Abstract
This article represents recent interests in poetic intonation. The systematic study of intonation has come very late to linguistics and is still fraught with difficulties. As the author explains, any study of intonation in poetry encounters further problems, too, given that poetry is usually presented visually and is visually thought to transcend individual performances. Nonetheless, using two Scottish poems, the author shows how intonational contours in poetry can indeed be recorded, identified, compared, and interpreted. These contours, the author demonstrates, can do important poetic work: shape rythms, create parallels, express attitudes, and mark linguistic, geographical, generic, and personal identities.
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