Piera

 "Now a heptasyllabic pattern ... will be undistinguishable from the lefthand colon of a Type A hendecasyllable" (p.54 ).  

I've been re-reading Carlos Piera's dissertation.  In my car, I was listening to two version of Lorca's "Cuerpo presente," by Margarita Xirgu and Germaine Montero, both of whom worked in the theater with Lorca. I was able to hear very clearly the pattern of the alexandrine (7 + 7). A few lines were harder to assimilate into the pattern: "los hombres de voz dura," for example. (The stress clash of voz dura.) If you said "aproximadamente" was a 7-syllable line, you wouldn't be wrong, but normally we would have a pattern of two accents, one on six (mandatory) and the other typically on 2, but possibly occuring on 1, 3, or 4 as well. "para que se acostumbre" would be an example from Lorca. The accent on the first syllable is weak because it is a preposition. 

A distinction between lines that reinforce the gestalt of the form and those that don't?  

I'm thinking of project on Lorca's prosody, but I haven't thought it to be very interesting, or yielding of insights that everyone might not have had already. One insight: enjambment only occurs in very short lines. Another: rhyme is frequent in all but a few works. Maybe mastery of classical meters is not that interesting?