Readability Indices Structure and Optimal Features
Abstract
:1. Introduction
2. Classical Readability Indices
3. Indices Structure and Features
4. Examples of Readability Tests
5. Summary
Funding
Data Availability Statement
Acknowledgments
Conflicts of Interest
Appendix A
“The rule of rhythm in prose is not so intricate. Here, too, we write in groups, or phrases, as I prefer to call them, for the prose phrase is greatly longer and is much more nonchalantly uttered than the group in verse; so that not only is there a greater interval of continuous sound between the pauses, but, for that very reason, word is linked more readily to word by a more summary enunciation. Still, the phrase is the strict analogue of the group, and successive phrases, like successive groups, must differ openly in length and rhythm. The rule of scansion in verse is to suggest no measure but the one in hand; in prose, to suggest no measure at all. Prose must be rhythmical, and it may be as much so as you will; but it must not be metrical. It may be anything, but it must not be verse. A single heroic line may very well pass and not disturb the somewhat larger stride of the prose style; but one following another will produce an instant impression of poverty, flatness, and disenchantment. The same lines delivered with the measured utterance of verse would perhaps seem rich in variety. By the more summary enunciation proper to prose, as to a more distant vision, these niceties of difference are lost. A whole verse is uttered as one phrase; and the ear is soon wearied by a succession of groups identical in length. The prose writer, in fact, since he is allowed to be so much less harmonious, is condemned to a perpetually fresh variety of movement on a larger scale, and must never disappoint the ear by the trot of an accepted meter. And this obligation is the third orange with which he has to juggle, the third quality which the prose writer must work into his pattern of words. It may be thought perhaps that this is a quality of ease rather than a fresh difficulty; but such is the inherently rhythmical strain of the English language, that the bad writer—and must I take for example that admired friend of my boyhood, Captain Reid?—the inexperienced writer, as Dickens in his earlier attempts to be impressive, and the jaded writer, as any one may see for himself, all tend to fall at once into the production of bad blank verse.”
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Sentences | Words | Syllables | Characters | |
---|---|---|---|---|
total number | 14 | 394 | 575 | 1714 |
average per sentence | 28.1 | 41.1 | 122.4 | |
average per word | 1.5 | 4.4 |
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Lipovetsky, S. Readability Indices Structure and Optimal Features. Axioms 2023, 12, 421. https://doi.org/10.3390/axioms12050421
Lipovetsky S. Readability Indices Structure and Optimal Features. Axioms. 2023; 12(5):421. https://doi.org/10.3390/axioms12050421
Chicago/Turabian StyleLipovetsky, Stan. 2023. "Readability Indices Structure and Optimal Features" Axioms 12, no. 5: 421. https://doi.org/10.3390/axioms12050421
APA StyleLipovetsky, S. (2023). Readability Indices Structure and Optimal Features. Axioms, 12(5), 421. https://doi.org/10.3390/axioms12050421