An anesthetic is called an anastomia. In the quantifying metric, the anapost is formed by means of two short and one long syllable (υυ-). In German, however, there is an accentuating metric. This means that syllables are dimensioned not because of their length and shortness, but because of their emphasis. Here, the anapost is composed of two unstressed and a concise syllable. Alternatively, we can also speak of two sinks and a lift (→ offset).

The term can be derived from the Greek anápaistos (ἀνάπαιστος). This goes back to the verb anapaiein, which can be translated back to rebound or rebound. On an unstressed syllable, an accented syllable bounces at the anapost. Let’s look at an example.

This is not a zau rei
In the example above, the term “sorcery” can be identified as an anapost. The first two syllables of the word remain unstressed (zau and be), while the emphasis lies on the last syllable (rei). We recognize the syllables by not being separated during speech. The word magic consists of three parts.

If we speak the word clearly, it is also noticeable to us. The last syllable, that is, we speak louder, raising the voice. Further examples would also be Har mo nie, Sin fo nie, E le fant, Di rction, in which the emphasis is also on the last syllable. Let us now look at a whole verse.

Ve ta ta | rally lives sel | the lion win in the bush
υ υ – | υ υ – | υ υ – | υ υ –
In this example, there are four anapts. In a poem analysis, however, we do not refer to the number of individual empties, but count the heights in a continuous measure. Since in the above example the anapost determines the line of verse, and four heaps appear, we would speak of a four-legged anapa. Let us look at a last example.

Today here tomorrow there,
am hardly there, I must go
The above verses are taken from the first stanza of today, here tomorrow, there a well-known song by Hannes Wader, one of the most famous of the artist. The song is entirely written in anapaes, which gives it a very consistent, catchy rhythm. This is decisively supported by the use of pair rhymes. This also applies to The Way I Am of Eminem.

Note: The word Anapäst is, by the way, one itself. The first two syllables of the word are unstressed, the last is emphasized. This knowledge is very helpful as an escalator. The counterpart to the anapost is, by the way, the Dactylus, followed by a stressed syllable, two unaccented (-υυ).

Cadence in the Anapost
Cadence is the endings of a verse line. A verse can be male, female or ending. To determine this, we must examine how many unaccented syllables are in the verse after the last uplift. If the elevation is the last syllable, the cadenza is male, still follows an unaccented, if she is female, still two unaccented, she is rich.

Since the anapost always ends in a stressed syllable, a line determined by this verse would always have a male cadence, and in the above examples this would indeed be true. Suppose, however, that Hannes Wader had designed the first line differently and had renounced the last word:

Hay here, morn
We still have an anapost, but the last typical uplift would be lacking. Let us now count how many unaccented syllables follow the last uplift. The cadence would be rich and not male. The Anapaetic verse is, therefore, a syllable.

This circumstance is called catalectic. Here we give the number of syllables of the fonts. In our example, there are two because one is missing. The verse would thus be a unified anapost, which is two-syllable catalectical, and consequently has a rich cadence.

Conclusion: The Anapäst is either complete (akatalekt) and has a male cadence or he is monosyllable or two-syllable katalektisch, whereby he then has a female or rich cadence.

Overview: effect, meaning and function
The anapost is a verse, which is made up of three syllables. Frequently, he appears in Latin or Greek texts, whereas in German he is usually a rendezvous in the literature and is used more rarely.
Together with Jambus, Trochaeus and Daktylus, this verse forms the four basic metrics of the accentuating metric. An accentuating metric is one that measures the syllables because of their emphasis and not because of their lengths and shortenings.
In principle, verses that are anaphoric have a male cadence, since the verse ends so. However, it can also be shortened by one or more syllables, then one speaks of one-syllable or two-syllable catalectic verses.

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