Verse form that is the most popular measure in French poetry. It consists of a line of 12 syllables with a pause after the sixth syllable, major stresses on the sixth and the last syllable, and one secondary accent in each half line. It is a flexible form, adaptable to a wide range of subjects. It became the preeminent French verse form for dramatic and narrative poetry in the 17th century and reached its highest development in the tragedies of Pierre Corneille and Jean Racine.
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The hexameter has never enjoyed a similar popularity in English, where the standard metre is iambic pentameter; however, various English poems have been written in hexameter over the centuries. There are numerous examples of iambic hexameter from the 16th century and a few from the 17th; the most prominent of these is Michael Drayton's Poly-Olbion (1612) in hexameter couplets. An example from Drayton:
In the 17th century the iambic hexameter, or alexandrine, was used as a substitution in the heroic couplet, and as one of the types of permissible lines in lyrical stanzas and the Pindaric odes of Cowley and Dryden.
In the late 18th century the hexameter was adapted to the Lithuanian language by Kristijonas Donelaitis. His poem "Metai" (The Seasons) is considered the most successful hexameter text in Lithuanian as yet.
Several attempts were made in the 19th century to naturalise the dactylic hexameter to English, by Henry Wadsworth Longfellow, Arthur Hugh Clough and others, none of them particularly successful. Gerard Manley Hopkins wrote many of his poems in six foot iambic and sprung rhythm lines. In the 20th century a loose ballad-like six-foot line with a strong medial pause was used by William Butler Yeats. The iambic six-foot line has also been used occasionally, and an accentual six-foot line has been used by translators from the Latin and many poets.
See also: Dactylic hexameter
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