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Origin and history of iamb

iamb(n.)

in prosody, a foot of two syllables, the first short or unaccented, the second long or accented, 1842, from French iambe (16c.) or directly from Latin iambus "an iambic foot; an iambic poem," from Greek iambos "metrical foot of one unaccented followed by one accented syllable" (see iambic).

Iambus itself was used in English in this sense from 1580s. In English as in Greek, it has been held to be the natural cadence of speech. The full Greek iamb consisted of two such units, one variable the other weighted like a modern English iamb. In Greek, the measure was said to have been first used by satiric writers.

[The Iambus] is formed constantly by the proper accentuation of familiar, but dignified, conversational language, either in Greek or English : it is the dramatic metre in both, and in English, the Epic also. When the softened or passionate syllables of Italian replace the Latin resoluteness, it enters the measure of Dante, with a peculiar quietness and lightness of accent which distinguish it, there, wholly from the Greek and English Iambus. [Ruskin, "Elements of English Prosody, for use in St. George's Schools," 1880]

Compare trochee, spondee. The Greeks gave names to recurring patterns imparted to the words of their ritual songs and dances. The patterns were associated with certain types of songs and dances, and tended to take their names accordingly. The Roman poets picked up the vocabulary from the Greeks and applied it, somewhat ill-fitted, to their own (undanced) verses.

The English poets of the 16c., building a prosody for modern English, hesitated but then accepted the Latin foot names and applied them to stress patterns in English that, in only some ways, approximate those of Latin. Consequently the Greek meanings of the foot-names have almost no relevance to the modern use of them in prosody.

also from 1842

Entries linking to iamb

iambic

in prosody, 1570s (n.) "a foot of two syllables, the first short or unaccented, the second long or accented;" 1580s (adj.), "pertaining to or employing iambs," from Late Latin iambicus, from Greek iambikos, from iambos "metrical foot of one unaccented followed by one accented syllable; an iambic verse or poem," traditionally said to be from iaptein "to assail, attack" (in words), literally "to put forth, send forth" (in reference to missiles, etc.), but Beekes says "doubtless of Pre-Greek origin."

The meter of invective and lampoon in classical Greek since it was first used 7c. B.C.E. by Archilochus, whose tomb, Gaetulicus says, is haunted by wasps; iambics of various length formed the bulk of all English poetry before 20c. and a great deal since. The iambic of classical Greek and Latin poetry was quantitative.

spondee(n.)

"metrical foot consisting of two long syllables," late 14c., from Old French spondee (14c.), from Latin spondeus, from Greek spondeios (pous), the name of the meter originally used in chants accompanying libations, from spondē "solemn libation, a drink-offering," related to spendein "make a drink offering," from PIE root *spend- "to make an offering, perform a rite," hence "to engage oneself by a ritual act" (source also of Latin spondere "to engage oneself, promise," Hittite shipantahhi "I pour out a libation, I sacrifice"). Related: Spondaic, of verses or lines, "composed of spondees" (1722); spondaical (c. 1600); Puttenham (1589) has spondiac.

And [the spondee] has the perpetual authority of correspondence with the deliberate pace of Man, and expression of his noblest animal character in erect and thoughtful motion : all the rhythmic art of poetry having thus primary regard to the great human noblesse of walking on feet ; and by no means referring itself to any other manner of progress by help either of stilts or steam. [John Ruskin, "Elements of English Prosody, for use in St. George's Schools," 1880]

trochee(n.)

in English prosody a metrical foot consisting of a long followed by a short syllable, or an accented followed by an unaccented one, 1580s, from French trochée, from Latin trochaeus "a trochee," from Greek trokhaios (pous), literally "a running (foot)," from trekhein "to run" (see truckle (n.)). Its rapid movement rendered it a fit accompaniment to dances.

The English trochee is, in fact, rather an uncanny foot .... It is (let us remember our Anglo Saxon) Lilith—older than Eve, in a manner—dethroned by her, but never quite forsaken ; "kittle" to deal with, but of magical and witching attractions when taken in a kind and coming mood. [George Saintsbury, viewing it with the iamb in "History of English Prosody," 1908]

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