Frīends
(Scansion)
This is a more traditional piece of structured work complying with the rules of poesy. However, although classified as iambic pentameter there can still be some unexpected variations accounting for the rhythm.
Sŏft mōrnĭng sōng, mĕllīflŭoūs pĕtītiŏn
( ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ ¯ ˘ The feminine ending in iambic pentameter is the amphibrach giving a very pleasant ending to the line. Some may think the final foot as in˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ [ ¯ ] to be catalectic, but we are not writing hexameters. A nice thought, but totally irrelevant. However, we need to consider the last syllable as hypermetric.)
Ŏf plēasăntriēs thăt gēntly̆ kīss thĕ ēar.
( ˘ ¯ |˘ ¯ |˘ ¯ |˘ ¯ |˘ ¯ iambic pentameter)
Ăs dārknĕss fādes, thĕ lītt(ĭ)le ōnes ăppēar
( ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘ ¯ This can be read as iambic pentameter, but listen and you will hear a slight unnatural emphasis on little, it sounds drawn out. A way to highlight the natural speaking would be ˘ ¯ | ˘ ¯ | [¯] ˘ | ¯ ˘ ¯ | ˘ ¯ the cretic or amphimacer ¯ ˘ ¯ (although not common they do exist in English poetry) transitions after the pause to pick up the rhythm (from trochee to iamb). This makes for a very different reading as the punctuation (comma) is now acting as stressed syllable. The rhythm of the line is not violated in any way.)
Ĭn rūfflĕd fēathĕrs, dānce thĕ mōrn's rĕndītiŏn.
(˘ ¯ | ˘ ¯ | ˘ ¯ | ˘¯ | ˘ ¯ ˘ Notice how the companion line (first) is of the same construction as required by the form. There is no need to metrically time punctuation. It is more to make grammatical sense.)
Eăch nōte thăt's sūng frŏm Nātŭre's smāll mŭsīciăn
( ˘ ¯ | ˘ ¯ | ˘ ¯ | ˘¯ | ˘ ¯ ˘ Matching the construction of lines one and four.)
Tŏ wōo bŭt ōne, thĭs sprīghtly̆ căvăliēr.
( ˘ ¯ | ˘ ¯ | ˘ ¯ ˘ | ˘ ˘ ¯ The combination of amphibrach and anapest at the end creates the allusion of five feet in the rhythm. A slight hinting at five stresses—you can feel it.)
Sŏft mōrnĭng sōng, mĕllīflŭoūs pĕtītiŏn (as above)
Ŏf plēasăntriēs thăt gēntly̆ kīss thĕ ēar. (as above)
Bŏth sōng ănd bēauty, bȳ hĭs ōwn ădmīssiŏn,
(˘ ¯ | ˘ ¯ | ˘ ¯ | ˘¯ | ˘ ¯ ˘ Matching the form of the feminine line.)
Pĕrfōrmĭng āt thĭs spēciăl tīme ŏf yēar,
( ˘ ¯ |˘ ¯ |˘ ¯ |˘ ¯ |˘ ¯ )
Tŏ dānce ănd sīng, hĭs māte shĕ swoōns quĭte neār—
( ˘ ¯ |˘ ¯ |˘ ¯ |˘ ¯ |˘ ¯ )
Thĕn ōff thĕy flȳ,'tĭs Nātŭre's swēet trădītiŏn:
(˘ ¯ | ˘ ¯ | ˘ ¯ | ˘¯ | ˘ ¯ ˘ Matching the form of all other feminine lines.)
Sŏft mōrnĭng sōng, mĕllīflŭoūs pĕtītiŏn (as above)
Ŏf plēasăntriēs thăt gēntly̆ kīss thĕ ēar. (As above, but this line could be omitted according to the formula.)