West Chester University

Fall 2001

Spring 2002

West Chester University

Fall 2002



Course Information
  Lit 165 Syllabus
  ENG 020 Syllabus
  About the Instructor

Notes for Introduction to Literature
  Approaching Literature
  Notes on the Art of Fiction: Early Forms
  The Short Story
  Graduate Students Define the Art of Fiction
  Bartleby the Scrivener - Questions for Analysis
  Notes on Melville
  Critical Approaches to Literature
  A Vocabulary for Short Fiction and Beyond
  Study Guide for Fiction Exam
  Reading Poetry
  The Craft of Poetry
  A Catalogue of Poems
  Notes on Langston Hughes
  Lines of Continuity
  Poetry Take Home Exam
  The Birth of Drama
  A Doll House
  Study Guide for the Final Exam
  A Glossary of Literary Terms

Notes for Basic Writing (ENG 020)
  The Rhetorical Situation
  Essay #1 Assignment Sheet
  Workshop Assignment for Essay#1
  How to Write Descriptively
  Building a Thesis
  Overcoming Reader's Block
  Analysis and the Culture of Advertising
  Essay #2 Assignment Sheet
  Writing Effective Introductions
  Writing Effective Conclusions
  Propaganda Analysis
  Politics and the English Language
  Propaganda: A Sample Analysis
  Midterm Exam: Tips for Writing on the Spot
  Notes on Rational Argument
  Mapping the Parts of an Arugment

General Announcements
  Announcements for LIT 165
  Assignments for LIT 165
  Announcements for ENG 020
  Assignments for ENG 020


Go Exploring
  A Weblog for LIT 165
  A Weblog for ENG 020

Join the Conversation
  LIT 165 Discussion List
  ENG 020 Discussion List


~~ The Craft of Poetry ~~

[Walt Whitman]

One of the features that distinguishes poetry from other genres of literature is the way it exploits the musical potential of language. Not only do poets play with the meanings of words, they play with the sounds of words, taking advantage of the fact that hearing something expressed can be as pleasant as thinking about it.

The poet, in that sense, is sometimes very much a musician, making a rhyming, rhythmic kind of music with words, sometimes playing off the way they sound to complement what they mean. When sound and sense complement one another-when it seems the sound of a poem reinforces its meaning in some way--the effect is usually striking.

Although we could spend several semesters discussing the art of poetry in all is forms and through all its long history, we can gain a preliminary understanding quickly by getting familiar with the two basic elements that begin to distinguish a poem's craft:

1. (WORDS) Its heightened use of individual words--for both meaning and sound.
2. (SOUNDS) Its creative arrangement of words in lines and stanzas to produce interesting sounds.

We'll examine each of these points one at a time. They'll provide the anchor as we dip into some great poems and try to figure out how they do what they do.


"What I like to do is treat words as a craftsman does his wood or stone or what-have- you, to hew, carve, mold, coil, polish, and plane them into patterns, sequences, sculptures, fugues of sound expressing some lyrical impulse, some spiritual doubt or conviction, some dimly-realized truth I must try to reach and realize." -Dylan Thomas

A poet is using words more consciously than any other kind of writer. Aiming to stir readers' imaginations, poets exploit the power of words to evoke thoughts, feelings, reflections in ways that are sometimes very direct, sometimes very indirect. A poet always picks and chooses words that are just right. Most finished poem are very deliberate products, not something casually tossed off half drunk at 3am, but something lovingly studied and toiled over. Even the spontaneous prose of the American Beat poets of the 50s and 60s was the product of artists who were very deliberate in their methods. Poetry is almost never approximate. So you know, when you read a poem, that each word was selected carefully for one many reasons, and that if you analyze it carefully, it will open up.

Poetry works it magic by the way it uses words to evoke "images" that convey a lot of meaning once you look into them. Sometimes a whole poem is that quick image, like "You Fit Into Me" by Margaret Atwood (further discussion of this poem will follow below). Other examples of brief poems that are simple, quick, loaded images are Ezra Pound's "In A Station at the Metro" and Taniguchi Buson's "The Piercing Chill I Feel" (both on your handout).

These images can appear by the stroke of a single word, the rush of phrase, or the turn of a sentence; or they may embody an entire short poem. The point is that every image a poet conjures in our imaginations is evoked by word choices. The poet's skill is his or her creative genius for creating rich, vivid images that mean so much by choosing just the right word.

Concrete, Specific Words

A poet's word choices may be very direct, very concrete and specific, inviting readers to imaginatively envision something clearly and distinctly.

A brutally direct poem that's very powerful is Ntozake Shange's poem "With No Immediate Cause." In this poem, Shange uses more than one method to get readers to pay attention. She uses repetition, and she uses a kind of shorthand, familiar diction to draw us in, get us to feel the speaker's rising fear and rage-her outrage-and another way she gets us involved is by using language that is increasingly concrete and specific, vivid, and direct. The poem willfully, consciously, with purpose chooses language designed to upset and shock us.

The poem begins with the bland kind of language we're used to hearing in news reports, or buried in a news article about a recent crime-and that's what the speaker is reading on the subway, a news report: "every 3 minutes a woman is beaten/every five minutes a woman is raped/every ten minutes a lil girl is molested/yet…" We're apt to pass over these statistics, though, because numbers alone don't make us feel. I believe that is one way to read the meaning of the otherwise puzzling "yet" that appears next. There may be other ways to read it as well. Suppose, though, it's that the speaker knows that these numbers alone aren't really enough to get anyone's attention. We just say, "Oh well," and go on with our lives. But the point of the poem is to force us to focus on the horror of those numbers, to feel something about the problem (to "make the stomach believe" maybe, ala Tim O'Brien). Maybe the speaker senses that most of the people on that bus (which maybe represent most of society, say) don't really want to think about problems like this one; they want to deny their responsibility-whether they're directly guilty, or guilty of ignoring the problem. The poem, in my mind, becomes a kind of plea for people to take the problem of violence against women seriously. To achieve this, Shange has decided to employ very graphic, disturbing language to wake us up out of our comfortable complacency.

As the speaker begins to imagine the implications of the statistics she's read, she gets more and more graphic, imagining the worst. We're inside her head-the poem presents her point of view. These numbers have made her look around at the world in a different, paranoid light. Notice how her language gets more and more intense as she associates the statistics in the news article and begins to graphically imagine what their real-life implications might mean. She imagines such despicable horrors (once again, based on news stories) that she ends up completely disheveled: "i spit up i vomit i am screaming" and even imagines herself taking revenge, imagining what she'd say to the "authorities," presumably after being arrested for fighting back. Do you think she really goes home and attacks someone?

On one level the poem is a graphic representation of what's in one woman's mind as she reads an ordinary news report about abuse and rape-but because the poem is so detailed, so heightened, capturing a voice and a moment so dramatically, we can also discover other things. Maybe it's a poem about paranoia, about being afraid to ride the subway. Or it could be a poem about how the media sensationalizes violence, and the effects of that. Or it could be a poem about a woman who's about to snap, and why.

Many poems operate in this way, giving us a direct, vivid experience to contemplate. Consider Raymond Carver's poem "Photograph of My Father In His Twenty-Second Year" (on your handout) or "Dulce Et Decorum Est" by Wilfred Owen (In The Bedford Introduction to Literature, p. 610).

Figurative Language: Metaphorical figures and Personification

"Visual meanings can only be transferred by the new bowl of metaphor; prose is an old pot that lets them leak out. Images in verse are not mere decoration, but the very essence of an intuitive language. Verse is a pedestrian taking you over the ground, prose--a train which delivers you at a destination." -T.E. Hulme

"What is metaphor, and how does it differ from both literal and other forms of figurative utterances? Why do we use expressions metaphorically instead of saying exactly and literally what we mean? How do metaphorical utterances work, that is, how is it possible for speakers to communicate to hearers when speaking metaphorically inasmuch as they do not say what they mean? And why do some metaphors work and others do not?" -John R. Searle

So many poets use language that's rich in the sense that it leaves a lot open to the reader's imagination, giving readers full play in interpreting. A common technique is to use figurative language-figures like simile, metaphor, and personification abound in all kinds of poetry.

Consider how each of these poems uses simile and metaphor to share a powerful observation.

"You Fit Into Me" by Margaret Atwood (handout) is a brief little thing, but as you read into it, more and more meaning emerges from the one simple comparison she's drawing. You've hooked me but the attachment is painful, fatal maybe. The fact that the "you" (the other) is inside the "me" (the speaker) may represent an invasion, maybe a sexual invasion, maybe an emotional, psychological one. Maybe this relationship has really screwed this speaker up, has really hurt her. (I'll call the speaker a "her" for convenience, but notice the gender isn't specified-this could go either way.) The fact that the hook is going into they "eye" may be significant, too. The pain goes right to the soul (the eye often represents a person's soul). And there's that play on "eye" versus "I." If you read the last line "an open I" it still makes sense. In a relationship you usually make yourself pretty vulnerable but that's the risk. To make any kind of deep relationship work, you have to open yourself up. Maybe the speaker went into this relationship with her eyes open but she got hurt anyway. There's just all kinds of ways to read into this. It's a beautiful little nut of a poem.

Another poem that works its magic figuratively is Langston Hughes' "Mother to Son" (handout). In this poem the speaker is a mother talking to her son; that much we know from the title. Why is she giving this talk to her son-that's an interesting question open to interpretation. What is she telling her son? This isn't a dry lecture about the value of determination and hard work. She's trying to get through to his imagination, trying to inspire him. She wants him to know she's been there and that even if she hasn't "made it," she's not giving up. An interesting question to ask yourself might be: what do you think the mother is hoping the son will strive for? What's the reward at the top of the stairs? Material success? Spiritual peace? What do you think? As you think about this poem, you may find yourself contrasting this mother's soft, loving voice with the one we heard in "Girl." When you're ready, you can also visit Hughes' other poem in your handout, "My People" and see how it employs simile.

N. Scott Momaday's poem "A Simile" is another example of a poem working figuratively. This time the image is of two people, a couple, behaving "as the deer." What does the speaker gain from making this comparison? We can picture those frightened, self-absorbed deer walking single file, ready to fly away at the first sign of threat. The speaker is a little bewildered as to why he and his lover (wife?) are no longer intimate, but have become distrustful of one another. The image of the deer is an interesting portrait of how he thinks they're behaving, but it's not how he thinks a relationship should be. Rather than walk in "single file" a couple should be beside one another-and you could explore all of the connotations of what that might mean. What does it mean to walk beside one another? To be equal maybe, to be friends. One should not hold his or her "head high"-what might that mean? To be snooty, arrogant, self-righteous-maybe. What might it mean to hold one's "ears forward/ with eyes watchful"? Maybe that suggests always being on the alert, always ready to take offense-always insecure, and never able to extend any benefit of the doubt. It's easy to misinterpret another's words and actions. If we're always on guard like that, maybe we're more likely to take something the wrong way-and be hurt by something that wasn't intended to be hurtful. The hooves ready to take flight…you can't work things out if you're always too afraid to face things, if you're always ready to run away….

A funny (but still kind of serious) poem that works figuratively is Marge Piercy's "The Secretary Chant" (in The Bedford Introduction to Literature, p. 531). This poem uses metaphor throughout to humorously get the message out there that this worker (a woman), in this job, feels dehumanized, reduced to a function. Every portion of her body is objectified-she's the desk, the paper clips, the rubber bands, mimeograph ink, casters. Her head goes "buzz and click" and she's like a disorganized file. She's aware that those around her assume she has no intellect to speak of; to them, her mind is all buzz, all click, a crackled, crossed switchboard. She's nothing but machine, spitting out various kinds of paper. To her boss, perhaps, she feels she is no more than the sum of all of the objects which surround her, and which she manages. Although the speaker characterizes herself the way she feels she's been characterized by others, we're aware, I think, that she's satirizing the way she's been characterized. In the end she purposely, sarcastically misspells "wonce" to jab at those who've dehumanized and devalued her. Maybe the machine is breaking down?

One more poem we can look at that exemplifies the way poems sometimes employ extended metaphor is Robert Francis's "Catch" (Bedford Introduction to Literature, p. 531). Baseball lovers will have an easy time relating to the kind of "catch" the two boys are having. The poet uses this easy familiarity to make something potentially difficult to understand a bit easier to envision: reading (or writing, or understanding) a poem is a little like having a game of catch. The balls come at you every which way-there's no telling how the writer will lob those words at you. But the words are expressive ("attitudes, latitudes, interludes, altitudes") and the poet uses "anything to outwit the prosy," making readers "scramble to pick up the meaning." But the reward is that satisfying feel, that great sound the ball makes in your glove, the way a reader's mind clicks when he gets that "pretty one plump in his hands."

Many poets have tried to use poetry to explore, like "Catch," what a poem is, or at least what it does. Another famous poem along those lines which also relies heavily on simile is Archibald MacLeish's "Ars Poetica" (handout). To unwrap or unpack this poem, explore the implications of all the many comparisons the speaker makes. The poem's similes help us by comparing that which is familiar to that which is strange, and by comparing things that are solid and concrete to that which is conceptual and abstract. Hopefully, as a result, we end up with a more vivid understanding of what poetry is, how it operates.

Personification is another figure of speech that poets employ freely when it suits them, sometimes in a quick image, sometimes throughout an entire poem. When you invest animals or other non-human things with human characteristics or emotions, you're "personifying" them. The point might be to "give the world life and motion" (as your textbook's glossary explains) or it might be to make some kind of sublime connection to that world. It might even be the Buddhist precept "Thou art that" given poetic expression.

Rainer Maria Rilke's poem "The Panther" (in your handout) is a powerful example of extended personification. Throughout the poem, the panther is invested with human feeling. Is it that the speaker, observing the caged panther, identifies with the pain of his imprisonment? Is it that the panther is able to communicate his pain, breaking across the boundaries that separate our species, and the speaker is sensitive to the panther's pain? As the poem opens, the speaker tells us that the pather's vision has "grown so weary" that his eyes seem blank, they "can't hold anything else." But does the speaker really know what the panther sees or if he's weary? He takes further liberties in the third line, announcing that "It seems to him there are/ a thousand bars; and behind the bars, no world." Does the speaker really know what the panther is thinking here? What gives him liberty to assume that this is what the panther is thinking? He's projecting his human feelings upon the panther because he identifies with it. Once we accept that projection, once we suspend our disbelief, a powerful story emerges. From within that cruel cage-which might represent any sort of loss of freedom-the world disappears; any normal vision, normal behavior, is suspended and actions are mere motions, with no force of will behind them. Life becomes "going through the motions." Free will is paralyzed-there's no action but empty ritual. What happens next is that unasked for but inevitable glimpse of freedom, that whisper of possibility as the "curtain of the pupils/ lifts, quietly." It's not a real possibility of freedom because the bars haven't disappeared. The bars are still there. But the "image enters in." It's almost to painful to imagine. The glimpse of freedom tears through every muscle, plunging into the heart (like a knife?), leaving the poor creature (the panther, us?) to suffer. Even if you read the poem literally and aren't interested in pursuing other levels of meaning, it's an incredibly sad portrait. It's precisely the reason why I can't have a good time visiting zoos. I know they do a lot of good work. But the sight of all those caged creatures!!! I'll never forget a certain grizzly bear which lived in a permanent indoor/outdoor exhibit at the St. Louis Zoo in Forest Park…I still remember the disturbing way it used to pace endlessly in that "ritual dance around a center," unable to go anywhere or do anything which would make it feel like a real bear with real purpose and a real will. It was so obviously in misery, like this panther. On the other hand, the polar bears a few hundred feet away were pretty cheerful, usually playing with their big red rubber ball, splashing in their pool, rolling around.

In "Mirror" the speaker is an object, a mirror. So we definitely have to suspend our disbelief! But when we do, the poem really works. In the first stanza, the mirror is in someone's house-the woman who's mentioned in the second stanza, we can suppose. The voice of the mirror is cold, mechanical. It's "silver and exact"-it has a kind of steely precision to it that feels very inhuman (which is paradoxical, since it's being given a human voice!). But it's not very human at all, swallowing whatever it sees, being truthful no matter what the effect of its truthtelling. I'm kind of reminded here of the "mirror-mirror-on-the-wall" from the Sleeping Beauty fairytale. This mirror is going to tell this woman she's not the fairest of them all and isn't going to worry how that'll make her feel. There's no worry over seeming to be cruel. Honesty trumps kindness here. That's a little inhuman, I think. Although we could discuss that. It's really something of an ethical dilemma. Suppose you were this woman's mirror, in a figurative sense, and she asks you how she "looks." If she looks terrible, will you tell her that truthfully? What would make you tell her truthfully? Well, this mirror decides that it's going to be honest no matter what, truthful no matter way. It's the "eye of a little god" (which suggests omnipotence, omnipresence), so the image it reflects, its cruel truthtelling, it's nasty but honest reflection follows the woman around whether she's in front of the mirror or not. Maybe the memory of what she sees there haunts her. But we get the idea that she keeps coming back for confirmation. The second stanza continues in the same mode. The mirror is more organic, but the effect is the same. This time we're at a lake, and we're recalling the Narcissus myth. Should she be searching her reflection for "what she really is"? Maybe that's where she goes wrong. Because the effect is the same. No lying, just the same unflattering reflection. Wrinkles around the eyes, whatever…. The woman is so disturbed by the image of her own face that she breaks down in tears, drowning the younger self she no longer can find in a sea of tears. And every day, the old woman peers back at her, like a "terrible fish."

More Figures of Speech: Synecdoche, Metonymy, Apostrophe, Hyperbole

Synechdoche, says your textbook (Bedford Intro. to Lit. 622), is a figure of speech in which part of something is used to signify the whole. In "The Hand That Signed the Paper" (p.622) Dylan Thomas focuses our attention on the hand of the ruler, his five "sovereign fingers," instead of the whole person. We come to see how this "hand" represents his imperial power--and how such a hand "rules pity as a hand rules heaven; hands have no tears to flow." The detached power with which the ruler. The hand has no pity, no feelings; it's detached from the heart, and cannot feel the horrible consequences of its actions. The pen which signs the paper is perhaps not mightier than the sword; it is the sword.

Metonymy is a closely related figure of speech in which some thing or some quality closely associated with the subject is substituted for it. In "The Hand That Signed the Paper" you see metonymy used when in the second stanza, the speaker notes that "A goose's quill has put an end to murder / That put an end to talk." The goose quill is something closely associated with the ruler's power to put his signature to the service of war and murder.

These figures, as Myers points out, help us understand, and feel, how the ruler's power is detached from ordinary empathy, sympathy-pity-how it's inhuman, distant, remote from all human feeling.

Apostrophe is a figure poets use to allow the speaker to address an absent audience or an audience that's not human and can't understand. It's really a way for the poet to allow the speaker to "think aloud," (Meyer 623) expressing thoughts in a organized, formal way, as if addressing some specific listener. In the past, poets used apostrophe to signal reflections that involved extreme or intense emotion, but writers today feel that apostrophe can be too melodramatic, exaggerated, or "theatrical" (Meyer 623). Today, writers are more likely to use it in a "half-serious" way, as in "To A Wasp" (p. 624). In that poem, a simple event-a wasp flies into the speaker's kitchen and lands in her cake batter-becomes the occasion of a mock serious question in the last two lines: "Did you not see / rising out of cumulus clouds / That fist aimed at both of us?"

This last line is not only "apostrophe" but hyperbole. The cosmic "fist" (a synecdoche, presumably, for God) finding time and cause, amidst all the serious struggles and suffering in the world, to take aim at a woman baking a cake and one tiny wasp is pretty exaggerated. Writers use hyperbole, or exaggeration, to "add emphasis without intending to be literally true" (Meyer 624). One of the great examples of hyperbole is the seduction in "To His Coy Mistress" (p. 581). Understatement is the opposite of hyperbole. In this figure of speech, the speaker says less than intended, to the effect that the point is, once again, somehow made more emphatically.

Oxymoron is "a condensed form of paradox in which two contradictory words are used together. Poets use it because it "arrests a reader's attention by its seemingly stubborn refusal to make sense" (Meyer 625), and once we figure it out, we're not likely to forget it. In Dylan Thomas' "Do Not Go Gentle Into That Good Night" he introduces an oxymoron in the final stanza: "And you, my father, there on the sad height, / Curse, bless, me now with your fierce tears, I pray." How can the tears be a curse and a blessing at the same time. Paradoxically, they can. They are a curse because they are evidence of pain and suffering, but they'd be a blessing because they'd be evidence that the speaker's father is putting up a fight. And they are real evidence of love, in a strange way--they signify the ill man's pain at leaving his loved ones, his own sense of loss, and so they help the speaker feel loved.

Allusion is not exactly a "figure of speech" but it uses language in a particular way that will extend meaning in much the same way that figurative language does. Allusions are "brief references to a person, place, thing, even, or idea in history or literature....They imply reading and cultural experiences shared by the writer and reader, functioning as a kind of shorthand whereby the recalling of something outside the work supplies an emotional or intellectual context..." (Glossary, Bedford Intro. to Lit.). Allusion can be found in poems as different as "Mirror" by Sylvia Plath, "Jazzonia" by Langston Hughes, and "Hazel Tells Laverne" by Katharyn Howd Machan. In each case the poet is amplifying meaning by making careful references readers will hopefully recognize.

Symbol is another device poets can use to extend meaning. When you can understand the meaning of a word or passage in more than one way, the poet is probably using words symbolically. "Stopping by Woods on A Snowy Evening" or another Robert Frost poem, "The Road Not Taken" gain force when you consider the possibility that some of the words in those poems are used symbolically.

Specific, concrete, figurative, symbolic, connotative language is what packs a poem so tightly, what wraps it in that neat package. The poet's skill with figurative language makes of poetry an art of compression. It's truly amazing how much poets manage to say with the few words they choose.


To study the sound of poems, we can use the information in The Bedford Introduction to Literature. Read pages 662 - 672; 687-692; 706-733--paying special attention to these terms:

Page 667
Onomatopoeia--the use of words that sound like what they denote. (see "Player Piano" by John Updike--p. 664)

Alliteration--the repetition of consonant sounds (…/ Or Butterflies, off Banks of Noon / Leap, plashless as they swim. - Dickenson, p.666)

Assonance--the repetition of the same vowel sound in nearby words (time and tide)

Euphony--lines that are musically pleasant to the ear; smooth and flowing

Cacophony--lines that are discordant and difficult to pronounce (see "Player Piano" by John Updike--p. 664)

Page 668
Rhyme--needs no explanation, but Meyer offers an explanation of why rhyme is so effective. It offers a sense of closure; creates emphasis; provides structure; draws attention to the relationship between words.
Eye Rhyme--words that look like they rhyme, but don't really rhyme! (cough and bough)

Page 671
End Rhyme--lines that rhyme at the end of the line

Internal Rhyme--rhymes within lines

Masculine Rhyme--rhyming single syllable words (shade/blade) or words that rhyme in the last syllable of a multi-syllable word (defend/contend)

Feminine Rhyme--rhymed stressed syllables followed by one or more rhymed unstressed syllables (gratitude/attitude)…words are longer and more syllables rhyme


Off rhyme/Slant Rhyme/Near Rhyme/Approximate Rhyme--the sounds are almost but not exactly alike.

Consonance--an identical consonant sound preceded by a different vowel sound: home, same; worth, breath; trophy, daffy.

Different consonant sounds and same vowel sounds also produce near rhyme: sound, sand; kind, conned; fellow, fallow.

Page 687-690
Rhythm / meter / prosody--the recurrence of stressed and unstressed sounds. Some writers get rhythm going by using tricks like repetition, as in "With No Immediate Cause." More typically, the pattern of stressed and unstressed syllables creates the rhythm. Poets can create meaning and emphasis by the way they set up their patterns of stressed syllables.
When rhythmic patterns of stresses recur in patterns, prescribed or unprescribed, the result is the poem's "meter." All metrical elements taken together are known as "prosody."

Foot--the metrical unit of syllables, including (usually) one stressed and one or two unstressed. Five kinds of feet are described in the textbook: the iamb, trochee, anapest, dactyl, and spondee. They are differentiated by the number of syllables and by where the stressed and unstressed syllables fall. A "stress" is an accented syllable, and an "unstressed" syllable is an unaccented syllable.

Iambic and anapestic are known as "rising meters" and trochaic and dactylic are known as "falling meters." Poets often vary their meters to vary the sound, or to call attention to a particular word. A completely steady rhythm using the same kind of metrical foot over and over again would probably become monotonous or sing-songy, like a children's nursery rhyme.

Line--a measure of the number and type of feet. Counting the number of feet with the kind of stress, you can get a pretty exact description of a poem's predominant meter.

Caesura--a pause. Working in closed forms and exact meters, poets play with lines in various ways. One way is to vary the sound by using pauses and stops in the middle and at the ends of lines to vary the rhythm, create emphasis, or call attention to something.

End Stopped--when a line pauses at the end, either caesura or full stop

Enjambment--when a line or stanza does not pause at its end

Page 706-733
A simple way of thinking about a poem's "structure" is to see it as "open" or "closed." Open form poems are sometimes called "free form" or "free verse" and closed form poems are sometimes called "fixed form."

Fixed Form Poetry--follows a prescribed meter or "form" (ballads, sonnets, haikus, etc.)

Stanzas--groups of lines

Rhyme Scheme--regular patterns of rhyme, usually measured by stanza

Couplets--two line stanzas

Tercets--three line stanzas

Quatrains--four line stanzas

Villanelle--a type of fixed form poetry consisting of nineteen lines of any length divided into six stanzas: five tercets and a concluding quatrain. The first and third lines of the initial tercet rhyme; these rhymes are repeated in each subsequent tercet (aba) and in the final two lines of the quatrain (abaa). Line 1 appears in its entirety as lines 6, 12, and 18, while line 3 reappears as lines 9, 15, and 19. Yikes! Read "Do Not Go Gentle Into That Good Night" (P. 715) and you'll see how powerful such a fixed form can be.

Open Form Poetry--doesn't conform to established patterns of meter, rhyme, and stanza. Such poetry derives its rhythmic qualities from the repetition of words, phrases, or grammatical structures, the arrangement of words on the printed page, or by some other means. The poet E.E. Cummings wrote open form poetry; his poems do not have measurable meters, but they do have rhythm.

Lyric--a type of brief poem that expresses the personal emotions and thoughts of a single speaker. Just about all of modern poetry is lyric poetry! It is important to realize, however, that although the lyric is uttered in the first person, the speaker is not necessarily the poet. There are many kinds of lyric poetry, including the dramatic monologue ("Hazel Tells Laverne," (p. 578) "My Last Duchess," (p. 657) "Theme for English B." (p. 830).






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