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 Poetry: August 26, 2009 Issue [#3243] |
  Poetry This issue's editor: northernwrites More Newsletters By This Editor   1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions  Greetings from northernwrites, your editor for today's Poetry newsletter. Meter, rhyme, and form are not the only tools available for creating structure in poetry. Everyday things that you have been learning since you were a toddler and ideas cross-pollinated among the arts and sciences can enrich the creative experience and expand the possibilities for discovery. The best thing about them is that it doesn't matter whether you're writing free verse or traditional poetry. Today's newsletter will discuss a cross-pollination between drumlines and poetry.    Marching with Cadences In the fall, the US football season gears up, which means the marching bands have also been out practicing on the field, or perhaps in the parking lot as they did at my high school. The bands perform from the stands during the football games, during half-time on the field, and in the homecoming parade. They have their own competitions as well. Many years ago I attended the Marching Band Nationals to watch a family member compete. The high school bands were impressive and put on quite a show all afternoon. While the judges tallied their ballots, the featured guest band took a turn on the field. The Marine Corps Marching Band was awesome. Their marching and playing were at a crisper level of being in sync. You could see and hear the difference. Even the angle of their trousers matched as they snap-stepped forward along the track to take the field. I like march music, but I'm partial to the drumline. The drummers get creative when the band is just marching along without playing any music. They beat a cadence in 4/4 time for the marching, but they mix it up to maintain interest by replacing some of the single beats with fancier ones. For example -- one beat = quarter note = | (single) = H (double) = M (triple roll) = ~ (a quarter rest), and i (grace note): H ~ H ~ M M H ~ M | M | M | | ~ | H | H | H | ~ | H | | H H | ~ | | | M | | | M | | | M | | i| ~ [This one was used for Pres. Kennedy's funeral march, Nov. 24, 1963.] The rhythm of a poem is like the cadence.  In metered verse the rhythm can be regular and even, or it can vary a certain amount, as long as most of the feet match. Some poems have trouble getting the meter to cooperate because of the words or the grammar that are used. Other poems distort the grammar or the wording to force the meter to come out right. Neither of those situations result in really good poetry. But really good poetry often has variations. Why would you want to put in variations? <+> The variations draw attention so they can point to important parts of the poem. <+> Function can be another reason for variation. For instance, a walking or traveling poem is typically a narrative about going an adventure. They are usually written in iambic tetrameter quatrains. About every second or third stanza, an anapestic foot will be substituted for one of the iambic feet, often in the second or third foot of a line. As the walkers step along in time to the poem, the double unaccented syllables help by giving them an extra beat to straighten their backs more than usual and get more air into their lungs. If they were walking to perfect meter, their stepping would soon become trudging. The anapests boost their energy. In free verse, which by definition does not have a regular meter, the rhythm can vary a lot. The poet can choose to ignore the meter. If the poem happens to flow well, that works. If it doesn't flow well, an analysis of the meter can point to how to solve the problem. The poet can also use meter as one of the layers that add structure to a free verse poem, but the meter is used on the poet's terms instead of according to the traditional rules. A pleasing but mixed pattern of rhythm can be used for a variety of jobs in a free verse poem. <+> It can support the similarities in a sequence of things that are being compared or contrasted. <+> It can point to the mirror turning point in a poem that uses reflection. <+> It can point to important parts of the poem, just as in traditional poetry. <+> It can reflect something about the content. For instance:  The cadence | | | M | | | M | | | M | | i| ~ could become a quatrain form: L1-3: [ - / - / - / - - / ] and L4: [ - / - / - - / ]. Many poetry forms specify only a rhyming pattern and a syllable count. Why couldn't a free verse poem be all about the pattern of the rhythm? For example: A monorhyme poem with ten syllables per line would transform into traditional blank verse (unrhymed iambic pentameter) such as Shakespeare used in his plays. A Than-Bauk poem (three lines of 4 syllables each, with climbing rhyme = xxxa xxax xaxx) could become three iambic tetrameter lines with a climbing anapest substitution:L1: [ - / - / - / - - / ] L2: [ - / - / - - / - / ] L3: [ - / - - / - / - / ] An envelope quatrain abba plus E. E. Cummings' idea of mirroring becomes a couplet of five syllables per line using one foot of each of the four main kinds of meter:The odd lines use the rhythm pattern [ / - - / - ]. The even lines use the rhythm pattern [ - / - - / ]. Hints For Mixing Metrical Feet Without Stumbling There are some principles that can help keep the flow smooth, even with mixed meters: The smoothest place to switch the type of foot is at a line break that doesn't have enjambment. If you mix different feet on one line, combine either:-- feet with leading accented syllables (trochaic [ / - ] and dactylic [ / - - ]), or -- feet with trailing accented syllables (iambic [ - / ] and anapestic [ - - / ]). <+> The poem flows smoother if matching feet are grouped together in the line. <+> If the different feet are alternated, using a pattern lets the reader anticipate the rhythm. If you mix different types of feet on one line, it's smoother to put the leading accented syllable feet at the front of the line and the trailing accented syllable feet at the end of the line. This creates one in-line switch that occurs between unaccented syllables. <+> Be careful of using a lot of unaccented syllables in a row. Switching from dactyls to anapests puts four unaccented syllables in a row, which can be a dull zone in a poem. <+> Ending with an accented syllable also keeps any rhyming masculine, which is stronger. If you mix different types of feet on one line, and the in-line switch occurs between accented syllables, stumbling is a risk. <+> Putting a caesura at the switch can help the flow. <+> Crossing the switch with a compound noun (or other common combination) that has adjacent syllables accented, can help the flow. The first one (at least) or two (better) times through, the pattern should be perfect, without any variations. This establishes the pattern. Then you can start changing it up and the variation will have contrast. After one or two variant (imperfect) repeats of the pattern, the poem needs to go back to the perfect pattern to stabilize the structure. <+> The bigger the variation, the sooner you need to stabilize the structure. <+> The longer the variation, the sooner you need to stabilize the structure. For a strong finish that feels complete, use the perfect pattern for the last repeat. <+> Ending on an accented syllable is stronger than ending on an unaccented syllable. Maintaining Interest in Metered Poetry By Using Variation For a short poem, perfect meter is not a problem. The poem is over before the reader gets tired of the steady beat. A poem that is going for a longer walk usually needs something extra to maintain interest. Keep in mind that there are other ways to change the tempo than changing up the rhythm. For instance, Robert Frost's Stopping by A Woods on a Snowy Evening has perfect iambic meter, but even though the poem is 16 lines long, it doesn't become monotonous. The tempo of the piece changes enough for other reasons to provide variety. Today, though, we'll stick with the trick of changing up the meter. The examples shown are for iambic tetrameter. The first line or two (or stanza or two) you will probably want to leave as perfect meter to set the standard for the variation to play against. This tells the reader what to expect, making it possible for you to catch his attention when you do something different. The most common variation is to replace an occasional foot with a foot of the same type of meter, such as pairing iambic with anapestic. Replacing a foot in the middle allows the line to start and end with the dominant meter, which maintains stability. Replacing any foot in the line is possible, however. The replacement foot draws attention to that location, so let the substitution do double duty -- choose a place that will benefit from the emphasis.[ - - / - / - / - / ] or [ - / - - / - / - / ] or [ - / - / - - / - / ] or [ - / - / - / - - / ] The wording in certain places in the poem may call for a different foot to be used as the substitute, or for more than one foot to be replaced. The cautions listed above in the general hints section apply. If the line is awkward, a more extensive rewrite could offer a better solution. To emphasize the beginning of a poem or stanza or line, you could replace the first iambic foot (-/) with a trochaic foot (/-). Sometimes the first two iambic feet are replaced with trochaic feet. [ / - - / - / - / ] or [ / - / - - / - / ] How Could You Use This Principle?  In reading poetry, you could pause to consider whether a poem has perfect meter, meter with variation, or a rhythm pattern. For example -- Did the poem have perfect meter? Was the grammar smooth or choppy? Did the rhythm feel monotonous? Was there enough variation from other methods to maintain your interest? Did the poem have meter with variation? Did it read smoothly? Was the variation located where the content needed emphasis? If there were places that were rough, did they reflect the meaning of the content at that point, or did they seem random and awkward? Did the poem have a rhythm pattern? Did it read smoothly? Was the rhythm pattern pleasing? Did the feel of the rhythm pattern support the emotional or cultural content of the poem? Did the poem read awkwardly and rough? Which principle(s) from the list above did the poem break? Do you think some minor adjustment could fix the problem?[With good poetry, there is usually more to the poem than a first reading will reveal. Whether you're reading traditional poetry or free verse, pausing to observe structural details and to think about what they imply can reveal more of the meaning.]  In writing poetry, you could plan to use it from the beginning; for example: If you hear an interesting rhythm, you could adapt it into a rhythm pattern for a poem, and then write the poem to fit. You could choose a meter that suits the subject you are writing about, and write the poem to fit. You could choose a form that specifies a meter, and write the poem to fit the form and the meter.  In rewriting poetry, once you have a first draft or freewrite version on the page, you could look for places where this idea could help make your poem stronger; for example: Does the first draft of your poem already have a dominant meter? Which would be better: adjusting the meter to make it perfect, or adjusting the meter to make it almost perfect, and putting in a few variations to emphasize the key points of the poem? What does it need to complete the structure? Does the first draft of your poem have areas that have an interesting rhythm or places that repeat a rhythm pattern? Is this a rhythm that could be used for the whole poem? Could it be part of a bigger rhythm pattern? What else would sound good with what is already on the page? Does it support the content of the poem? Does it put emphasis where you want readers to pay attention? In reviewing poetry, you could use the same considerations in analyzing someone else's poetry that you would use for analyzing your own first drafts (see the sections on reading and rewriting, above). When you write the review, point out what you notice and make suggestions of any possibilities that you see.
These poems are about beats -- cadences, drums, dancing, or marches:
If cleave poems have intrigued you, here's another way to do them:
Submit an item for consideration in this newsletter! http://www.Writing.Com/main/newsletters.php?action=nli_form  Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter! http://www.Writing.Com/main/newsletters.php?action=nli_form Don't forget to support our sponsor! InstantPublisher.Com: Self publishing made easy and affordable. All file types accepted with many options. Starting at $100 for 25 copies in 7-10 days! Visit us today!  These comments were submitted in response to my previous editorial in "Poetry Newsletter (July 29, 2009)" on Beads, Links, or Both, on the principle of connections between stanzas. I appreciate all those who took the time to write in:fx777222999 Submitted Comment: Again NW, this is great, the "string" that binds our hearts to write a poem. I "copy & paste" this NL to "flash drive" and read at home while eating pizza. Great and thank you that every NL, I've got valuable knowledge about poetry. NW: Thanks! I'm pleased that you learned something. merryteri Submitted Comment: Another great newsletter. And you used a good, clear metaphor to help us remember the string method. Thank you. NW: Thank you, and you're welcome. susandudzinski Submitted Comment: Like a necklace of poetry she did wear Never did she change her beads of despair; Until she found, rearranging beads around Restructured mood, preventing a breakdown! Nothernwrites: In just a short time and space, I learned so much, deepening my understanding about the whys and wherefores about just how it is that my poetry comes about. Thank you for your efforts and insight. Sandy Trevor Poetess in Progress NW: You're welcome! I'm pleased the newsletter was useful for you. troubadour Submitted Comment: Another excellent Newsletter with clear precise examples of different ways to unite stanzas within a single poem. I like your choice of examples and the way you present them. I am always excited when a Newsletter inspires me to experiment; this one is no exception and has had me trying my hand at Guiterman imitations that are not as easy as his simple poem makes it seem! Thank you for your repeated excellence stimulating your readership. NW: Thank you very much, and you're welcome. I'm pleased you enjoyed the challenge! Until our paths cross again, keep writing! northernwrites  To stop receiving this newsletter, go into your account and remove the check from the box beside the specific topic. Be sure to click "Complete Edit" or it will not save your changes. |
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