(イラスト illustration
Eve of St Agnes, John Everett Millais c. 1863
聖アグネスの前夜 ジョン・エヴァレット・ミレイ 1863年頃
"the eve of saint agnes" wiki　より）

形式はspenserian この人が発明した
エドマンド・スペンサー - Wikipedia

定義：

eight lines in iambic pentameter followed by a single 'alexandrine' line in iambic hexameter. The rhyme scheme of these lines is ABABBCBCC.[1][2]

8行の五歩イアンボス(弱強格、抑揚格、韻律の一種)の後に、1行の六歩イアンボスの「アレキサンドリン」が続く（それから繰り返す）。これらの行の押韻構成(rhyme scheme、ライムスキーム）はABABBCBCCである[1][2]。

全部を韻律分析するのはさすがに無理なので、自分が一番難しいと思う行たちをここで分析するだけのことです
英語古典韻律詩は主に
一行を二つや三つの音節(syllable)の出来た韻脚(一安樂一歩と言う）に分けて、一行で固定の歩数を保ちのままに、それから行末の押韻（脚韻）をアレンジして体をなす事です。
例えば
マダラ
クダラ
「ダラ」は「脚韻」と言う

ガリ
タリ
「リ」は「脚韻」と言う

first
kiss't (kissedの詩体、発音とkissed /d/が違いますkisst /t/の感じです)
/st/ は「脚韻」と言う


例は
ヒロイック・カプレット - Wikipedia
古典英語詩の伝統的な文体です
（他の文体も沢山ありますが、例えば古英語 では音節を数えない、韻律も踏まない、強音の数とアレンジだけより詩を作る頭韻法詩alliterative verse或いはアクセント体詩accetual verseと言う、英語の一番古い詩《Beowulf》はこの文体に当たる）。

記号
' は強音を示す
/は音節のバリアー
原文の(')は英語の句読点なので無関係です、無視してください。

発音はIPA(国際音声記号)を学んで英和辞典・和英辞典 - Weblio辞書或いはwiktionaryの英語版を使ってくださいませ。

ここで合法でそして無料に読める (パブリックドメインに入って作品です）

Keats; poems published in 1820/The Eve of St. Agnes - Wikisource, the free online library

例:

Knights, 'la- / -dies, 'pray- / -ing in'/ dumb 'o-/ -ra -'t ries (treesの発音、詩体の省略発音Poetic contraction - Wikipedia）,

五歩、弱音＋強音で一歩。五歩イアンボス

*As 'she/ had 'heard/ old 'dames/ full 'ma/ ny 'times/ de- 'clare.

六歩、弱音＋強音で一歩。六歩イアンボス

How many syllables in Madeline? 英語単語の音節数はこのサイトで調べられます。けれど百年以上前の英語は、更に地方の訛り（キーツはほんの少しコックニー の訛り）、そして省略発音Poetic contractionによって辞書の示した音節数は詩の原文と違う場所もあります。

例えば現代英語のable /ˈeɪ.bl̩/の「ble」発音はb+短いのl, bl /bl̩/
キーツの時代ではそれは/ˈeɪ.bəl/、「ble」の発音は「bel」/bəl/

それによって時代独特な韻律と押韻構成もあります
例えば

ウイリアムブレイクの「Tyger」と言う詩より出できる
What immortal hand or eye,

Could frame thy fearful symmetry?

symmetryの現代英語の読み方は/ˈsɪmɪtɹi/、そのtryは「tree」の発音と同じですけれど。
押韻構成の分析によると「eye」と「symmetry」は押韻の脚韻を踏んでいるのため

ブレイクさんの時代ではsymmetryの読み方は/ˈsɪmɪtɹai/、そのtryは動詞の「try」と同じ発音のするのではないかと、英語文学研究の意見です。
「try」と「eye」は押韻の脚韻をふんでいる。

*Fix'd 'on/ the 'floor/, saw 'ma/ny a 'sweep/ing 'train

*Whose 've/ry 'dogs/ would 'ex/-xe 'cra/-tions 'howl

*Shuf-'fling/ a-'long/ with 'i/-vory(v'ri?)-'head/-ed 'wand,

** (is comma in 'rice,' ictic?) Then 'there's/ that 'old/ Lord 'Mau/rice, 'not/ a 'whit

*He 'found/ him 'in./ a 'lit/tle(american lit-el?) 'moon/light 'room,

**God's 'help!/ my 'la/dy 'fair/ the 'conju/ ror 'plays (is conjuror con-ju-ror or conju-ror? con-ju-ror would make one syllable overflow from the pentameter)

**Made 'pur/ple 'ri-/ot 'then /doth 'he /pro-'pose

*Or 'I/ will, 'e/-ven 'in/ a 'mo/ment's 'space,

Which 'was/, to 'lead/ him, 'in/ close 'se/cre-'cy

*Ev'en/ to Made/line's 'cham/ber, 'and/ there 'hide

While 'le/gion'd 'fai-/-ries 'pac'd /the 'co-/ver-'let,

**Quickly 'on /this 'feast-/night: 'by /the 'tam-/bour 'frame

(quick-lyは音節を持つが、多分これはイギリス訛りによる発音省略だと quick-y?）

**On 'such/ a 'cat/(e)ring 'trust/ my 'di-/zzy 'head.

(cateringのeは省略された様子です多分これはイギリス訛りによる発音省略だと cat_ring）

So 'say/-ing, 'she/ hobbled 'off/ with 'bu-/sy 'fear

From 'fright/ of 'dim/ es-'pi-/-al. 'Safe/ at 'last,

Through 'ma-/ny a 'du-/-sky 'gal-/le-'ry, /they 'gain

When 'Ma-/-de-'line/, St. 'Ag/-nes 'charm/-ed 'maid,

To 'a /safe 'le-/vel 'matt-/ing. 'Now /pre-'pare,

No 'utter/-ed 'syl-/la-'ble, /or, 'woe /be-'tide!

But 'to /her 'heart, /her 'heart /was 'vo-/lu-'ble,

All 'gar-/lan-'ded/ with 'car-/ven 'i-/ma-'g_ries

Of 'fruits/, and 'flowers/, and 'bun/-ches 'of/ knot-'grass,⁠

In 'Pro-/vence 'call'd/, "La 'belle/ dame 'sans/ mer-'cy:
(ここのbelleはフランス語のprovence方言の訛りで読む、発音とbellは同じだと思う）

U-'pon/ his 'knees/ he 'sank/, pale 'as/ smooth-'sculpt/ured 'stone.

At 'which/ fair 'Ma/de-'line/ be-'gan/ to 'weep,

And 'moan/ forth 'wit/less 'words/ with 'ma-/ny a 'sigh;

Made 'tu/-nea-'ble/ with 'ev(e)/ry 'swee-/test 'vow;⁠
（everyのeはイギリス訛りによって省略させた）

Though 'thou/ for-'sak/-est 'a/ de-'ceiv/-ed 'thing;—

Say, 'may/ I 'be/ for 'aye/ thy 'va-/ssal 'blest?

A-'fter/ so 'ma-/ny 'hours /of 'toil /and 'quest,

…………..
discordで他の詩人たちよりもらえた自分の韻律分析への評論、そして韻律分析を勉強するための資料

//////////////

David E — Today at 10:46 PM
Bearing in mind that scansion is more subjective than iambic pentameter—poets often disagree about how a line should scan while agreeing that both rhythms fit the meter—here’s how I would scan these lines.

KNIGHTS, LA-dies, PRAY-ing in DUMB OR-a-TR’IES

I hear a spondee in foot 1 and an ionic in feet 3&4.

as SHE had HEARD OLD DAMES full MA-ny TIMES de-CLARE

I hear a spondee in foot 3 because “old” has a long vowel into a liquid and a stop. Like you, I don’t hear a spondee in foot 4, because “full” has a short vowel into just a liquid, followed by the accent of a two-syllable word (basically the strongest possible accent, which tends to suppress its neighbor). This is ultimately inconsequential; both rhythms are acceptable IP.

FIX’D on the FLOOR, saw MA-ny_a SWEEP-ing TRAIN

I hear a trochee in foot 1—this is the most common IP substitution. One could scan what I’ve marked “ny_a” as an anapest, and I wouldn’t argue it; but the lack of a consonant between the vowels makes it acceptable to many poets who are otherwise squeamish about anapestic substitutions.

whose VE-ry DOGS would EX-e-CRA-tions HOWL

No difference—we both hear straight iambs.

SHUF-fling a-LONG with IV’-ry–HEAD-ed WAND,

I hear another foot 1 trochee.

THEN there’s that OLD LORD MAU-rice, NOT a WHIT

Out of context, I hear a foot 1 trochee, and a foot 3 spondee, but both could be iambs. Again, it doesn’t ultimately matter.

he FOUND him IN a LIT-tle MOON-light ROOM

No difference—we both hear straight iambs.

GOD’S HELP! my LA-dy FAIR the CON-jur-or PLAYS

I hear a spondee in foot 1—I can’t think of a monosyllable more likely to be accented than “God”. I hear an anapest in foot 5, but since the weak syllables are the same vowel with only a liquid in the middle, I would accept a scansion that smashed it into a single unstressed syllable.

made PUR-ple RI-ot THEN doth HE pro-POSE

No difference—we both hear straight iambs.

or I WILL, E-ven IN a MO-ment’s SPACE,

Out of context, I hear a spondee in foot 2, really insisting on “will”. I would also accept an ionic on 1&2. Note that, however we scan the second and third syllables, we have an IP rhythm of some kind.

QUICK-ly_on this FEAST-NIGHT: BY the TAM-bour FRAME

Hoo boy. My best guess is: foot 1 trochee into an elision (like “many a” before; plausibly an anapest instead), foot 3 spondee. I love the motion of the extra vowel sound.

on SUCH a CA-t’ring TRUST my DIZ-zy HEAD.

No difference—we both hear straight iambs.
JTR — Today at 10:49 PM
strange, almost all literature notes sites i can find online say this is a typical spenserian
https://www.litcharts.com/poetry/john-keats/the-eve-of-st-agnes https://www.cliffsnotes.com/literature/k/keats-poems/summary-and-analysis/the-eve-of-st-agnes
is it perhaps because how we pronounce things these days are different from keats time?
I am able to find most of the lines in iambic meter. but your reading also sounds plausible. weird.

JTR — Today at 10:58 PM
hi also what is IP substitution you mentioned in poetry? iambic pentameter substitutions? wiki and literature notes sites only say this is a pentameter +hexameter spenserian. how are meter subtitutions defined and what types are considered proper in prosodic poetry? are there resource sites for learning this kind of subtitutions within a meter pattern?
David E — Today at 11:00 PM
For Shakespeare, the power-to-weight ratio of this guide is quite good: https://forums.mosaicmusings.net/index.php?showtopic=7492
There’s also a more Romantic style of IP that mostly forgoes mid-line trochees for freer anapestic substitutions.
And also Chaucer, who only really countenanced spondees and headless lines (English stresses not being as firm as they are now, making the trochee a dicey proposition).
JTR — Today at 11:13 PM
is there a already stress-marked version of shakespeare or chaucer for learning meters? or websites? i find trying to read a long poem while marking the meter stress pattern to be quite laborous. it takes me 3-4 hours into st agnes eve, still unfinished and it is a short-medium length poem too...
David E — Today at 11:14 PM
http://prescannedshakespeare.aruffo.com/sonnets/son016-030/son018.htm