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Thomas Hardy

Thomas Hardy ROSEMARIE MORGAN / 311 sion based on rules derived in the same way that grammatical rules are derived in generative grammar). Like Hair, but for very different reasons, Fabb concludes that poetry--not just Browning's but metrical poetry generally--exhibits "two kinds of rhythmic, metrical form: the generated metrical form and the inferred metrical form." Or in layperson's terms the actual line and the "rhythmic template" (pp. 787-788). One source of regularity in metrical verse, Fabb argues, is in generative rules (whether the poet engages them consciously or not) required to instantiate a metrical pattern; the other source is in the pragmatic principles that enable the recognition of literary form. Were Fabb inclined to take on Browning's hexameters, he might argue that Hair's theologically weighted paradox could just as well be described as Browning's tendency to push the edges of any metric in which he worked. Tension between the reader's pragmatic formal sense and the lines Browning generates creates, not a thematics of incarnation, so much as a particularly vivid variety of the aesthetic tension necessary to all metrical poetry. In the non-linguists' treatments of Browning's form--whether it be metrical practice or genre--form and theology are mutually implicated. In the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Victorian Poetry West Virginia University Press

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Publisher
West Virginia University Press
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Copyright © 2002 West Virginia University.
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1530-7190
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Abstract

ROSEMARIE MORGAN / 311 sion based on rules derived in the same way that grammatical rules are derived in generative grammar). Like Hair, but for very different reasons, Fabb concludes that poetry--not just Browning's but metrical poetry generally--exhibits "two kinds of rhythmic, metrical form: the generated metrical form and the inferred metrical form." Or in layperson's terms the actual line and the "rhythmic template" (pp. 787-788). One source of regularity in metrical verse, Fabb argues, is in generative rules (whether the poet engages them consciously or not) required to instantiate a metrical pattern; the other source is in the pragmatic principles that enable the recognition of literary form. Were Fabb inclined to take on Browning's hexameters, he might argue that Hair's theologically weighted paradox could just as well be described as Browning's tendency to push the edges of any metric in which he worked. Tension between the reader's pragmatic formal sense and the lines Browning generates creates, not a thematics of incarnation, so much as a particularly vivid variety of the aesthetic tension necessary to all metrical poetry. In the non-linguists' treatments of Browning's form--whether it be metrical practice or genre--form and theology are mutually implicated. In the

Journal

Victorian PoetryWest Virginia University Press

Published: Jan 10, 2002

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