By Erin Yoo
Poetry is an intricate genre to gain your bearings on, as the right balance of literary devices and enjambment must be struck. While some beginning writers are inclined to believe that poetry is a formula of metaphors, experimental punctuation, enjambment, and passion, the same piece of poetry can uniquely be received differently, depending on the personal experience of the reader contemplating the piece. Thus, it is imperative to keep in mind several facets when writing poetry, including point-of-view, structure, artistic subtlety, etc. Although there are, in theory, a myriad of facets that more than inundate the page, these three facets are often overlooked but are very crucial to the overall bedrock of the piece. In fact, much of poetry is a transcendence of your own thoughts, feelings, and personal experiences on the page – all of those elements which culminate in these various facets to consider.
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Point-Of-View
The different point-of-views in poetry can contribute to the effect that it grants on the reader. For instance, As I Lay Dying by William Faulkner experiments with presenting to the reader different point-of-views orbiting around the same event. Even though the event is the same, the different characters’ reactions and own telling of the event varies, which ultimately grants Faulkner the opportunity to indirectly characterize his characters instead of outright using direct characterization. Not only is it more interesting for the reader to find out indirectly about the individual characters’ personalities, but it also allows readers to formulate their own perceptions about the character given the subjective nature that readers could take on the same event, including the fire that one of the Bundrens accidentally started and allowing Cash to be sent to the mental asylum in order for their family to not get incarcerated. Controversial topics lend different sides and viewpoints, which lead to a different perception of the character entirely. Along similar lines, Vardaman is known for his short internal lines of comparing his mother to a fish: many of the chapters that center on him include this single line. Indeed, Vardaman is sometimes associated by other characters with fish, but it is interesting to note that we, as readers, hear more about Vardaman from other characters than Vardaman himself. Furthermore, reflective and ruminating characters have the potential to have better character development, as sardonic scenes portrayed by other characters often have more to it, as evinced in the individual chapters focused on that very aloof character. All in all, the iceberg theory (that much happens and is eluded to in short scenes and sardonic characters), as well as the different viewpoints that can develop on the various characters and scenes have avenues for further development in these places that showcase different point-of-views than, arguably, any other literary avenue.
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Structure
Both the physical structure of poetry – including spacing of lines for artistic expression and creativity – and the metaphysical structure of poetry – including the articulation of individual thoughts, feelings, ideas, sentiments, personal experiences, etc. – encompass the overall structure of the poem.
First and foremost, it is important to note that the artistic choice in line spacing has a great deal to do with the overall conveyance of ideas. For instance, if every stanza were in sets of even-numbered lines and the lines in the format of complete sentences with correct grammar, it might exude a more confiding ambiance than, for instance, a work of poetry that contains spaces solely adjacent to words especially important to the poet – this might lend a more autobiographical tone, although it does ultimately depend on the tone of the piece as well. O Captain My Captain by Walt Whitman is an example of the former, and I taste a liquor never brewed by Emily Dickinson is an example of the latter.
Moreover, as the intrinsic, pinnacle feature of poetry, it is surely unique that poetry unites readers of all backgrounds and experiences to a universal experience shared by all of humankind; for instance, sadness, love, heartbreak, etc. For instance, when describing universally common ideas – including ‘Hope’ is the thing with feathers by Emily Dickinson –, poetry is the final paintbrush stroke that articulates thoughts unsaid and emotions seemingly inexplicable. In a sense, poetry is the ripest form of cathartic release, to both the poet and the reader. As such, it is noteworthy to consider literary devices and figurative language while also, more importantly, elaborating upon the connection between these intricate metaphors, themes, motifs, etc. Oftentimes, poets try to weave together so many metaphors, themes, messages, and motifs together – while great in the premise of the idea – but appear on the page as jumbled and jarring as to the logical progression and flow of ideas. Indeed, is not only the articulation of ideas important in poetry but also the lucidity and clarity of those ideas.
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Ultimately, writing poetry is much like a puzzle: it intricately puts poignant life experiences into words but the discrete elements – including literary devices and figurative language – must fit perfectly together in order for the execution to take its intended effect. Indeed, point-of-view and overall structure, while crucial in the makings of a potent poem, are often overlooked. Like life, poetry should be thought of as the intermingling of myriads of aspects into a zenith of these experiences – the ultimate contemplation.
Erin Yoo is a Voices Blog Editor-in-chief and an Executive Editor at Polyphony
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