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What Are the Different Variations of Iambic Pentameter?

Iambic pentameter, the heartbeat of English poetry, comes alive in various forms. From the unyielding blank verse of Shakespeare to the intricate rhyme schemes of sonnets, each variation offers a unique rhythm and mood. Discover how poets like Milton and Spenser added their twist, creating a symphony of metered language. What might your favorite verse reveal about its craft? Continue exploring to find out.
Laura Metz
Laura Metz

Variations of iambic pentameter include a feminine ending, an inversion, and a multitude of unnamed alterations. Iambic pentameter is a poetical meter in which each line contains five iambs, which are pairs of an unstressed syllable followed by a stressed syllable. Writers often vary their poetry and add extra emphasis by switching stressed syllables or adding an extra syllable.

Proper iambic pentameter always contains exactly ten syllables. These syllables come in pairs called feet. Shakespeare’s Sonnet 18 gives a good example of this meter: “Shall I compare thee to a summer’s day?”

Hamlet uses a feminine ending variant to the iambic pentameter of his "To be or not to be" soliloquy.
Hamlet uses a feminine ending variant to the iambic pentameter of his "To be or not to be" soliloquy.

In iambic pentameter, each foot begins with an unstressed syllable and ends with a stressed syllable. This type of foot is also known as an iamb. Since there are five feet in every line, the rhythm is called a pentameter, after the Greek word for five.

The feminine ending is a variation on iambic pentameter caused by adding an extra unstressed syllable to the end of a line. Also called a weak ending, this variant is used to indicate a question or uncertainty in the speaker. For example, in Shakespeare’s Hamlet, the title character asks himself questions in a soliloquy. Throughout the speech there are multiple feminine endings, including the first line: “To be, or not to be: that is the question."

Another variation of iambic pentameter is the inversion, which uses a trochee in place of an iamb. The trochee is a reversed iamb, with the stressed syllable first and the unstressed second. Inversions typically occur at the beginning of a line or after a caesura. John Donne uses an inversion to begin his Holy Sonnet 14, writing, “Batter my heart, three person’d God; for you / As yet but knocke, breathe, shine, and seeke to mend.”

Poets often emphasize certain points by using a spondee, which is a foot composed of two stressed syllables, or a pyrrhic, composed of two unstressed syllables. In the second line of Donne’s poem, “knocke,” “breathe,” and “shine” are all stressed syllables. For proper iambic pattern, “breathe” should be unstressed. By putting three stressed, one syllable verbs together, Donne emphasizes the repeated actions of God, and makes the line sound like someone knocking.

Adding extra syllables within a foot is another way of varying a line of iambic pentameter. An anapest is a metrical foot with two unstressed syllables followed by a stressed, while a dactyl is one with a stressed syllable first and two unstressed afterwards. These extra syllables often slow readers in order to make them ready for a new concept.

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Discussion Comments


I would venture to suggest that dactyls do not occur in iambic meter: any scansion which includes dactyls is likely to be very confusing.

I have a blog devoted to meter in Shakespeare's work!


@JackWhack – I agree with you. I believe that individuals truly talented at iambic pentameter are rare and should be celebrated.

I had never heard of feminine endings before reading this article, but I am very impressed by them. What a great way to show doubt or a question!

Shakespeare's iambic pentameter is some of the most famous of all time, and I have heard the line, “To be, or not to be: that is the question,” countless times throughout my life. However, I never once noticed the weak ending on the word “question.” That makes it so much more effective!


I find the iambic pentameter rhythm very constraining. I think that poetry should be about the freedom to express your emotions as they come, and forcing them to fit into a tight little frame just takes away from their purity.

I like to write free verse. I am not concerned with rhyming or syllables. I just want to write a short piece that is beautiful and is the best possible expression of what I am feeling or observing.

I could never do this if I had rules to follow or a neat little box to fit my words into. I just can't be creative under those circumstances.


Donne was a genius to make his iambic pentameter poem sound like knocking. I do wonder if this was intentional? Either way, it is pretty awesome.

I've only written a few poems in my lifetime, and those were required assignments. I find it very hard to stick to iambic pentameter, and I have a great respect for those poets who can craft works of excellent content while doing this.

I think it takes a special gift, and few people in this world have it. Those who do have it and have mastered the art through practice are special, indeed.

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    • Hamlet uses a feminine ending variant to the iambic pentameter of his "To be or not to be" soliloquy.
      By: davehanlon
      Hamlet uses a feminine ending variant to the iambic pentameter of his "To be or not to be" soliloquy.