Notions Of The Rima And The Metric In Literature

NOTIONS OF THE RIMA AND THE METRIC IN LITERATURE

Introduction.

I can also recognize these aspects in a writing, as could, to love it, create respectful verses of a particular and well -rated metric. And for that, ultimately, it is not necessary to resort to sound;It reaches with knowing the laws of accentuation and syllabation and with noticing the graphic coincidence of the end of two words or, more exactly, of its phonetic expressions, either to record consonant or assonant rhymes (although I ignore the reason for that predilection for vowelsabout consonants).

Certainly that for me all of them are notions as abstract as that of the soul. I think of them as in entities of a fictional universe;They represent more than a logical construction. And neither the fact that my conscience I recorded them as part of a past experience or what the subject to experience them in the future makes them real.

Developing.

I must observe that the rhyme is nothing more than the repetition of a sequence of phonemes from the tonic syllable at the end of the verses. It is true that both the phoneme and tonic syllable concept are fictitious, but in the Spanish language there is a high correspondence between phonemes and letters, with which many of those rhymes usually show a graphic repetition at the end of the verses . And there one then that aesthetic value that finds all the symmetry and sometimes leads us to talk about beauty.

Now, in this context there seems to be no reason to judge those repetitions better at the end of the verses than those that could occur, for the case, at the beginning of the verses, or in their midst, or in a space that varies fromverse to staggered or even sauteed way.

On the other hand, the metric, that is, the coincidence of the number of syllables containedThe number of words or characters employed.

In short, although it is true that the rules of the rhyme force the poet to find relationships between words that otherwise would not arise and that among them a particular beauty can sprout, as Proust expressed, it is no less true than rulesDifferent, but equivalent they achieve the same, and it is also possible to wonder if the submission of our poet to some tyranny greater than that of the rhyme could not force him to find more portentous beauties as exclusive as exclusive.

In that sense, and symmetry being the principle that underlies the rhyme (also in the metric), it should be judged, in the scope of writing, to that sequential repetition of a few letters at the end of each verse as a younger sister ofOther manifestations that find their justification in the repetition of the totality of the letters used and that, however, manage to vary the meaning, as is the case of the cramps, of the anagrams (although here the repetition of the letters is not sequential) and of what the capital symmetry of the kingdom of writing should consider: the palindromes, in which the sequence of letters is repeated in its entirety in invested order.

It is true that these considerations leave aside the fundamental and meritorious aspect of rhyme and metric: musicality. But then it must recognize that its aesthetic sense, its beauty, its poetic justification, lies in the sound, in the word bliss, in the declamation and song. In that order of things, it is possible to think that our poets would do much better if instead of publishing this type of poems in writing, contributing to the proliferation of useless books, they were recorded loudly to distribute them in audio supports. Do we choose to read the scores of the musical pieces rather than listen to them interpreted? Why then would it have to be preferred to read, instead of listening, those verses whose reason for being is revealed in their loudness?

However, the degree of foolishness that governs these issues is such, that when it comes to verses obedient to rhyme and metric, specialized criticism does not hesitate to talk about poetry, which is properly considered as a literary genre;On the other hand, anagrams and palindromes are barely observed as simple games or linguistic curiosities. Taking into account that literature refers to the written word, it would seem more successful to accept as literary genres to the expressions that are directly related to it rather than those that must be primarily linked to the spoken word.

That the rhyme is valued in its entire dimension, no one opposes it, but that is done in their domain, orality, which is the scope that accredits such assessment. The writing of the rhymes may be justified only as a kind of guide for those who will declare it, with the necessary grace, in front of an auditorium. Because so idle will be the rhymes of the verses printed at a silent, properly visual decoding, that is, in a reading that does not discover the sounds, as idle would be, for example, for the spectator of a play that the parliaments that parliaments that the parliamentsthat the characters pronounce will constitute palindromes.

It will clarify that, although the auditory disorder that I suffer has condemned me to solve my transit for this life outside the oral expression, it is not that particular circumstance that motivates my allegation. It would be, in effect, a serious mistake to interpret my manifestations as originated in resent. The reality that has touched me in luck.knowledge.

conclusion.

We must recognize, however, that even when the reader does not emit sounds, he can be "listening to" the words he reads ". It is, in fact, that possibility of mentally reproducing the sounds of the words read that prolonged my sorrows even after limiting my contact with the language to the written word. But, so and everything, this kind of virtual audition is, for every person and no matter how powerful their ability to abstraction, of a much lower strength and wealth than the real audition.