The following selections are from “Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms” by William Baer. Writer’s Digest Books, 2006.

“What Distinguishes Poetry from Prose.”

Pages 3-4,

By William Baer.

 

1). Emphasis on the Line.

Poetry emphasises the line over the sentence, and this is immediately clear when we observe its placement on the page. The lines of poetry seldom extend to the right hand margin. While the sentences of prose naturally flow naturally flow into visual blocks or paragraphs, the poetic line is more focused, intense, and unique. This seemingly small but fundamental difference creates enormous potential for the poet.

 

2). Emphasis on Rhythm.

Although creative prose can be highly melodic, poetry is rhythm. In most great poetry — in various languages and metrical systems — this sonic quality is enhanced by an underlying etrical rhythm. Even modern writers of non-metrical poetry (vers libre) work extremely hard to create melodic motifs n their poetic writings.

 

3). Emphasis on Compression.

The compressed nature of poetry is, of course, the most debatable of the three differences, since some prose can be very, “tight,” and some poetry can be rather wordy (prolix). But, in general, the language of poetry is more specific and compressed than prose. and even the most verbose epic or the densest of blank verse passages are still constrained by the limits of the line and its underlying rhythm.

 “Scansion.”

Excerpted from “Writing Metrical Verse,” pages 19, 23-24.

 The method of determining the meter of a poem is called “scansion.” This is done rather simply by marking the accents, recognizing the metrical feet, and counting the feet.

 1). Always do the Polysyllabic Words First.

The accents in each and every English word are immutable. The four-example word, “America,” for example, will always have an accent on its second and fourth syllables. Thus, the beginning scanner can simply check the dictionary for the accents of any English polysyllabic word.

 

2). Identify the Normally Unaccented Monosyllabic Words.

In English, many of our most common and useful words are generally unstressed. These include the personal pronouns (I, me, we, they, he, she, it, her, his), the small conjunctions (and, but, or, nor, yet), forms of the verb, “to be,” (is, are, was, were); the articles (a, an, the); and the simple prepositions (to, in, by, on, for, of).

 

3). Be Wary of the Poem’s First Foot.

Sometimes, for effect, poets will substitute in the first foot of their poems, so be careful.

 

4). Once You Establish a Pattern, Use It.

If the poem seems to be written in iambic tetrameter, for example, see if it continues that way. It probably will.

 

“Ten Things to Consider in Evaluating a Poem.”

Excerpted from, “Writing Metrical Verse,” page 61-63.

 

1) Is it Interesting?

Is it memorable? This is where the fundamental worth of the poem begins; and, as Pulitzer-winner W.D. Snodgrass once pointed out: “If my poems aren’t interesting, then why should anyone want to read them?”

 

2). Is the Poem Melodic?

Is the meter correct and appropriate? Do the substitutions and enjambments and feminine endings enhance the poem?

 

3) Does the Poem Say Anything?

Does it have some depth? Does it express something unique or thought provoking? Does it communicate its intentions clearly, or is it damaged by unwarranted ambiguity?

 

4). Is the Poem’s Point of View Appropriate?

Sometimes a poem can be instantly improved by using another point of view — either by changing the perspective of another character or by simply shifting to a different grammatical person. Effective poems have been written from every point of view; I, we, he, she, they, and even you. In recent times, in the wake of so much confessional poetry, many newer poets assume that the first person is always the most appropriate perspective, but in many cases, the third person he or she can create an effective distance that gives unexpected power to the poem’s observations.

 

5). Does the Poem Have Specificity?

Ezra Pound rightly warned, “Go in fear of abstractions.” This is not to say that poets should not write about love and courage and faith, but they should do so with a specificity of image and language. Otherwise, the reader will quickly get bored with all the generalization. The old adage of, “Show, don’t tell,” is a very helpful guidline. Don’t let your poems go on about love in the abstract; rather, let them signify that love with specifics: a memory, an incident, an object, a spoken remark.

 

6). Does the Poem have Power or Beauty or Both?

These two concepts, sometimes foolishly disparaged in the 20th century, are at the very heart of the poet experience.

 

7). Is the Poem Marred by Easy Cliches and Old Fashioned Diction?

 

8). Is the Poem’s Syntax Convoluted to Conform to the Meter?