Kaluza's law

Last updated

Kaluza's law proposes a phonological constraint on the metre of the Old English poem Beowulf . It takes its name from Max Kaluza, who made an influential observation on the metrical characteristics of unstressed syllables in Beowulf. [1] His insight was developed further in particular by Alan Bliss [2] and R. D. Fulk. [3] The name 'Kaluza's law' itself appears to have been bestowed by Fulk. [4] The significance of Kaluza's observations for the dating of Beowulf has been extensively debated.

Contents

The law

Like other Old Germanic-language alliterative verse, the Old English poetic metre of Beowulf exhibits the phenomenon of resolution, whereby, under certain conditions, two syllables count as one for metrical purposes.

These conditions are:

  1. The first of the two syllables must be stressed and the second unstressed.
  2. The vowel (or diphthong) of the stressed syllable must be short.
  3. The stressed syllable must be followed by only one consonant...
  4. ... and then by an unstressed vowel that is part of the same word.
  5. If the syllable before the stressed syllable in question was itself heavily stressed, resolution might not take place.

Kaluza's observations suggested that Beowulf exhibits a further constraint on condition 5, concerning the unstressed syllable in the pair of syllables that are to resolve. When the two potentially resolving syllables immediately follow a stressed syllable, resolution does not happen if:

  1. The unstressed syllable ends in a consonant; and/or
  2. The vowel of the unstressed syllable is reconstructed as having been long in the earliest stages of Old English.

Thus in lines categorised in Sievers' theory of Anglo-Saxon meter as A2a, such as Beowulf line 222a ('brimclifu blīcan') or 1171a ('goldwine gumena'), the second and third syllables (in these examples '-clifu' and '-wine' respectively) resolve, and in these cases they consistently end in an etymologically short vowel, with no consonant. (These are sometimes known as 'Kaluza Type I verses' and there are sixty-two examples in the poem.)

Yet in lines of type D2 and D*2, such as Beowulf line 2042a ('eald æscwiga') or 2912b ('feorh cyninges') the potentially resolving syllables (in these examples '-wiga' and 'cynin-') follow a stressed syllable (in these examples 'æsc-' and 'feorh') and might in theory resolve. If they did, however, the line would contain only three syllables, too few to meet the four-syllable minimum requirement of Old English alliterative metre. In such verses in Beowulf, the unstressed syllable consistently includes a consonant and/or has an etymologically long vowel. (These are sometimes known as 'Kaluza Type II verses' and there are forty-four examples in the poem.)

R. D. Fulk developed Kaluza's observations to argue that they show that at the time when Beowulf was composed, poetic varieties of Old English still distinguished between long and short vowels in unstressed syllables. There is no precise evidence for when these distinctions were lost, but there is a range of evidence for other kinds of unstressed vowel reduction in the history of Old English. This evidence suggests that vowel-length distinctions in unstressed vowels could not have persisted beyond c.725 in Mercian Old English or c.825 in Northumbrian Old English. This implies a relatively early date for Beowulf.

No other Old English poem coheres to Kaluza's law to any significant degree.

Alternative explanations

Most linguists who have considered Kaluza's law hold that the patterns in Beowulf reflect a phonological constraint in early Old English poetic metre. However, several scholars have argued that the appearance of Kaluza's law patterns in Beowulf specifically may not reflect the continued distinction between long and short vowels in unstressed syllables at the time of Beowulf's composition, but a residual conformity to older patterns arising from any of a range of postulated factors, including: [5] :659–660

Leonard Neidorf and Rafael J. Pascual contend that these alternative explanations are weaker than the phonological explanation preferred by Kaluza and Fulk. [5]

Related Research Articles

In poetry, metre or meter is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as prosody.

<span class="mw-page-title-main">Poetry</span> Form of literature

Poetry, also called verse, is a form of literature that uses aesthetic and often rhythmic qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in addition to, or in place of, a prosaic ostensible meaning. A poem is a literary composition, written by a poet, using this principle.

A rhyme is a repetition of similar sounds in the final stressed syllables and any following syllables of two or more words. Most often, this kind of perfect rhyming is consciously used for a musical or aesthetic effect in the final position of lines within poems or songs. More broadly, a rhyme may also variously refer to other types of similar sounds near the ends of two or more words. Furthermore, the word rhyme has come to be sometimes used as a shorthand term for any brief poem, such as a nursery rhyme or Balliol rhyme.

The foot is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry, including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry. The unit is composed of syllables, and is usually two, three, or four syllables in length. The most common feet in English are the iamb, trochee, dactyl, and anapest. The foot might be compared to a bar, or a beat divided into pulse groups, in musical notation.

<span class="mw-page-title-main">Alliterative verse</span> Form of verse

In prosody, alliterative verse is a form of verse that uses alliteration as the principle ornamental device to help indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, and the Alliterative Morte Arthur all use alliterative verse.

Syllabic verse is a poetic form having a fixed or constrained number of syllables per line, while stress, quantity, or tone play a distinctly secondary role — or no role at all — in the verse structure. It is common in languages that are syllable-timed, such as French or Finnish — as opposed to stress-timed languages such as English, in which accentual verse and accentual-syllabic verse are more common.

Scansion, or a system of scansion, is the method or practice of determining and (usually) graphically representing the metrical pattern of a line of verse. In classical poetry, these patterns are quantitative based on the different lengths of each syllable. In English poetry, they are based on the different levels of stress placed on each syllable. In both cases, the meter often has a regular foot. Over the years, many systems have been established to mark the scansion of a poem.

Iambic pentameter is a type of metric line used in traditional English poetry and verse drama. The term describes the rhythm, or meter, established by the words in that line; rhythm is measured in small groups of syllables called "feet". "Iambic" refers to the type of foot used, here the iamb, which in English indicates an unstressed syllable followed by a stressed syllable. "Pentameter" indicates a line of five "feet".

<span class="mw-page-title-main">Eduard Sievers</span> German philologist (1850–1932)

Eduard Sievers was a philologist of the classical and Germanic languages. Sievers was one of the Junggrammatiker of the so-called "Leipzig School". He was one of the most influential historical linguists of the late nineteenth century. He is known for his recovery of the poetic traditions of Germanic languages such as Anglo-Saxon and Old Saxon, as well as for his discovery of Sievers' law.

In the analysis of poetic meter, weak position is either of two things:

On Translating <i>Beowulf</i> Essay on Old English poetry and metre by J. R. R. Tolkien

"On Translating Beowulf" is an essay by J. R. R. Tolkien which discusses the difficulties faced by anyone attempting to translate the Old English heroic-elegiac poem Beowulf into modern English. It was first published in 1940 as a preface contributed by Tolkien to a translation of Old English poetry; it was first published as an essay under its current name in the 1983 collection The Monsters and the Critics, and Other Essays.

This is a glossary of poetry.

Resolution is the metrical phenomenon in poetry of replacing a normally long syllable in the meter with two short syllables. It is often found in iambic and trochaic meters, and also in anapestic, dochmiac and sometimes in cretic, bacchiac, and ionic meters. In iambic and trochaic meters, either the first or the second half of the metrical foot can be resolved, or sometimes both.

Old English metre is the conventional name given to the poetic metre in which English language poetry was composed in the Anglo-Saxon period. The best-known example of poetry composed in this verse form is Beowulf, but the vast majority of Old English poetry belongs to the same tradition. The most salient feature of Old English poetry is its heavy use of alliteration.

Latin prosody is the study of Latin poetry and its laws of meter. The following article provides an overview of those laws as practised by Latin poets in the late Roman Republic and early Roman Empire, with verses by Catullus, Horace, Virgil and Ovid as models. Except for the early Saturnian poetry, which may have been accentual, Latin poets borrowed all their verse forms from the Greeks, despite significant differences between the two languages.

Generative metrics is the collective term for three distinct theories of verse structure advanced between 1966 and 1977. Inspired largely by the example of Noam Chomsky's Syntactic Structures (1957) and Chomsky and Morris Halle's The Sound Pattern of English (1968), these theories aim principally at the formulation of explicit linguistic rules that will generate all possible well-formed instances of a given meter and exclude any that are not well-formed. T.V.F. Brogan notes that of the three theories, "[a]ll three have undergone major revision, so that each exists in two versions, the revised version being preferable to the original in every case."

Ferskeytt is an Icelandic stanzaic poetic form. It is a kind of quatrain, and probably first attested in fourteenth-century rímur such as Ólafs ríma Haraldssonar. It remains one of the dominant metrical forms in Icelandic versifying to this day.

Poetic devices are a form of literary device used in poetry. Poems are created out of poetic devices via a composite of: structural, grammatical, rhythmic, metrical, verbal, and visual elements. They are essential tools that a poet uses to create rhythm, enhance a poem's meaning, or intensify a mood or feeling.

Maximilian Kaluza was a German scholar of English philology.

Leonard Neidorf is an American philologist who is Professor of English at Nanjing University. Neidorf specializes in the study of Old English and Middle English literature, and is a known authority on Beowulf.

References

  1. Kaluza, Max (1896). "Zur Betonungs- und Verslehre des Altenglischen". Festschrift zum Siebzigsten Geburtstage Oskar Schade, dargebracht von seinen Schülern und Verehrern (in German). Königsberg in Preußen, Germany: Hartungsche Verlag. pp. 101–133.
  2. Bliss, Alan J. (1958). The Metre of Beowulf. Oxford, UK: Blackwell. §§34–37, 118–121.
  3. Fulk, R. D. (1992). A History of Old English Meter. The Middle Ages Series. Philadelphia, PA: University of Pennsylvania Press. §§170–183, 376–178. ISBN   9780812231571. JSTOR   j.ctt16ptmzr.
  4. Weiskott, Eric (2012). "A Semantic Replacement for Kaluza's Law in Beowulf". English Studies . Routledge. 93 (8). Footnote 1. doi:10.1080/0013838X.2012.721237. S2CID   159835945.
  5. 1 2 Neidorf, Leonard; Pascual, Rafael J. (October 2014). "The Language of Beowulf and the Conditioning of Kaluza's Law". Neophilologus . Springer. 98 (4): 657–673. doi:10.1007/s11061-014-9400-x. S2CID   254871391.