ah well, im reading another "textbook" again. so... theres interesting things to think about. well ok i'll quote: "a formally experienced poet would not require a book on meter to learn his trade." well once again ><. i find it kinda painful sometimes that im not a "formally experienced poet". actually i find it kinda painful that im not a poet in any sense, but, owell. moving on..
"Indeed, some metrists have theorized that iambic is a sort of universal meter" - !!! ok that's cool, and the substantiation is "Iambic meters appear in the poetries of a number of Indo- European languages."
"The brain itself, according to this theory, relishes binary patterns and finds iambic rhythm congenial." wow funky stuff. and the qualification is "Many prosodic systems, including those of French, Persian, and Chinese, do not involve iambic measures." now i think this deserves more study, but since this is not at all the focus of the book (that would be the study of the rhythms of poetry in various languages), i guess i'll hv to look elsewhere. but hey, the whole binary idea is relli quite interesting, as i had been thinking abt the capacity for everything to be described in binary. uh well ok, i shan't spend too much time to go in depth cos theres smth else, too.
"It may also be easier for us to hear the tetrameter, on account of the residual influence of the old four- beat alliterative line of the Germanic tradition. If there is such a thing as a collective memory, it may contain that line's thumping pattern." ok apart from "thumping pattern" its pretty well expressed. too bad i hv almost absolutely no knowledge of "collective memory", but from what i do know, hey its really cool.
well considering that these two very interesting asides came up in the introduction, i guess the actual content should be rather more stimulating, ceteris paribus. happy times.
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