The particulars of that appeal became the subject of a very definite study four years later when an engineering student at George Washington University. Utilizing a now curious device known as the Koenig Photometer, he succeeded in diagraming what inventor Karl Rudolph Koenig (1832-1901) had described as “sound figures” characteristic of spoken vowels, i.e., a diagrammatic imprint of human voice. What Ron found he described as “the aesthetic of language,” and noted that spoken verse, regardless of language, left precisely the same imprint on the photometer. That is, a poem read in English -- he specifically tested the works of Robert Browning -- left the same rhythmical imprint in terms of vowels and consonants as Japanese haiku or an Indian hymn. In other words, the essence of poetry is universal. Moreover, it is recognizable as such regardless of whether one speaks the language. How exactly we are able to identify this “aesthetic of language” became a question of immense ramifications, and involved a line of research that would carry him through the next two decades. Nevertheless, poetry, in and of itself, was not soon forgotten.

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