Poetic Meter and Poetic Form by Paul Fussell | LibraryThingFussell explains in this book the effects achieved with meter both with forms and with free verse. He wants to help us understand how the poetry that we return to works upon us. This determination is not arbitrary, but has to do with how modern English sounds—how our words are emphasized and the possibilities the language itself provides. What he does is very sensible and very clear. Fussell neither dismisses free verse nor denigrates formal verse.
Rhythm, form and meter in poetry The Writers Block Library
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Fussell_Poetic_rstdpp.org - Free ebook download as PDF File .pdf), Text File .txt ) or read book online for free. form. Meter is thus a primary convention of artifice in poetry, like similar indispensable conventions (the Fussell, Paul, Theory.
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Sign up for LibraryThing to find out whether you'll like this book. However, Fussell's arrogance had me running to other equally authoritative yet substantially less elitist sources. Fussell works systematically through the subject, liberally sprinkling the text with examples, most of which clearly support his points. The eighteenth century refines a few forms like the iambic pentameter couplet. The nineteenth century experiments again with many forms, rediscovers the versatility of the ballad, and more. In America, Whitman opens the dramatic monologue form to long lines with biblical echoes.
T h e title of this book may suggest that it is designed as a latter-day Gradus ad Parnassum to teach aspiring writers to produce passable verses. It is not. It is intended to help aspiring readers deepen their sensitivity to the rhythmical and formal properties of poetry and thus heighten their pleasure and illumination as an appropriately skilled audience of an exacting art. For this Revised Edition I have made corrections and additions throughout; sought additional examples; added an entirely new chapter on free verse; and brought up to date the Suggestions for Further Reading. Twelve years of teaching with the aid of this book have shown me some of its original defects of overstatement. I have tried to redress these, but I have not altered the generally traditional point of view, believing that the great classic majority of English and American poems deserve a fair shake on their own terms.