The Power of Free Verse

When mentioning about poems, a great majority of people will think of a piece with rhyming lines and a strict metrical pattern. However, poems that follow strict rules can be misleading at times. It can make the reader pay a little too much attention to the pattern and rhyme schemes, causing the reader to devalue the meaning of the poem.

Free Verse poems, on the other hand, break away from the traditional style and offer added effects strict followers could not bring. When poets write in Free Verse, they are able to mold and create their own unique poem, emphasizing the meaning of their piece. Lines can be broken anywhere the poet sees fit, and the length of the lines in a poem can vary. In doing so, poets can emphasize specific lines and make them stand out to the reader.

In Amy Lowell’s “The Weather-Cock Points South,” there were a few phrases that stood out to me due to the unique length and line breaking in the poem.

“I put your leaves aside,
One by one:
The stiff, broad outer leaves;
The smaller ones,
Pleasant to touch, veined with purple;
The glazed inner leaves.
One by one
I parted you from your leaves,
Until you stood up like a white flower
Swaying slightly in the evening wind.”

In the first stanza, “One by one” is clearly accentuated. This phrase makes the reader slow down and creates a very relaxed pace to the poem. In the second stanza, a different effect is formed:

“White flower,
Flower of wax, of jade, of unstreaked agate;
Flower with surfaces of ice,
With shadows faintly crimson.
Where in all the garden is there such a flower?…”

In this stanza, “White flower” is emphasized. This phrase marks the beginning of a new subtopic. This makes it clearer and easier to comprehend for the reader. It also makes the stanza more powerful.

I believe Free Verse enables the poet to enhance and add wonderful effects to their poems.

Poetry of The Mid- to Late-19th-Century

After finishing the readings for this week, I found one noticeable difference between these poems and the ones from last week. I am able to understand the poems for this week much more easily! Of course, there are reasons as to why the poems seem easier to read. The poets of this time period write in a more modern style, one that most of us are more accustomed to. The poets mainly write in a specific metrical rhythm called "common meter," as I learned this week. This meter in the poems makes it easier to follow and understand.

In “The Darkling Thrush,” a common meter of 8686 and a rhyme scheme of ABAB is used:

“I leant upon a coppice gate
When Frost was spectre-grey,
And Winter’s dregs made desolate
The weakening eye of day.”

Another example is Yeats’ “Adam’s Curse” which uses an AABB rhyme scheme:

“We sat together at one summer’s end,
That beautiful mild woman, your close friend,
And you and I, and talked of poetry.
I said, ‘A line will take us hours maybe;”

The poems of the Mid-Late-19^th Century were less open for many different interpretations. There were usually limited meanings to each poem. Even though each reader might interpret the poems differently, the ideas were mostly related somehow. The poets of this century do not totally break off from this concept though. In Robinson’s “George Crabbe,” almost all readers will agree that it is a poem to honor the late poet George Crabbe. However, the last line is where ideas may differ:

“In books that are as altars where we kneel
To consecrate the flicker, not the flame.”

In addition, I noticed that this week’s poems were more negative. The works of Romantics were much more optimistic. The poets of this century consistently used very gloomy words in their poems.

American Romanticism: Walt Whitman

As I read Walt Whitman’s poems, I saw both similarities and differences in the writing style of British Romantics. A very important aspect in the poems of British Romantics was their use of nature. The writers described nature using imagery, similes and metaphors to let their readers imagine the same scenery as the author. Nature was a way for the British poets to express their thoughts. On the other hand, Walt Whitman, as well as the other American Romantics, wrote poems that were more similar to stories, not just plain thoughts. Unable to completely break away from the use of nature, Whitman uses nature in a different way. He incorporates nature in his ‘stories’ and even writes a story/poem about nature like in “When Lilacs Last in the Dooryard Bloom’d.”

There are several principles that are in Whitman’s poems that separate them from the poems of British Romantics. In “Song of Myself” and “When Lilacs Last in the Dooryard Bloom’d,” Whitman numbered sections in his poems. The numbered sections in “Song of Myself” serves like a timeline. As the numbers increases, the topic matures. The sections are different stories and topics connected to each other. As for the poem “When Lilacs Last in the Dooryard Bloom’d,” the numbered sections were all about the same topic, and the sections combined to form a complete story.

Instead of using imagery and other concepts British Romantics loved to use, Whitman’s poems utilized repetition. He repeated words or phrases in a line and even began lines with identical phrases. For example:

“Twenty-eight young men bathe by the shore,
Twenty-eight young men and all so friendly;
Twenty-eight years of womanly life and all so lonesome.”

In addition, Walt Whitman’s poems were more open to sexuality, while British poets were very conservative and careful not to offend their female readers. The following line from Whitman’s “Song of Myself” is a fitting example.

“Winds whose soft-tickling genitals rub against me it shall be you!”

Lastly, Whitman’s poems included society issues. Racial inequality is mentioned in the line:

“Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same.”

Byron's "She Walks in Beauty"

George Gordon, Lord Byron’s “She Walks in Beauty” was a very beautiful poem, expressing the speaker’s admiration of a specific woman’s beauty. Even though the poem does not specify, the speaker is probably a male at a mature age. It seems like the speaker is at a distance looking at the lady. He is in love with the woman in the poem, or at least infatuated with her beauty. While describing the beauty of the lady, the speaker keeps a very respectful tone, making sure not to go over board with his words. I believe the speaker is Byron himself, and the woman is someone he met but not close to.

I was not sure what reliable/unreliable meant for this poem, but I believe the speaker was reliable, because those were his own thoughts. Also, that question led me to think about the possibility of the woman being imaginary, either in his dream or his ideal lover.

This poem’s intended audience is just anybody, very general. The speaker does not seem like he is talking to the woman specifically or to someone else. He is just expressing his feelings in this piece.

“She Walks in Beauty” was a very straightforward, simple poem; therefore, it was difficult to find a proper theme. The theme could be a man admiring the beauty of a woman, or that everyone has an ideal image of his or her lover.

The language of this poem is fairly casual, since it is the thoughts of a man. The author uses a lot of imagery and similes/metaphors of nature to compare to the beauty of the woman. He compares the lady to the calm night. Also, by using the comparison to the night, Lord Byron makes the poem flow even more. In addition, the poet is writing in the midst of emotion. He was writing the poem at the time when he was in love with the lady’s beauty. Byron expressed a great deal of emotion in this piece.

I really enjoyed this poem by Lord Byron. I found it very beautiful and elegant. I especially liked the fitting use of comparisons, imagery, similes and metaphors in “She Walks in Beauty.” Even though others might have a slight different interpretation of this poem than me, this poem was very straightforward in its meaning and content. Unlike many other poems I read earlier, this piece does not have an infinite number of interpretations.

The Natural World

After this week’s reading assignments, I discovered how important nature is to Romantics like Blake, Wordsworth, and Coleridge. The poems written by the three expressed the feelings of the poets through the use of the natural world. This creates a wonderful effect and a sense of imagery for the reader. The reader can easily grasp what the author is feeling at the time they wrote the poem with the aid of descriptions of nature.

One of my favorites lines (maybe because it stood out the most to me) was a line from William Blake’s Songs of Innocence: Introduction.

“On a cloud I saw a child…”

In the Introduction, Blake describes the innocence and worry-free life of a child. Using a cloud as to where he saw a child, that gives the audience a very joyful sensation. Also, the child is also seen as an angel or in Heaven.

Blake’s Holy Thursday [I.] includes the line

“Gray headed beadles walked before with wands as white as snow…”

The last part of the line “as white as snow” illustrates innocence. The color white is best when describing innocence, and snow has a soft texture and gives a very calm, heavenly sense.

Another element of nature enhances the effects of poems tremendously. That is the use of wind. Wind can be used in various ways to express different emotions or feelings. Wind can be calm, carefree, eerie, or gloomy. The two odes by William Wordsworth and Samuel Taylor Coleridge are fitting examples.

In Wordsworth’s Ode: Intimations of Immortality, the use of wind describes a very calm, relaxed, blissful state.

“The Winds come to me from the fields of sleep,
And all the earth is gay”

On the other hand, Coleridge’s Dejection: An Ode portrays wind in a more negative way, lonely and gloomy.

Since all three of these Romantics see childhood as a time of joy and happiness and their adulthood as pain and suffering, I believe they had many problems in their life. They were probably not happy and content with their life when they wrote these poems. Because of that, they turn to nature as a form of escape and hope.