In the poem Reunion by Carolyn Forché, she does an excellent job of including line breaks to make a meaningful impact. I noticed that the poet’s use of “half-commas” as referenced in the book helps show the reader where there’s an emphasis. For example, in the poem stanza, “later, the tongues swishing in my dress, some yours, some left by other men.”
The punctuation here aids in presenting the words in an exciting way as “some left by other men” was not what I expected after the pause. When there’s a comma, you ultimately pause and along with the “added emphasis of the line breaks” as referenced in the book it almost feels like the poet is purposely leaving you on a cliffhanger. It definitely keeps you wanting to read more to find out what
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Moreover, this stanza is also considered an enjambment as referenced in the book. The “running-off of the sense from one line to another” allows the idea to continue beyond that one line without any punctuation.
Additionally, it lets the reader think of one thing and then as one continues to read the following line, it surprises us with another idea. It also deepens the meaning of each line.
As I continued to read the poem, I was surprised as I read each line because of the way the poet decided to organize the poem and feature line breaks as well as caesuras.
At the beginning of the poem, the poet begins with a caesura, “On the phonograph, the voice of a woman already dead for three decades, singing of a man who could make her do anything.” I believe that the significance of the first stanza to create an effect on the woman’s voice by using pauses as known as caesura because as referenced in the book,
“can help manipulate the rhythm.” “The end word of a line is highly visible and audible”
First of alll, the poem is divided into nine stanzas, where each one has four lines. In addition to that, one can spot a few enjambements for instance (l.9-10). This stylistic device has the function to support the flow of the poem. Furthermore, it is crucial to take a look at the choice of words, when analysing the language.
Poems are unique in that there are no set rules for how they are formatted (Kirszner & Mandell, 2012). Poems may rhyme, or not. They can be presented in a narrative or lyrical format. The use of proper punctuation can be omitted such as periods, commas, or question marks (Kirszner & Mandell, 2012). The use of punctuation or lack there of, brings into play the use of enjambment, which is another term for what is commonly known in poetry as run-on lines (Kirszner & Mandell, 2012). If a poem is considered more proper and the author wants the reader to clearly understand how a line in the poem is read, the use of punctuation such as commas and periods are used to stress this point. This style is commonly known as end-stopped lines. (Kirszner
Edward Hirsch has published eight books of poetry and five books of prose. In the book Gabriel: A Poem by Edward Hirsch, he structures the elegy starting with death, he then remembers all the events form Gabriel’s life then back to death. Edward Hirsch also uses a three line, ten stanza form on each page, without any punctuation at all. This is to signify that the starting and stopping of punctuation cannot help with the pain of outliving your child. Hirsch once said in the New York Times that “the closer he came to the end of his memories, while writing the dossier, the more he felt that he was losing his grasp of his son.” (http://www.nytimes.com). He wanted to make something meaningful and that meant that he would have to write about more
The most noticeable aspect of the structure of the entire poem is the lack of capital letters and periods. There is only one part in the entire forty lines, which is at the very end, and this intentional punctuation brings readers to question the speaker’s literacy. In fact, the speaker is very young, and the use of punctuation and hyphens brings to attention the speaker’s innocence, and because of that innocence, the
For example, in “The Rain”, the entire poem has lines that are enjambed, “Is it / that never the ease, / even the hardness, / of rain falling”(8-11). The phrase or idea talked about in one line does not end at the end of a line, it continues on for several lines and sometimes several stanzas. In addition to the poem “The Rain”, enjambment can be seen in the poem “For Love”. Examples of enjambment can be found frequently throughout this poem, but specifically from lines 15, to 18. The poem reads, “I wouldn 't either, but / what would I not / do, what prevention, what...”. The subject talked about in these three lines is not thoroughly explained in the lines given, as the poem continues it discusses different subjects that are also spread out through several lines, with no one line being about one subject. The meaning of what Creeley is trying to describe can only be found by reading several lines of the poem because of the way he structured his poems. In the article "Love and Frangibility: An Appreciation of Robert Creeley", Heather Mchugh EXPLAINS, “ First of all, he 's often miscast as a rebel against poetic forms, foot soldier in the resistance against prosodic refinement... I believe that Robert Creeley 's abstemious formality nourishes a luxury of readings”. Mchugh SAYS that the line structure that Creeley uses is
I before e except after c, avoid omitting serial commas, and never EVER let a participle dangle. Those who choose to write are perhaps too familiar with these specific rules. Some are tedious, some are almost impossible to remember, yet all help the author to create lucid writing so her point may be established. For poetry, the case is no different. There are various forms to choose from, versatile meters to pace the reader, and the ability to layer information to gradually make a point. Some forms can be generous in what they allow the author to do, and in William Wordsworth’s “Nuns Fret Not” the author admits that forms can be restricting in meter, rhyme, and length. That does not mean however that he’s immobile, Wordsworth is able to fine-tune the rules and by doing so, demonstrates his main statement: Limits don’t necessarily need to be viewed in a negative light; if used correctly, limits can be both challenging and provide comfort instead of misery.
From the combination of enjambed and end-stopped lines, the reader almost physically feels the emphasis on certain lines, but also feels confusion where a line does not end. Although the poem lacks a rhyme scheme, lines like “…not long after the disaster / as our train was passing Astor” and “…my eyes and ears…I couldn't think or hear,” display internal rhyme. The tone of the narrator changes multiple times throughout the poem. It begins with a seemingly sad train ride, but quickly escalates when “a girl came flying down the aisle.” During the grand entrance, imagery helps show the importance of the girl and how her visit took place in a short period of time. After the girl’s entrance, the narrator describes the girl as a “spector,” or ghost-like figure in a calm, but confused tone. The turning point of the poem occurs when the girl “stopped for me [the narrator]” and then “we [the girl and the narrator] dove under the river.” The narrator speaks in a fast, hectic tone because the girl “squeez[ed] till the birds began to stir” and causes her to not “think or hear / or breathe or see.” Then, the tone dramatically changes, and becomes calm when the narrator says, “so silently I thanked her,” showing the moment of
I believe that the structure of this poem allows for the speaker to tell a narrative which further allows him to convey his point. The use of enjambment emphasizes this idea as well as provides a sense of flow throughout the entirety of a poem, giving it the look and feel of reading a story. Overall, I believe this piece is very simplistic when it comes to poetic devices, due to the fact that it is written as a prose poem, this piece lacks many of the common poetic devices such as rhyme, repetition, alliteration, and metaphors. However, the tone, symbolism, allusion and imagery presented in the poem, give way to an extremely deep and complicated
The sentences within both the dialogue and the the monologue usually end in a period, with quite a decent amount of commas in the sentences themselves. This does deviate at points, as there are question marks obviously for the sake of asking questions. Exclamation points are however extremely scarce in the book. “Mary Anne,” he whispered. “I can’t find her.” (O’Brien 95). Even when the characters are at points of high tension, O’Brien still uses periods. For a war story, this may seem rather strange at first glance, as the situation the characters are in is usually one of high action. When you think about this specific facet of the syntax of the book a little deeper, it makes sense that O’Brien would choose to use primarily periods. O’Brien’s punctuation and sentence structure both tie into what makes the book easily readable and enticing. By using a majority of short sentences with mainly periods, the flow of each of the war stories is consistent, and the suspense is maintained by unveiling the plot piece by piece. “Even in the dim light it was clear that the boy was in trouble. There were dark smudges under his eyes, the frayed edges of someone who hadn’t slept in awhile” (O’Brien 95). There is nothing particularly interesting about the structure or punctuation of these sentence, and yet, the content remains interesting because O’Brien is building up the plot to the next couple of lines.
“Lost Brother” by Stanley Moss is a poem dedicated to a fallen brethren, an ancient tree that had lived a long, noble life. As bizarre as it may seem to mourn a felled tree, the speaker wants the reader to share in his sorrow through extended metaphor and personification to prove that the tree was full of humanity undeserving of its untimely fate and whose life should serve as an example to others.
Sample Body Paragraphs Mr. Bradbury intentionally uses a variety of different sentence lengths for specific purposes. Consider this example, found early in the story: “They surged about her, caught her up, and bore her, protesting, and then pleading, and then crying, back into a tunnel, a room, a closet, where they slammed and locked the door.” First, I noticed its length: It is a complicated sentence with lots of commas that almost makes it choppy. But the short phrases have the effect of coming at you like waves.
... is shown moreover through these pauses. We also see that he places question marks at the end of sentences, which is another way he is showing us the uncertainty in the voice of society. Through his punctuation and word placement, we clearly see the voice of society in his poem, but in a way that tells us not to conform to it.
The only form of punctuation in Come, Walk With Me would be the use of question marks for the rhetorical questions Bronte adds. Although there is no use of parallel structure, her poem does consist of repetition of the poems title on the second stanza. Emily utilizes syntax structures to simplify her poem to easily move the reader. Her use of syntax also enhances the effect to attain that bluesy feeling in each sentence fragment. The poem is organized into 32 stanzas with a rhyme scheme of BCBC, AGAGAG, and
Katherine Philip’s “Epitaph,” written in a couplet form, is memorializing her firstborn son who only lived less than six weeks after he was born. In this poem Katherine Philips is desperately trying to renew her faith in life, but she is struggling to do so because of the death of her son. She is attempting to justify the loss of her child, but is also questioning whether there is even a reason for hope. “What on earth deserves our trust?” If you cant trust anything then you have to rely on faith. Even things that we know as certain, like the sun rising in the morning, Katherine seems to not trust, “And so the Sun if it arise…” The “if” implies such a strong sense of doubt that it clearly emphasizes Philip’s struggling attempt to renew her faith in life.
Every author whether poet or writer has their own personal style of writing. Poets have more flexibility with their style. Long stanzas, rhythm, punctuation, no punctuation, fragments, and repetition are just a few options a poet has when creating