Naomi Gonzales

September 22, 2009

Lyric Poetry

            Having taken literature classes previous to this one, I knew that poetry was not all about breathtaking landscapes or romantic sonnets. I did, however, think that poets were people who could compose something on a whim, and that it would always be magnificent. I never really gave much thought to the process of writing poetry or how poetry is created, but after taking this class and reading the handouts from a textbook I know that my initial idea of spontaneous masterpieces was a misconception. Lyric poetry also is an often-misunderstood term; the term lyric really just alludes to the fact that the poem should have some sort of rhythm, but not necessarily a rhyme. Chapter four of our text touched on several ways to create imagery in a poem, which can often be as powerful as imagery in a longer text.

            Lyric poetry does something that narrative fiction cannot do. Where fiction takes subject of any kind and describes it at length, poetry can take the same subject and describe it a few words that are often more powerful and touching than a few pages. In chapter four, “Images: The Essential Element”, the author states, “images…are words that we can respond to with any of the five senses. Usually they are objects we can see, but they can also be sounds, textures, odors, and occasionally even tastes” (57). Good poetry makes use of figures of speech in order to accomplish this goal; ways to make a poem stronger often include the use of similes, metaphors, or hyperboles. With lyric poetry, the need to be consistently strong weighs more heavily on the author; by using strong verbs and nouns in addition to figures of speech, poetry can capture a moment that creates a sensory reaction.

            In chapter eight, “Free-Verse Stanzas”, the author states, “free verse does not use meter or a regular rhyme scheme” (105). In this way, free-verse poetry strays from the stereotype of rhyming verses. The author goes on to warn the budding poet that although free-verse does not have to rhyme, great care should be taken that the stanzas are not simply prose lines broken up. In this case, the auditory and typographical aspect of poetry has great importance. Using alliterations or assonances creates a repetition of sounds that encourages a rhythm if traditional rhymes or rhyme schemes are not being used; when read out loud this poetry is pleasing. Being aesthetically pleasing is important in poetry as well. More often than not, poetry is written on a page and not just read out loud. Poets have the freedom to move the words on the page around to create different images (such as a wave poem).  In this sense, poetry gives a writer more freedom than if the author were writing prose.

            Before this class, I had never really given much thought to how poetry is created. I suppose my assumption had always been that there were just some people who had a knack for writing poetry and it usually happened in metered verse. The experience of our class discussion and workshops really changed my perspective on this. Even though most of the poems were already fairly good when brought in by students, having a discussion really helped. Some of the authors seemed surprised by the feedback they received from their peers; they did not seem to put too much value into their work; having fellow students describe their work as interesting and creative made these authors really think about what they had written. It became obvious through the discussion that there is always room for improvement and revision in a poem.

            In the chapter eleven, “From Craft to Art”, the author discusses how to continue cultivating knowledge, understanding, and appreciation for poetry. The first point, “Reading Regularly and Critically”, is vital to aspiring poets. The author advises the poet to read a wide variety of poetry to avoid adopting the style of another poet, and reminds the reader that reading critically “requires more concentration than passive read. It means applying what you have drawn from this and other analytical texts to what you are reading” (139). He also reminds the reader that surrounding one’s self with others who are just as passionate about poetry can help “growth and development” (139). These two suggestions can prevent poetry from becoming repetitive or stagnant.

            Poems can be written, perceived, and created in many different ways. Lyric poetry is often what one thinks of when the term “poetry” is used, however, lyric poetry is much more than sonnets or ballads. By using different figures of speech or rearranging the typography of a poem, writers are able to create sensual images or portray abstract thoughts or emotions. The creation of a poem does not happen overnight, or in a moment of sudden and ingenious inspiration. Rather, poets must work at their creation and consistently surround themselves with new and different expressions of art as well as peers who can contribute constructive criticism. Lyric poetry is an important part of expression; it can be as traditional as an Italian sonnet, or as unique as whatever the poet can imagine.