We're going to do some really quick and dirty scansion of this stanza of Edgar Allan Poe's The Bells. Now, one of the things that you'll oftentimes find when you start getting deeper into scansion on your own is that a lot of times, identifying where the stresses and the unstresses are can be difficult. And even your most hardcore scanners will tell you that at a certain level, you sometimes have to get a little bit interpretive. Poets will oftentimes shift the meter a little bit to add variation to the pattern. But with Edgar Allan Poe's The Bells, it's pretty clear where we're going to be putting our stresses. The first thing that we're going to see is that the first word of the line is already dealing with a stressed sound. Right? So we're going to be working with what? Trochees. "Hear the..." (unstressed) "sledges with the bells". One of the best ways to do scansion is to exaggerate the sound as much as possible. That exaggeration will reveal to you when it feels like the word is being stressed in the wrong place. And this can help you understand where the language's rhythm is wanting to fall. For example, if we went to "sledges" and we thought that the meter was demanding that it be iambic word, then it would have to be "sledges", which isn't quite right, and will ring in the ear sort of falsely. So, let's keep this up. "Silver bells". "Silver bells". Right? "What a world of merriment, melody deep foretells". Right? Now that 'o' right there gives us a little break, a little unstressing. "Melody" and not "mel-O-dy". So lets just do this again really quickly and we'll just try to fill out the rest of these stressors... [MUSIC] When we're here, we can begin to notice a couple of things that happen rhythmically to create variety in the pattern. Most of these lines have been ending with the stressed sound; so now if we're dealing with trochee, that means that every odd beat, one, three, five, seven is stressed. Every even beat is unstressed. So if we're ending with stressed beats, that tells us something. It tells us there are an odd number of syllables in the lines. And this might seem like a little thing, but think about it. If you change the number of syllables per line, you can create entirely different rhythmic patterns. So for example, "Hear the sledges with the bells, Silver bells! What a world of merriment their melody foretells!". And here we have a change. "How they tinkle, tinkle, tinkle in the icy air of night". Hear that "how they tinkle, tinkle, tinkle"? "In the icy air of night". "How they tinkle, tinkle, tinkle" has an even number. And so we end that line with an unstressed beat. Thus beginning the next line with the stressed, which gives us more of a sense of a continuation, that enjambment that we talked about. Now all these things can change. Our sense of the velocity of the poem, our sense of where the poem wants to rest, our sense of what the poem wants to emphasize. And just like we learned when we were talking about rhyme, sound is one of the key ways that a poem tells its reader what to pay attention to. It's one of the key ways that it delivers pleasure. And just like rhyme is a game of sonics, so is rhythm. So it's important to pay attention to those moments.