Susan
Tichy
George Mason University Bouncing
Off Walls
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W o r k i n g w i t h L i n e |
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Measuring the Line
/ Alfred Corn's Iambic Pentameter Exercise / Jason & Lefcowitz' Iambic Exercise
Quantitative Slyllabics / Counterpointed Free Verse / Bounce Back Fair Flow'r Among the Weeds / Metrical Preverse Measuring the Line This
exercise explores the
relationship among various types of poetic line: accentual, syllabic,
accentual-syllabic, and unmeasured.
a) Write several lines that are each 9-11 syllables long. Pay no attention to where stresses fall, but do examine the lines for other features, such as placement of ceasura, nature of the line-ending and line-turn, roughness or smoothness, pace, and so forth. b) Rewrite these lines in at least three ways: 1) to
achieve a strict syllable
count
per line c) You may do the same exercise with shorter lines, rewriting to two or three stress lines, and then to either iambic trimeter or iambic tetrameter. d) You
may do the same exercise
on
someone else's lines. Choose some fairly prose-like free verse lines to
begin with. Alfred Corn's Iambic Exercise.
This was invented by the poet Alfred Corn. Its purpose is to help you write a more sophisticated iambic pentameter by distributing the five stresses among words differing in number of syllables and placement of stress. Here are two extremes of IP lines. Unsanitarily extornionate UNsan iTAR iLY exTOR tioNATE And I shall see the snow go all down hill. And I shall SEE the SNOW go ALL down HILL The first has polysyllabic Latinate diction, mid-range vowel sounds, and lots of t’s and s’s. Its stresses are light, and the whole line seems to take place at the tip of the tongue, the front of the mouth. The second has monosyllabic Anglo-Saxon diction, several vowels from the high and low ends of the scale, and soft consonant sounds: sh, w, all. Its stresses are heavy. We say this line farther back in the mouth. Try to write ten lines of blank verse in which no sequence of syllable distribution among words is duplicated--don’t, for example, write more than one line containing five words. Do include one ten-word line, and try for one two-word line. Jason & Lefcowitz' Iambic Exercise: Wind it in or wind it out Here's another approach to increasing the flexibility of your IP lines. 1. Write a short passage in
strict
iambic lines. Here’s an example: Unlike the other nudes, she
stands at
ease Unlike other nudes, she
stands,
slouches, smiles So at ease, she’s a bit
unlike the
other nudes. Exercise from Creative Writer’s Handbook by Philip K. Jason & Allan B. Lefcowitz. Prentice Hall, 1999 [1990]. Example poems by Lisa Schenkel, a student of the authors.
Quantitative Syllabics Exercise An imitation of Marianne Moore’s “The Fish.” If you have a rhyming dictionary, you may want to use it for this exercise. a) Write a 4-word sentence
in which
the 1st & 4th words rhyme. OR Write one 12-word sentence in which words 1 & 4 rhyme with each other and words 8 & 12 rhyme with each other. b) Write these two sentences out so that the rhyme words all fall at the ends of lines. Revise them until you like what you have, keeping the rhymes in position. You may change the words, but not the pattern. You may add or subtract words, but you must keep the relative proportion--that is, a one-word first line, a short second line, a long third line, and a shorter 4th line. c) Begin a new sentence on line 5. The end of this line will not rhyme with anything you have written so far, but the sentence must run over into line 6. Line 6 will be the first line of the second stanza and it must be the same number of syllables as line 1 of the first stanza. It should look something like this: What of Yes, you may hyphenate words at line-ends, but no you do not have to. d) Count the syllables in
lines 1-5
(the first stanza) and you now have your stanza pattern. e) Write at least three more stanzas on this pattern. You may revise the stanza pattern as you work on the poem, but whatever pattern you decide on you have to stick to it. The only variation allowed is to devise two stanza patterns and alternate them. Here is a sample poem written to this exercise. Its first, third, and fifth stanzas conform to the initial pattern of the exercise; its second and fourth stanzas follow a slightly different pattern. Also, its rhymes interlock from stanza to stanza, which yours need not do. Why do you think the last line is short by one syllable? What of yes- more something, has This exercise forces you to think about rhymes as part of sentences and increases your skill in placing rhymes wherever you want them. And, because syllabics don’t create a line whose length or line-break we can hear, this exercise also makes you work with the rhythm of the sentence, a rhythm governed by punctuation and speaking rhythm. If you don’t particularly like the poem you produce with this exercise, try rewriting it in different lineation, but keeping the rhymes. Where do they fall? Are they now internal rhymes? What affects can you create with them? Counterpointed Lines This exercise gives you the feel of writing run-on, counterpointed lines, the feel of how line-break, caesura, and the occasional end-stopped line can control the pace and feeling of a poem. If I have assigned this exercise, you need only do one of the two versions presented. If you are already writing in run-on lines, choose the version that pushes you to write differently. **These exercises are designed for the writing of free verse. They can be adapted, however, to limber up your line in metrical verse. Version One: 1. Your poem must be between 10 & 30 lines long. 2. You must use normal punctuation and capitalization and complete sentences. One of the formal gains of the run-on line is the tension and counterpoint possible between the line as a rhythmic unit and the sentence as a sense unit. This effect is not necessarily lost when the force & structure of the sentence is altered, but for now, while learning, keep your sentences strong. 3. Your subject should be something you feel strongly about, but do not tell us what you feel, don’t name it. The purpose is to use your lines to convey emotion. 4. Your poem should not use end-rhyme. 5. Do not use very short or very long lines--5 to 12 syllables, or 3 to 5 beats, is about right. Your lines can be the same length, or varied. They can be metrical or nonmetrical. 6. Your line and sentence may end together no less than two and no more than four times. 7. At least one sentence must be exactly one line long. 8. At least one sentence must be shorter than one line long and must be contained completely within one line. 9. Your poem must be in continuous form (no breaks). Notice how momentum is created in this form, which pulls us vertically down through the poem, not allowing us to stop or rest except where it dictates. Version Two: 1. Your poem must be between 12 & 30 lines long. 2. You must use normal punctuation, capitalization, & complete sentences. 3. Your subject should be something you wish to present very clearly, so each of its details of image or thought can be considered without confusion or too much momentum. This should be so even if your subject is one on which it is difficult to be clear. 4. Your poem should not use end-rhyme. 5. Do not use very short or very long lines--5 to 12 syllables, or 3 to 5 beats, is about right. Your lines can be the same length, or varied. They can be metrical or nonmetrical. 6. Your poem must be divided in stanzas of three lines each. 7. Your line and sentence may end together no less than two and no more than four times--no more than three if your poem is short. 8. Your stanza and your sentence may end together no more than twice, counting the end. Note that this form tends
to
slow
down the poem’s movement, make us consider each line, image and word
more slowly. The more the line breaks fragment
the sentences the more this slow, careful mood--with layers of meaning
created by line and phrase--is created. See also Syntax Exercise on the Imitation & Homage Page |