One can always suspect that there is some prosodic principle lurking in free verse, the ghost of accentual-syllabic
meter, or ghosts of other, or nonce, metrical patterns waiting to be discovered (and unfreeing the verse in the process).
Ravinthiran begins by quoting from the 1877 sonnet "Spring" and from its putative source in a journal passage from 1871 and claims the latter offers a more effective description while retaining in its very style the advantages of accentual-syllabic
A specific memory of his teaching came back recently: Charles was demonstrating the difference between accentual-syllabic
meters and other kinds of accentual meters; he "scanned" the sprung-rhythm lines from Hopkins's "The Windhover.
In the 1980s and 1990s a "new formalism" emerged with anthologies and essays commending a return to end-rhyme and accentual-syllabic
Historically, the contemporary poetry we teach tout corps depends upon Modernist "free verse," that separates the line break from the "music" of rhyme and accentual-syllabic
Although monosyllabic words are not so common in Spanish as they are in English, a certain rhythmical regularity can always be achieved in Spanish so that the language symbolizes the music and dancing of the referent: Due to the normal intonation pattern of English, most of the poetic production in this language since the 14th century has used accentual-syllabic
meter; by contrast, poetry in Spanish has normally followed a pattern more syllabic than accentual, and the unit has been the verse--with the stresses falling onto fixed positions--rather than the foot (Quilis 21-36).
Thus duped into hearing verse cadence "not as it was written, by the poet's ear, but by the inept notions of prosodists," poets striving to hew to the English metrical tradition have been trying to thrash their way out of the accentual-syllabic
briar patch ever since.
between them, they seemed to have so thoroughly exhausted the possibilities of accentual-syllabic
metrics that the only thing left .
Most notable is the strongly accented two-stress line, almost impossibly difficult to work out in accentual-syllabic
verse but intelligible and convincing in Heaney's simpler accentual verse, which admits extra syllables and even some three-stress lines without strain:
A comparison of the dialogue in "October" and "August" should provide a good test for this, since they share a stanza form but are in accentual-syllabic
and accentual meters, respectively.
That is, the accentual-syllabic
line is given texture by, among other things, the dynamics between counts (syllables) and beats (accents).
Citing Paul Fussell on the nineteenth-century replacement of strict accentual-syllabic
prosody with an accentualism that permitted trisyllables within predominantly duple patterns, Dransfield argues that the meters of Maud are literally lawless (excepting the strict accentual-syllabic
lines elicited by Maud's military ballad) and thus directly convey the sensory experience of morbidity.