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The traditional methods of philology and historical linguistics have served well to reveal the metrical patterns of older poetry. In particular, we have gained a fuller understanding of Middle English alliterative metre, including that of Piers Plowman, during the past forty years. Investigators have been careful to avoid subjective impressions of rhythm, using instead objective categories such as parts of speech. However, this discussion of the sound of the poetry cannot be complete without consideration of the perceiving consciousness. We show how the many experiments of phonetics labs establishing norms of perception, prediction, and entrainment fit with our subjective impressions.
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