WHAT ARE THE ELEMENTS OF POETRY?

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Rubadiri. “An African Thunderstorm”

The lines, phrases and words I have highlighted above convey the impression of movement, which a reader of the poems from which they have been excerpted cannot fail to realise in their minds’ eyes.

A very useful approach to the understanding of imagery is by seeing it as “a description of something concrete whereby the writer conveys an impression of something else” (Heese and Lawton 82). While this definition introduces a new set of words/terms/register that would further aid our understanding of how an image works in a poem or in the realisation of the meaning of a poem, it also focuses our attention on the necessary association of similar and dissimilar objects or ideas in imagery as well as the expansion by accretion of the scope of words made possible by its usage. In this regard, we should note that ‘concrete’ means something that is perceivable or palpable to some of the senses we have discussed above while ‘abstract’ means the opposite; that is, an idea that could neither be seen, felt nor touched, etc.

The use of imagery makes it possible for the poet to bridge the gap between the abstract and the concrete in his perennial effort, in the words of Shakespeare, to give “to airy nothing a local habitation and a name” (A Midsummer Night’s Dream, V. i). A good example of this description of something abstract through concrete objects or entities could be seen in the closing stanza of George Herbert’s poem “Virtue” as follows:

Only a sweet and virtuous soul,

Like seasoned timber, never gives;

But though the whole world turn to coal,

Then chiefly lives

In these lines, the abstract and reified ‘virtue’, which gropes towards concretion in the equally impalpable ‘virtuous soul’, achieves a fully perceivable state in the comparison “like seasoned timber” that does not break even when the hardest of pressures is exerted on it.

In all the examples we have used in the above section on the well-known types of imagery, we have to realise by now that the ability of the reader to perceive and share fully in the pictures and sensations the poet has captured in his verse comes or is achieved through the apt use of figures of speech and figures of thought such as simile, metaphor, personification, apostrophe, metonymy, synecdoche, onomatopoeia, among others. It is through the employment of these figures that the poet achieves the desired figurative expression of thought as well as impresses his ideas in the minds of the readers. Indeed, accordingly, it is through this process of collaboration that, in the words of James Reeves we make the best poems “part of our own lives and we make our own lives richer and more full of meaning” (The Poet’s World, xxx).

Rhythm

Rhythm is derived from the Greek word which translates in English into ‘flow’. As one of the elements of poetry, it is considered as the most important of a poet’s technical resources. In practical terms, it is the alternation of periods of effort with periods of relaxation. According to RN Egudu, Rhythm can be compared with a beat or pulse; and as a beat or pulse [it] implies the presence of movement in which there is the recurrence of identical points, rhythm can also be said to mean movement. Any action in which motion is involved therefore has some rhythm. A moving vehicle shows rhythm; and a flowing stream exhibits rhythm. Also the rise and fall of the water in the ocean is rhythmical. (34)

Similarly, Reeves sees rhythm as “a form of repetition – the repetition of a particular pattern of light and heavy syllables” (xxxvii) while Abrams defines it as “a recognisable though variable pattern in the beat of the stresses in the stream of sound” (93).

You should take note of the words ‘beat’, pulse’, ‘recurrence’ and repetition’ in the above definitions of rhythm; they underscore the fact that rhythm obeys or follows a basic movement of the pendulum of the metronome, which marks the underlying approximate equivalent time intervals between specific sounds in music. It is equally important to note that the repetition that characterises rhythm in poetry, as in music, is variable and alternates between stressed and unstressed syllables.

This variation removes monotony and accounts for the variable combinations of sound patterns to which we attribute the music in poetry. Have you ever imagined a song or a poem that maintains the same rhythm throughout without variations in low and high tones or between light and heavy syllables? Definitely, it would be a very boring song or poem.

The American poet and critic, Ezra Pound, has in his characteristic suave manner commented on this flaw by saying that “the writer of bad verse is a bore because he does not perceive time and time relations, and cannot therefore delimit them in an interesting manner, by means of longer and shorter, heavier and lighter syllables, and the varying qualities of sound inseparable from the words of his speech” (ABC, 199).

This leads us to the functions of appropriate rhythms in poetry. Generally, it contributes greatly to the emotional content and effect of poetry. As with tones in our every day discourses, the poet uses different rhythms to convey different moods or emotions to the reader or listener: he uses a long line and a slow rhythm to express a sombre and studious mood; a light tripping rhythm to express a feeling of joy and gayety. It may be smooth, staccato, fast or slow, abrupt and disjointed or jerky. Thus rhythm is intricately connected with the form and the meaning expressed by the poet as well as provide both emotional and intellectual pleasure for the reader or audience. For example, the following excerpts illustrate the deployment of effective rhythmic patterns to achieve these different emotional effects:

  1. His gol/den locks/ Time hath/ to sil/ver turned; (10)

O Time/ too swift,/ O Swift/ness ne/ver cea/sing! (11)

His youth/ ‘gainst time/ and age/ hath e/ver spurned, (10)

But spurned/ in vain;/ youth wa/neth by/ in/crea/sing: (11)

Beau/ty, strength,/ youth are/ flo/wers but fa/ding seen; (10)

Du/ty, faith,/ love/ are/ roots,/ and/ ev/er green. (10)

George Peele (Reeves 51 – 52)

  1. Come, come away, to the tavern I say, 10

For now at home ‘tis washing day; 8

Leave your prittle-prattle, and fill us a pottle, 12

You are not so wise as Aristotle. 10

Drawer come away, let’s make it holy day: 10

Anon, anon, anon, Sir, what is’t you say? 11

Anon (Reeves 21).

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