Analysis of a Corpus of Poetry :: Poems Writing Essays

Analysis of a Corpus of deliberate com determine A corpus of 1000 lines of poetry (decade 100 line samples from ten different authors) is analyzed by a computerized connectionist model of poetic meter. The compend finds that poets utilize measurably distinct patterns of stress and suggests that these patterns might fingerprint private writers. In addition, the analysis shows that the variations of deliberate patterns are in accord with the public verse estheticals of the period in which poets are writing.Introduction In English poetry, the single most compelling discriminator of that genre--that which defines a verse as a poem--has traditionally been its meter. Meter defines the length of the line, and thus the classifiable look of a poem on the page, and it sets, for the hearer of a poem, the relation regularity of a bout. Whether this rhythm also carries the burden of some of a poems meaning or whether it is used only for a conventional aesthetic effect that invites the reader to take pleasure in its regularity or variations, meter is unity of the central attributes of the genre of poetry. While the meter of a poem whitethorn or may not be potently attended to by the poems audience, or its critics, metrics has always been a consider of substantial concern for poets (see Addison 1994). At each point in a line of poetry one factor in the decision favoring one word or syntactic pattern over another has been the calculated impact of that choice. Moreover, the limits of choice are not merely defined by a correctness rule such as the following each(prenominal) stressed positions must have stressed syllables and no unstressed positions may have a stressed syllable. Metrical variations, resulting in what Halle and Keyser (1971), and others, have termed metrical complexity or tension, are allowable and, in fact, produce often of the interest in a poems rhythm. Traugott (1989), for example, speaking of Audens p oetry, notes that a complex metrical design can . . . be identified that complements and enriches the multifarious verbal icons surgery at other levels of the language (294). In fact, poetic rhythm may only work when it destroys that very sense of design that it invokes the extreme position is taken by Shklovsky (1917), who says, the problem is not one of complicating the rhythm, but of disordering of the rhythm (p.