Prosody

prosody, the study of all the elements of language that contribute toward acoustic and rhythmic effects, chiefly in poetry but also in prose. The term derived from an ancient Greek word that originally meant a song accompanied by music or the particular tone or accent given to an individual syllable. Greek and Latin literary critics generally regarded prosody as part of grammar; it concerned itself with the rules determining the length or shortness of a syllable, with syllabic quantity, and with how the various combinations of short and long syllables formed the metres (i.e., the rhythmic patterns) of Greek and Latin poetry. Prosody was the study of metre and its uses in lyric, epic, and dramatic verse. In sophisticated modern criticism, however, the scope of prosodic study has been expanded until it now concerns itself with what the 20th-century poet Ezra Pound called “the articulation of the total sound of a poem.”

Prose as well as verse reveals the use of rhythm and sound effects. However, critics speak not of “the prosody of prose” but of prose rhythm. The English critic George Saintsbury wrote A History of English Prosody from the Twelfth Century to the Present (3 vol., 1906–10), which treats English poetry from its origins to the end of the 19th century, but he dealt with prose rhythm in an entirely separate work, A History of English Prose Rhythm (1912). Many prosodic elements such as the rhythmic repetition of consonants (alliteration) or of vowel sounds (assonance) occur in prose; the repetition of syntactical and grammatical patterns also generates rhythmic effect. Traditional rhetoric, the study of how words work, dealt with acoustic and rhythmic techniques in Classical oratory and literary prose. But although prosody and rhetoric intersected, rhetoric dealt more exactly with verbal meaning than with verbal surface. Rhetoric dealt with grammatical and syntactical manipulations and with figures of speech; it categorized the kinds of metaphor. Twentieth-century critics, especially those who practiced the New Criticism, bore some resemblance to rhetoricians in their detailed concern with such devices as irony, paradox, and ambiguity.

This article considers prosody chiefly in terms of the English language—the only language that all of the readers of this article may be assumed to know. Some examples are given in other languages to illustrate particular points about the development of prosody in those languages; because these examples are pertinent only for their rhythm and sound, and not at all for their meaning, no translations are given.