Abstract
IN RECENT YEARS the study of prosody has received remarkable attention. A theory proposed by Morris Halle and Samuel J. Keyser has, in particular, found widespread scholarly consideration and apparent acceptance.' It has served as the inspiration for numerous articles on English prosody, both in general theory and on specific authors and periods.2 The editors of a recent collection of readings in linguistics contend that the Halle-Keyser approach beautifully illustrates application of modern linguistic theory to literary problems.3 It is no exaggeration to say, as Dudley Hascall does, that the original article was seminal.4 In our opinion however, the theory is subject to such serious limitations that it must be fully
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