# Multidimensional Visualization of Sound-Sense Harmony for [PERSON]'s Sonnets Classification
## 1 Introduction  
In this article, we present in detail the visualization algorithm that affords a multidimensional representation of [PERSON]'s sonnets. This theory was proposed in a previous paper [1], and it is a technique to assess and appreciate poetry, which we dubbed as the Algorithm for Sound and Sense Harmony (henceforth ASSH). The theory claims the existence of a hidden and systematic plan realized by important poets like [PERSON] to organize poetic structures in accordance with the principles of an overall sound and sense harmony. What is meant here by \"sound-sense harmony\" is a deep agreement between poetic and semantic devices. Poetic devices are characterized by phonological and metrical features, in particular the presence of stressed syllables containing vowels belonging to the possibly contrasting four classes of vowel sounds, i.e., low and mid vs. high-front and high-back, or part of them. And as for the consonants, there is the presence of the three main classes, i.e., continuants and sonorants, and their contrasting opponents, obstruents, and as an additional important feature, their partition into voiced vs. unvoiced. The \"sound harmony\" is then composed with sense to make up the ASSH, where the choice of sounds is supposed to reflect partly or entirely the contents of the poem--or else opposes its contents, as it may be represented by intended and expressed meaning and overall sentiment. The choice in favour of one class of sounds vs. another can be interpreted as a way to highlight sense-related choices of words and phrases that will either match or contrast withit. Sounds may be accompanied by different moods--following traditional judgements-- and both vowels and consonants according to their class, as follows:  
Low vowels and mid-vowels evoke a sense of brightness, peace, and serenity;  
High, front, and back vowels evoke a sense of surprise, seriousness, rigour, and gravity;  
Obstruent and unvoiced consonants evoke a sense of harshness and severity;  
Sonorant and continuant consonants evoke a sense of pleasure, softness, and lightness. The relation of sound and sense can now be associated with polarity: classes 1 and 4 are in the same area of positive thinking, while classes 2 and 3 are more naturally accompanied by negative sentiment. It may be the case that in the same poem, crossed matches with classes belonging to opposite types will take place more or less frequently, indicating the need to reconcile opposite feelings. This is what happens in most of [PERSON]'s sonnets, as will be shown in the sections below. The role of sounds in poetry is paramount for the creation of poetic and rhetorical devices. Rhyme, alliterations, assonances, and consonances may contribute secondary additional meaning by highlighting words and phrases that are not directly syntactically or semantically related to share part if not all of their meaning by means of metaphors and other figurative devices. Thus, most of the difficult work of every poet is devoted to the choice of the appropriate word to use for sound and sense purposes. In the case of [PERSON], in the majority of the sonnets, he took care of choosing appropriate words for the rhymes producing a highly varied sound harmony. In order to compute the association of sound and sense, we used a system called SPARSAR, which is derived from VENSES, a system for semantic analyses with the addition of a subsystem for phonetic and poetic processing. Details of this system are described in Appendix A. The aim of the article is then to present two experiments, both aiming at showcasing the ASSH and using it to map [PERSON]'s sonnets on a multidimensional space, thus highlighting the contribution of each linguistic and poetic component: from metrical structure to rhyming structure, and from semantic features to sentiment and affective traits. The graphical representations will at first characterize each sonnet along a graded scale.