We were talking about how Poe's poem is using largely trochaic rhythms; In other words, the stress comes in the front, followed by an unstressed syllable. Now, what we oftentimes will call this is 'falling rhythms', right. The opposite of course, iambic, would be rising. But let's think about that idea falling rhythms. Poe knew the rhythmic techniques he was using, and it's sometimes really interesting to think about how the rhythm can tell you something, potentially, about the material of the poem. Now, if you read the entirety of the poem - and I really hope you have - you'll see that Poe's poem moves through a number of different types of bells. There are sleigh bells, there are alarm bells, but the final bell that we come to is the funeral bell, and that idea of a falling rhythm - a poem that is determined to fall - takes on a kind of sinister quality when it ends with the grave, a place that we fall into. If we look at Poe's work, we'll see one of the other techniques that he uses rhythmically that we haven't really talked about: repetition. It's all well and good to have a line that tells us, "What a world of merriment their melody foretells", that gives us those stresses and unstresses, but what do we make of the resolution of "bells, bells, bells, bells, bells, bells, bells"? It wouldn't feel natural to say "bells, bells, bells, bells, bells, bells, bells, bells...". What could be just two words together, two syllables together of emphasis to make a spondee is here instead turned into this Monotony, this thong, thong, thong which as you read the poem more and more, you begin to get more and more layers of bong, bong, bong, bong almost to a maddening extent, or maybe that maddening is just Poe. However, the repetition of the bells changes the rhythm. You see, what makes the rhythm fall is moving from a stressed to an unstressed, and the repetition of "bells, bells, bells..." won't let the beat fall. It won't let it resolve. It drags it out, extends it out to a maddening length. Of course we could also think of them as almost onomatopoeic. Well, onomatopoeic means a word that is the sound that it makes like 'crash', is 'crash'. Although I don't think it's quite accurate to say that 'bell' is an onomatopoeia of 'bell'. What it does create is the sense that the sound that we're hearing is also the source of the sound. And because that sound is the title of the poem, its presence is huge there. It's almost like the poem plays itself in that regard. As a side note, trochaic rhythms in English poetry have often been associated with incantation and otherness. Remember when we talked about "Double double, toil and trouble, fire, burn and cauldron bubble," and voodoo, hoodoo, mumbo, jumbo --all of these terms are often times associated with the mythical, mystic, the ominous and spectral. So it seems again fitting that Poe's poem about these tolling bells uses the trochaic falling rhythm to get us deeper into this macabre hole that is the mind of Poe. [SOUND] Sorry, not going to do that.