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There is a usual form, with four metrical positions per verse supporting a range of accentual contours, which are schematized as five \"types\" (G Typen) in the influential theory of Eduard Sievers. Then there are eccentricities whose raison d'être has not been adequately explained. Chief among these is so-called hypermetric verse (G Schwellvers), verses of five positions or more that tend to cluster in passages of","publication_date":"2021,,","publication_name":"The Medieval Review 11 June","grobid_abstract_attachment_id":"68059479"},"document_type":"other","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Megan E. 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English metrical line</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5782339" href="https://su-se.academia.edu/AndrewCooper">Andrew Cooper</a></div><p class="ds-related-work--metadata ds2-5-body-xs">A unified account of the Old English metrical line, 2017</p><p class="ds-related-work--abstract ds2-5-body-sm">Old English poems are all written in the same style and all share common features regarding alliteration and metrical prominence. However, within poems, lines differ from each other in length considerably, as do the positions of metrically prominent syllables. This thesis provides an analysis which allows all Old English verse lines to be described according to a single model which addresses all the variation in the sizes of lines and verse feet. This model is defended with statistical evidence from a large corpus of Old English verse, and based on an analysis consistent with contemporary phonological theory. To complement the main study, findings regarding the metrical status of compound numbers, derivational nouns and non-Germanic names are presented using a combination of phonological and philological methods. 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Hartman)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="207326" href="https://szu.academia.edu/LeonardNeidorf">Leonard Neidorf</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Review: Poetic Style and Innovation in Old English, Old Norse, and Old Saxon (Megan E. Hartman)","attachmentId":90137148,"attachmentType":"pdf","work_url":"https://www.academia.edu/85439942/Review_Poetic_Style_and_Innovation_in_Old_English_Old_Norse_and_Old_Saxon_Megan_E_Hartman_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/85439942/Review_Poetic_Style_and_Innovation_in_Old_English_Old_Norse_and_Old_Saxon_Megan_E_Hartman_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="43722507" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43722507/Meter_and_Modernity_in_English_Verse_1350_1650">Meter and Modernity in English Verse, 1350–1650</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="36565828" href="https://bc.academia.edu/EricWeiskott">Eric Weiskott</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Philadelphia: University of Pennsylvania Press, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">What would English literary history look like if the unit of measure were not the political reign but the poetic tradition? The earliest poems in English were written in alliterative verse, the meter of Beowulf. Alliterative meter preceded tetrameter, which first appeared in the twelfth century, and tetrameter in turn preceded pentameter, the five-stress line that would become the dominant English verse form of modernity, though it was invented by Chaucer in the 1380s. While this chronology is accurate, Eric Weiskott argues, the traditional periodization of literature in modern scholarship distorts the meaning of meters as they appeared to early poets and readers. In Meter and Modernity in English Verse, 1350–1650, Weiskott examines the uses and misuses of these three meters as markers of literary time, “medieval” or “modern,” though all three were in concurrent use both before and after 1500. In each section of the book, he considers two of the traditions through the prism of a third element: alliterative meter and tetrameter in poems of political prophecy; alliterative meter and pentameter in William Langland’s Piers Plowman and early blank verse; and tetrameter and pentameter in Chaucer, his predecessors, and his followers. Reversing the historical perspective in which scholars conventionally view these authors, Weiskott reveals Langland to be metrically precocious and Chaucer metrically nostalgic. More than a history of prosody, Weiskott's book challenges the divide between medieval and modern literature. Rejecting the premise that modernity occurred as a specifiable event, he uses metrical history to renegotiate the trajectories of English literary history and advances a narrative of sociocultural change that runs parallel to metrical change, exploring the relationship between literary practice, social placement, and historical time. contents Introduction. Modernity: The Problem of a History Part I. Alliterative Meter, Tetrameter, Political Prophecy 1 English Political Prophecy: Coordinates of Form and History 2 The Age of Prophecy 3 The Ireland Prophecy and the Future of Alliterative Verse 4 Tetrameter: The Future of Alliterative Verse 5 Where Have All the Pentameter Prophecies Gone? Part II. Alliterative Meter, Pentameter, Langland 6 Alliterative Meter and Blank Verse, 1540–1667 7 The Rhymelessness of Piers Plowman 8 Langland’s Meter and Blank Verse, 1700–2000 Part III. Tetrameter, Pentameter, Chaucer 9 Chaucer and the Problem of Modernity 10 Chaucer’s English Metrical Phonology: Tetrameter to Pentameter 11 The Age of Pentameter Conclusion. From Archive to Canon Appendix A. English Prophecy Books Appendix B. Some Texts of English Verse Prophecies Not Noted in NIMEV Appendix C. Compilers, Scribes, and Owners of Manuscripts Containing Political Prophecy Appendix D. The Ireland Prophecy</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Meter and Modernity in English Verse, 1350–1650","attachmentId":65536818,"attachmentType":"pdf","work_url":"https://www.academia.edu/43722507/Meter_and_Modernity_in_English_Verse_1350_1650","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43722507/Meter_and_Modernity_in_English_Verse_1350_1650"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="39833543" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/39833543/Micro_and_Macro_variation_in_Verse_A_Typology_of_Romance_Renaissance_Meter">Micro-and Macro-variation in Verse. A Typology of Romance Renaissance Meter</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="42603591" href="https://tilburguniversity.academia.edu/MirellaDeSisto">Mirella De Sisto</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Quantitative Approaches to Versification, 2019</p><p class="ds-related-work--abstract ds2-5-body-sm">During the Renaissance, a new meter spread across Europe and imposed itself as the main way of versification. Every poetic tradition adapted it in its own way and, even within Romance languages, the resulting new poetic forms varied considerably from each other. The aim of this paper is to make a typology of the Romance instantiations of Renaissance meter and to analyse the elements characterising metrical variation. A significant aspect of divergence among the poetic forms is related to their tendency towards an iambic rhythm. According to the literature, the main Romance forms can be divided into three groups in this respect: 1) purely syllabic poetry of the French tradition, 2) a meter tending towards iambic rhythm of Italian and Spanish endecasyllable (Nespor-Vogel 1986; Piera 1981; Gasparov 1987) and 3) the one tending towards syllabicity of Catalan and Portuguese decasyllable (Duffell 1994; Spaggiari 2003, respectively). I propose a quantitative approach to test and compare the degree of deviation from an iambic pattern as a way to verify this grouping and to answer the ongoing question about the iambic element of Renaissance meter. I do so by analysing 20 samples (130 lines for each author, ca. 2 authors per language) and calculating the percentage of stressed and unstressed syllables in each metrical position. The samples are from major languages, namely, Italian, French, Spanish, Catalan and Portuguese, and less investigated varieties, namely Occitan, Neapolitan, Sicilian and Venetian.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Micro-and Macro-variation in Verse. 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