![]() ![]() Of my notes for lecture #16, "Linguistic Form in Art, Ritual and Play",įrom Linguistics 001, the introductory linguistics course at Penn. The rest of this post is a mildly-edited version of the metered-verse section Reaction, and I expect to learn from their comments and objections. That they'll find a few interesting things here, if only by association or in ![]() Know much more than I do about some or all aspects of these phenomena. I recognize that there are other readers who I hope that all this will be helpful for readers who are uncertain about how Poetic meter - and rhythmic patterns in poetry more generally - should understand In a third post, I'll offer a few suggestions about theīasic aspects of language sound structure that (I think) anyone who cares about Hartman's implication that this framework can be confusing and even misleading if taken too seriously as a foundationįor metrical analysis. Later post, I'll take up the question of "feet" and the classicalīestiary from amphibrach to trochee, and discuss Charles ![]() Of view is by no means original to me, but I'll present it without referencesĪnd in a somewhat idiosyncratic form, for ease of assimilation. Post, I'll lay out a way of thinking about accentual-syllabic verse. I'm going to try to answer Charles' questions in three stages. ![]() Of linguistic analysis might be genuinely useful in analyzing poetic rhythm. Taxonomy of foot types as a basis for metrical description, and also asked what sort Hartman raised a valid point about the (in)appropriateness of the classical An internet pilgrim's guide to accentual-syllabic verseĮvidence that some English professors may be a little shaky about verse scansion. ![]()
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