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• W1489489087 abstract "This paper is part of a large-scale investigation of the nature of the rhythmical performance of poetry.(1) It uses the computer to analyze delivery instances of verse lines within the theoretical framework of the perception-oriented theory of meter, worked out back in 1971-1973, and published in 1977. It is devoted to the actor Douglas Hodge's reading of Keats's Elgin Marbles sonnet. It examines some of the vocal manipulations by which Hodge renders his reading rhythmical. Hodge appears singular in the devices he deploys among the readers - including leading British actors and colleagues from the academy - we have examined so far. One of the most effective vocal devices we have encountered in the readings of other readers is what Gerry Knowles (Pitch Contours) has called that is, when the intonation peak hits the syllable nucleus later than in the middle or even on the following continuant, usually a sonorant. This device has been perceived as having an impetuous forward push, contributing to the solution of a variety of problems arising from the conflict between the linguistic and versification units. In Hodge's readings, we have found so far only two instances of late peaking, both in cases when he artificially generates an unnecessary stress maximum in a weak position. He prefers, instead, to deploy a variety of vocal devices, some of which are unfamiliar in the other readings. By way of discussing these devices, I shall emphasize some basics of the rhythmical performance of poetry that are essential also to analyzing readings in which different vocal devices are deployed. THE THEORETICAL PROBLEM The dominant metric system in English poetry from Wyatt (but according to Halle and Keyser from Chaucer) to Yeats and after is the or syllabo-accentual system. In this system, both the number of syllables and the order of stressed and unstressed syllables in a verse line is fixed (in contrast to the system, for instance, in which only the number of stressed syllables in a verse line is fixed). Iambic means that a verse unit consists of an unstressed and a stressed syllable and that the verse line consists of five such units. In the first 165 verse lines of Paradise Lost, there are just two such lines. Why should we speak at all, then, of pentameter? Robert Bridges provided in his Milton's Prosody a list of deviations. These deviations were allowable, mainly, on Milton's authority. Such a conception is both outrageously unparsimonious and counterintuitive in that people do not read poetry with a list of allowable deviations in hand. What we need, then, is a systematic explanation of what is it that we perceive when we perceive a verse line as iambic pentameter and, no less important, what are the constraints on this. During the first half of the present century, several scholars attempted to solve the problem by claiming that the syllabo-tonic meter was not in fact syllabo-tonic. One solution proposed was the assumption that in iambic pentameter we have, in fact, an accentual meter with four beats. Another approach proceeded on the assumption that in the reading of poetry there are equal or proportional time periods between stresses, or between regions of strength. In the 'twenties and 'thirties of the present century, the so-called sound recorders (whose work was summarized by Schramm) approached the issue empirically. This approach had the theoretical weakness that in many instances they mistook the structure of accidental performances for the structure of the poem, but much in their findings can be utilized for establishing the inventory of the reader's (or the vocal performer's) rhythmic competence. One of their achievements was that they failed to demonstrate the existence of equal or proportional time periods. In 1959 Wimsatt and Beardsley published a paper in which they attempted to clean the table, arguing that the syllabo-tonic meter was in fact syllabo-tonic. …" @default.
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• W1489489087 date "1997-03-22" @default.
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• W1489489087 title "Douglas Hodge Reading Keats's Elgin Marbles Sonnet" @default.
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