Triplet, a group of three lines, especially when rimed aaa, [101] f. See also Tercet.
Trochee, a foot consisting of a stress and an unstress, _̷ ◡, [38], [51], [70], [82] ff.
Truncation, omission of the final unstressed element of a line, usually in the trochaic metres, [76]; also called Catalexis (the opposite of which, the non-omission of this element, is Acatalexis). Initial Truncation is the omission of the first unstressed element of a line, usually in the iambic metres, thus making a Headless verse.
Unstress, the element of a rhythmic unit which is without emphasis or has a relatively weak emphasis.
Verse, (1) a metrical line, [52]; (2) collectively, for metre, metrical form; (3) commonly in England, and in America in the churches, used for Stanza.
Villanelle, a French verse form of nineteen lines on three rimes, certain lines being repeated at fixed intervals, [163] f.
Footnotes
[1] One hears sometimes of 'rhythmic thought' and 'rhythmic feeling.' This is merely a further extension or metaphorical usage of the term. In Othello, for instance, there is a more or less regular alternation of the feelings of purity and jealousy, and of tragedy and comedy. In some of the Dialogues of Plato there is a certain rhythm of thought. This usage is fairly included in the Oxford Dictionary's definition: "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions."
[2] There is, however, another phenomenon (to be discussed later) called by the same name, 'tone-color,' but having only a metaphorical relation to it. Many words—father, soul, ineluctable, for example—have emotional associations which stand to the literal meaning somewhat like overtones to the fundamental. This tone-quality of language is one of the primary and most significant sources of poetical effect, but it should never be confused with the musical term on which it is patterned.
[3] Walter Pater, "Leonardo da Vinci," in The Renaissance. For an account of scientific experiments on the time and stress rhythm of this sentence, see W. M. Patterson, The Rhythm of Prose, New York, 1916, ch. iv. An idea of the complexity may be obtained from Patterson's attempt to indicate it by musical notation: