This essay integrates what I have written on the contribution of meter and rhythm to emotional qualities in poetry, opposing them to emotional contents . I distinguish between “meaning-oriented” approaches and “perceived effects” approaches, adopting the latter; and adopt a qualitative (rather than quantitative) method of research. Providing a simplified list of structural elements of emotion, I explore structural resemblances between rhythmic patterns and emotions. I investigate such issues as convergent and divergent poetic styles, convergent and divergent delivery styles, hypnotic poetry, the contribution of meter and rhythm to a “dignified quality”; and the rhythmic performance and emotional effect of stress maxima in weak positions. Finally, I locate my work between impressionist criticism on the one hand, and meaning-oriented criticism on the other.

中文翻译：

---

诗歌中的韵律，节奏和情感。认知方法

这篇文章综合了我写的关于节拍和节奏对诗歌情感品质的贡献的文章，却反对它们对情感内容的贡献。我在采用“意义导向”方法和“感知效果”方法之间进行了区分。并采用定性（而不是定量）的研究方法。通过简化的情感结构元素列表，我探索了节奏模式和情感之间的结构相似性。我研究的问题包括趋同和发散的诗歌风格，趋同和发散的风格，催眠诗，节奏和节奏对“尊严品质”的贡献；以及在弱势位置时最大压力的节奏表现和情感效果。最后，我一方面将我的作品放在印象派批评之间，