Hamilton (189-215)

One foot, two foot, red foot, blue foot.
http://blogs.setonhill.edu/ChelseaOliver/2008/04/el150_how_many_feet_are_in_a_l.html

“Most writers strive for variety in their use of SYNTAX” (Hamilton 191)
http://blogs.setonhill.edu/AngelicaGuzzo/2008/04/varied_syntax.html

Some people say that as long as you try hard, you will succeed—but when it comes to scansions, I’m afraid they’re wrong. You see the harder you try to do a scansion right, the less likely you will be able to!

“It is important to note that scansion is not an exact art. Ambiguities exist about the degrees of stress and the predominant meter of some lines, and expert readers may vary in the ways that they apportion stresses in a line” (Hamilton 205).
http://blogs.setonhill.edu/GretaCarroll/2008/04/sometimes_trying_hard_just_scr.html

Complete with PICS!
Scansion: the process of analyzing and marking the type and number of feet in each line of verse. (Hamilton, 205)

http://blogs.setonhill.edu/MadelynGillespie/2008/04/scansion_the_disease_of_scanni.html

"The periodic sentence[...] is not complete in either syntax or sense until its end" (Hamilton 190).

http://blogs.setonhill.edu/EthanShepley/2008/04/my_big_fat_sentence.html

"Any variant foot within a line that consists predominantly of another metrical pattern is called a substitution. The most sommon substitutions are the following:

A spondaic foot, or spondee, two stressed syllables in a row..."

http://blogs.setonhill.edu/AngelaPalumbo/2008/04/in_good_company.html

how many of you think that syntax does not matter well you are wrong because it can elicit emotions within the piece that you didn't originally know where there you should check out my blog and see what i have to say about it

http://blogs.setonhill.edu/StephanieWytovich/2008/04/most_writers_strive_for_variet.html

http://blogs.setonhill.edu/TiffanyGilbert/2008/04/scansion.html

"A scanned poem is roughly analogous to a musical score: it marks the stresses and pauses and provides a guide to the rhythms, but ittakes a performance with the instrument of the human voice to bring out the variations in intonations, lengths of syllables, and emphaes that give the work full meaning"

Periodic sentence: a literary punch to the face.

http://blogs.setonhill.edu/JessieFarine/2008/04/the_emphasis_and_the_meaning_f.html

"Meter is the recurring pattern of sounds that give poems wirtten in verse their distinctive rhythms." (Hamilton 198)

Sentence variety - “A style in which too many of the sentences fall into the same syntactical pattern can sound monotonous.” 192pg Hamilton

http://blogs.setonhill.edu/KayleyDardano/2008/04/time_speed_excitement.html

http://blogs.setonhill.edu/RichelleDodaro/2008/04/confusing_number_of_feet.html

"Rhymes may also occur within a line of poetry rather than at the end, as in this example from William Blake's 'The Garden of Love':

And binding with briars my joys & desires.

In this case, the device is called internal rhyme."

-From Sharon Hamilton's Essential Literary Terms page 211

http://blogs.setonhill.edu/EricaGearhart/2008/04/rhymes_mayalso_occur_within_a.html

"The value of scansion is not in mechanically showing the understructure that it exposes but in the access that it can provide to the poem's tone" (Hamilton 205).
http://blogs.setonhill.edu/KaitlinMonier/2008/04/scanning_is_important_after_al.html

Talk about confusing the poor little dears, just when we think we’ve finally figured out feet and meter Hamilton thumps and stumps us with a final blow to the cranium...

“As noted above [in John Keat’s “Bright Star”], even expert readers vary in scanning complex meters, and some might scan some of these lines a bit differently…All would agree, though, that the dominant meter is iambic pentameter” (206).

http://blogs.setonhill.edu/JeanineONeal/2008/04/excuses_excuses.html

http://blogs.setonhill.edu/AllisonHall/2008/04/a_balancing_act.html

"Most writers strive for variety in their use of syntax; for example, striking effects can be created from varying long, complex sentences with short, simple ones" (Hamilton 191)

If you'd like a little trick, a little helping hand at SCANNING POETRY FOR STRESSED AND UNSTRESSED SYLLABLES then check out the comment I left on Gretta's blog entry.

http://blogs.setonhill.edu/GretaCarroll/2008/04/sometimes_trying_hard_just_scr.html

"Anapestic (an-uh-PES-tick; the noun is anapest: AN-uh-pest), two unstressed syllables followed by a stressed one; for example:

And the eyes / of the sleep / ers waxed dead / ly and chill,

And their hearts / but once heaved, / and fore /ver grew still!

--George Gordon, Lord Byron, 'The Destruction of Sennacherib'" (Hamilton 200).

"Tetrameter (te-TRAM-eh-ter), four feet:

She walks / in beau / ty, like / the night

Of cloud / less climes / and star / ry skies

--George Gordon, Lord Byron, "She Walks in Beauty" (Hamilton 201).

You know you love anapestic tetrameter.

http://blogs.setonhill.edu/LaurenMiller/2008/04/anapestic_tetrameter_so_much_c.html

"Enjambed lines...also called run-on lines, are those in which the sentence or clause continues for two or more lines of verse; no punctuation appears at the end of the enjambed line" (Hamilton 204).

http://blogs.setonhill.edu/JulianaCox/2008/04/enjambed_lines.html