creates a consistent flow for readers.
 Qualitative meter features patterns based on the “weight” of syllables rather than which
are stressed. This allows for combinations of meter that still create flow for the reader. For
example, a spondee may follow a dactyl in order to facilitate meter in a line of poetry.
Rather than the stress on syllables, it is their length or duration that is important.

Here are some ways that writers, and especially poets, benefit from incorporating meter
into their work:

Creates Poetic Structure

Meter is an essential element of poetry. This literary device allows readers to understand
and feel rhythm in relation to words and lines in poetic works, just as it would with notes in
a line of music, providing melodic undertones to poetic compositions. In addition, meter
allows writers to work within clearly defined structural elements when composing poetry as
a means of providing cadence to the literary piece. Meter not only serves as a benefit to
writers in their individual work, but it connects them to other poets as well by enhancing
the legacy of poetic traditions such as sonnets, elegies, pastorals, and so forth.

Enhances Artistic Use of Language

Meter also enhances the artistic use of language, which is the foundation of poetry. As a
literary device, meter can amplify the meaning of a poetic work by stressing and
emphasizing certain syllables or words. This can invoke a pattern of feeling and emotion
for the reader that may be lost without such rhythmic structure.

Examples of Meter in Literature

Meter is a very effective literary device, especially in poetic works. Here are some
examples of meter and how it adds to the significance and musicality of well-known
literary works:

Example 1: Sonnet LXV (Sir Edmund Spenser)

One day I wrote her name upon the strand,

But came the waves and washed it away;

Again I wrote it with a second hand,

But came the tide and made my pains his prey.

Spenser utilizes iambic pentameter in his sonnet, which is the most common meter found in
English poetry. In this poem, the iambic pentameter enhances the beauty of the language
and poetic lines. The flow of the meter reflects and underscores the imagery of the tide and
waves, washing away the written name. This meter provides a natural flow for
the subject of the poem in addition to the wording of the poetic lines.

Example 2: Yesterday and To-morrow (Paul Laurence Dunbar)

Yesterday I held your hand,

Reverently I pressed it,
And its gentle yieldingness
From my soul I blessed it.

In this poem, Dunbar uses dactylic dimeter which mirrors the beat of a waltz. This adds a
level of musicality and almost a dance-like structure to the poem that is satisfying for the
reader. In addition, this emphasizes the action in the poem of the poet holding someone’s
hand in a reverent manner, as a dance partner might. The “gentle yieldingness” of the hand
evokes a sense of dancing as well, which is supported by the rhythmic structure of dactylic
dimeter. Therefore, the reader is able to enjoy a greater understanding of the poetic lines as
the meter connects with both the artistic phrasing and action in the poem.

Example 3: When I Was One-and-Twenty (A. E. Housman)

When I Was One-and-Twenty

I heard a wise man say,

Give crowns and pounds and guineas

But not your heart away,

Housman utilizes iambic trimeter in this stanza to create a firm structure and poetic beat.
This adds to the meaning of the poem in terms of the theme of value. For example, the poet
assigns value to his age as “one-and-twenty,” which is then echoed by the value of “crowns
and pounds and guineas” as currency. The sharp iambic trimeter creates a rhythmic
structure and cadence that resembles counting, enhancing the “numeric” value of the poet’s
words. This is especially effective as a contrast for the word “heart” in the last line of the
stanza, which changes the interpretation of the meter to one of a heartbeat.
Perhaps the most famous example of poetic meter is iambic pentameter. An iamb is a
metrical foot that consists of one short or unstressed syllable followed by a long or stressed
syllable. The structure of iambic pentameter features five iambs per line, or ten total
syllables per line. All the even-numbered syllables in this metric form are stressed.
Shakespeare is well-known for his use of this literary device, especially in his sonnets. Here
is an example from Sonnet 104:

To me, fair friend, you never can be old,

For as you were when first your eye I eyed,
Such seems your beauty still. Three winters cold
Have from the forests shook three summers’ pride,

Each line features five iambs that follow the pattern of unstressed/stressed syllables.

Common Examples of Metrical Feet

For English poetry, metrical feet generally feature two or three syllables. They are
categorized by a specific combination of stressed and unstressed syllables. The most
common examples of metrical feet include:

 Trochee: stressed syllable followed by unstressed syllable, as in “custom”

 Iamb: unstressed syllable followed by stressed syllable, as in “describe”
 Spondee: equal stress for both syllables, as in “cupcake”
 Dactyl: stressed syllable, followed by two unstressed syllables, as in “bicycle”
 Anapest: two unstressed syllables, followed by a stressed syllable, as in “understand”

The repetition of metrical feet in a line of poetry creates poetic meter, like beats in music.
The length of a poetic meter is labeled with Greek suffixes:

 one foot = monometer

 two feet = dimeter
 three feet = trimeter
 four feet = Iatetrameter
 five feet = pentameter
 six feet = hexameter
 seven feet = heptameter
 eight feet = octameter

Therefore, the term Iambic Pentameter signifies that a poetic line contains five repetitions
of iamb, or a unstressed syllable / stressed syllable pattern repeated five times, as illustrated
in the sonnet lines above.
Examples of Meter in Well-Known Words and Phrases
Meter is found in many well-known words and phrases. The English language lends itself
to accenting or stressing particular syllables as elements and patterns of speech. Here are
some examples of meter in well-known words and phrases:

Trochaic (stressed, unstressed)

 Gently down the stream

 Hold your horses
 Happy birthday
 Merry Christmas
 Nice to meet you

Iambic (unstressed, stressed)

 I pledge allegiance to the flag

 Your wish is my command
 It came upon a midnight clear
 No pain, no gain
 The buck stops here

Spondaic (stressed, stressed)

 Lay low
 Stay gold
 On point
 Step up
 Lights Out

Dactylic (stressed, unstressed, unstressed)

 Where do you think you are going?

 Easy come, easy go
 Go forth and conquer
 Let them eat cake
 Live long and prosper

Anapestic (unstressed, unstressed, stressed)

 In the blink of an eye

 Hit the nail on the head
 At the drop of a hat
 Costs an arm and a leg
 In the blink of an eye
Famous Examples of Meter
Meter is found in many famous examples of poetic works, including poems, drama,
and lyrics. Here are some famous examples of meter:

 Shall I compare thee to a summer’s day? (iambic pentameter)

 Once upon a midnight dreary, while I pondered, weak and weary, (trochaic octameter)
 Out, damned spot! Out, I say! (spondaic trimeter)
 The itsy, bitsy spider (iambic trimeter)
 Stop all the clocks, / Cut off the telephone (dactylic dimeter)
 I wandered, lonely as a cloud (iambic tetrameter)
 “Forward, the Light Brigade! / Charge for the guns!” he said. (dactylic dimeter)
 Fair is foul and foul is fair. (trochaic tetrameter)
 But, soft! What light through yonder window breaks? (iambic pentameter)
 ‘Twas the night before Christmas, and all through the house (anapestic tetrameter)

Difference Between Meter and Rhythm

Many people use the words meter and rhythm interchangeably due to their similarities.
However, as literary devices, they are different. Rhythm is a literary device that sets the
overall tempo or pace of a literary work. Rhythm can be applied to poetry, free verse,
or prose. Meter is a literary device that creates a measured beat, often in a work of poetry,
that is established by patterns of stressed and unstressed syllables.

Meter is considered a more formal writing tool, particularly as it applies to poetry. It can
enhance the rhythmic quality of poetic writing. However, its purpose is to set steady timing
in poetic lines with metrical feet, just as a time signature and metronome might set steady
timing in a musical work.

Unlike meter, rhythm is less about a steady and measured beat of syllables. Instead, the
purpose of rhythm is to create natural patterns and flow of words that enhance a poetic
work’s tone and content. This is especially true for poets that write free verse. In this case,
meter is not emphasized to give the verse poetic structure. Instead, poets of free verse focus
on natural rhythm and pacing.

Writing Meter
Overall, as a literary device, meter functions as a means of creating structure and musicality
in lines of poetry. This is effective for readers in that meter allows for specific patterns, or
beats, of stressed and unstressed syllables in poetry while simultaneously elevating artistic
language. Meter enhances the enjoyment and meaning of poetic works for readers.

It’s important that writers understand the distinction between qualitative and quantitative
meter:
  Qualitative meter features stressed syllables in regular intervals, such as five iambs in a
line of poetry. This type of meter creates a consistent flow for readers.
 Qualitative meter features patterns based on the “weight” of syllables rather than which
are stressed. This allows for combinations of meter that still create flow for the reader. For
example, a spondee may follow a dactyl in order to facilitate meter in a line of poetry.
Rather than the stress on syllables, it is their length or duration that is important.

Here are some ways that writers, and especially poets, benefit from incorporating meter
into their work:

Creates Poetic Structure

Meter is an essential element of poetry. This literary device allows readers to understand
and feel rhythm in relation to words and lines in poetic works, just as it would with notes in
a line of music, providing melodic undertones to poetic compositions. In addition, meter
allows writers to work within clearly defined structural elements when composing poetry as
a means of providing cadence to the literary piece. Meter not only serves as a benefit to
writers in their individual work, but it connects them to other poets as well by enhancing
the legacy of poetic traditions such as sonnets, elegies, pastorals, and so forth.

Enhances Artistic Use of Language

Meter also enhances the artistic use of language, which is the foundation of poetry. As a
literary device, meter can amplify the meaning of a poetic work by stressing and
emphasizing certain syllables or words. This can invoke a pattern of feeling and emotion
for the reader that may be lost without such rhythmic structure.

Examples of Meter in Literature

Meter is a very effective literary device, especially in poetic works. Here are some
examples of meter and how it adds to the significance and musicality of well-known
literary works:

Example 1: Sonnet LXV (Sir Edmund Spenser)

One day I wrote her name upon the strand,

But came the waves and washed it away;

Again I wrote it with a second hand,

But came the tide and made my pains his prey.

Spenser utilizes iambic pentameter in his sonnet, which is the most common meter found in
English poetry. In this poem, the iambic pentameter enhances the beauty of the language
and poetic lines. The flow of the meter reflects and underscores the imagery of the tide and
waves, washing away the written name. This meter provides a natural flow for
the subject of the poem in addition to the wording of the poetic lines.

Example 2: Yesterday and To-morrow (Paul Laurence Dunbar)

Yesterday I held your hand,

Reverently I pressed it,
And its gentle yieldingness
From my soul I blessed it.

In this poem, Dunbar uses dactylic dimeter which mirrors the beat of a waltz. This adds a
level of musicality and almost a dance-like structure to the poem that is satisfying for the
reader. In addition, this emphasizes the action in the poem of the poet holding someone’s
hand in a reverent manner, as a dance partner might. The “gentle yieldingness” of the hand
evokes a sense of dancing as well, which is supported by the rhythmic structure of dactylic
dimeter. Therefore, the reader is able to enjoy a greater understanding of the poetic lines as
the meter connects with both the artistic phrasing and action in the poem.

Example 3: When I Was One-and-Twenty (A. E. Housman)

When I Was One-and-Twenty

I heard a wise man say,

Give crowns and pounds and guineas

But not your heart away,

Housman utilizes iambic trimeter in this stanza to create a firm structure and poetic beat.
This adds to the meaning of the poem in terms of the theme of value. For example, the poet
assigns value to his age as “one-and-twenty,” which is then echoed by the value of “crowns
and pounds and guineas” as currency. The sharp iambic trimeter creates a rhythmic
structure and cadence that resembles counting, enhancing the “numeric” value of the poet’s
words. This is especially effective as a contrast for the word “heart” in the last line of the
stanza, which changes the interpretation of the meter to one of a heartbeat.

Perhaps the most famous example of poetic meter is iambic pentameter. An iamb is a

metrical foot that consists of one short or unstressed syllable followed by a long or stressed
syllable. The structure of iambic pentameter features five iambs per line, or ten total
syllables per line. All the even-numbered syllables in this metric form are stressed.
Shakespeare is well-known for his use of this literary device, especially in his sonnets. Here
is an example from Sonnet 104:

To me, fair friend, you never can be old,

For as you were when first your eye I eyed,
Such seems your beauty still. Three winters cold
Have from the forests shook three summers’ pride,

Each line features five iambs that follow the pattern of unstressed/stressed syllables.

Common Examples of Metrical Feet

For English poetry, metrical feet generally feature two or three syllables. They are
categorized by a specific combination of stressed and unstressed syllables. The most
common examples of metrical feet include:

 Trochee: stressed syllable followed by unstressed syllable, as in “custom”

 Iamb: unstressed syllable followed by stressed syllable, as in “describe”
 Spondee: equal stress for both syllables, as in “cupcake”
 Dactyl: stressed syllable, followed by two unstressed syllables, as in “bicycle”
 Anapest: two unstressed syllables, followed by a stressed syllable, as in “understand”

The repetition of metrical feet in a line of poetry creates poetic meter, like beats in music.
The length of a poetic meter is labeled with Greek suffixes:

 one foot = monometer

 two feet = dimeter
 three feet = trimeter
 four feet = Iatetrameter
 five feet = pentameter
 six feet = hexameter
 seven feet = heptameter
 eight feet = octameter

Therefore, the term Iambic Pentameter signifies that a poetic line contains five repetitions
of iamb, or a unstressed syllable / stressed syllable pattern repeated five times, as illustrated
in the sonnet lines above.

Examples of Meter in Well-Known Words and Phrases

Meter is found in many well-known words and phrases. The English language lends itself
to accenting or stressing particular syllables as elements and patterns of speech. Here are
some examples of meter in well-known words and phrases:
Trochaic (stressed, unstressed)

 Gently down the stream

 Hold your horses
 Happy birthday
 Merry Christmas
 Nice to meet you

Iambic (unstressed, stressed)

 I pledge allegiance to the flag

 Your wish is my command
 It came upon a midnight clear
 No pain, no gain
 The buck stops here

Spondaic (stressed, stressed)

 Lay low
 Stay gold
 On point
 Step up
 Lights Out

Dactylic (stressed, unstressed, unstressed)

 Where do you think you are going?

 Easy come, easy go
 Go forth and conquer
 Let them eat cake
 Live long and prosper

Anapestic (unstressed, unstressed, stressed)

 In the blink of an eye

 Hit the nail on the head
 At the drop of a hat
 Costs an arm and a leg
 In the blink of an eye

Famous Examples of Meter

Meter is found in many famous examples of poetic works, including poems, drama,
and lyrics. Here are some famous examples of meter:

 Shall I compare thee to a summer’s day? (iambic pentameter)

  Once upon a midnight dreary, while I pondered, weak and weary, (trochaic octameter)
 Out, damned spot! Out, I say! (spondaic trimeter)
 The itsy, bitsy spider (iambic trimeter)
 Stop all the clocks, / Cut off the telephone (dactylic dimeter)
 I wandered, lonely as a cloud (iambic tetrameter)
 “Forward, the Light Brigade! / Charge for the guns!” he said. (dactylic dimeter)
 Fair is foul and foul is fair. (trochaic tetrameter)
 But, soft! What light through yonder window breaks? (iambic pentameter)
 ‘Twas the night before Christmas, and all through the house (anapestic tetrameter)

Difference Between Meter and Rhythm

Many people use the words meter and rhythm interchangeably due to their similarities.
However, as literary devices, they are different. Rhythm is a literary device that sets the
overall tempo or pace of a literary work. Rhythm can be applied to poetry, free verse,
or prose. Meter is a literary device that creates a measured beat, often in a work of poetry,
that is established by patterns of stressed and unstressed syllables.

Meter is considered a more formal writing tool, particularly as it applies to poetry. It can
enhance the rhythmic quality of poetic writing. However, its purpose is to set steady timing
in poetic lines with metrical feet, just as a time signature and metronome might set steady
timing in a musical work.

Unlike meter, rhythm is less about a steady and measured beat of syllables. Instead, the
purpose of rhythm is to create natural patterns and flow of words that enhance a poetic
work’s tone and content. This is especially true for poets that write free verse. In this case,
meter is not emphasized to give the verse poetic structure. Instead, poets of free verse focus
on natural rhythm and pacing.

Writing Meter
Overall, as a literary device, meter functions as a means of creating structure and musicality
in lines of poetry. This is effective for readers in that meter allows for specific patterns, or
beats, of stressed and unstressed syllables in poetry while simultaneously elevating artistic
language. Meter enhances the enjoyment and meaning of poetic works for readers.

It’s important that writers understand the distinction between qualitative and quantitative
meter:

 Qualitative meter features stressed syllables in regular intervals, such as five iambs in a
line of poetry. This type of meter creates a consistent flow for readers.
 Qualitative meter features patterns based on the “weight” of syllables rather than which
are stressed. This allows for combinations of meter that still create flow for the reader. For
example, a spondee may follow a dactyl in order to facilitate meter in a line of poetry.
Rather than the stress on syllables, it is their length or duration that is important.
Here are some ways that writers, and especially poets, benefit from incorporating meter
into their work:

Creates Poetic Structure

Meter is an essential element of poetry. This literary device allows readers to understand
and feel rhythm in relation to words and lines in poetic works, just as it would with notes in
a line of music, providing melodic undertones to poetic compositions. In addition, meter
allows writers to work within clearly defined structural elements when composing poetry as
a means of providing cadence to the literary piece. Meter not only serves as a benefit to
writers in their individual work, but it connects them to other poets as well by enhancing
the legacy of poetic traditions such as sonnets, elegies, pastorals, and so forth.

Enhances Artistic Use of Language

Meter also enhances the artistic use of language, which is the foundation of poetry. As a
literary device, meter can amplify the meaning of a poetic work by stressing and
emphasizing certain syllables or words. This can invoke a pattern of feeling and emotion
for the reader that may be lost without such rhythmic structure.

Examples of Meter in Literature

Meter is a very effective literary device, especially in poetic works. Here are some
examples of meter and how it adds to the significance and musicality of well-known
literary works:

Example 1: Sonnet LXV (Sir Edmund Spenser)

One day I wrote her name upon the strand,

But came the waves and washed it away;

Again I wrote it with a second hand,

But came the tide and made my pains his prey.

Spenser utilizes iambic pentameter in his sonnet, which is the most common meter found in
English poetry. In this poem, the iambic pentameter enhances the beauty of the language
and poetic lines. The flow of the meter reflects and underscores the imagery of the tide and
waves, washing away the written name. This meter provides a natural flow for
the subject of the poem in addition to the wording of the poetic lines.
Example 2: Yesterday and To-morrow (Paul Laurence Dunbar)

Yesterday I held your hand,

Reverently I pressed it,
And its gentle yieldingness
From my soul I blessed it.

In this poem, Dunbar uses dactylic dimeter which mirrors the beat of a waltz. This adds a
level of musicality and almost a dance-like structure to the poem that is satisfying for the
reader. In addition, this emphasizes the action in the poem of the poet holding someone’s
hand in a reverent manner, as a dance partner might. The “gentle yieldingness” of the hand
evokes a sense of dancing as well, which is supported by the rhythmic structure of dactylic
dimeter. Therefore, the reader is able to enjoy a greater understanding of the poetic lines as
the meter connects with both the artistic phrasing and action in the poem.

Example 3: When I Was One-and-Twenty (A. E. Housman)

When I Was One-and-Twenty

I heard a wise man say,

Give crowns and pounds and guineas

But not your heart away,

Housman utilizes iambic trimeter in this stanza to create a firm structure and poetic beat.
This adds to the meaning of the poem in terms of the theme of value. For example, the poet
assigns value to his age as “one-and-twenty,” which is then echoed by the value of “crowns
and pounds and guineas” as currency. The sharp iambic trimeter creates a rhythmic
structure and cadence that resembles counting, enhancing the “numeric” value of the poet’s
words. This is especially effective as a contrast for the word “heart” in the last line of the
stanza, which changes the interpretation of the meter to one of a heartbeat.

Meter Definition
What is meter? Here’s a quick and simple definition:

Meter is a regular pattern of stressed and unstressed syllables

that defines the rhythm of some poetry. These stress patterns are
defined in groupings, called feet, of two or three syllables. A
pattern of unstressed-stressed, for instance, is a foot called
an iamb. The type and number of repeating feet in each line of
poetry define that line's meter. For example, iambic pentameter is
a type of meter that contains five iambs per line (thus the prefix
“penta,” which means five).
Some additional key details about meter:

 The study and use of meter in poetry is known as "prosody."

 A poem can use a single meter throughout, or it can have different meters in

different places. Meter can be analyzed on the level of a whole poem, a stanza,

a line, or even a single foot.

 The way meter is measured depends on the language in which a poem is written.

Meter in English verse is accentual, meaning it is derived from the emphasis

placed on certain syllables.

How to Pronounce Meter

Here's how to pronounce meter: mee-ter

Types of Poetic Meter

Meter is a combination of the type and number of feet it contains. The name of a
meter is a combination of those two attributes. The two lists below, which show
common feet and common numbers of feet per line, make up the "building blocks"
of meter.

The most common feet found in metered poetry are:

 Iambs (unstressed-stressed)
  Trochees (stressed-unstressed)

 Spondees (stressed-stressed)

 Dactyls (stressed-unstressed-unstressed)

 Anapests (unstressed-unstressed-stressed)

The most common number of feet found in lines of poetry are:

 Monometer (one foot)

 Dimeter (two feet)

 Trimeter (three feet)

 Tetrameter (four feet)

 Pentameter (five feet)

 Hexameter (six feet)

The name of a meter is based on the foot it uses (stated as an adjective, with an "–
ic" at the end), and the number of feet in the line. So a line with four dactyls would
be "dactylic tetrameter." Note that the total number of syllables can be different
even for lines that have the same number of feet, because some feet have two
syllables while others have three. A line of iambic pentameter has 10 syllables,
because it has five iambs, each of which have two syllables. Dactylic pentameter
has 15 syllables, because it has five dactyls, each of which has three syllables.

Popular Meters

While there are many combinations of possible meters (trochaic dimeter, anapestic
hexameter) that can be written, some are more common than others. Meters that
often appear in poetry are:
  Iambic pentameter: Many of the most important works of English verse—from

Chaucer to Roethke—are written in iambic pentameter, a type of meter that

contains five iambs per line. The unstressed-stressed pattern of the iamb (da-

dum da-dum) closely mimics the natural rhythm of speech, making it a versatile

foot for composing poetry. Geoffrey Chaucer popularized iambic pentameter in

the 14th century with The Canterbury Tales, and William Shakespeare later

cemented the popularity of the form by writing some of the English language's

greatest works of literature (Romeo and Juliet, Hamlet, Macbeth, etc.) in

iambic pentameter. Though iambic pentameter has a long history in English, it's

also still used in more modern poetry—Theodore Roethke's poem "The Waking,"

excerpted below, is a more recent example of a poem written in iambic

pentameter.

 Common meter: A metrical pattern often used in lyrical compositions, comprised

of lines of four iambs (iambic tetrameter) alternating with lines of three iambs

(iambic trimeter). This meter has been used for centuries for a range of purposes

—from Christian hymns and the Romantic poems of Wordsworth, to television

theme songs, and its popularity over that time earned it the name "Common

meter."

Poems are written using many other sorts of meters as well, of course, but the two
above are the most common.

Metered Poetry and Free Verse

Many poems include meter, but not all do. In fact, poetry can be broken down into
three types, based on whether it includes meter and rhyme. The three main types
of poetry are:

 Formal verse: Poetry that has both a strict meter and rhyme scheme.

 Blank verse: Poetry that has a strict meter, but doesn't have a rhyme scheme.
  Free verse: Poetry that has neither any strict meter or rhyme scheme.

Metric Variations Within Metered Poems

Although some poems written in meter use the same metrical pattern throughout
the entire poem, it's also normal for a poem written in formal or blank verse to
contain different types of meter or metrical feet within it. The Common meter
described just above, for instance, alternates lines of iambic tetrameter (four iambs
per line) and iambic trimeter (three iambs per line).

Metric variation can also occur within a line of a poem. For instance, a poem
written in an iambic meter may suddenly substitute an iamb with a different foot—
for example, a trochee, the iamb's opposite—to create a pause, accommodate a
certain word, or vary the poem's rhythm. This kind of substitution does not change
the overall categorization of a poem's meter. In other words, meter is flexible—a
poem written in iambic pentameter with occasional trochees interspersed is still
said to be in iambic pentameter, since that is the poem's predominant meter.

Meter vs. Metrical Form

Not all poems that use meter have an overall metrical form such as "iambic
pentameter." Some writers make up their own metrical forms, combining different
feet to make a pattern of their own design, or interspersing meter at irregular
intervals throughout a poem that doesn't follow any strict metrical conventions.
Although poems such as these can be said to use meter, they would not be said
to have a meter (or a metrical form), since what's usually meant by saying that a
poem has a meter is that it follows a predetermined metrical pattern, such as
common meter, or iambic pentameter, or even something less common like
dactylic hexameter.
Meter in Accentual vs Quantitative Verse

The stress patterns that form the basis of meter are measured differently
depending on the language in which a poem is written. In some languages meter
is accentual, while in others it is quantitative.

 Meter in accentual verse: Accentual verse is poetry in which the meter derives

from the stress, or emphasis, placed on certain syllables. Metered verse in

English is almost always accentual verse, because English is a language whose

rhythm derives from stress, rather than from other factors like syllable length.

 Meter in quantitative verse: Quantitative verse is poetry in which the meter

derives from the length of syllables, not from stress. Here “length” refers to the

time it takes to pronounce each syllable. In quantitative verse, for example, an

iamb consists of two syllables in which the second is pronounced for a longer

duration than the first. Quantitative verse occurs most often in classical Greek,

Latin, and Sanskrit poetry, and it is almost impossible to write in English.

 Other types of meter: In still other languages, such as French and Chinese, meter

is based solely on the number of syllables in a line, and not on the stress pattern

or length of syllables.

Meter Examples
The examples below show diverse uses of meter in poetry. Some of these poems
have a meter and follow it strictly, while others have a meter but deviate from it by
making use of metric variation in particular lines. Some of these poems make use
of metrical feet but don't adhere to an overarching meter, and still others are
written in free verse but make use of meter just to add emphasis and musical effect
in certain places. In each example, we’ve highlighted the stressed syllables
in red and the unstressed syllables in green.
Meter in Roethke's "The Waking"

Theodore Roethke's well-known poem "The Waking" (from 1953) is a villanelle in

iambic pentameter. It is a good example of the strict use of meter, as every foot is
an iamb. This poem is also a good example of a modern poet using a traditional
meter. Note that this poem also follows a rhyme scheme, in which the first, third,
and fourth lines all rhyme. The excerpt below is a single stanza from the longer
poem.

This shaking keeps me steady. I should know.
What falls away is always. And is near.
I wake to sleep, and take my waking slow.
I learn by going where I have to go.

Meter in Shakespeare's Romeo and Juliet

Shakespeare used iambic pentameter throughout many of his plays,

including Romeo and Juliet. Shakespeare usually wrote his plays in blank verse,
meaning that the plays employ meter but don't have a rhyme scheme.

If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Notice how Shakespeare's use of iambic pentameter is not strict throughout this
passage, deviating from the prescribed pattern of five iambs per line in lines 4 and
5. In line 4, the second foot ("two blush") is a spondee (stressed-stressed) rather
than the unstressed-stressed of an iamb, while in line 5 the third foot ("touch with")
is a trochee rather than an iamb.
Meter in Dickinson's "'Hope' is the thing with feathers"

The majority of Emily Dickinson's poems, this one included, are written in common
meter, a pattern that alternates between iambic tetrameter and iambic trimeter.

I've heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.
Common meter is also the metrical pattern of the famous song "Amazing Grace,"
as well as many other well-known songs and hymns. As a result, most of
Dickinson's poems can be sung using the "Amazing Grace" melody.

Meter in Whitman's “When Lilacs Last in the Dooryard Bloom’d”

Walt Whitman is best known for helping to pioneer free verse poetry, but his free
verse often included occasional metered lines. Here he uses a near-perfect line of
dactylic hexameter seemingly out of the blue—the lines before and after this
example are not dactylic at all.

I fled forth to the hiding receiving night that talks not,

Down to the shores of the water, the path by the swamp in the dim
ness,
To the solemn shadowy cedars and ghostly pines so still.

Anapests in Masefield's "Sea Fever"

The choppy, arhythmic meter of John Masefield's poem "Sea Fever" is a strong
example of a poet matching a poem's form to its content (using an irregular rhythm
to evoke seasickness), as well as an example of multiple types of metrical feet
being used within the same poem. The two lines shown here are an excerpt from
the longer poem.
I must go down to the seas again, to the lonely sea and the sky
And all I ask is a tall ship and a star to steer her by...
The first line of the poem follows the pattern iamb-iamb-anapest-iamb-anapest-
iamb-anapest when broken up as
follows: I must / go down / to the seas / again, / to the lone- / ly sea / and the sky.

A close reading of the second line of the poem shows that some poems' meters
are open to interpretation. Without changing the stress pattern at all, the second
line can be broken up into feet in a couple different ways. For example, the metrical
pattern could be read as iamb-iamb-anapest-trochee-iamb-iamb-iamb if the line
were broken up as
follows: And all / I ask / is a tall / ship and / a star / to steer / her by. But the
metrical pattern could also be read as iamb-iamb-pyrrhic-spondee-anapest-iamb-
iamb if broken up this
way: And all / I ask / is a / tall ship / and a star / to steer / her by. The difference
between these two interpretations depends solely on how the words "a tall ship
and" are broken into separate feet.

Why Do Writers Use Meter?

To understand why metered verse is such a strong and influential tradition, it helps
to begin by looking at its origins in ancient Greek and Roman epic poetry. These
long poems (such as Homer’s Iliad and Odyssey, and Virgil’s Aeneid) were
typically spoken aloud in group settings, often with some form of musical
accompaniment. Writing the words with a uniform rhythm made it easier not only to
recite the long poems alongside music, but also to commit the words to memory.
This was a time when literacy was uncommon and poetry existed primarily as an
oral tradition, so being able to memorize verses was very important to the survival
of storytelling. The later practice of applying different rhyme schemes to verses
made the task of memorizing them for recital even easier. Meter continues to be a
useful tool for memorization, which is why writers of nursery rhymes, children's
books, and songs have continued to employ meter, even as it has fallen out of
popularity with many contemporary poets.

Generally speaking, as literacy levels have risen over time, meter has become less
a tool for memorization and more a way of elevating the tone of poetry and making
it aesthetically beautiful so as to distinguish it from everyday language. The mark of
a highly skilled writer of metrical verse is that they are able to use meter to create a
rhythm that matches the content of what they're writing—perhaps using a light and
upbeat foot (like the anapest) to write a love poem, a foot with a heavy and
plaintive tone (like the trochee) to write a poem about death, or some elaborate
mix of the two to write a poem about insanity. By selecting a meter that matches
the content of a poem, the poet has a degree of control and precision in guiding a
readers' experience of the work that is simply not attainable in free verse or prose.

Other Helpful Meter Resources

 The Wikipedia Page on Meter: A somewhat technical explanation, including

various helpful examples.

 The dictionary definition of Meter: A basic definition that includes a bit on the

etymology of meter (spoiler, it comes from a Greek word that simply means "to

measure").

 Meter on YouTube

o This short video explains meter in under 3 minutes, even if its humor

is kind of lame.
 o A musical overview of iambic pentameter and some of the types of

feet used in Shakespeare's writing

o A more in-depth look at meter and the different types of feet used in

writing metrical verse.

Meter Definition
What is meter? Here’s a quick and simple definition:

Meter is a regular pattern of stressed and unstressed syllables

that defines the rhythm of some poetry. These stress patterns are
defined in groupings, called feet, of two or three syllables. A
pattern of unstressed-stressed, for instance, is a foot called
an iamb. The type and number of repeating feet in each line of
poetry define that line's meter. For example, iambic pentameter is
a type of meter that contains five iambs per line (thus the prefix
“penta,” which means five).
Some additional key details about meter:

 The study and use of meter in poetry is known as "prosody."

 A poem can use a single meter throughout, or it can have different meters in

different places. Meter can be analyzed on the level of a whole poem, a stanza,

a line, or even a single foot.

 The way meter is measured depends on the language in which a poem is written.

Meter in English verse is accentual, meaning it is derived from the emphasis

placed on certain syllables.

How to Pronounce Meter

Here's how to pronounce meter: mee-ter

Types of Poetic Meter

Meter is a combination of the type and number of feet it contains. The name of a
meter is a combination of those two attributes. The two lists below, which show
common feet and common numbers of feet per line, make up the "building blocks"
of meter.

The most common feet found in metered poetry are:

 Iambs (unstressed-stressed)

 Trochees (stressed-unstressed)

 Spondees (stressed-stressed)

 Dactyls (stressed-unstressed-unstressed)

 Anapests (unstressed-unstressed-stressed)

The most common number of feet found in lines of poetry are:

 Monometer (one foot)

 Dimeter (two feet)

 Trimeter (three feet)

 Tetrameter (four feet)

 Pentameter (five feet)

 Hexameter (six feet)

The name of a meter is based on the foot it uses (stated as an adjective, with an "–
ic" at the end), and the number of feet in the line. So a line with four dactyls would
be "dactylic tetrameter." Note that the total number of syllables can be different
even for lines that have the same number of feet, because some feet have two
syllables while others have three. A line of iambic pentameter has 10 syllables,
because it has five iambs, each of which have two syllables. Dactylic pentameter
has 15 syllables, because it has five dactyls, each of which has three syllables.

Popular Meters

While there are many combinations of possible meters (trochaic dimeter, anapestic
hexameter) that can be written, some are more common than others. Meters that
often appear in poetry are:

 Iambic pentameter: Many of the most important works of English verse—from

Chaucer to Roethke—are written in iambic pentameter, a type of meter that

contains five iambs per line. The unstressed-stressed pattern of the iamb (da-

dum da-dum) closely mimics the natural rhythm of speech, making it a versatile

foot for composing poetry. Geoffrey Chaucer popularized iambic pentameter in

the 14th century with The Canterbury Tales, and William Shakespeare later

cemented the popularity of the form by writing some of the English language's

greatest works of literature (Romeo and Juliet, Hamlet, Macbeth, etc.) in

iambic pentameter. Though iambic pentameter has a long history in English, it's

also still used in more modern poetry—Theodore Roethke's poem "The Waking,"

excerpted below, is a more recent example of a poem written in iambic

pentameter.

 Common meter: A metrical pattern often used in lyrical compositions, comprised

of lines of four iambs (iambic tetrameter) alternating with lines of three iambs

(iambic trimeter). This meter has been used for centuries for a range of purposes

—from Christian hymns and the Romantic poems of Wordsworth, to television

theme songs, and its popularity over that time earned it the name "Common

meter."

Poems are written using many other sorts of meters as well, of course, but the two
above are the most common.
Metered Poetry and Free Verse

Many poems include meter, but not all do. In fact, poetry can be broken down into
three types, based on whether it includes meter and rhyme. The three main types
of poetry are:

 Formal verse: Poetry that has both a strict meter and rhyme scheme.

 Blank verse: Poetry that has a strict meter, but doesn't have a rhyme scheme.

 Free verse: Poetry that has neither any strict meter or rhyme scheme.

Metric Variations Within Metered Poems

Although some poems written in meter use the same metrical pattern throughout
the entire poem, it's also normal for a poem written in formal or blank verse to
contain different types of meter or metrical feet within it. The Common meter
described just above, for instance, alternates lines of iambic tetrameter (four iambs
per line) and iambic trimeter (three iambs per line).

Metric variation can also occur within a line of a poem. For instance, a poem
written in an iambic meter may suddenly substitute an iamb with a different foot—
for example, a trochee, the iamb's opposite—to create a pause, accommodate a
certain word, or vary the poem's rhythm. This kind of substitution does not change
the overall categorization of a poem's meter. In other words, meter is flexible—a
poem written in iambic pentameter with occasional trochees interspersed is still
said to be in iambic pentameter, since that is the poem's predominant meter.

Meter vs. Metrical Form

Not all poems that use meter have an overall metrical form such as "iambic
pentameter." Some writers make up their own metrical forms, combining different
feet to make a pattern of their own design, or interspersing meter at irregular
intervals throughout a poem that doesn't follow any strict metrical conventions.
Although poems such as these can be said to use meter, they would not be said
to have a meter (or a metrical form), since what's usually meant by saying that a
poem has a meter is that it follows a predetermined metrical pattern, such as
common meter, or iambic pentameter, or even something less common like
dactylic hexameter.

Meter in Accentual vs Quantitative Verse

The stress patterns that form the basis of meter are measured differently
depending on the language in which a poem is written. In some languages meter
is accentual, while in others it is quantitative.

 Meter in accentual verse: Accentual verse is poetry in which the meter derives

from the stress, or emphasis, placed on certain syllables. Metered verse in

English is almost always accentual verse, because English is a language whose

rhythm derives from stress, rather than from other factors like syllable length.

 Meter in quantitative verse: Quantitative verse is poetry in which the meter

derives from the length of syllables, not from stress. Here “length” refers to the

time it takes to pronounce each syllable. In quantitative verse, for example, an

iamb consists of two syllables in which the second is pronounced for a longer

duration than the first. Quantitative verse occurs most often in classical Greek,

Latin, and Sanskrit poetry, and it is almost impossible to write in English.

 Other types of meter: In still other languages, such as French and Chinese, meter

is based solely on the number of syllables in a line, and not on the stress pattern

or length of syllables.

Meter Examples
The examples below show diverse uses of meter in poetry. Some of these poems
have a meter and follow it strictly, while others have a meter but deviate from it by
making use of metric variation in particular lines. Some of these poems make use
of metrical feet but don't adhere to an overarching meter, and still others are
written in free verse but make use of meter just to add emphasis and musical effect
in certain places. In each example, we’ve highlighted the stressed syllables
in red and the unstressed syllables in green.

Meter in Roethke's "The Waking"

Theodore Roethke's well-known poem "The Waking" (from 1953) is a villanelle in

iambic pentameter. It is a good example of the strict use of meter, as every foot is
an iamb. This poem is also a good example of a modern poet using a traditional
meter. Note that this poem also follows a rhyme scheme, in which the first, third,
and fourth lines all rhyme. The excerpt below is a single stanza from the longer
poem.

This shaking keeps me steady. I should know.
What falls away is always. And is near.
I wake to sleep, and take my waking slow.
I learn by going where I have to go.

Meter in Shakespeare's Romeo and Juliet

Shakespeare used iambic pentameter throughout many of his plays,

including Romeo and Juliet. Shakespeare usually wrote his plays in blank verse,
meaning that the plays employ meter but don't have a rhyme scheme.

If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Notice how Shakespeare's use of iambic pentameter is not strict throughout this
passage, deviating from the prescribed pattern of five iambs per line in lines 4 and
5. In line 4, the second foot ("two blush") is a spondee (stressed-stressed) rather
than the unstressed-stressed of an iamb, while in line 5 the third foot ("touch with")
is a trochee rather than an iamb.

Meter in Dickinson's "'Hope' is the thing with feathers"

The majority of Emily Dickinson's poems, this one included, are written in common
meter, a pattern that alternates between iambic tetrameter and iambic trimeter.

I've heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.
Common meter is also the metrical pattern of the famous song "Amazing Grace,"
as well as many other well-known songs and hymns. As a result, most of
Dickinson's poems can be sung using the "Amazing Grace" melody.

Meter in Whitman's “When Lilacs Last in the Dooryard Bloom’d”

Walt Whitman is best known for helping to pioneer free verse poetry, but his free
verse often included occasional metered lines. Here he uses a near-perfect line of
dactylic hexameter seemingly out of the blue—the lines before and after this
example are not dactylic at all.

I fled forth to the hiding receiving night that talks not,

Down to the shores of the water, the path by the swamp in the dim
ness,
To the solemn shadowy cedars and ghostly pines so still.

Anapests in Masefield's "Sea Fever"

The choppy, arhythmic meter of John Masefield's poem "Sea Fever" is a strong
example of a poet matching a poem's form to its content (using an irregular rhythm
to evoke seasickness), as well as an example of multiple types of metrical feet
being used within the same poem. The two lines shown here are an excerpt from
the longer poem.

I must go down to the seas again, to the lonely sea and the sky
And all I ask is a tall ship and a star to steer her by...
The first line of the poem follows the pattern iamb-iamb-anapest-iamb-anapest-
iamb-anapest when broken up as
follows: I must / go down / to the seas / again, / to the lone- / ly sea / and the sky.

A close reading of the second line of the poem shows that some poems' meters
are open to interpretation. Without changing the stress pattern at all, the second
line can be broken up into feet in a couple different ways. For example, the metrical
pattern could be read as iamb-iamb-anapest-trochee-iamb-iamb-iamb if the line
were broken up as
follows: And all / I ask / is a tall / ship and / a star / to steer / her by. But the
metrical pattern could also be read as iamb-iamb-pyrrhic-spondee-anapest-iamb-
iamb if broken up this
way: And all / I ask / is a / tall ship / and a star / to steer / her by. The difference
between these two interpretations depends solely on how the words "a tall ship
and" are broken into separate feet.
Why Do Writers Use Meter?
To understand why metered verse is such a strong and influential tradition, it helps
to begin by looking at its origins in ancient Greek and Roman epic poetry. These
long poems (such as Homer’s Iliad and Odyssey, and Virgil’s Aeneid) were
typically spoken aloud in group settings, often with some form of musical
accompaniment. Writing the words with a uniform rhythm made it easier not only to
recite the long poems alongside music, but also to commit the words to memory.
This was a time when literacy was uncommon and poetry existed primarily as an
oral tradition, so being able to memorize verses was very important to the survival
of storytelling. The later practice of applying different rhyme schemes to verses
made the task of memorizing them for recital even easier. Meter continues to be a
useful tool for memorization, which is why writers of nursery rhymes, children's
books, and songs have continued to employ meter, even as it has fallen out of
popularity with many contemporary poets.

Generally speaking, as literacy levels have risen over time, meter has become less
a tool for memorization and more a way of elevating the tone of poetry and making
it aesthetically beautiful so as to distinguish it from everyday language. The mark of
a highly skilled writer of metrical verse is that they are able to use meter to create a
rhythm that matches the content of what they're writing—perhaps using a light and
upbeat foot (like the anapest) to write a love poem, a foot with a heavy and
plaintive tone (like the trochee) to write a poem about death, or some elaborate
mix of the two to write a poem about insanity. By selecting a meter that matches
the content of a poem, the poet has a degree of control and precision in guiding a
readers' experience of the work that is simply not attainable in free verse or prose.

Other Helpful Meter Resources

  The Wikipedia Page on Meter: A somewhat technical explanation, including

various helpful examples.

 The dictionary definition of Meter: A basic definition that includes a bit on the

etymology of meter (spoiler, it comes from a Greek word that simply means "to

measure").

 Meter on YouTube

o This short video explains meter in under 3 minutes, even if its humor

is kind of lame.

o A musical overview of iambic pentameter and some of the types of

feet used in Shakespeare's writing

o A more in-depth look at meter and the different types of feet used in

writing metrical verse.

Having a motif can be useful in making a memorable

melody. A motif is just a few notes that grab the attention
of the listener. This catchy set of notes includes a
rhythmic melody and can be Poetic Feet and Line
Length
Poetic Feet
There are two parts to the term iambic pentameter. The first part refers to the type
of poetic foot being used predominantly in the line. A poetic foot is a basic
repeated sequence of meter composed of two or more accented or unaccented
syllables. In the case of an iambic foot, the sequence is "unaccented, accented".
There are other types of poetic feet commonly found in English language poetry.
The primary feet are referred to using these terms (an example word from Fussell's
examples is given next to them):

 Iambic: destroy (unaccented/accented)
 Anapestic: intervene (unaccented/unaccented/accented)
 Trochaic: topsy (accented/unaccented)
 Dactylic: merrily (accented/unaccented/unaccented)

The substitutive feet (feet not used as primary, instead used to supplement and
vary a primary foot) are referred to using these terms:
  Spondaic: hum drum (accented/accented)
 Pyrrhic: the sea/ son of/ mists (the "son of" in the middle being
unaccented/unaccented)

The second part of defining iambic pentameter has to do with line length.

Line Length
The poetic foot then shows the placement of accented and unaccented syllables.
But the second part of the term, pentameter, shows the number of feet per line. In
the case of pentameter, there are basically five feet per line.
The types of line lengths are as follows:

 One foot: Monometer
 Two feet: Dimeter
 Three feet: Trimeter
 Four feet: Tetrameter
 Five feet: Pentameter
 Six feet: Hexameter
 Seven feet: Heptameter
 Eight feet: Octameter

Rarely is a line of a poem longer than eight feet seen in English language poetry
(the poet C.K. Williams is an exception).
Line length and poetic feet are most easily seen in more formal verse. The
example above from D.G. Rossetti is pretty obviously iambic pentameter. And
Rossetti uses an accentual-syllabic meter to flesh out his poem with quite a bit of
success. What most free verse poets find more useful than this strict form is
accentual meter, where the accents only are counted in the line (although when
scanned, the syllables are still marked off...it is just that their number is not of as
much import.)
Take this free-verse example from James Merrill:
 Free-verse James Merrill Poem
Things to note about this poem:
There is no any "set" meter in this poem, but the meter clearly plays a key role in
its effectiveness. In particular it is worth noting the line that stands alone (line 7).
Notice that Merrill moves toward iambic pentameter in line 6 and then sustains it
through line 7. Here there is an inversion from the typical set-meter/variation
sequence that is found in a lot of more formal poetry. Here the variation comes in
the move into set meter, rather than varying from a set meter.
Just like establishing a visual pattern in a poem, establishing a meter creates
expectations in your reader. Consequently, as with pattern, to vary that meter is to
create emphasis. Some will say that your ear should be the first judge on these
matters rather than your eye (looking at the scanned poem). There is probably
some truth to this. Many poets will tell you that you should always read a poem out
loud several times every time you get a draft done. If it doesn't sound good every
time, there might be something that isn't working. This is where scanning the poem
might come in handy; dissecting the lines and sculpting them until
they sound better.
repeated as often as you like.