Not knowing what to expect can be difficult. If you go to a football game without understanding the rules or that there are frequent and often long breaks between plays, youâre going to be confused and bored.
Itâs the same with any art form. If you donât know what youâre getting, or if you expect something different from what youâre getting, then youâre likely to be frustrated or disappointed. Your first job, then, is to make sure you know what youâre getting into when you meet a poem.
A Poem Has Form
The first quality most people notice about a poem is the shape of the poem. When they see a poem on a screen or piece of paper, the look of the poem is what makes them think, âOh. This is a poem.â
Look again at the Billy Collins poem at the start of the chapter. It just looks different from the way most books or magazine articles or letters look. Itâs arranged in lines that donât run all the way to the right edge of the page. Normal prose writingâlike the text youâre reading right nowâis shaped into paragraphs and made up of lines that run from one margin to the next. In the poem, however, some lines are longer and some are shorter, and they all stop and start according to some invisible, internal rule instead of reaching the end of the available space and wrapping around to the next line.
The shape of the poem is called its form. However, that term encompasses more than just the visual shape on the page that makes such an immediate impression. There are other elements of form that you might not notice as quickly. For instance, does every line start with the same word? Does every other line rhyme? Is each line only ten syllables long? The answers to those and many other questions are also part of the poemâs form.
The rules that create the form of a poem often come before the poem is ever written. There are many traditional ways to arrange and limit the length and shape and sound of the poem. Sets of rules are passed down over time, imported from other cultures and languages, and reinvented from time to time. These sets of rules are called âforms,â too, and they have names like âsonnetâ or âhaiku.â
Even if a poem is composed free from prearranged rules and even if it isnât in a recognizable form, it still has form. It still has a shape of some sort on the page, in the mindâs eye, and in the ear. The number and range of forms a poem can take is almost limitless, but all poems have form.
A Poem Is Like a Story, a Song, and a Picture
One of the first ways most students try to understand a poem is by reading it as a story.
The opening poem is not especially storylike, but it still tells a very short story. A teacher talks about the goals for the students and then explains how things really go. The students donât understand or appreciate the poems in the way that the teacher intends. The goals are never reached. Itâs sad. The poem tells this story by comparing the experience of reading and thinking about a poem to looking at a color slide, listening to a beehive, watching a mouse in a maze, walking into a dark room, waterskiing, and, finally, torturing a confession out of a prisoner.
Everything that defines a story is there. But is this a story? No. If for no other reason than the form, you instinctively recognize this is something other than a true story.
So, what is a poem?
You might have noticed how many poems are like songs. Like songs, poems may have verses, rhyme, a regular rhythmic pattern, repetition, and a variety of other sound patterns. Look at and listen for all the ways that this poem seems like a song:
The Yak
As a friend to the children commend me the Yak.
You will find it exactly the thing:
It will carry and fetch, you can ride on its back,
Or lead it about with a string.
5 The Tartar who dwells on the plains of Thibet
(A desolate region of snow)
Has for centuries made it a nursery pet,
And surely the Tartar should know!
Then tell your papa where the Yak can be got,
10 And if he is awfully rich
He will buy you the creatureâor else he will not.
(I cannot be positive which.)
Hilaire Belloc, 1896
It wouldnât take too much effort to set this poem to music. Itâs organized into sets of four-line âverses.â All the lines are roughly the same length and rhythm without being monotonously identical. Repetitions of all sorts of sounds, including lots of rhymes, create a musical effect and remind you of the language of song lyrics.
But again, although the poem shares some qualities with song, itâs still something other than a song. To begin with, youâre reading it on a page. That means you can read, reread, pause, or skip ahead. These possibilities affect not only your experience in reading the poem but also the authorâs experience in writing it. Even if the poem is performed aloud, itâs spoken, not sung. Thereâs no instrumentation or accompanying music, no singer to create meaning or feeling with changes in tone or pitch, and even on the page, thereâs no score. Itâs only made of words.
This poem also makes use of elements that songs donât use. White spaceâthose blank lines between lines of textâand the arrangement of the lines on the page are part of the poem. It tells a story, which some songs do but some do not. Once again, then, we recognize that while a poem can be songlike, itâs something else, something other than a song.
So, what is a poem?
For hundreds of years, most poems have been written for the page and are read alone in silence. They are visual objects that often use the tools and techniques of design and even illustration.
Notice how the opening poem uses white spaceâthose blank lines between lines of textâto emphasize transitions in the story? Each description of reading a poem is isolated by it. Sometimes the white space coincides with the end of a sentence, but sometimes it interrupts one. These visual elements are not overpowering or dramatic, but they are a part of the overall presentation and impact of the poem.
Some poems even use the printed words to create an actual picture on the page that in some way corresponds to the language content of the poem, as you can see in the following:
Sonnet in the Shape of a Potted Christmas Tree
*
O
fury-
bedecked!
5 O glitter-torn!
Let the wild wind erect
bonbonbonanzas; junipers affect
frostyfreeze turbans; iciclestuff adorn
all cuckolded creation in a madcap crown of horn!
10 Itâs a new day; no scapegrace of a sect
tidying up the ashtrays playing Daughter-in-Law Elect;
bells! bibelots! popsicle cigars! shatter the glassware! a son born
now
now
15 while ox and ass and infant lie
together as poor creatures will
and tears of her exertion still
cling in the spent girlâs eye
and a great firework in the sky
20 drifts to the western hill.
George Starbuck, 1978
However, even this very picture-like poem of Starbuckâs is not really a picture. Its essence is language. What these words mean and how they sound are both more important than how they are shaped to create an image on the page. Poems share many qualities with pictures. Unlike a picture, however, a poem can exist without the image of what it describes. Unlike a poem, a picture can exist without language.
What then is a poem?
A Poem Is a Poem
We know now that a poem has form. We know that it can be like a story, like a song, and like a picture. In the end, though, we have to conclude that while a poem is like all of these, it remains different from all of them. It remains a poem and must be understood and appreciated as a poem.
As the opening poem wishes for us, we must be curious about what each poem is. We must talk to it and ask it what it is. We must sit with it and let it be itself. Most importantly, we must be quiet and listen carefully while its story and sounds and shape reveal themselves to us.
As a student of poetry, your greatest challenge will be to allow yourself to simply notice and enjoy all the ways a poem decides to act like a story, song, or pictureâwhether or not it makes sense in any of those ways. When you do that, without feeling the need to torture a confession out of it, then even if you donât understand it fully, youâre off to a great start.