On the Inheritance of Rhythm

“…Th ough he had failed in his attempts to convince the New English Dictionary editor Henry Bradley to help him reform English spelling, he continued to push for a clearer way to direct readers toward the correct pronunciation of his verses in his poetic experiments. Between 1912 and1913, he began publishing in a new verse form he fi rst called syllabic alexandrines (in an obvious reference to French verse but also referring to hexameters); he settled on the name "Neo-Miltonic syllabics. " Bridges' fi rst published foray into syllabic verse form occurred in the same year that he became Poet Laureate, 1913 (a year before Des Imagistes was published).…”

Section: So Much Depends Upon the Red Wheel Barrow Glazed With Rain W...mentioning

confidence: 99%

Critical Rhythm

2020

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non-mimetic prosodic functions. Relevant here is Jackson's theory of "lyricization" as the displacement of subgenres and accompanying modes of reading and circulation into the master genre of the "expressive romantic lyric"; this model of lyric occurs in an "idealized moment of reading progressively identifi ed with an idealized moment of expression. " Dickinson's Misery: A Th eory of Lyric Reading (Princeton, N.J.: Princeton University Press, 2005), 7. One outcome of lyricization would be a formalism that obsessively reads prosodic form as expressive form.14. I.e., the tendency toward alternation that shift s stress from "fourtéen" to "fòurteen wómen. " See Bruce Hayes, "Th e Phonology of Rhythm in English, " Linguistic Inquiry 15, no. 1 (1984): 33.15. Th e fi eld has been dominated by work in the nineteenth century. Especially important here are the 2008 Exeter conference "Metre Matters" and subsequent collection with that title edited by Jason David Hall (2011); a special 2011 issue of Victorian Poetry dedicated to prosody (ed. Meredith Martin and Yisrael Levin); a 2014 conference at the University of Chicago on "Poetic Genre" dedicated to questions of historical poetics and with keynotes by two prosodists also present in this collection, Yopie Prins and Simon Jarvis. Th eir dialogue has resulted in several important essays concerning the defi nition of "historical poetics"; these pivot in large part on the question of our "cognition" or "recognition" of versifi cation.

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“…Collecting data for the method of constant stimuli takes considerable time, during which the state of practice of the subject is likely to change. For the purpose of studying these variations, the results of my lifted weight experiments were divided in groups of fifty and the constants of the psychometric functions determined in each one of them for all my subjects (7). The results plainly show the influence of progressive practice as far as about the fifth group-exclusive of the preliminary series.…”

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confidence: 99%