Despite meter's recasting as a rigid metronome, diverse modern poet-critics refused the formal ideologies of free verse through complex engagements with traditional versification.In the twentieth century, meter became an object of disdain, reimagined as an automated metronome to be transcended by new rhythmic practices of free verse. Yet meter remained in the archives, poems, letters, and pedagogy of modern poets and critics. In Modernism's Metronome, Ben Glaser revisits early twentieth-century poetics to uncover a wide range of metrical practice and theory, upending our inherited story about the "breaking" of meter and rise of free verse.
Ben Glaser is an assistant professor of English at Yale University. He is the coeditor of Critical Rhythm: The Poetics of a Literary Life Form.
AcknowledgmentsIntroductionChapter 1. Modernist Scansion: Robert Frost's Distorted VernacularChapter 2. Penty Ladies: T. S. Eliot, Satire, and the Gender of Modern MeterChapter 3. "No Feet to Walk On": Pound's Late Victorian ProsodyChapter 4. Metristes: Formal Feeling in Sara Teasdale, Georgia Douglas Johnson, and Louise BoganChapter 5. The Prosody of Passing: Jean Toomer and James Weldon JohnsonChapter 6. Folk Iambics: Sterling Brown's Outline for the Study of the Poetry of American NegroesConclusion. Prosody after FormAppendix. Scansion and Metrical NotationNotesWorks CitedIndex
Modernism's Metronome is an extremely learned book.—Scarlett Higgins, University of New Mexico, American Literary Review
Richard Begam, Matthew Wilson Smith, Richard (University of Wisconsin - Madison) Begam, Stanford University) Smith, Matthew Wilson (Associate Professor