The first, as we have already seen, is in Concrete and post-Concrete visual poetries.
The second may be found in procedural (rule governed) poetics, whose center today is probably the French movement called Oulipo.
Prefatory note: In 2002, the Spenser Society, which regularly sponsors a session or two at the annual MLA Convention, asked me to participate in a panel on the legacy of the Spenserian Stanza.
I am hardly a Spenser expert, but when I studied the stanza with its ingenious interlocking rhyme scheme (ababcdcdd), in which eight iambic pentameter lines are followed, to great effect, by a final alexandrine, it struck me that, although, after the nineteenth-century, poets no longer use the Spenserian stanza, its complexity, and especially its deployment of the alexandrine, have much to teach a poetry culture increasingly indifferent to the role of sound in poetry.
The following essay takes up the Oulipo alexandrine and some of its Anglophone derivates.
Loyal practitioners of the alexandrine, our hexameter, unhinge from within the meter of this rigid and puerile mechanism.
The ear, freed from a factitious counting, takes joy in discerning, on its own, all the possible combinations of twelve tones.
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