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Though many recent poets insist on their poetry's "musical" qualities, few offer linguistically satisfying explanations of that "music". This book helps to fill that gap. It is a linguistically based study of rhythmic structures, and of the nature of rhythm, in the free verse of T.S. Eliot, Robert ...

Though many recent poets insist on their poetry's "musical" qualities, few offer linguistically satisfying explanations of that "music". This book helps to fill that gap. It is a linguistically based study of rhythmic structures, and of the nature of rhythm, in the free verse of T.S. Eliot, Robert Lowell, and James Wright. It was written for accessibility to readers who, although not necessarily specialists in linguistic poetics, have some knowledge of language and poetry.

The book begins with an examination of rhythm in language as a whole, and of rhythm as a basic mental structure. This discussion touches on concepts from metrical phonology, acoustic phonetics, Russian Formalist and New Critical ideas of rhythm and meter, and music theory. It then analyzes what the author (borrowing a phrase from Gerard Manley Hopkins) calls "rhythmic figures of sound", syntax, line structure, and intonation in the poetry of Eliot, Lowell, and Wright.

Although the book focuses on these three writers, other poets are considered -- notably Jimmy Santiago Baca, Denise Levertov, and Etheridge Knight -- in order to illustrate the way different dialects use different intonation patterns for poetic effect. The book also contextualizes contemporary poems with brief comparisons to work from previous centuries.

The author argues that in discussions of rhythm and its structures, the old-fashioned way of analyzing types of "metrical feet" proves less than useful, and that the relatively new field of metrical phonology also has serious limitations. Instead, he advances a new approach based on "figures of sound" or "figures of rhythm", both of which involve the repetition of some key linguistic component: asound, a sequence of sounds, a method of forming words, a phrase structure, a line structure, or an intonational melody (literally, a tune -- the movement of pitch through time).

In the simplest language possible, the autho

Prince Hall, a black veteran of the American Revolution, was insulted and disappointed but probably not surprised when white officials refused his offer of help. He had volunteered a troop of 700 Boston area blacks to help quell a rebellion of western Massachusetts farmers led by Daniel Shays during ...

Prince Hall, a black veteran of the American Revolution, was insulted and disappointed but probably not surprised when white officials refused his offer of help. He had volunteered a troop of 700 Boston area blacks to help quell a rebellion of western Massachusetts farmers led by Daniel Shays during the economic turmoil in the uncertain period following independence. Many African Americans had fought for America's liberty and their own in the Revolution, but their place in the new nation was unresolved. As slavery was abolished in the North, free blacks gained greater opportunities, but still faced a long struggle against limits to their freedom, against discrimination, and against southern slavery. The lives of these men and women are vividly described in In Hope of Liberty, spanning the 200 years and eight generations from the colonial slave trade to the Civil War. In this marvelously peopled history, James and Lois Horton introduce us to a rich cast of characters. There are familiar historical figures such as Crispus Attucks, a leader of the Boston Massacre and one of the first casualties of the American Revolution; Sojourner Truth, former slave and eloquent antislavery and women's rights activist whose own family had been broken by slavery when her son became a wedding present for her owner's daughter; and Prince Whipple, George Washington's aide, easily recognizable in the portrait of Washington crossing the Delaware River. And there are the countless men and women who struggled to lead their daily lives with courage and dignity: Zilpha Elaw, a visionary revivalist who preached before crowds of thousands; David James Peck, the first black to graduate from an American medical school in 1848; Paul Cuffe, a successful seafaring merchant who became an ardent supporter of the black African colonization movement; and Nancy Prince, at eighteen the effective head of a scattered household of four siblings, each boarded in different homes, who at twenty-five was formally presented to the Russian court. In a seamless narrative weaving together all these stories and more, the Hortons describe the complex networks, both formal and informal, that made up free black society, from the black churches, which provided a sense of community and served as a training ground for black leaders and political action, to the countless newspapers which spoke eloquently of their aspirations for blacks and played an active role in the antislavery movement, to the informal networks which allowed far-flung families to maintain contact, and which provided support and aid to needy members of the free black community and to fugitives from the South. Finally, they describe the vital role of the black family, the cornerstone of this variegated and tightly knit community In Hope of Liberty brilliantly illuminates the free black communities of the antebellum North as they struggled to reconcile conflicting cultural identities and to work for social change in an atmosphere of racial injustice. As the black community today still struggles with many of the same problems, this insightful history reminds us how far we have come, and how far we have yet to go.