  Poetry
This week: Edited by: Elisa: Snowman Stik  
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| While free form poetry gives writers more leeway when it comes to developing the rhythm of a poem, there are limits. Lengthy lines might look pretty on the page, but they can give readers a headache. So what is the threshold for line length? Why do some aspiring poets push the limit and think they're clever in the process? I'll share my theories on this topic and offer some advice when you stumble upon those rambling lines. |
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After reading poetry for the last 13 years or so, I've started to notice a pattern. When a person decides to start writing poetry, he or she will often emulate the first handful of poems that has been read and/or studied. Though many of these first poems will have typical line lengths, tha game changes if a person starts off reading epic poetry or works that have longer lines than most. If this happens, rambling lines in that writer's initial verses will challenge readers. That's not always a good thing. I personally have endured headaches when reading these rambling verses, and I've heard the same from other experienced poetry readers as well.
So what exactly is a long line of poetry? First off, you will be able to find a long line straight away. They become especially obvious if you're reading the poem aloud, as your larynx will start to get a little tired. Long lines can be one of two things: long looking on the page or containing more syllables than what is normally seen. If a line looks long on the page, it's usually because the rest of the lines in the poem are much shorter. It may have a typical eight to ten syllables, but the rest of the lines might run between four and six syllables. If a line has more syllables than usual, that's usually because the line has more than 12 syllables (and even 12 pushes the limit sometimes). Though I have seen the term octometer , I have yet to come across a solidly constructed poem with 16 syllables per line. It exists, in theory, but it doesn't usually work in most poetry. (You also don't see it much in lyrics. However, if the genre calls for particularly fast rhythms, octometer could be tweaked to fit the music.)
These long lines tend to come about when the poet has read a lot of translated epic poetry or narrative poems in his or her native tongue. From what I observed in high school and in a couple college courses, such poetry is taught with a degree of romanticism. This treatment sometimes appeals to the more sensitive students in the class. On top of that, the context of these poems is the focus of the lessons, and there isn't always much coverage of how the poems are constructed. This one-two punch of poetic teaching can send some aspiring poets down a misguided path. They make think that long lines are okay since they saw it in their textbooks. If these poets aren't counting syllables or are reading translated texts (which can alter the structure of a poem), their initial verses will be clunky. Trust me. I've been there, done that and have the t-shirt collection from those days. Getting into the habit of throwing around long lines in poetry is all too easy, made worse by the mindset that the lines make the poem look more "artsy". The good news is this. Younger poets
| I'm mostly thinking of those between the ages of 12 and 20 here. |
So how can a poet break that habit? Practice. I'm not talking about writing more poetry. I'm referring to a more disciplined approach to practice. Practice counting syllables or reading a poem aloud to yourself after the first draft. I would also recommend working with a mentor, as one-on-one attention seems to be the most effective form of feedback out there that helps with line development. You can get a mentorship online or in person. I've had one of each, and both were helpful in there own ways. I think the in person mentorship was slightly better in terms of constructing the actual poems. Writing onlined paper gives you an idea of how long something can be. With an in person mentorship, your mentor can more easily see your rambling and help you trim it down. My other suggestion would be to experiment with poetry forms that don't have strict rules on meter. Pantoums and sestinas are good examples of this. While some say they are more difficult in terms of mastering, they are not bound to specific meters, which allows for different line lengths. These early experiments don't have to be shown to people (unless you really want others to read them). They are simply meant to show you how a rambling line can affect a poem. With these particular styles, repetition can exacerbate the tedium of long lines since some element of that line returns in the work at some point.
If you're reading/reviewing a poem with these ramblers, be careful. Every once in a while, a long line can work. It depends on the length of the poem and how long some of the other lines are. I once read a poem that was over 100 lines long. Some lines were as short as two syllables, but the average length of a line more than seven times that amount. In those cases, it's pretty easy to state that the poem is way too wordy and could be trimmed down. In other cases, consider these factors. First, what type of poem is it? If it's labeled as an epic or narrative poem (or seems to progress as such), it's easier to have an open mind about long lines. With a poem that is only eight stanzas or so, long lines can slow the pace and look out of place. Second, how prevalent is enjambment in the poem? If there are only one or two instances of enjambment, those long lines can work in the overall poem. If long lines and enjambment litter the piece, though, it's time to recommend cleanup. This may take some time and is a lot of work. However, since line length affects the rhythm (and sometimes imagery) of a poem, it's worth mentioning. Just be sure to offer some suggestions for shortening problematic lines so the writer has someplace to start.
When it comes to line length in free form poetry, restraint is the key. There are occassions when longer lines work, but they are truly few and far between. Brevity helps poems maintain a comfortable rhythm, focus imagery and make the readers work less when they're perusing verse. Sure, it can be hard to stop scrawling words once you're on a roll. In the end, curbing your ramblings can make a big difference in how your poetry reads and how it resonates with people.
Until next time,
(sig by the artist formerly known as Terryjroo) |
Line length is ultimately a case by case issue. These poems showcase how a variety of line lengths contribute to the verses, making the imagery pop and rhythm pleasing to the reader.
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Wow! It has been a long time since I've edited this newsletter. It took a bit of digging, but I found some of the comments from the issue where I discussed the poetic merits of rap music. Let's have a look at the (many) gems I found.
From lynjs  : Hello,
Thank you for breaking down the lyrics of the rap genre showing it for what it is, cool poetry in the last few newsletters.
It was really informative and it also bridges the gap between those who don't understand and/or listen to it.
Yes, there are some rap songs that I wouldn't let my dog listen to (if I had one) because of both the profanity-laced and the sheer thing of NO TALENT!
Hey, I can take some profane words if the scene described in the rap is warranted. But if there is no substance to support it, I don't see it.
The media highlights the rappers that spew the negativity of the genre not the ones with substance (i.e. Common, Tribe Called Quest, KRS-One, etc.).
Why? Because filth and image sells not talent and respect.
Put it this way, 20 years ago it was substance not the eye candy.
Thank you,
lynjs
Unfortunately rap does have an image problem, namely that it's bad image is what sells. Can you say Soulja Boy? *shudder* But when you bother to go digging, rap is a treasure trove of intriguing verse, potent emotion and something that can indeed bridge the gap between perspectives. While it's tempting to blame it all on the record company executives, maybe we consumers play a role in it as well. You and I do our best by not lining the pockets of today's most popular rappers. Perhaps it's time for us to step up and tell people about rappers whose rhymes concern more substantive issues.
From love to write : Very Cool newsletter. You have a good point, Rap music and poetry kinda go hand in hand, but if you really think about it if you want a sad poem listen to country. LOL. All music moves us in a way and so do all poems!
I admit I'm not a big country fan, although some of the older country music I've heard does possess an interesting narrative quality to it. The thing with rap and poetry is they both rely on speech mechanics to have the greatest impact. I haven't heard that as much in country. However, that particular genre seems to merit a knack for being able to tell a solid story in a brief amount of time.
From The Wordsmith : Thank you so much for including one of my poems in your newsletter!! Great read all around, and I was thrilled to be a part of it.
You're certainly welcome! I'm glad you enjoyed my unorthodox foray in the newsletter. Of course, whenever I guest edit, I always try to go for something unorthodox. It's good to see/hear that people enjoy it.
From Speed.bumps : Maybe this explains why I like some rap, even though those around me scorn it. I've never understood why some "rap" I really enjoy. and others I despise.
While the RIAA and the media don't always highlight it, rap is a fairly diverse genre of modern music. It has also undergone the most rapid and drastic changes. With so many changes, it is possible to cherry pick (voluntarily or not) the kinds of rap you like. Likewise, you might also enjoy rap that feels a bit more like regular speech. A lot of what's popular employs trochee, which is a little harsher on the ears. So while I like to see a variety of stresses in poetry, rap music sometimes just sounds better in iambic.
From larryp: Interesting Elisa. Who would have thought a newsletter on rap music would contain a discussion of internal rhyme and iambic meter? In my youth (the hippie days) we didn't have rap, just that weird rock music that our parents hated. Could we call it 'iamblic rapameter'? Well, that's a wrap.
Nice discussion in your newsletter.
Larry
Iambic rapameter?  That's great! And I will work to not point out the pun there. Anyway, if I have any talent, it would have to be finding unexpected angles on topics. It's how I got through high school and college. But I figured it wasn't that much of a stretch since rhyme is a key component of rap music. Hey, if there's rhyme, maybe there's metrical concerns. After doing some listening, I found my hypothesis wasn't too far off the mark. Thanks for reading.
From salliemoffitt: Thank you for the newsletter on the merits of rap as poetry. I believe rappers are modern day troubadours. Great newsletter!
Sallie
I think some troubadours might take offense to that, but if they were to listen to rappers of eras gone by they might reconsider. From what I've been reading in music blogs (since I don't listen to current rap), there might be a resurgence in rap lyrics focusing on more universal topics such as regret and redemption. If this indeed comes to pass, I hope it sticks around. Rap doesn't need to condone violence in order to be successful. In fact, I think it's much more plesant when it doesn't follow that track.
From njames51 : I'm not into rap-crap.,or why it's now called 'Hip-Hop" to make it more publically aceptable But the lyrics of Emminem's songs are cleally poetic and credit him as a poet. Certain aritsts from the '60' and early 70' maximixe their
lyrics more than their musical abilities. Names include early Joni Mitchal, James Taylor, and of course early Bob Dylan. So many forms of music we dislike, becaues the sound is rap or heavy-metal;; or we think people can't sing. But, especially Paul Simon makes his lines tight and his words heard and undesturned. Thanks for the terfic newsletter. Excellebnt topic!
And indeed some famous musicians have been more gifted with words than with music. Truthfully, writing music is very dissimilar to writing. I make make meter analogies, but from there, music theory is a whole 'nother ball of wax. I've tried my hand at writing music. You have to have an incredible ear (or a very strong sense of rhythm). It's hard to say which is more difficult: writing music or writing poetry. I think the primary difference is fewer people go into writing music thinking they're the cat's meow only to find that they have a lot to learn.
From Vanillafire : Thanks so much for including one of my silly anti-SLAM poems in your newsletter! :)
Sure thing! I also made sure to feature one in this newsletter as well. Intentionally bad poetry is a great way to unwind and convert writing stress into laughter (or at least a solid case of girl giggles). I really ought to get back to writing these awful pieces. |
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Poetry: April 08, 2009 Issue [#2990]
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