From Stress to Stress: An Autobiography of English ProsodyBurton Baffel demonstrates an absolutely unique, absolutely foolproof, completely accurate and thoroughly comprehensive method of understanding prosody in English. Instead of deriving an irrelevant terminology from Greek or Latin, instead of manufacturing a theory, instead of presenting mere verbiage, he offers hundreds of examples from the years 800 to 1990, of how poets actually use prosody, and the patterns of stress, in their work. What poets in fact do is what the prosody of poetry written in English in fact is: understanding what the poems tell us is not only the crucial but in a sense the only task. So English prosody may best tell its own story, by its own practice. Mr. Raffel has entirely refrained from offering elaborate conclusions, or imposing any theoretical frame work. It is his implicit thesis that "theories of prosody" are an unnecessary evil, and an unnecessary befuddlement that, as often as not, make poetry seem unappealing and boring to those who want to understand it. Mr. Baffel helps guide his reader by calling attention to the actual practice of real poets (both famous and not-so-famous), and he does so in his usual acute and often rather pointed way. Selections of what poets themselves say about prosody are included, as is modern linguistic explanation and commentary. |
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From stress to stress: an autobiography of English prosody
User Review - Not Available - Book VerdictRaffel's book is not--and is not meant to be--a "standard'' like Paul Fussell Jr.'s Poetic Meter and Poetic Form (1965). It is, rather, a single-minded theoretical history of English scansion ... Read full review
Contents
The general dominance of language | 1 |
The particular dominance of the English language | 3 |
Old English AngloSaxon prosody | 6 |
Copyright | |
20 other sections not shown
Other editions - View all
From Stress to Stress: An Autobiography of English Prosody Kia Penso,Burton Raffel Snippet view - 1992 |
Common terms and phrases
accent alliteration basic beginning bisyllabic Blake break Browning called century Chaucerian Compromise clear clearly common convention course eight English example excerpt EYES fact fall feet final follow foot FOUND four HAND hath haue HEAR Hopkins iambic pentameter irregular John Jonson kind language least LEAVES less LIGHT line four line three linguistic stresses LIVE LOVE marked meaning measure meter metrical feet metrical stress monosyllabic natural NE/ver NIGHT nine noted Old English once pattern perhaps poem poet poetic poetry possible Pound prosodic regular requires REST reversed rhyme rhythm rules scanned scansion seems seen sense seven short simply SING sometimes SONG sort sound SPRING standard stanza strange sure sweet syllables tetrameter thee thing thou traditional trimeter trisyllabic trochaic twelve unstressed verse WIND WORLD written