#stress patterns

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Hi, i’m indeed not a native speaker of English. As far as I know, the ungrammaticality of *employmental is due to a intonaltion pattern clash, as two stress-bearing syllables would become adjacent. That’s why argumental is actually acceptable and listed e.g. in Webster’s dictionary. So the productivity hinges on morphophonology rather than semantics or morphology alone. 

But what particularly struck me was several words where they accent HAD been written but she didn't pronounce it in the right place? Like there was época, policía, específico, and she said epoca, policia, especifico. Like... how? It's clearly there!

That's another thing I love about Spanish. The stress patterns are for the most part highly regular and the rules are pretty constant, but for any case where there IS an exception, they clearly mark it with an accent to make it obvious.

It's one of those situations where it's helpful to learn Spanish and Italian simultaneously, because Italian stress patterns are like 99% identical to Spanish ones, including the exceptions, but they don't mark it. Virtually any Spanish word with an accent on it will, if it has an Italian cognate, be stressed in exactly the same place in Italian, so knowing the Spanish word where it's clearly labelled is hugely advantageous with Italian where it is not and can often be kinda unexpected.

I just posted a cute little poem with a bunch of de-prefixed words, but then I re-read it and realized that the third line scans really bizarrely. The poem is in iambic pentameter, i.e. 5 iambs (weak-strong) per line. Every line but the third contains 10 syllables, alternating weak-strong (vowels in strong syllables marked with acute accents, weak syllables unmarked). 

I knów a líttle mán both épt and ért. An íntro-? éxtro-? Nó, he's júst a vért.

But then the next line has 11 syllables. If you mark it from the left as strict iambs, then you have to put stress on the second syllable of "sheveled", which is not where it would be in natural speech, plus you have one leftover syllable, in bold. 

Shevéled and cóuth and kémpt, pecúnióus, [áne,] His ímage trúdes upón the céptive bráin.

If you add an extra "silent" weak beat to the beginning of the third line (which actually is a reasonably legitimate strategy in English poetry), then you get the right stress on "sheveled" but now the two "and"s get strong emphasis which also sounds unnatural and there are two leftover syllables, in bold. And "pecunious" gets totally incorrect stress here.

Shéveled ánd couth ánd kempt, pécuní[ous, áne,]

So the way I would fix this is by deleting both of the "and"s and adding an extra silent weak beat to the beginning of the line. This gives the reasonable-to-my-ears:

Shéveled, cóuth, kémpt, pecúnióus, áne,

Alas, this version of the line currently returns zero results on Google (although it won't when Google indexes this post...) so I don't think the author intended this. 

I did consider the possibility that the third line was just supposed to have an extra syllable, but I rejected it because a) the second verse has the right number of syllables in its third line and b) that would go against everything I know about traditional English poetry. 

When life turns sipid and the mind is traught, The spirit soars as I would sist it ought. Chalantly then, like any gainly goof, My digent self is sertive, choate, loof.