( 3 reviews )
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( 16 of 16 found this review helpful ) Posted: Mar 3 2004
I checked this one out from my school library because I so greatly enjoyed Steele's ALL THE FUN'S IN HOW YOU SAY A THING. To be certain, this book is a whole lot denser and than FUN'S. I wouldn't go so far as to say more scholarly, but it is less accessible.Which is fine. As long as you know your poetry, and your history of poetry, you will find Steele's arguments well-reasoned and balanced. Steele posits that the Modernist movement did not mean to overthrow meter and rhyme, or at least meant to replace it with another formal system. He quotes William Carlos Williams and Eliot and Pound in effect saying, "We failed."Steele brings in a lot of background about ancient quantitative metrical systems and why they don't work in English to show why the one that has developed, accentual-syllabic, does work. If I've lost you here, the book is perhaps not for you. If you haven't read Steele's ALL THE FUN'S, I recommend it to read first. This book is great, just not as accessible. 5/5 stars
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( 6 of 10 found this review helpful ) Posted: Jun 2 2003
Missing Measures is a great book. Steele is a remarkable scholar. The book is well researched and written in a style that is easy to understand as well as being a very enjoyable book. It's of interest to anyone who enjoys poetry, formal or not. This is a great text in literary history/criticism. And it is important for those who want to understand the Modernist movement.
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( 15 of 16 found this review helpful ) Posted: Jan 18 2002
Absolutely tremendous work of scholarship. This book is not a denunciation of "free verse," but a defense of formal poetry against irresponsible charges made by the practitioners of free verse--most remarkably Pound and Eliot. In lively and engaging prose, Steele traces the history of metrical writing from the Ancient Greeks to the moderns, following the rise of metrical poetry to its status as "the superior art"--and its critical decline in the post-Victorian era when influential writers began to feel that "verse must be at least as well written as prose if it is to be poetry." (Ford) Steele's knowledge of his topic is astonishing, and the breadth of his research impressive. His points are generously illustrated and footnoted. His argument, which the dust jacket blurbs describe as "controversial," is, to say the least, persuasive. A must-read for students or devotees of verse (formal or free), and simply a marvelous read for anyone else.
