|? ?||pyrrhic, dibrach|
|¯ ?||trochee, choree|
|? ? ?||tribrach|
|¯ ? ?||dactyl|
|? ¯ ?||amphibrach|
|? ? ¯||anapaest, antidactylus|
|? ¯ ¯||bacchius|
|¯ ¯ ?||antibacchius|
|¯ ? ¯||cretic, amphimacer|
|¯ ¯ ¯||molossus|
In poetic meter, a trochee , choree, or choreus, is a metrical foot consisting of a stressed syllable followed by an unstressed one, in English, or a heavy syllable followed by a light one in Latin or Greek. In this respect, a trochee is the reverse of an iamb.
The adjective form is trochaic. The English word trochee is itself trochaic since it is composed of the stressed syllable followed by the unstressed syllable .
Trochee comes from French trochée, adapted from Latin trochaeus, originally from the Greek ?????? (trokhós), "wheel", from the phrase trokhaios pous, literally "running foot"; it is connected with the word ????? trékh?, "I run". The less-often used word choree comes from ?????, khorós, "dance"; both convey the "rolling" rhythm of this metrical foot. The phrase was adapted into English in the late 16th century.
There was a well-established ancient tradition that trochaic rhythm is faster than iambic. When used in drama it is often associated with lively situations. One ancient commentator notes that it was named from the metaphor of people running (?? ????????? ??? ?????????) and the Roman metrician Marius Victorinus notes that it was named from its running and speed (dictus a cursu et celeritate).
Henry Wadsworth Longfellow's The Song of Hiawatha, whose meter was taken from Elias Lönnrot's Kalevala, is written almost entirely in trochees, barring the occasional substitution (iamb, spondee, pyrrhic, etc.).
In the second line, "and tra-" is a Pyrrhic substitution, as are "With the" in the third and fourth lines and "of the" in the third. Even so, the dominant foot throughout the poem is the trochee.
Trochaic meter is also seen among the works of William Shakespeare:
Perhaps owing to its simplicity, though, trochaic meter is fairly common in children's rhymes:
Trochaic verse is also well known in Latin poetry, especially of the medieval period. Since the stress never falls on the final syllable in Medieval Latin, the language is ideal for trochaic verse. The dies irae of the Requiem mass is an example:
The Taylor Swift song "Blank Space" contains examples of trochaic metre in its chorus, which is responsible for many listeners mishearing part of the lyric as the line "Got a long list of ex-lovers" is forced into an unnatural shape to fit the stress pattern:
Where the stress would, in spoken English, naturally fall on the 'ex' of 'ex-lovers', it instead falls on 'of' and the first syllable of 'lovers', which can confuse on first hearing and cause the mind to try to fit an alternative two-syllable word into the 'of ex-' foot.[original research?]
In Greek and Latin, the syllabic structure deals with long and short syllables, rather than accented and unaccented. Trochaic meter was rarely used by the Latin poets, except in certain passages of the tragics and the comics.