This thesis consists of a selection of original poems and an introductory essay which treats the subject of poetic form and sets out an original system of verse notation, called "Stacked Verse" which is used in laying out the poems. The essay may be summarized as follows. Verse, in its widest definition, is language whose sound form has been ordered or stylized for special aesthetic effect. Because verse is a time art, its essential form is a rhythm, that is, a chronological set of points and their intervals. These points may be marked by any significant feature of the language, although in English verse the speech feature most commonly used as a basis for measure is syllable stress. Yet this term is ambiguous because in English speech there are two different systems of relative stress patterning operative at the same time. On one hand there is the relative stress within individual words. This type of patterning, which we call "word stress", is stable within the language, and has functioned as the basis of traditional English metre. The other system of relative stress patterning, which we call "rhetorical stress", varies according to the speaker and the occasion. Rhetorical stress patterning is a matter of syllable groups, pauses, and equal time intervals between heavily stressed syllables. When this type of patterning is stylized we get what is known as "strong stress" verse measure. Although this latter type of measure has not occurred extensively in English verse since Chaucer's time, it has nevertheless come down to us in folk verse and in the work of such poets as Langland, Skelton, Coleridge and Hopkins, and is being practised increasingly by poets in our own day. This brings us to the question of variable, as opposed to regular, form. The stylization of speech features does not necessarily imply regularization. The prevalence of run-on line endings both in strong stress poetry of the Anglo-Saxons and in metred blank verse since Shakespeare's day testifies to the fact that regularity has never been an indispensable feature of English verse. Closely associated with variable verse measure is the theory of organic form. A poet may either begin his composition with some fixed model in mind, or he may choose to compose in utter freedom, letting the poem take the shape which his emotion, not his conscious intellect, gives it. The measure of this latter type of composition will naturally be variable, but if it is also to be organic in the sense of being truly correlative to the poet's emotion it must be based on a feature of the language that does in fact vary according to an individual's emotional condition. Such a speech feature is rhetorical stress patterning, and therefore a validly organic verse form would be one based on variable strong stress measure. The reason this type of measure is still relatively unrecognized is because it cannot be represented on the page by conventional transcription methods, our writing system being inadequate in marking the variable rhetorical stress patterns of English speech. Because the following poems have their verse forms based on such variable strong stress measure, the writer has found it necessary to devise a system of verse notation which will handle this type of verse form on the page. The writer calls this notation "Stacked Verse". / Arts, Faculty of / English, Department of / Graduate

by Dorothy Price / English text with poems in various languages / Typescript / M.A. Florida State College for Women 1927 / Includes bibliographical references (leaves 46-50)

published_or_final_version / Japanese Studies / Doctoral / Doctor of Philosophy

Th. Etat--musicologie et histoire de la musique--Paris-Sorbonne (Paris IV), 2004--Ecole doctorale concepts et langages. / Bibliogr. p. 485-513.

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La thèse se veut une première étude d'ensemble de l'uvre du poète et conteur français Georges Fourest (1864-1945). Après une étude sociographique de Georges Fourest, elle comporte une analyse de chaque ouvrage de l'auteur, selon une chronologie inversée. En effet à contre-courant des quelques études consacrées à Fourest et qui situent essentiellement le poète de La Négresse blonde dans une esthétique décadente (ou fin de siècle) indéfiniment prolongée, elle montre, à partir de l'analyse du dernier recueil, Le Géranium ovipare, à quel point Fourest a jeté sur son uvre un regard rétrospectif, à quel point il a réfléchi à sa propre postérité, à sa situation dans l'institution littéraire et au devenir même de la littérature. Elle souligne également combien toute l'uvre tient de la réécriture, tant ironique que laudatrice, de la littérature - du moins d'une certaine littérature. En effet, une telle célébration active, créatrice, n'est dénuée ni de clins d'il ni d'options littéraires précises, comme en témoignent les autres livres successivement analysés. Dans la mesure où l'écriture poétique s'avère indissociable chez Fourest du travail du vers, la thèse se conclut par une relecture du corpus poétique sous l'angle de la métrique et de la versification.

published_or_final_version / Language Studies / Master / Master of Philosophy

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Accompanying materials housed with archival copy. / This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality. / The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.