Most discussions of prosody begin and end with metrics, but the contribution of meter to the sound structure of all poetry that was neither sung nor intended for musical accompaniment, when it has been at all specific, has been trivial. Yet because most writers on prosody would probably dispute this, and since some recent poets have worked out sound structures on the basis of implicit defects in metrical theory, it's probably worth taking a look at the metrical background. Almost all writers on metrics agree that meter is a compositional constraint. In this theory a particular meter is a pattern of distribution of some phonological feature over stretches of language. A particularly simple example is iso-syllabic verse.
[NOTE, FOR THE RECORD. Originally published in George Quasha’s magazine Stony Brook (number one, December 1968), Antin’s essay on prosody was accompanied by the following note from the editor: “Mr. Antin wrote these Notes as a paper, originally, which was not amended for publication. I persuaded him to publish it, though he is not happy with the presentation, because I believe it raises crucial questions. It is coherent if not thorough, and it may succeed in bringing about some relevant discussion, hopefully in future issues of STONY BROOK.