Scansion

Metrical scansion explicitly requires a 2-level notation. Because of the variety of stress levels in language, 2-level notation is not adequate for a rhythmic scansion of any sensitivity. Yet, because of the confusion between rhythm and meter, the number of levels used is no sure indication of a prosodist's intent.

Classical: This notation simply retains the classical symbols for "long" and "short" syllables – the macron (or longum) and breve (or brevis) – and repurposes them for "ictic" and "nonictic" (or "stressed" and "unstressed"). Because it quite literally doesn't mean what it says, it is generally out of favor with metrists. This notation has been used by George Saintsbury and Edgar Allan Poe.

Slash & breve: This notation replaces the macron with a slash (or the graphically similar acute accent), the more common symbol for either ictus or stress. Though the classical breve is still present, its pairing with slash indicates that it has been relieved of its original "short" meaning. This notation has the advantage that its symbols can be incorporated into words as diacritics ("áccĕntĕd sýllăblĕ"). But strictly speaking it can be seen as sending the mixed message that syllables are being marked as stressed or short which would be a nonsensical scansion. This notation has been used by Paul Fussell and Miller Williams.

Slash & x: This notation is unambiguous (apart from the question of whether "/" indicates stress or ictus), easy to type, and frequently used. This is the notation preferred by the Poetry WikiProject for Wikipedia articles displaying scansion. It could be utilized as diacritics only using the relatively obscure x above ("aͯ") or times above ("a̽") and therefore typically set in 2 lines (1 for the verse, and 1 for the scansion). This notation has been used by James McAuley, Timothy Steele, Robert B. Shaw, and the Princeton Encyclopedia of Poetry and Poetics; and as a secondary method by Derek Attridge.

  ×  / ×     /      ×    /      ×    /      ×    /
When Ajax strives, some rock's vast weight to throw,
  ×  /    ×   / ×     /     ×  /     ×     /
The line too labours, and the words move slow;[14]

This metrical scansion does not attempt to show the various rhythmic features that would occur in a competent reading. Nor does it imply that the line should be read monotonously in only 2 registers ("when Ajax STRIVES some ROCK'S vast WEIGHT to THROW"). Its simple function is to show how these lines relate to other lines of verse by marking whether syllables fill ictic or nonictic positions in the line.

Although both lines of Pope quoted above are metrically identical regular pentameters, they create that same basic metrical pattern in very different ways. To show this, one must note the rhythm, not just the meter, of the lines, and recourse must be had to additional levels of notation. In the instance below, the third symbol (\) designates stressed but demoted syllables:

  ×  / ×     /      \    /      \    /      ×    /
When Ajax strives, some rock's vast weight to throw,
  ×  /    \   / ×     ×     ×  /     \     /
The line too labours, and the words move slow;

If the meanings of all 3 symbols are defined and used strictly enough, a 3-level scansion can be both metrical and rhythmic; however, typically it will gravitate toward the rhythmic, as this scansion does. In the second line, "and" is both unstressed and ictic, but the scansion marks it only as unstressed. Although this is now a better representation of the rhythm of the line, Brogan's chickens have come home to roost: the first line's 3-level scansion may tend to obscure the basic metrical pattern, but the second line's scansion actually falsifies it. (Does the second line comprise 4 or 6 metrical prominences? The answer is, still, 5, but that could not be deduced from this rhythmic scansion.)

Enid Hamer's notation has also been used by Harvey Gross and Susanne Woods, and it is the graphical basis for Derek Attridge's more complex notation (below).

4-level scansion is generally a sign of a more linguistically oriented prosodist at work. Otto Jespersen introduced his numeric notation in 1900 (in Danish; English translation in 1933). He occasionally added a 5th level, indicating a fully stressed syllable further emphasized by phrasal stress. In 1951 Trager & Smith posited 4 phonemic levels of stress in English. This was in a broad linguistic context, not specifically pertaining to verse; nevertheless, in the 1950s and 1960s linguistically oriented prosodists (such as John Thompson, Harold Whitehall, and Seymour Chatman) attempted to use these 4 levels of stress to formulate a fuller explanation of meter. Chomsky & Halle's work did not specifically address verse, but their notation of stress (effectively, Jespersen's turned upside-down) was also influential; Chomsky & Halle posited more than 4 levels of stress, but typically only 4 are used in scansion.

In addition to 4 levels of stress, Trager & Smith posited 4 levels of pitch, and 4 levels of juncture (basically the smoothness of transition between syllables). All 3 suprasegmentals have been used by prosodists to map out lines of verse; this comes about as close to C.S. Lewis's "all the phonetic facts" as possible, and constitutes (as Chatman makes explicit), neither the meter nor even the "phonetic facts" of the text, but a transcription of one reading of the text. Here superscript numerals indicate pitch, and "|" and "#" indicate juncture.

   ˘    ˘    / ˘  ˘  ^       ˘ ^     ˘  /      ˘   /
²There was ³never a sound²|²beside the wood²|²but ³one# [15]

Jespersen was not the first to use numerals to mark stress, Alexander John Ellis used them (starting with 0 for least stress) as early as 1873. Nor were W.K. Wimsatt & Monroe Beardsley the first to use multiple slashes: none other than Thomas Jefferson used a 5-level notational system of accents ("////" for strongest stress, down to "/" for little stress, and no mark for "no" stress).[16]

Steele and McAuley have used Jespersen's 4-level notation as a secondary method. Wimsatt, Woods, and The New Princeton Encyclopedia of Poetry and Poetics have used Chomsky & Halle's notation as a secondary method.

One of the primary virtues of 4-level scansion is that it helps clarify a surprisingly specific—and surprisingly controversial—debate. Take the rhythmically complex line:

When to the sessions of sweet silent thought[17]

Some prosodists hear "-ions of sweet si-" as a very light iamb, followed by a very heavy iamb, yielding a 2-level metrical scansion of:

  /   ×   ×  /     ×    /    ×    /    ×     /
When to the sess | ions of sweet si | lent thought

("Foot" markers are used here merely to emphasize the syllables in question. Recall that this metrical scansion does not imply that "of" is necessarily spoken with more emphasis than "sweet", only that these fill ictic and nonictic positions, respectively.)

However, other prosodists hold that, just as the usual 2nd position ictus has been switched to 1st position, so the usual 6th position ictus has been switched to 7th, yielding:

  /   ×   ×  /     ×    ×    /    /    ×     /
When to the sess | ions of sweet si | lent thought

In this case, "-ions of sweet si-" is sometimes taken as a pyrrhic foot followed by a spondee, and sometimes as a single 4-syllable unit (a minor or rising ionic) that replaces 2 iambic feet. This is a case in which 2-level scansion is felt to miss something essential even by some rather strict prosodists. In fact, Groves[18] has shown that in cases like this, where the ictus moves forward (as opposed to backward as in "When to") each of the 4 positions in question has slightly different constraints that must be fulfilled for the line to be perceived as metrical. In layman's terms, these constraints are most often realized as 4 rising positions; in Jespersen's notation:

  3   2   1  4     1    2    3    4    1     4
When to the sess | ions of sweet si | lent thought

In this case, everyone is somewhat right: the 4 positions are like a light then a heavy iamb, and like a pyrrhic followed by a spondee, and like a 4-syllable "ascending foot" that functions as a unit.

Tarlinskaja uses scansion as a basis for statistical analysis of verse. She has used several versions of the scansion levels shown above, some more and some less fine-grained, and some reduced to numerical values; but all relate to this basic 3 × 2 structure. In the metrical component of her scansion, she (like Jespersen) marks the ictic and nonictic positions of the meter, not of the line. This allows her to compare patterns across hundreds or thousands of verse lines statistically, using a consistent matrix of positions. Thus in the line

  ∈   –  ∪  ⊥   ∪   –    ∈    ⊥ ∪     ⊥
When to the sessions of sweet silent thought

where both Attridge and Groves (and most prosodists, for that matter) would say that the first syllable is ictic, Tarlinskaja rigidly keeps the ictus in the second position, which is its "average" position across iambic pentameter.

Attridge's scansion is intended to be broadly applicable, using a few symbols and rules to describe a wide range of English lines consistently, without a priori reducing them to one metrical system. Like Tarlinskaja, he considers that ictus and nonictus (in his notation B for "beat" and o for "offbeat") always alternate, but matches beats to prominent syllables by allowing offbeat positions to be filled by 0, 1, or 2 syllables (represented by ô, o, and ǒ respectively). The top line represents his "single-line" scansion from 1995, and the lower lines uses his original two-line system of 1982 (these are theoretically identical, only graphically different).

  /   x   x  /  x    x    / [x]/ x     /
When to the sessions of sweet silent thought
 +s  -s  -s  +s -s   -s   +s  +s -s    +s[21]
  B     ǒ     B    ǒ       B ô B  o     B

To date, Groves has put forward his system only as an explanation of iambic pentameter (or "the English heroic line" as he prefers to call it), though elements may be applicable to other accentual-syllabic meters.

He begins his rhythmic scansion with a three-level label for all syllables, but goes much further by elaborating rules describing how contiguous syllables impinge upon each other. The result is a map of the lexical and syntactic character of a line's syllables, which results in stress; rather than a representation of stress levels themselves.

Ictus (S for "strong") and nonictus (w for "weak") have constraints on which syllable statuses can fill them. These rules for matching syllable status and metrical position are called "mapping rules", and strict (e.g. Alexander Pope) versus loose (e.g. William Shakespeare) styles of iambic pentameter can be defined by applying different mapping rules.

Further, while his metrical scansion begins as a familiar wSwSwSwSwS, he allows "w" and "S" to trade places under certain conditions, and when they do their mapping rules are altered, requiring additional symbols. In the first (rhythmic) line of scansion, syllables that impinge on their neighbors are connected by hyphens; in the second (metrical) line, positions that have switched places and therefore altered their mapping rules are connected by hyphens.

When to the sessions of sweet silent thought
  A---Ō   o—A—o    Ō----a----A-o     A[22]
  Ś---w   w  S  w    W----s    S w     S

In 1880, Sidney Lanier published The Science of English Verse, in which he developed a novel theory exploring the connections between musical notation and meter in poetry. Although some figures such as T.S. Osmond and Harriet Monroe praised it,[23] others did not view it kindly. For example, Vladimir Nabokov in his Notes on Prosody says: "In my casual perusals, I have of course slammed shut without further ado any such works on English prosody in which I glimpsed a crop of musical notes." (pages 3–4) Harvey Gross' criticism also described the theory as lacking in good sense, saying "it scatters sand in the eyes and pours wax in the ears."[23]

One account cited that musical scansion was an experimental technique during the nineteenth century but was obscured by the then existing conventional scansion.[24] An interpretation of the notion of musical scansion states three theories: 1) beats occur at regular intervals of time; 2) syllables of a verse can be grouped in measures or "bars"; and 3) beats form a hierarchy of strength.[25]

Stewart's notation influenced John Crowe Ransom and John Thompson, though they did not use his full roster of symbols.