Clive Scott
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198151593
- eISBN:
- 9780191672750
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151593.001.0001
- Subject:
- Literature, European Literature, Poetry
The prosodic description of free verse, in France as elsewhere, has long been fraught with difficulty: free verse is a web of shifting rhythmic effects, as relative as they are elusive. This book ...
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The prosodic description of free verse, in France as elsewhere, has long been fraught with difficulty: free verse is a web of shifting rhythmic effects, as relative as they are elusive. This book attempts to construct methods of analysis, on the basis of a study of the history and theory of free verse in France. After an initial exploration of the scansion problems posed by a free-verse poem (by Alain Fournier), and of the assumptions which might be made about its nature, this book looks for answers and verifications in the history of free verse's early years and in contemporary theoretical documents. How far was free verse in France an inevitable outcome of the ‘liberalization’ of regular verse? How far was free verse the result of fundamental changes in the way French rhythms were perceived? What did free verse owe to the popular song, to the prose poem, to translations? How far does the practice of free verse coincide with its history? The book's principle concern is to establish, on these foundations, working methods of scansion, and to show how they can be applied in the interpretation of specific poems. Accordingly, the second part of the book is devoted to extended commentaries on poems by Rimbaud, Laforgue, Claudel, and Apollinaire.Less
The prosodic description of free verse, in France as elsewhere, has long been fraught with difficulty: free verse is a web of shifting rhythmic effects, as relative as they are elusive. This book attempts to construct methods of analysis, on the basis of a study of the history and theory of free verse in France. After an initial exploration of the scansion problems posed by a free-verse poem (by Alain Fournier), and of the assumptions which might be made about its nature, this book looks for answers and verifications in the history of free verse's early years and in contemporary theoretical documents. How far was free verse in France an inevitable outcome of the ‘liberalization’ of regular verse? How far was free verse the result of fundamental changes in the way French rhythms were perceived? What did free verse owe to the popular song, to the prose poem, to translations? How far does the practice of free verse coincide with its history? The book's principle concern is to establish, on these foundations, working methods of scansion, and to show how they can be applied in the interpretation of specific poems. Accordingly, the second part of the book is devoted to extended commentaries on poems by Rimbaud, Laforgue, Claudel, and Apollinaire.
Clive Scott
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198151593
- eISBN:
- 9780191672750
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151593.003.0001
- Subject:
- Literature, European Literature, Poetry
The Vers Libre aims to provide a history of free verse in France by providing accounts of events that marked the emergence of free verse. The book also aims to describe the theoretical and formal ...
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The Vers Libre aims to provide a history of free verse in France by providing accounts of events that marked the emergence of free verse. The book also aims to describe the theoretical and formal contexts that made the emergence of free verse inevitable. In addition, the book also provides methods for disengaging the rhythmic structure of free verse text and for analysing its significance. The main focus of this book is the prosody of free verse. In this book, the introduction of free verse by Alain Fourier, the origin and theoretical foundations of free verse, the methods of scansion and its application to poems of Rimbaud, Laforgue, Claudel, and Apollinaire are carefully discussed and studied.Less
The Vers Libre aims to provide a history of free verse in France by providing accounts of events that marked the emergence of free verse. The book also aims to describe the theoretical and formal contexts that made the emergence of free verse inevitable. In addition, the book also provides methods for disengaging the rhythmic structure of free verse text and for analysing its significance. The main focus of this book is the prosody of free verse. In this book, the introduction of free verse by Alain Fourier, the origin and theoretical foundations of free verse, the methods of scansion and its application to poems of Rimbaud, Laforgue, Claudel, and Apollinaire are carefully discussed and studied.
Clive Scott
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198151593
- eISBN:
- 9780191672750
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151593.003.0006
- Subject:
- Literature, European Literature, Poetry
This chapter discusses Lafogue, a free-verse poet of the line, where the subject contains conflicting tonal and expressive impulses, where the textual is frequently undermined by the verbal and ...
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This chapter discusses Lafogue, a free-verse poet of the line, where the subject contains conflicting tonal and expressive impulses, where the textual is frequently undermined by the verbal and non-textual, where rhythmic coherence is dismantled by the different kinds of metrical impropriety: fragmentation, equivocation, and divigation. In this chapter, Laforgue's Dimanche is studied and analyzed in terms of syllabication, rhyme, and scansion.Less
This chapter discusses Lafogue, a free-verse poet of the line, where the subject contains conflicting tonal and expressive impulses, where the textual is frequently undermined by the verbal and non-textual, where rhythmic coherence is dismantled by the different kinds of metrical impropriety: fragmentation, equivocation, and divigation. In this chapter, Laforgue's Dimanche is studied and analyzed in terms of syllabication, rhyme, and scansion.
Clive Scott
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198151593
- eISBN:
- 9780191672750
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151593.003.0007
- Subject:
- Literature, European Literature, Poetry
This chapter discusses Claudel's verset of Cinq Grands Odes and L'Esprit et l'eau. In this chapter, the two poems of Claudel are studied by an examination of their prosodic context and accent; and ...
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This chapter discusses Claudel's verset of Cinq Grands Odes and L'Esprit et l'eau. In this chapter, the two poems of Claudel are studied by an examination of their prosodic context and accent; and their unaccentuated syllables and intraphrasal accents, rhythm, scansion, and embajament.Less
This chapter discusses Claudel's verset of Cinq Grands Odes and L'Esprit et l'eau. In this chapter, the two poems of Claudel are studied by an examination of their prosodic context and accent; and their unaccentuated syllables and intraphrasal accents, rhythm, scansion, and embajament.
Clive Scott
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198158820
- eISBN:
- 9780191673382
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158820.003.0002
- Subject:
- Literature, European Literature, Poetry
This chapter focuses on the principles and attributes surrounding rhythm and metre. This chapter focuses on the way in which generative metrics has been an instrumental in removing rhythm from ...
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This chapter focuses on the principles and attributes surrounding rhythm and metre. This chapter focuses on the way in which generative metrics has been an instrumental in removing rhythm from consciousness by subsuming it within metre. In this chapter several arguments and viewpoints concerning generic metrics and its impact on rhythm, prosody, and scansion are analyzed and assessed.Less
This chapter focuses on the principles and attributes surrounding rhythm and metre. This chapter focuses on the way in which generative metrics has been an instrumental in removing rhythm from consciousness by subsuming it within metre. In this chapter several arguments and viewpoints concerning generic metrics and its impact on rhythm, prosody, and scansion are analyzed and assessed.
Clive Scott
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198158820
- eISBN:
- 9780191673382
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158820.003.0005
- Subject:
- Literature, European Literature, Poetry
This chapter discusses Guillaume Apollinaire's calligrams. This chapter attempts to make reference to some of the devices and effects found in contemporary visual art, and in particular, in the ...
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This chapter discusses Guillaume Apollinaire's calligrams. This chapter attempts to make reference to some of the devices and effects found in contemporary visual art, and in particular, in the Cubism movement which was believed to be the dominating force and inspiration behind Apollinaire's calligrams. In this chapter some of his poems such as Les Soirées de Paris, Il pleut, and L' Éventail des saveurs are examined. These are looked at within the context of rhythm, scansion, and the visual arts depicted as Cubism and Futurism found in the structure and characteristics of the poems.Less
This chapter discusses Guillaume Apollinaire's calligrams. This chapter attempts to make reference to some of the devices and effects found in contemporary visual art, and in particular, in the Cubism movement which was believed to be the dominating force and inspiration behind Apollinaire's calligrams. In this chapter some of his poems such as Les Soirées de Paris, Il pleut, and L' Éventail des saveurs are examined. These are looked at within the context of rhythm, scansion, and the visual arts depicted as Cubism and Futurism found in the structure and characteristics of the poems.
Clive Scott
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198158820
- eISBN:
- 9780191673382
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158820.003.0006
- Subject:
- Literature, European Literature, Poetry
This chapter discusses Blaise Cendrars' poetry, in particular his Dix-neuf poèmes élastiques and the prevailing prosody of Orphism surrounding his poetry. In this chapter, the elements of rhythm, ...
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This chapter discusses Blaise Cendrars' poetry, in particular his Dix-neuf poèmes élastiques and the prevailing prosody of Orphism surrounding his poetry. In this chapter, the elements of rhythm, prosody, scansion, and metre are evaluated and assessed in Cendrars'Dix-neuf poèmes élastiques within the principles and context of the new visual art movement Orphism.Less
This chapter discusses Blaise Cendrars' poetry, in particular his Dix-neuf poèmes élastiques and the prevailing prosody of Orphism surrounding his poetry. In this chapter, the elements of rhythm, prosody, scansion, and metre are evaluated and assessed in Cendrars'Dix-neuf poèmes élastiques within the principles and context of the new visual art movement Orphism.
Clive Scott
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198158820
- eISBN:
- 9780191673382
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158820.003.0008
- Subject:
- Literature, European Literature, Poetry
This chapter discusses Jules Supervielle's poems and the prevailing prosody of displacement found in his poetry. The chapter also examines the different Superviellean strategies employed by ...
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This chapter discusses Jules Supervielle's poems and the prevailing prosody of displacement found in his poetry. The chapter also examines the different Superviellean strategies employed by Supervielle in his poems. Once again, the elements of rhythm, metre, and scansion are discussed and examined within the context of Supervielle' Gravitations and his other poems. In addition, this chapter looks into the differences between Perse and Supervielle through the difference of the forms of free verse they employ.Less
This chapter discusses Jules Supervielle's poems and the prevailing prosody of displacement found in his poetry. The chapter also examines the different Superviellean strategies employed by Supervielle in his poems. Once again, the elements of rhythm, metre, and scansion are discussed and examined within the context of Supervielle' Gravitations and his other poems. In addition, this chapter looks into the differences between Perse and Supervielle through the difference of the forms of free verse they employ.
David Robey
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198184980
- eISBN:
- 9780191674419
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184980.003.0005
- Subject:
- Literature, European Literature
In what way is it possible to represent the accentual rhythm of Dante's Divine Comedy, or any other Italian poem, systematically? Traditionally, the Italian hendecasyllable has been said to fall into ...
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In what way is it possible to represent the accentual rhythm of Dante's Divine Comedy, or any other Italian poem, systematically? Traditionally, the Italian hendecasyllable has been said to fall into three types, according to the location of accents in the line: on syllables 6 and 10; or 4, 8, and 10; or 4, 7, and 10. The first type is termed a maiore, the second and the third a minore. To say that syllable and phrase accentuation are a matter of stress means that they can be identified internally by the speaker, in terms of the energy with which he or she pronounces the syllables in question; and outwardly in terms of volume and length. In addressing the question of scansion, this chapter retains with very few exceptions the word accents of all polysyllables, whatever their position in the phrase, and assigns their accent to large classes of monosyllables on which an accent is possible in normal parlance.Less
In what way is it possible to represent the accentual rhythm of Dante's Divine Comedy, or any other Italian poem, systematically? Traditionally, the Italian hendecasyllable has been said to fall into three types, according to the location of accents in the line: on syllables 6 and 10; or 4, 8, and 10; or 4, 7, and 10. The first type is termed a maiore, the second and the third a minore. To say that syllable and phrase accentuation are a matter of stress means that they can be identified internally by the speaker, in terms of the energy with which he or she pronounces the syllables in question; and outwardly in terms of volume and length. In addressing the question of scansion, this chapter retains with very few exceptions the word accents of all polysyllables, whatever their position in the phrase, and assigns their accent to large classes of monosyllables on which an accent is possible in normal parlance.
Kristján Árnason
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199229314
- eISBN:
- 9780191728464
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199229314.003.0015
- Subject:
- Linguistics, Phonetics / Phonology, Language Families
The chapter describes ways of analysing different rhythmic interpretations of phrases and other phonological constituents in Icelandic and Faroese in terms of metrical grids and how intonational ...
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The chapter describes ways of analysing different rhythmic interpretations of phrases and other phonological constituents in Icelandic and Faroese in terms of metrical grids and how intonational patterns can be mapped onto these grids. Systematic research on Icelandic intonation is reported, and earlier descriptions of Faroese intonation are given. It is shown that Icelandic has an inventory of high and low accents which may be preceded or followed by high or low leads or trails, and a set of high and low edge tones. Pragmatic meaning may be expressed with the help of intonation, but there are also some systematic rules of correspondence between morphosyntax and intonational patterns. In the final section it is shown that there are no word tones in Modern Icelandic or Modern Faroese, and there is little reason to assume that such a correlation was ever systematically present in of the two languagesLess
The chapter describes ways of analysing different rhythmic interpretations of phrases and other phonological constituents in Icelandic and Faroese in terms of metrical grids and how intonational patterns can be mapped onto these grids. Systematic research on Icelandic intonation is reported, and earlier descriptions of Faroese intonation are given. It is shown that Icelandic has an inventory of high and low accents which may be preceded or followed by high or low leads or trails, and a set of high and low edge tones. Pragmatic meaning may be expressed with the help of intonation, but there are also some systematic rules of correspondence between morphosyntax and intonational patterns. In the final section it is shown that there are no word tones in Modern Icelandic or Modern Faroese, and there is little reason to assume that such a correlation was ever systematically present in of the two languages
Ben Glaser and Jonathan Culler (eds)
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780823282043
- eISBN:
- 9780823285983
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823282043.001.0001
- Subject:
- Literature, Poetry
This collection intervenes in recent debates over formalism, historicism, poetics, and lyric by focusing on one of literary criticism’s most important, most vested, and perhaps least well-defined or ...
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This collection intervenes in recent debates over formalism, historicism, poetics, and lyric by focusing on one of literary criticism’s most important, most vested, and perhaps least well-defined or definable terms. Rhythm in these essays is at once a defamiliarizing aesthetic force and an unstable concept. It is a key term through which Romantic, Modern, and contemporary literary theory define form, either in conversation with or opposition to meter. It has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice if not identity as such. Through their exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form sorted out through scansion, description, and taxonomy and roped back into interpretation. Pressing beyond the poetry handbook’s isolated descriptions of technique as well as inductive declarations of what rhythm “is,” each essay builds toward methodological inquiry about what it means to think rhythm. With contributions from many of the foremost scholars in the fields of prosody and poetics, Critical Rhythm develops new critical models for understanding how rhythm, in light of its historicity and generic functions, permeates poetry’s composition, formal objectivity, circulation in national and other publics, performances, and present critical horizons.Less
This collection intervenes in recent debates over formalism, historicism, poetics, and lyric by focusing on one of literary criticism’s most important, most vested, and perhaps least well-defined or definable terms. Rhythm in these essays is at once a defamiliarizing aesthetic force and an unstable concept. It is a key term through which Romantic, Modern, and contemporary literary theory define form, either in conversation with or opposition to meter. It has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice if not identity as such. Through their exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form sorted out through scansion, description, and taxonomy and roped back into interpretation. Pressing beyond the poetry handbook’s isolated descriptions of technique as well as inductive declarations of what rhythm “is,” each essay builds toward methodological inquiry about what it means to think rhythm. With contributions from many of the foremost scholars in the fields of prosody and poetics, Critical Rhythm develops new critical models for understanding how rhythm, in light of its historicity and generic functions, permeates poetry’s composition, formal objectivity, circulation in national and other publics, performances, and present critical horizons.
Bert Vaux and Andrew Wolfe
- Published in print:
- 2009
- Published Online:
- August 2013
- ISBN:
- 9780262182706
- eISBN:
- 9780262255325
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262182706.003.0005
- Subject:
- Linguistics, Phonetics / Phonology
This chapter examines abstract properties of phonology, with an emphasis on the behavior and representational status of consonants that do not fit neatly into canonical syllable templates. Many ...
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This chapter examines abstract properties of phonology, with an emphasis on the behavior and representational status of consonants that do not fit neatly into canonical syllable templates. Many phonologists have argued that such consonants do not attach to syllables in the normal way, but they do not take into account the behavior of other phenomena that also suggest the existence of extrasyllabicity. The chapter presents linguistic evidence and arguments in support of extrasyllabicity and illustrates how phonological segments can attach to prosodic nodes higher than the syllable. It also shows that the specific locus of attachment can vary both between and within languages. In particular, it discusses phonetics, sonority sequencing, aspiration, and prosodic phenomena such as stress assignment, metrical scansion, lengthening, and shortening, along with morphology and external linguistic phenomena involving child language acquisition, aphasia, and psycholinguistic experiments.Less
This chapter examines abstract properties of phonology, with an emphasis on the behavior and representational status of consonants that do not fit neatly into canonical syllable templates. Many phonologists have argued that such consonants do not attach to syllables in the normal way, but they do not take into account the behavior of other phenomena that also suggest the existence of extrasyllabicity. The chapter presents linguistic evidence and arguments in support of extrasyllabicity and illustrates how phonological segments can attach to prosodic nodes higher than the syllable. It also shows that the specific locus of attachment can vary both between and within languages. In particular, it discusses phonetics, sonority sequencing, aspiration, and prosodic phenomena such as stress assignment, metrical scansion, lengthening, and shortening, along with morphology and external linguistic phenomena involving child language acquisition, aphasia, and psycholinguistic experiments.
Mitchell Ohriner
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190670412
- eISBN:
- 9780190670443
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190670412.003.0002
- Subject:
- Music, Theory, Analysis, Composition, Popular
Over the course of his writing, Leonard B. Meyer distinguished between two kinds of music analysis: style analysis, which identifies the “rules of the game” operating in a collection of music, and ...
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Over the course of his writing, Leonard B. Meyer distinguished between two kinds of music analysis: style analysis, which identifies the “rules of the game” operating in a collection of music, and critical analysis, which seeks to explain the choices of artists by identifying the range of possibilities they confront at each moment and interpreting the path they take. This chapter prepares for the critical analysis of flow in rap music by constructing a corpus of rap verses, taking care to document and maintain rap’s chronological, geographical, and stylistic diversity. The chapter also describes how primary constituents of flow (text, rhythm, and phrase) are digitally represented in the corpus.Less
Over the course of his writing, Leonard B. Meyer distinguished between two kinds of music analysis: style analysis, which identifies the “rules of the game” operating in a collection of music, and critical analysis, which seeks to explain the choices of artists by identifying the range of possibilities they confront at each moment and interpreting the path they take. This chapter prepares for the critical analysis of flow in rap music by constructing a corpus of rap verses, taking care to document and maintain rap’s chronological, geographical, and stylistic diversity. The chapter also describes how primary constituents of flow (text, rhythm, and phrase) are digitally represented in the corpus.
Oliver Morgan
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780198836353
- eISBN:
- 9780191873614
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198836353.003.0002
- Subject:
- Literature, Shakespeare Studies
The first half of this chapter uses the simplified model of turn sequencing outlined in Chapter 1 to develop a more precise vocabulary with which to talk about dialogical form. It proposes three new ...
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The first half of this chapter uses the simplified model of turn sequencing outlined in Chapter 1 to develop a more precise vocabulary with which to talk about dialogical form. It proposes three new terms to describe how sequences of turns are built: intervention, blanking, and apostrophe. The second half of the chapter tests this approach on a series examples culled from the work of other critics: Mick Short on Buckingham’s attempt to claim his reward from the newly crowned Richard (Richard III, 4.2); Lynne Magnusson on Desdemona’s insistence that she follow her husband to Cyprus (Othello, 1.3); and Stephen Orgel on the reassignment of the ‘Abhorred slave’ speech from Miranda to Prospero (Tempest, 1.2). In each case, the turn-taking approach yields fresh insights, enabling us to make distinctions at a greater level of detail than had previously been possible.Less
The first half of this chapter uses the simplified model of turn sequencing outlined in Chapter 1 to develop a more precise vocabulary with which to talk about dialogical form. It proposes three new terms to describe how sequences of turns are built: intervention, blanking, and apostrophe. The second half of the chapter tests this approach on a series examples culled from the work of other critics: Mick Short on Buckingham’s attempt to claim his reward from the newly crowned Richard (Richard III, 4.2); Lynne Magnusson on Desdemona’s insistence that she follow her husband to Cyprus (Othello, 1.3); and Stephen Orgel on the reassignment of the ‘Abhorred slave’ speech from Miranda to Prospero (Tempest, 1.2). In each case, the turn-taking approach yields fresh insights, enabling us to make distinctions at a greater level of detail than had previously been possible.
G. O. Hutchinson
- Published in print:
- 2018
- Published Online:
- August 2018
- ISBN:
- 9780198821717
- eISBN:
- 9780191860928
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198821717.003.0002
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval, Literary Studies: Classical, Early, and Medieval
From this chapter the book goes more deeply into one productive and central author: Plutarch. The basis for the book is a scansion of all of Plutarch’s Lives, not just the end of sentences but every ...
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From this chapter the book goes more deeply into one productive and central author: Plutarch. The basis for the book is a scansion of all of Plutarch’s Lives, not just the end of sentences but every small phrase: 2,297 pages, almost 100,000 phrases. For the other half of Plutarch’s work, the philosophical and related writings, the end of every sentence has been scanned. There thus exists a much more abundant body of material for the consideration of Plutarch than for any other Greek author. It is possible to advance from scansion into interpretation. With many detailed examples, and with the help of ancient comments, a connection is indicated between rhythm and emphasis, or attention; thus a rhythmic close draws attention to the words that create it. This can be independently confirmed from context, word-order, etc., and is demonstrated on a large scale in the book as a whole.Less
From this chapter the book goes more deeply into one productive and central author: Plutarch. The basis for the book is a scansion of all of Plutarch’s Lives, not just the end of sentences but every small phrase: 2,297 pages, almost 100,000 phrases. For the other half of Plutarch’s work, the philosophical and related writings, the end of every sentence has been scanned. There thus exists a much more abundant body of material for the consideration of Plutarch than for any other Greek author. It is possible to advance from scansion into interpretation. With many detailed examples, and with the help of ancient comments, a connection is indicated between rhythm and emphasis, or attention; thus a rhythmic close draws attention to the words that create it. This can be independently confirmed from context, word-order, etc., and is demonstrated on a large scale in the book as a whole.
Howard Jones and Martin H. Jones
- Published in print:
- 2019
- Published Online:
- July 2019
- ISBN:
- 9780199654611
- eISBN:
- 9780191851698
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199654611.003.0003
- Subject:
- Linguistics, Historical Linguistics, Syntax and Morphology
This chapter describes the chief features of versification in poetry written in the Middle High German Classical period (c.1170–c.1230) and in the remainder of the Middle High German period. The four ...
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This chapter describes the chief features of versification in poetry written in the Middle High German Classical period (c.1170–c.1230) and in the remainder of the Middle High German period. The four parts of the chapter treat metre (anacrusis, interior of the line, cadence), rhyme (types of rhyme, rhyme schemes), lines of verse in context (rhythmical continuity or discontinuity between lines of verse, metrical and syntactical structures, rhyming couplets and syntactical structures), and verse forms (non-strophic verse, strophic verse in heroic and lyric poetry, the ‘Stollenstrophe’). Tips for the scansion of verse are included. Technical terminology in English and German is explained throughout. Examples are in the main drawn from the selection of texts (Chapter 5). In the case of lyric verse, the general account in this chapter is supplemented by metrical analyses of each song included in the selection.Less
This chapter describes the chief features of versification in poetry written in the Middle High German Classical period (c.1170–c.1230) and in the remainder of the Middle High German period. The four parts of the chapter treat metre (anacrusis, interior of the line, cadence), rhyme (types of rhyme, rhyme schemes), lines of verse in context (rhythmical continuity or discontinuity between lines of verse, metrical and syntactical structures, rhyming couplets and syntactical structures), and verse forms (non-strophic verse, strophic verse in heroic and lyric poetry, the ‘Stollenstrophe’). Tips for the scansion of verse are included. Technical terminology in English and German is explained throughout. Examples are in the main drawn from the selection of texts (Chapter 5). In the case of lyric verse, the general account in this chapter is supplemented by metrical analyses of each song included in the selection.
Jonathan Culler
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780823282043
- eISBN:
- 9780823285983
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823282043.003.0002
- Subject:
- Literature, Poetry
Rhythm works to seduce readers and make poems memorable. Although the distinction between rhythm and meter is a slippery one, it seems essential since the traditional foot-scansion of metrical ...
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Rhythm works to seduce readers and make poems memorable. Although the distinction between rhythm and meter is a slippery one, it seems essential since the traditional foot-scansion of metrical analysis proves inadequate to the experience of rhythm, treating some simple rhythms as complex or marginally acceptable and failing to capture rhythmically-important differences. Although accounts of rhythm by such critics as Attridge, Aviram, and Blasing differ significantly, they contribute to a discussion of poetry that helps to account for the pleasure it affords and might help improve the teaching of poetry..Less
Rhythm works to seduce readers and make poems memorable. Although the distinction between rhythm and meter is a slippery one, it seems essential since the traditional foot-scansion of metrical analysis proves inadequate to the experience of rhythm, treating some simple rhythms as complex or marginally acceptable and failing to capture rhythmically-important differences. Although accounts of rhythm by such critics as Attridge, Aviram, and Blasing differ significantly, they contribute to a discussion of poetry that helps to account for the pleasure it affords and might help improve the teaching of poetry..
