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To make sense of "free verse" in theory of in practice, the study of prosody--the function of rhythm in poetry--must be revised and rethought. In Free Verse: An Essay on Prosody, Charles Hartman develops a theory of prosody that includes the most characteristic form of twentieth-century poetry.
- Sales Rank: #274696 in Books
- Published on: 1996-09-09
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .79" w x 5.50" l, .63 pounds
- Binding: Paperback
- 199 pages
- ISBN13: 9780810113169
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From the Back Cover
To make sense of "free verse" in theory or in practice, the study of prosody - the function of rhythm in poetry - must be revised and rethought. In Free Verse: An Essay on Prosody, Charles Hartman develops a theory of prosody that includes the most characteristic forms of twentieth-century poetry. Hartman examines nonmetrical verse, discusses the conventions that have emerged in the absence of meter, and shows how these conventions can work prosodically. By analyzing the work of Williams and Eliot - the prosodic masters among the early modernists - Hartman traces their influence on more contemporary poets. In his exploration of the means by which a poet controls the reader's temporal experience of poetry. Hartman presents an invaluable treatment of the concept of verse.
About the Author
Charles O. Hartman is professor of English and Poet in Residence at Connecticut College.
Most helpful customer reviews
19 of 20 people found the following review helpful.
Outstanding
By A Customer
I read this book in graduate school in its original edition. I don't know that I've ever read a better treatment of the subject. Hartman makes an excellent case for free verse as a rigorous form, and his discussion of prosody should be required reading for all teachers of 20th century poetry and any poet who wants to work in this form.
6 of 7 people found the following review helpful.
Fails to do what he sets out to do...
By Teop Tnomrev
I just wrote a fairly detailed review of this at my blog, Poemshape, so I won't repeat it here.
In a nutshell, Hartman fails to create the prosody as he defines it at the outset of the book. He speaks with authority and conviction, but when his "prosody" is actually put to the test, as with T.S. Eliot's "Burnt Norton", it turns out that Hartman is wrong. That's only OK if one isn't trying to argue that certain interpretations "must be shared", as in a shared prosody.
More disappointing to me is Hartman's endlessly fussy redefinition of rhythm in meter and rhythm as opposed to meter. This fails completely and when obvious instances of metrical poems (like nursery rhymes or limericks) flatly contradict his thesis he all but writes that "they don't count". He writes that they're not meters "in the poetic sense". This is complete rubbish, but Hartman has so painted himself into a corner with his idiosyncratic definition of rhythm that he has no choice but to pretend that limericks aren't really metrical.
Lastly, the academese of his writing only worsens as his book progresses - probably because his arguments are steadily growing weaker. By the time one gets to the end of the book the reader will be confronted with luminous paragraphs like this:
"A striving toward concreteness in language -- the subordination of other linguistic processes to that of naming -- is one corollary of the doctrine of the objective correlative. On the other hand, the poem's method partly conflicts with the purpose of that doctrine, which is finally to facilitate communication between poet and reader by giving them a common ground. If sense in language inheres in the connections among units of sound, meaning inheres in the connections among units of perception, not simply in the units themselves. The poem's linguistic fragmentation, besides emphasizing sound, tends also to atomize experience into isolated glimpses, and thus to fragment the meaning that the reader is asked to share."
One can only marvel at the irony of beginning such a passage with the words "concreteness in language".
But I don't mean to discourage "students of poetry" from reading this book. Hartman provides much grist for the mill. He's thrown his glove down and though he trips over it, face first, it's still a challenge worth taking up. The ins and outs of lineation and phrasing, while not amounting to a prosody, may well encourage writers of free verse to reconsider how they write their poems.
6 of 7 people found the following review helpful.
Absolutely required reading for any serious poet/scholar.
By A Customer
This actually is NOT the reprint edition (the previous reviewer's remarks to the contrary). ISBN 0-691-10185-X (this edition) is the original Princeton University Press edition (paperback) that contains the "Appendix: Full Text of Three Quoted Poems" (Moore, Larkin, Berryman). The Northwestern reprint that the previous reviewer is referring to is a different edition (ISBN 0-8101-1316-3). This Princeton edition is out of print and hard to obtain, but well worth it.
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