Abstract
Abstract Free verse provided fundamental shifts in the manner of perceiving accentuation, syllabicity, verse-music, and its functions. However, amongst these changes is the change in the rhythm and the perceptions attached to it. In free verse, the rhythm ceases to be an affair of aesthetics, of genre, and of linguistic convention. It stops being something objective, something which inheres in a certain linguistic configuration, something which is perceptible in language and becomes the very relationship between the subject and language. It becomes the experiential dimension of utterance. Rhythm of vers libre is not quantitative but qualitative. It is not susceptible to the metronome but is deeply implicated in the relativities of inner duration. Rhythm in free verse is not what makes vers libre poetic but what makes free verse mundane.
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