Prosody: Sound, Rhythm, and Rhyme in Poetry True-False Write T If The

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Prosody: Sound, Rhythm, and Rhyme in Poetry True-False Write T if the statement is true or F if it is false. __t___ 1. The study of prosody aims to determine how poets control their words so that the sound of a poem complements its expression of emotions and ideas. __ t__ 2. Vowel sounds create the flow of poetic speech. __f___ 3. Very few English vowel sounds are pronounced as a schwa. __f___ 4. There are thirty English diphthongs. _t____ 5. In combination, vowels and consonants produce understandable speech. __f___ 6. Stop sounds are smooth and flowing. __t___ 7. Consonants may be either voiced or voiceless. __t___ 8. Nasal consonants result from the release of sound through the nose. __f___ 9. All English sounds are spelled as they are pronounced. __f__ 10. In ordinary speech, rhythm is as important as the flow of ideas. __f__ 11. Light stresses determine the accent or beat of a poetic line. _f___ 12. Pentameter has four feet in a line, and tetrameter has five feet. _f___ 13. The most important and most common poetic foot in English is the anapest. _t___ 14. The iamb most nearly duplicates the cadence of natural speech. _f___ 15. Poets generally prefer the trochaic foot. _f___ 16. The pyrrhic foot consists of a single stressed or unstressed syllable by itself. _t___ 17. Too much formal regularity in a poem can result in monotony. _t___ 18. Too much alliteration can cause comic and catastrophic consequences. _t___ 19. Onomatopoeic words are verbal echoes of the actions they describe. _f___ 20. Euphony creates a "bad sound" while cacophony creates a "good sound." _t___ 21. Rhyme promotes memory, gives delight, and inspires poetic creativity. _f___ 22. Internal rhyme occurs at the ends of lines. _f___ 23. In slant or inexact rhyme, the rhyming sounds are identical in spelling but different in pronunciation. _f___ 24. A quatrain is a three-line poetic unit. _t___ 25. Your first reading in preparation for an essay on prosody should be for comprehension..

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Editor's Introduction
Editor’s Introduction: Scansion DAVID NOWELL SMITH _______________________ I would like to start from an intuition.1 This might seem an abuse of editorial privilege, and indeed might strike one as more generally tendentious: is an issue on ‘scansion’ the place for discussing one’s intuitions at all? For a start, it contravenes quite brazenly the strict separation between description and performance, lain down most powerfully by John Hollander well over half a century ago. For Hollander, a ‘descriptive’ system of scansion would aim at presenting schematically the whole ‘musical’ structure of a poem, whether this consists, in any particular case, of the prosodic features of the language in which it is written, the arrangement of elements completely foreign to that language (syllable counting in English verse for example), or even the arrangement of type on a page. A performative system of scansion, on the other hand, would present a series of rules governing a locutionary reading of a particular poem, before a real or implied audience. It would end up by describing not the poem itself, but the unstated canons of taste behind the rules. Performative systems of scansion, disguised as descriptive ones, have composed all but a few of the metrical studies of the past. Their subjectivity is far more treacherous than even that of reading poems into oscilloscopes and claiming that the image produced describes, or even is, the true poem.2 1 My great thanks to Ewan Jones on his comments on an earlier draft of this introduction. 2 John Hollander, ‘The Music of Poetry’, The Journal of Aesthetics and Art Criticism vol.
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