Hollander's tastes are eclectic, which enables him to write cogently [in Vision and Resonance] on poets as disparate as Donne, Jonson and Campion, Marvell, Milton and Pope, Wordsworth and Blake, Whitman, Pound, and William Carlos Williams. Since his cultural range includes European music and graphic art, classical literature and literary theory, and contemporary linguistics, the rifts of this volume are quite filled with ore. And his ear and eye are fine, so that his readings are usually reliable, which is more than one can say for many critics who attempt to write on prosody. He has excellent chapters dealing with contrastive stress, with enjambment, with rhyme. Each, if applied historically, would yield discoveries about ideas of order in English poetry over the last four centuries. The question of line-break has particular significance for modern poetry, where it serves as the single most important formal signal for a great...