§ 88. Another deviation from the regular iambic line is the inversion of the rhythm; i.e. the substitution of a trochee for an iambus at the beginning of a line or after the caesura. The rhythmical effect of this licence has some resemblance to that of the suppression of anacrusis. In both cases the rhythmic accent has to yield to the word-accent. But while in the latter case the whole verse becomes trochaic in consequence of the omission of the first syllable, in the former the trochaic cadence affects one foot only (generally the first), the rest of the verse being of a regular iambic rhythm. Hence the number of syllables in each line is the same as that in all the other regular lines (including those with level stress), whereas verses with suppressed anacrusis may easily be distinguished from the former by their smaller number of syllables. On the other hand, the number of syllables (being the same in both cases) affords no help in distinguishing between change of word-accent and inversion of rhythm. Which of these two kinds of licence is to be recognized in any particular case can be determined only by the position which the abnormal foot occupies in the line. Inversion of rhythm (i.e. the substitution of a trochee for an iambus) occurs, as a rule, only at the beginning of a line or hemistich, where the flow of the rhythm has not begun, so that the introduction of a trochee does not disturb it. If, therefore, the discord between normal word-stress and iambic rhythm occurs in any other position in the line, it must be regarded as a case of level stress.

The following examples will serve to illustrate the difference between these three species of metrical licence:

Omission of anacrusis:

Herknet tó me góde men. Hav. 1. 7 syll.
Nórfolk sprúng thee, Lámbeth hólds thee déad.
Surrey, p. 62. 9 ”

Level stress:

A stálworþí man ín a flok.Hav. 24. 8 ”
And Rýpheús that mét thee bý moonlíght.
Surrey, p. 126.10 ”

Inversion of rhythm:

Míchel was súch a kíng to préyse. Hav. 60. 8 ”
Míldly doth flów alóng the frúitful fíelds.
Surrey, p. 145.10 ”
Shróuding themsélves únder the désert shóre.
Surrey, p. 113.10 ”

Inversion of rhythm may be caused in the interior of a rhythmical series only when a particularly strong emphasis is laid upon a word, e.g. to express an antithesis or for similar reasons:

That íf góld ruste | whát shal ýren dó?