Sprung rhythm is a poetic rhythm designed to imitate the rhythm of natural speech. It is constructed from feet in which the first syllable is stressed and may be followed by a variable number of unstressed syllables. The British poet Gerard Manley Hopkins claimed to have discovered this previously unnamed poetic rhythm in the natural patterns of English in folk songs, spoken poetry, Shakespeare, Milton, et al. He used diacritical marks on syllables to indicate which should be drawn out (acute e.g. á ) and which uttered quickly (grave e.g. è ).
Some critics believe he merely coined a name for poems with mixed, irregular feet, like free verse. However, while sprung rhythm allows for an indeterminate number of syllables to a foot, Hopkins was very careful to keep the number of feet he had per line consistent across each individual work, a trait that free verse does not share. Sprung rhythm may be classed as a form of accentual verse, due to its being stress-timed, rather than syllable-timed, and while sprung rhythm did not become a popular literary form, Hopkins's advocacy did assist in a revival of accentual verse more generally.
Read more about Sprung Rhythm: Example
Famous quotes containing the words sprung and/or rhythm:
“He asked me whether I would not go with him to his house; I declined it, from an apprehension that my spirits would sink. We bade adieu to each other affectionately in the carriage. When he had got down upon the foot-pavement, he called out, “Fare you well;” and without looking back, sprung away with a kind of pathetick briskness, if I may use that expression, which seemed to indicate a struggle to conceal uneasiness, and impressed me with a foreboding of our long, long separation.”
—James Boswell (1740–1795)
“A supreme love, a motive that gives a sublime rhythm to a woman’s life, and exalts habit into partnership with the soul’s highest needs, is not to be had where and how she wills.”
—George Eliot [Mary Ann (or Marian)