Turco's version of this is to use a dot ( Stress on syllable is between strong and weak ˘ / ˘ / ˘ / ˘ / ˘ /Ĭorn goes on to state that the most common approach adopted for marking fine gradations of stress has been to add the symbol \ for 'intermediate stress'. Corn (1997) describes this as a notation which evolved from the classical notation. ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯īut SOFT! What LIGHT through YONder WINdow BREAKS?įussell (1965/1979), Turco (1968/1986), and Williams (1986) all use the ictus for stressed syllables, and the classical breve for unstressed syllables. Gross & McDowell (1996:4) criticize this form of notation as inappropriate notation that is often used to phrase poetry rather than scan it. However, this robs them of their still potentially useful role in marking quantity (that is, the duration of syllables). In the accentual prosody of English verse, these marks are still sometimes used to represent stressed and unstressed syllables. A system for describing conventional rhythms by dividing lines into feet indicating the locations of accents and counting the syllables (marking the rhythm of the poem) SymbolĬlassical system adopted to English - macron and breve The classical marks for scansion came from the quantitative meter of classical prosody where long syllables were marked with a macron( ¯), and short syllables were marked with a breve ( ˘). 2 Classical system adopted to English - macron and breve.1 Classical scansion - macron and breve.To begin to look at graphic scansion, we first must look at a couple of symbols that are used to scan a poem. For a discussion of the others, I refer you to Fussell, page 18. Since the most commonly and most easily used is graphic, we will use it in our discussion. There are three kinds of scansion: the graphic, the musical and the acoustic. This technique is called scansion, and it is important because it puts visual markers onto an otherwise entirely heard phenomenon. To get a bearing on what these rhythms look and sound like, let's start with a method for writing out the rhythms of a poem. The former is the more common adherence to the latter often leads an English language poet toward self-conscious verse, as their predictable rhythms are counter to natural English speech (not that it is impossible to create great verse with this technique, but there is a tendency for it to end up so). For this reason most English language poets opt to look at their own meter as accentual or accentual-syllabic. There may be one, two, or three syllables between accents (or more, but this is a matter of debate). This means that its natural rhythms are not found naturally from syllable to syllable, but rather from one accent to the next. English, being of Germanic origin, is a predominantly accentual language. Of the ways of looking at meter, the most common in English are those that are accentual. Quantitative: Measures the duration of words.
Accentual-syllabic: A counting of syllables and accents.Accentual: A counting of accents only per line.Syllabic: A general counting of syllables per line.Fussell defines meter as "what results when the natural rhythmical movements of colloquial speech are heightened, organized, and regulated so that emerges from the relative phonetic haphazard of ordinary utterance." (4-5) To "meter" something, then, is to "measure" it (the word meter itself is derived from the Greek for measure), and there are four common ways to view meter. Although some of Fussell's ideas are a bit outdated (namely, he doesn't deal with the visual elements of a poem), his approach is complete, concise and useful. The bible of most poets today regarding meter and sound is a book by Paul Fussell called Poetic Meter and Poetic Form. The crafting of the aural aspects of a poem is what we may call "ear training." Thus, the crafting of the visual aspects is what we'd call "eye training." Meter A brief exploration of the various aspects of sound that can be utilized when making a poem.