Linguistics 696bFall ’09HammondFabb and Halle (2008)A. Overview(1) Outline:a. Why should a linguist look at meter;b. scansion: intuitive vs. performed vs. formal;c. typology of meter;d. Idsardi (1992);e. Fabb and Halle (2008)B. Typology(2)s´Evwer lset thwe Fs´ancwy rs´oam,Pls´easwure ns´evwersıswat hs´ome;sAtwa ts´ouch sww´eet pls´easwure ms´elteth,Lsıke two bs´ubblwes whsen rw´ain ps´elteth;John Keats, ‘Fancy’(3) Fwor thwes´Angwelwof Ds´eath sprw´ead hwıs ws´ıngswon thwe bls´ast,wAnd brs´eathedwın thwe fs´acewof thwe fs´oewas hwe ps´assed;wAnd thwes´eyeswof thwe sls´eepwers ww´axed ds´eadlwywand chs´ıll,wAnd thweir hs´earts bwutwonce hs´eaved,wand Fwors´evwer grw´ew sts´ıll.Lord Byron, ‘The Descruction of Sennacherib’(4) Tw´urnsingwand ts´urnwingsin thwe ws´ıdenwing gs´yreThwe fs´alcwon csannwot hs´ear thwe fs´alcwonser;Thw´ıngs fs´allwaps´art; thwe cs´entrwe csannwot hs´old;Mw´eres´anwarchsywis ls´oosedwups´on thwe ws´orld,William Butler Yeats, ‘The Second Coming’1(5) Thwe ms´odwest Rs´ose pw´uts fsorthwa ths´orn;Thwe hs´umblwe Shs´eep,wa thrs´eatnwıng hs´orn;Whwıle thwe Ls´ıllwy whs´ıte, shwallwın ls´ove dwels´ıght,Nworwa ths´orn nworwa thrs´eat stw´ain hwer bs´eautwy brs´ıght.William Blake, ‘The Lilly’(6) I c´ome from the m´ountains, Kent´ucky’s my h´omeWhere the w´ıld d´eer and bl´ack b´ear so l´ately did r´oamBy the c´ool r´ushing w´aterf`all the w´ıldfl`owers dr´eamAnd through ´every gr´een v´alley, there r´uns a cl´ear str´eamNow there’s sc´enes of destr´uction on ´every h´andAnd ´only bl´ack w´aters r´un down through my l´andS´ad sc´enes of destr´uction on ´every h´andBl´ack w´aters, bl´ack w´aters, r´un down through my l´andJean Ritchie, cover by Laurie Lewis, ‘Black Waters’(7) Apparent parameters:a. binary/ternary;b. number of beats/feet;c. left-headed/right-headed;d. strict/looseC. Idsardi (1992)(8) a. Koya Primary stress on initial syllable. Secondary stress on closed sylla-bles, and syllables with long vowels.b. Selkup Stress right-most long vowel, otherwise the initial syllable.c. Khalkha Mongolian Stress left-most long vowel, otherwise the initial syl-lable.d. Weri Stress falls on all odd-numbered syllables counting from the end ofthe word. Main stress is on the last syllable.e. Warao Stress falls on even-numbered syllables counting from the end ofthe word. Main stress is on the penultimate syllable.(9) Koya:a. Project a line 0 element for each syllable headb. Project the left boundary of [VX] syllables onto line 0c. Place a left boundary to the left of the left-most element on line 0d. Project the leftmost element of each line 0 constituente. Place a left boundary to the left of the left-most element on line 1f. Project the leftmost element of each line 1 constituent2(10)(([c×××v] [c×v]([c××vx] [c×v] [c×v] [c×v]([c××vx] [c×v] [c×v](11) Warao:a. Insert a left parenthesis every two syllables from the right edge on line 0b. Place a right boundary to the right of the right-most element on line 0c. Project the leftmost element of each line 0 constituentd. Place a right boundary to the right of the right-most element on line 1e. Project the rightmost element of each line 1 constituent(12)(y××ap×u(r××uk×i(t××an×e(h×××as×e))(13) Weri:a. Insert a left parenthesis every two syllables from the right edge on line 0b. Place a left boundary to the left of the left-most element on line 0c. Project the rightmost element of each line 0 constituentd. Place a right boundary to the right of the right-most element on line 1e. Project the rightmost element of each line 1 constituent(14)(××a(k×un××e(t×e p×××a)l(15) Selkup:a. Project a line 0 element for each syllable headb. Project the left boundary of [VX] syllables onto line 0c. Place a left boundary to the left of the left-most element on line 0d. Project the leftmost element of each line 0 constituente. Place a right boundary to the right of the right-most element on line 1f. Project the rightmost element of each line 1 constituent3(16)(×××L)×L×L×L×L(××L(××H×L×L(×××H)×L(17) Khalkha:a. Project a line 0 element for each syllable headb. Project the left boundary of [VX] syllables onto line 0c. Place a right boundary to the right of the right-most element on line 0d. Project the leftmost element of each line 0 constituente. Place a left boundary to the left of the left-most element on line 1f. Project the leftmost element of each line 1 constituent(18)(×××L×L×L×L×L)×L((×××H×L×L(××H×L)D. Fabb and Halle (2008)(19) Idsardi characterizes his system as a parametric one, but Fabb and Halle focus onthe rule component.(20) Grid functions:a. length of lineb. patterns of prominence(?) in the linec. word and phrase boundaries?d. alliteration and rhyme?(21) Format of iterative rules:a. Insertion starts either just at the edge of the Gridline, or one asterisk in, ortwo asterisks in.b. Edge of the sequence (Left (L) / Right (R)) at which insertion begins.c. Nature of parenthesis inserted (L/R).d. Interval between consecutive insertions (2/3 asterisks).e. Location of head in each group (L/R).(22) Stress conditions:a. stresses must align with gridline 1 marks;b. project gridline 1 marks from stresses4(23) What is a stress?a. a stress marked in the dictionary;b. a lexical stress;c. a stress in a polysyllabic word;d. a stress with no adjacent stresses;e. a stress in performance;f. .. .(24) Other bits of the theory:a. incompleteness;b. ungroupedness;c. grid element movement/deletion(25) Secret activities...(26) What does this theory predict?E. ReferencesFabb, Nigel, and Morris Halle. 2008. Meter in poetry: a new theory. Cambridge: Cam-bridge University Press.Idsardi, William J. 1992. The computation of prosody. Doctoral Dissertation,