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Articles by Peter Groves
A Companion to Poetic Genre, ed. Erik Martiny (Wiley-Blackwell, May 2011), 2011
Hoogstad, Jan Hein, and Birgitte Stougaard, eds: Pluralizing Rhythm: Music, Arts, Politics, (Amsterdam/New York: Rodopi, 2011) , 2011
Stylistics and Shakespeare’s Language — Transdisciplinary Approaches ed. Mireille Ravassat and Jonathan Culpepper (Continuum Press, June 2011). pp.119-138, 2011
The Fantastic Self: Essays on the Subject of the Self, ed. Janeen Webb and Andrew Enstice (Perth: Eidolon, 1999), 160 67 , 1999
Versification: An Electronic Journal of Literary Prosody 4 (2005) ISSN 1546 0401 (http://www.arsversificandi.info/current/groves.html ), 2005
The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a mo... more The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed "at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.
Versification: An Electronic Journal of Literary Prosody 3 (1999) ISSN 1546 0401 (http://www.arsversificandi.info/backissues/vol3/essays/groves.html) , 1999
For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its ... more For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. So entrenched has this reputation become that (judging from their contradictory and wildly inaccurate accounts of it) his critics seem content to dismiss Bysshe's theory unheard. In fact it represents a serious and innovative attempt in the tradition of late C17 Royal Society empiricism to codify, for the practical purposes of the versifier, the metricality of the English heroic line, with particular reference to the practices of neoclassical poetry. In attempting, moreover, an explicit account of the conditions governing metrical form in terms of syntactic and phonological structure (given the rudimentary understanding of these matters then available), his system represents a remarkable (though sketchy and incomplete) prefiguring of modern linguistic or "generative" metrics. Given its demonstrable superiority as a descriptive tool over the gimcrack humanist alternative which has since become the orthodox form of scansion, the paper goes on to consider some of the reasons for the latter's ultimate triumph, including what might be termed the ceremonial function of traditional metrical description.
Style 35 (2001):703-23, 2001
Metrum, Rhythmus, Performanz, ed. Christoph Küper (Frankfurt-am-Main: Peter Lang, 2002), 215-228., 2002
The Hopkins Quarterly 38.1 (2011), 2011
Parergon 17.2 (January 2001) 51 - 73, 2001
Parergon 17.2 (January 2000) 51 - 73
Shakespeare (Journal of the British Shakespeare Association), 3:2 (2007), 126-42, 2007
Books by Peter Groves
Encyclopedia entries by Peter Groves
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
A Companion to Poetic Genre, ed. Erik Martiny (Wiley-Blackwell, May 2011), 2011
Hoogstad, Jan Hein, and Birgitte Stougaard, eds: Pluralizing Rhythm: Music, Arts, Politics, (Amsterdam/New York: Rodopi, 2011) , 2011
Stylistics and Shakespeare’s Language — Transdisciplinary Approaches ed. Mireille Ravassat and Jonathan Culpepper (Continuum Press, June 2011). pp.119-138, 2011
The Fantastic Self: Essays on the Subject of the Self, ed. Janeen Webb and Andrew Enstice (Perth: Eidolon, 1999), 160 67 , 1999
Versification: An Electronic Journal of Literary Prosody 4 (2005) ISSN 1546 0401 (http://www.arsversificandi.info/current/groves.html ), 2005
The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a mo... more The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed "at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.
Versification: An Electronic Journal of Literary Prosody 3 (1999) ISSN 1546 0401 (http://www.arsversificandi.info/backissues/vol3/essays/groves.html) , 1999
For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its ... more For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. So entrenched has this reputation become that (judging from their contradictory and wildly inaccurate accounts of it) his critics seem content to dismiss Bysshe's theory unheard. In fact it represents a serious and innovative attempt in the tradition of late C17 Royal Society empiricism to codify, for the practical purposes of the versifier, the metricality of the English heroic line, with particular reference to the practices of neoclassical poetry. In attempting, moreover, an explicit account of the conditions governing metrical form in terms of syntactic and phonological structure (given the rudimentary understanding of these matters then available), his system represents a remarkable (though sketchy and incomplete) prefiguring of modern linguistic or "generative" metrics. Given its demonstrable superiority as a descriptive tool over the gimcrack humanist alternative which has since become the orthodox form of scansion, the paper goes on to consider some of the reasons for the latter's ultimate triumph, including what might be termed the ceremonial function of traditional metrical description.
Style 35 (2001):703-23, 2001
Metrum, Rhythmus, Performanz, ed. Christoph Küper (Frankfurt-am-Main: Peter Lang, 2002), 215-228., 2002
The Hopkins Quarterly 38.1 (2011), 2011
Parergon 17.2 (January 2001) 51 - 73, 2001
Parergon 17.2 (January 2000) 51 - 73
Shakespeare (Journal of the British Shakespeare Association), 3:2 (2007), 126-42, 2007
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998), 1998
Parergon, 2014
Review(s) of: Rhythm and meaning in Shakespeare: A guide for readers and actors (literary studies... more Review(s) of: Rhythm and meaning in Shakespeare: A guide for readers and actors (literary studies), by Groves, Peter, Clayton, Monash University Publishing, 2013, paperback, pp. xxiii, 193, R.R.P. AUD/US$39.95, ISBN 9781921867811 (review copy supplied by Footprint Books).
1. Theories of Metre, Theories of Language Harvey Gross once characterized the field of prosody a... more 1. Theories of Metre, Theories of Language Harvey Gross once characterized the field of prosody as populated by a group of ‘cranks and faddists’.1 Truly, few fields have suffered so much from fundamental disagreements over basic terminology, splintering metrists into a wide array of schools, charted helpfully by TVF Brogan in his English Versification, 1570-1980. According to that taxonomy, there are quantitative, temporal, and stress-based approaches, to which we today might add phrasal and cognitive approaches as well. Yet, over the past fifty years, what we might term popular discussion of the field has been dominated by two approaches within the stress-based school: traditional stress metrics and generative metrics. Traditional stress metrics, widely adopted by prosody handbooks and pedagogic poetic texts, takes its terminology from the discourse about Classical metres. Generative metrics applies the theory and terminology of generative linguistics to poetic metre. To the extent...
Voice and Speech Review, 2016