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Just as in poetry there is a rhythm of stress which represents a regularizing of the natural undulations in the stress of speech, so there is also a more deep-lying rhythm, which arises through a simplification and regularizing of the movement of thought-pulsations. The fundamental rhythm consists in an alternation of subject-group and predicate-group.
But speech has not only its natural rhythm of stress-undulation and thought-pulsations; it has also, as we saw in the last chapter, a melody. The rise and fall of stress goes hand and hand with a rise and fall of pitch. The different forms of discourse, and the different emotions that accompany them, are each expressed with characteristic variations in pitch.
Here, then, in the regularizing of the number of thought-pulsations, we have another type of rhythm in poetry, and a rhythm which, coming from within, finds outward expression in sound. Cutting across the rhythm of stress, it breaks up the latter with its pauses, and imparts to the whole movement variety and richness.
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