Bīt(ing)ter Wind
Scansion
Ĭts ūnĕxpēct-
( ˘ ¯ | ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ĕd mūr-
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀mŭrs—Whȳ păss hēre?
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
Whĕn ēvery̆thīng
( ˘ ¯ | ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀wăs mīld ănd pleās-
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ănt—Tāme?
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ here the em dash serves as end-stopping)
Bŭt nōw
( ˘ ¯ also ¯ ˘ a possible reversal, but creates an odd tone)
⠀⠀⠀⠀⠀⠀⠀yŏu rūsh ŏn bȳ—
⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀'tĭs nōt thĕ sāme.
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
Wĕ treēs
( ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀ŏf yoūng ănd ōld,
⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ŏf shōrt ănd tāll
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
Cŏnvēy
( ˘ ¯ )
⠀⠀⠀⠀⠀⠀ŏur dīsăpprōv-
⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ăl ōf ĭt āll,
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ )
Ănd wāve
( ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀yŏu ōn—
⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ )
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ĭll-nātŭred pūppĕtēer.
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀( ˘ ¯ | ˘ ¯ | ˘ ¯ )
The presentation allows something quite different to the normal representation as an iambic pentameter sestet, which it could possibly be. However, the visual effect and controlled reading would be difficult to recover. The rime scheme abbcca is still clearly evident. The detached syllable in some lines is to keep the overall iambic pentameter nature of the poem.